movie viewer
Using technology to address gender bias in film | Google
Machine learning helps identify gender in movies and reveals new information about gender inequality in highest grossing films and Oscar winning films.

This is FASCINATING and important - made in conjunction with The Geena Davis Institute on Gender in Media - CHECK IT OUT!  

The GD-IQ and how it works

“Dubbed the Geena Davis Inclusion Quotient (GD-IQ), the tool not only can identify a character’s gender, but it knew to a fraction of a second how long each actor spoke, and were on-screen. “This was revolutionary,” says Davis. “No one’s been able to do that before with any accuracy.” And GD-IQ works fast; what once took months to measure can now be quantified in real time.

GD-IQ uses machine learning to recognize patterns the casual movie viewer might overlook. To do this, the engineers didn’t provide the computer with a template or a set of hand crafted rules; Instead the machines were programmed to “learn” from examples that were annotated with the correct answer. This automated process ensures that the technology improves its own understanding over time. The tool learned to detect different characters on-screen, determine their gender, and calculate how often and for how long they spoke in relation to one another.”

How can this technology change things?

“The Geena Davis Institute on Gender in Media unveiled preliminary GD-IQ findings to producers, executives, screenwriters, and actors last year. The numbers were sobering reminders of the power of unconscious bias. “Over the past decade, we’ve developed meaningful relationships with many motion picture studios who genuinely want to improve gender balance in their movies,” says Madeline Di Nonno, CEO of the Geena Davis Institute. “Many of them are very interested in using the GD-IQ to analyze other content, like television.”

For those filmmakers dedicated to putting women at the heart of the story, there is good news.””

Read the full piece and check out the infographics here

GOOGLE, you’re still on my list in terms of your anti-feminist search results for feminist searches, your racist results for, uh, everything - the list goes on, and I’ll see you later on those points - but this is a solid.

