The glow ups.
The glow ups.
MatPat getting egged on the charity livestream is the best!
Frozen 2 clearly contradicts the Tarzan is Elsa’s brother theory, as well as the Rapunzel is Elsa’s sister theory, but weren’t those theories Disney confirmed?
Watching King of the Hill with the fiancé and made a mind blowing realization. Nancy is constantly cheating in she and Dale’s home and Dale is 100% the type to bug his entire house. So how is it that Dale has never figured out about his wife’s affair?Simple, he has but he’s a cuck and a voyeur so allows it to keep going. He’s all about conspiracies so it wouldn’t be too far off to think he might like knowing a secret that nobody thinks he’s in on
matpat, seeing the new frozen 2 movie:
Midi-chlorians are the power house of the force
my brother has this running theory that any movie can be improved by adding a xenomorph somewhere, usually in the third act
Please watch this.
Be loud about this.
Nice and reasonable. But loud.
This isn’t exactly me coming back from break but I can’t keep quiet anymore! This is serious! Calling all Gamers! We need to find a way to save our favorite Creator Channels! I know there is a petition to sign.
So, please sign the petition to help spread the word!
I normally, don’t do this, but please reblog/retweet, post/repost on any media you can to help spread the word!
Audiences can interact with films through their past experiences, and through the memory of films they have watched before. Hanna recognises that audiences have ‘expectations based on our past experiences of other texts and genres’ which films can play on to create a sense of security, or create red herrings within the narrative, or subvert these expectations to build something new within the genre. Hanna explains that film directors since the ‘1960s’ have been aware of this expectations and have since ‘continually remade and reworked’ these genres and tropes through ‘experimental design and playful allusions that strive to reference one another and themselves’.
The anthology film The Ballad of Buster Scruggs opens with a tale of the titular character Buster Scruggs, dressed all in white and prone to singing show tunes. The character sparks a recognition in the audience that he is the hero of the story. This is based on memories and prior understandings built by past viewings of films of the same western genre. The character is not large in stature which gives the impression that he may be a naive cowboy. Dressed all in white suggests that he is new to the trail and has not seen many hardships. He’s had no chance to build muscle and in the tavern he visits, the audience can understand that Buster Scruggs is way out of his depth.
However, an audience who has seen many westerns before, as well as many parodies of westerns (in television or film), may become aware of the classical subvert-ion of expectation that Buster may be being portrayed as a weak, soft-hearted cowboy, but he will, in fact, come out as champion in any fight.
Buster faces off against another man who is taller, and shot to tower over him. A shot of a third man looking up while his hand shakes around the drink he is holding suggests Buster has come up against a man that should be feared. An audience may expect from the traditional sense that Buster will overcome this man by avoiding fighting. This is held up when Buster kindly asks the man to hand in his weapons. However, as various parodies of these moments persist in comedic shows and movies of a traditionally framed ‘good guy’ coming up against a traditionally framed ‘bad guy’, the good guy is shot midway through his dialogue. The scene sets up this expectation by having Buster deliver a lengthy plea for the bad guy to uphold the rules of the tavern. Nevertheless, the villain does not shoot.
This leads the audience into a third expectation - that Buster has a gun of his own. Countless parodies have also delivered on the joke of the hero pretending to be upstanding to morals by handing over weapons, but later in the scene, pulls out a gun in a shock twist to destroy the comedic tension. However, the scene does not play out to this and, instead of Buster taking out his own gun, the character slams his foot on the end of the wooden-planked table, which raises a plank to hit the arm of the bad guy, resulting in him shooting himself in the face three times. The audience does not expect that Buster does uphold his morals, and they do not expect him to resort to a violent but clever way to defeat his opponent (traditionally characters framed as weak would run away in fear). Buster Scruggs is now framed as a violent, deadly but clever man. The film has effectively built up the expectation that Buster Scruggs will win every fight.
Hanna moves on to explain that the fourth wall is the ‘imaginary wall that exists between the audience and the ‘stage’’. This is when someone within a film, television programme, or stage play acknowledges the audience, usually by speaking ‘directly’ to them. Hanna states that this technique has been used ‘throughout the history of film and television’ and the aim of breaking the fourth wall is to ‘penetrate the boundaries set up by fictional texts’. Breaking the fourth wall blurs the lines between audiences as spectators and audiences as participators.
“I just saw it as an opportunity to sort of portray somebody with real mental health problems in an artistic way. It’s not a naturalistic, realistic interpretation of mental infirmity, but it is surreal, fantastical, abusive, morbid, entertaining view of - hopefully - mental health problems. And, for me, that rang true with my experience of mental health problems. It’s not just depressing, it can be really exciting to be around, and really entertaining to be around, and really wrong but magnetic to be around, and yet, I’m benefiting out of somebody else’s demise ultimately - this is just my own experience. And then I saw that in the film. I saw that, like, there’s an audience maybe benefiting out of somebody’s demise, there’s maybe, perhaps, or maybe being repelled by his demise. But there was a kernel of truth that allowed an artistic flight of - I wouldn’t say fancy - but, like, filth or dirt - to grow, you know, and it is a very artistic response to mental health problems.”
James McAvoy on portraying Bruce Robertson in Filth (2013).
‘When you make a movie about one person, every other element becomes a character, if that makes sense. So, the music is suddenly a character, and the locations are suddenly a character, the setting, the time period. All those things have a much bigger impact, I’ve noticed, when it’s a movie about one person.’
Todd Phillips, director of Joker (2019) for Film4.
I feel threatened.
Matpat is doing another big charity live-stream on December 3rd for St Jude’s research hospital.
He’s gonna have a big group of fellow creators (Markiplier, Natewantstobattle, The Try Guys, to name a few) again and a new five nights at Freddy’s game that Scott is making for this event.
hap borth matpat
IT’S MATPAT’S BIRTHDAY
Happy birthday, Matthew!