"why don't you like frozen?"
  • what i mean: It's a film that, essentially suffers from an existential crisis throughout the entire two hours it runs. There's no world building whatsoever, leaving too many unanswered questions the audience in regards to the magic and lore of the land. It's inferred the trolls know everything there is to know about magic, but it does not explain how Elsa recieved her powers in the first place, leaving a pretty big unanswered question. Also, the decision to take a fantasy race usually isolated from magicks as the main sage magicians was an ...interesting choice, and would have worked out a bit better if the world was built up more. The plot is all over the place, with there being no clear antagonist until the final arc of the movie. Is the Duke of Weaselton supposed to be the antagonist? No, and he honestly doesn't even belong in the movie: in what way does this character move forward the plot? He doesn't, so why is he given such emphasis? Is Elsa supposed to be the antagonist? Through the film the audience is constantly being given conflicting views as to whether or not we are supposed to sympathsize with her or hate her, and we're never given our answer until the final arc of the movie, which is, ironically, when the real antagonist show his face: Hans. Since he is introduced as he antagonist in the final arc, it makes Hans' development as a villain feel rushed and unnatural. Such a sudden heel-face turn from charming benevolent prince to cold-blooded killer feels wrong, and considering there was no foreshadowing or dramatic irony leading up the reveal, it comes as a shock to even the most watchful moviegoers. Beyond the shock response, there is no reason for the audience to hate Hans, making him an ineffective villain all in all. The audience only hates him because he betrayed the trust that was willingly given in the first half of the film. Yes, he wants to usurp the throne and kill everyone off, but wouldn't that incentive be more effective if it were presented as such from the beginning of the movie? Give the viewers hints and clues that he is not what he seems, making the reveal of his plan much more suspenseful. Additionally, if it were addressed from the beginning, a large amount of the aimless plotless wandering that plagued most of the first three-quarters of the movie would be practically non-existant. In addition, the shock factor response wears off eventually; the impact of his betrayal means less and less to the audience each time they watch it. Part of the reason of the weakness and confusion in the beginning also stems from the fact that the movie is trying to juggle too many characters. Many named characters are completely unneeded and did not need to steal screentime (and by extension, valuble character development) from the main characters (Anna, Elsa, Kristoff, and I guess Hans). And the lack of character development is bad. Really bad. Anna doesn't feel like a real person, even by Disney standards. Elsa is a bit more believable, but her "development" is rushed and inferred instead of shown to the audience as it should be. Why was there such an emphasis on the parents in the beginning if they were only going to be killed off for plot fuel? And as an audience member, I did not feel any sadness for their death or for how Anna and Elsa were grieving. Having Elsa locked in her room for upmost of ten years was just...weird. There was absolutely nothing that justified it, making the isolation feel like a cheap way out for the writers to transition from childhood to adulthood. And beyond that, Arendelle is shown to be a peaceful kingdom, so it makes no sense that Anna would not be allowed to leave the castle and walk amongst the city. If magic exists in this world, why was Elsa locked away? Why was it a secret? All of these questions stem from weak worldbuilding that justifies very little of the events of the movie. There are so many unanswered questions that rise up from what happens inbetween childhood and adulthood. Is there a puppet monarch? Was magic seen as something negative or unknown? Why the trolls. Why the trolls. I'm sorry I just do not understand the trolls. The romantic subplot again ties into making the trolls feel even more forced and unneeded and the Hans reveal stale, I don't need to go into this. From a technically standpoint, the animation is subpar compared to its contempararies. Rise of the Guardians, a movie made a year before Frozen, had better ice effects. The particle effects and textures were nothing to write home about and the numerous clipping issues are clear evidence that the final product was rushed. The character design is the biggest complaint everyone has heard the most, but, Jesus Christ, oh my god it's bad. There's virtually no variation in character design. The facial structure of all the women are practically identical. Elsa, Anna, their mother, even Rapunzel all look 100% identical. Perhaps that wouldn't be such a problem if their body types were the same as well. There's no power of silouette in the film, something that is absolutely crucial to animated film, making Anna and Elsa blend together not only in the film, but in the industry itself. They do not stand out. They are blank and bland. The music is the only good thing, and that's only considering some songs. "Let it Go" and "First Time in Forever" are strong, powerhouse showtunes that actually move the plot forward, as songs in a musical should, but "Fixer-Upper" and "Love is an Open Door," while good, solid songs, do relatively nothing for the plot can could be omitted without sacrificing anything. "In Summer" is a total joke song that literally fades into nothing--I could not recall the tune if I tried, and "Do You Wanna Build a Snowman?" has a lot of potential but is, esentially, the same chorus repeated with little to no transition three times. It doesn't help that the song is also the most awkward contrived timeskip in the history of awkward contrived timeskips, again because it is never explained why Elsa is locked in her room at all. And the trolls and the--oh god. Please, all artists and writers, do NOT overlook the importance of worldbuilding. Even the dialogue is mediocre and does nothing to immerse the characters into the world around them. The resulting product is nothing but two hours of mediocrity masquerading as the best film of the decade in commercialization and ticket sales, but ultimately does nothing but leave a bad taste in the audience's mouth and will encourage Disney to continue making mediocre movies because they know they will sell and sell well.
  • what i say: because it's a bad movie

Not to be that person but i dont like some of the new blupin movies (goemon blood spatter, jigen gravestone) much. My list of grievances

  • wheres dumb lupin. Hes acting way too smart and edgy let him bite his own tongue
  • so much gore… esp in goemon. I like gore and watching 5 min of goemon cutting down 35 guys as much as the next person but graphic sinew and muscle gore isnt really lupin
  • wheres jigen… actually hes not that bad but he never smiles. never laughs. Way diff from eg red jacket era jigen where he wears an apron talks to and pretends to shoot at a pan of peas on the stove
  • not enough goemon smirk smiling.. being naive and dumb in general… feels like im watching a bunch of smart edgy people instead of lupin gang. Objectively good but not really lupin
  • whres fujiko….. in general…… Like
  • WHAT THE FUCK HAPPENED TO ZENIGATA…. LITERALLY MY BIGGEST GRIPE…… WTF…….. no one calls him pops….. He does not make a fool of himself even once…. no LUPINNNN or even a single smile…. What happened to zeni who follows his own code and matches lupin in intelligence and skill….. What happened to lupins fated rival…. they’re supposed to be two sides of the same coin now hes just a jacked up cop

Today in Anime History

April 16th, 1988

Grave of the Fireflies premieres. One of Isao Takahata’s biggest successes in Ghibli, It has been given near unanimous praise from film critics. It has an astounding 97% on Rotten Tomatoes and has peaked on listed of best animated movies and best war movies. Many viewers title it an anti-war movie, which Takahata has actually denied. It has won every award it was nominated for.

Based on the novel by Akiyuki Nosaka

The world building of John Wick is some of the best I’ve ever seen

I just watched John Wick: Chapter 2 a few days ago. I’ve never watched the first movie before then, but I figured it was alright to watch the second movie since most action movies don’t require a lot of knowledge of the story of either the prequels or the world to appreciate them.

As expected, it didn’t really take a lot of context to watch the movie. I made a few assumptions of things that happened in the first movie to fill in the blanks. I watched the movie at a movie theatre with my girlfriend so I didn’t have the luxury of pausing the movie to ask her about the backstory from the first movie.

This post isn’t really a review of the movie, but I have to say that this is probably the best action film that I’ve ever watched. The fight scenes were awesome and the gunplay looked so realistic that even the bits where Keanu Reeves was just reloading his gun was so satisfying to watch. After the movie, I found the movie’s lore to be interesting enough to make me want to watch the first movie just so I can know where some of the things shown in the movie came from.

Yesterday, I watched the first John Wick movie. After watching it, I found out that only a few of my questions were answered. I still don’t know how John Wick owes Santino D’Antonio. I also don’t know what the Continental really is and how powerful its owner, Winston, is and how he relates to the criminal world. I’m still unaware of what those gold coins are and why it’s being used as the currency in the movie.

I eventually found myself with multiple tabs on my browser and they’re all about John Wick’s lore or story. I was so obsessed in finding out how some of the details in that world came to be. That’s when it hit me: this is the first time I’ve been interested in an action movie’s lore simply because of how great the movie is at world building and how the movie tells the viewer about the world. The world is revealed throughout both movies through subtle cues and some dialogue between the characters.

A good example is one of the scenes from the first movie where they establish how scary John Wick is. Aurelio, the owner of the garage, punched Iosef Tarasov as soon as he learned that Iosef stole John Wick’s car and killed his dog. Afterwards, Viggo, Iosef’s father, called Aurelio to question why the guy hit his son. As soon as Aurelio told him about who his son has stolen and killed from, Viggo ended with an “Oh” and hung up on the phone. The head of a crime syndicate getting chills down his spine as soon as he hears of the name of a person implies a lot of fear and the realization that his son messed up big time.

In the next scene, Viggo Tarason summoned his son, Iosef, and told him about who John Wick is. Afterwards, he called John Wick in hopes that he will be able to talk things out instead of resorting to violence. The scene implied that even the boss of this huge organization has a lot of fear and respect towards John Wick. That he is indeed the “Baba Yaga”.

In the second movie, it was heavily implied that John Wick was a well-respected assassin since everyone knows Wick and are glad that he is back from retirement. While I was watching that movie, I thought the first movie showed all of the feats that John Wick has done. I was surprised when it wasn’t showed and his backstory was really only hinted at.

Another great example about the film’s world building is in the second movie where it was revealed that the crime world is so big and organized that they have a guild and a “High Seat” of leaders among them. Alongside of that, the movie hints about how powerful the Continental and Winston is because everyone, even Santino D’Antonio who is in the High Seat, respects the rules of Continental about it being a neutral zone and how breaking the rules are met with dire consequences.

The bottomline is that the movie’s world is revealed through subtle hints through implication or character dialogue instead of being shown with flashbacks. It leaves a better impression on the viewers and will actually motivate them to read up about the world or be excited for a next movie. I know I am.

types as imdb parental warnings

ESTP: During a supposed time of crisis, one character takes the time to view a local gas station’s wine selection. 

ISTP: These wounds only look *somewhat* realistic. 

ESFJ: A man with a fire extinguisher puts out a flaming skeleton. 

ISFJ: This may be offensive to some… Although it is meant to be comic. 

INTP: This is more surreal and strange than violent. 

ENTP: The ending is so horrible and awful, not in any violent or graphic sense, but you just feel completely robbed that you actually sat through this crappy film 

INTJ: All scenes of bloodshed are so unrealistic they cause no disturbance whatsoever. 

ENTJ: The movie gives false hope that characters might have died but they turn up just fine. 

ESTJ: nearly 100 f-words 

ISTJ: Historical inaccuracy in this movie may disturb some viewers. 

ESFP: A man punches another man’s head off. 

ISFP: In a humorous scene, a seemingly harmless rabbit bites several peoples’ heads off; causing blood to splatter everywhere. 

INFJ: The main character is gay and tries to be straight for social acceptance. 

ENFJ: A man is beat up for being racist. 

INFP: One use of “heck." 

ENFP: A martial arts fight occurs between a giant panda dressed in shorts and a young man.

anonymous asked:

So my brother, the casual viewer movie nerd, finally watched the episode and we talked about it. And basically he thinks Yousef likes Sana and that it's not completely ruined, that Noora knows about Sana's feelings and that he realised religion is between them and it won't work. And honestly I think that's all. He tried to get away from religion cause it caused angst between lovers and now it's happening to him. Seeing Even again made him realise they can never be together. This makes me cry

well FUCK

ALSO i dont want to believe noora knew sana liked yousef, but i noticed this:

here sana is looking at yousef and noora is standing beside her and sees she’s looking. i REALLY dont want to believe noora would do that, but ??? maybe there’s a reason we saw it so obviously ????

(let me know if im reaching bc i probably am)

Title: Blow Out

Pairing: Lúcio/Junkrat

Rating: Mature [Will have smut in later chapters]

Chapters: 1/??? - Writing on the palms

Read it on AO3

People never stop to understand Junkrat. And really, he doesn’t understand himself. But when one member of his team goes out of their way to seek his company, Junkrat is forced to explore feelings he’s never had the courage to address on his own.

Keep reading


MTV has revived Fear Factor, the stunt game show that originally aired from 2001-2006. It premieres on Tuesday, May 30th at 10/9c on MTV. Face your fears by watching the trailer above.

Rapper/actor Ludacris will serve as the hosting, taking the reigns from Joe Rogan. My interest is piqued by the fact that the synopsis below mentions stunts being inspired by “popular scary movies.”

MTV is giving viewers the chance to conquer their fears head on with a refresh of the breakthrough series Fear Factor. Ludacris will host the new installment, custom-created for a generation that is increasingly empowered, while also more anxious than ever.

Filled with new stunts inspired by urban legends, popular scary movies, and viral videos from today’s cultural zeitgeist, “Fear Factor” contestants will confront their fears, be pushed beyond their comfort zones, and take action against some of their biggest stressors.

Legend Debunkers

@awesomecat42 on Fan…demon:
I’m not really that into bands or anything, but if you replaced BABBA with, say, the Mythbusters or something, this is exactly how I would react! Mythbusters… OMG SWEET GRUNKLE OF ALCOR YES YES YES!!!
What if the TAU had it’s own version of the Mythbusters and after the Transendence they also started busting myths about real supernatural things and magic and stuff cuz that stuff was real now and what if one time they summoned Alcor for a myth and you just know that adorable little nerd would totally geek out over the whole thing and everyone would just be like what even and this needs to be a thing and I really want to write this now but I can’t write worth crap and please write this fic please please please I’LL GIVE YOU MY BLOOD!!!

Every so often, I manage to deliver. Goals for 2017: deliver on random fic requests.

On AO3 // On

Legend Debunkers had been on for years. It had a dedicated following and over three hundred episodes to its name, alongside a cemented, permanent spot in pop culture.

They’d moved on from urban legends a few seasons back, focusing on movie myths and viewer submissions for the most part, though occasionally returning to their roots. They were more than enough to keep the show going, even after the Transcendence hit and everything had changed, as people began to adjust.

But the viewer requests were changing, and there was a cry for help in most of them.

The world had changed, and suddenly many of the myths, the ones that were supposed to be superstitions or stories, were true. And people didn’t know how to deal with that.

And while the hosts, Aaron and Jared, might not have known anything about magic, they did know science, and get enough of that and you could figure out just about anything.

Finding volunteers to help test some of them were going to be difficult. Neither host particularly wanted to do the myths that might end in someone getting hurt, even if said someone was supernatural. They and the build team might have taken stupid risks now and again in the heat of the moment, but keeping everyone involved safe was still important.

So no myths about ‘does x hurt y’ or 'will x part of y supernatural creature really do z’, though they were considering testing ones like 'can vampires cross running water’.

It was a balancing act – which myths would help people, which would hurt people if it were common knowledge, and which ones would lead to Aaron and Jared being able to make things explode.

Plus, think of all the things they could blow up now that they had magic!

Of course, it took awhile to get all of it going. The production team had to find experts in the area of magic, and those weren’t exactly thick on the ground just yet. Despite everything, some things really just couldn’t be tested without an expert around, and magic wasn’t understood enough yet to mess with.

With magic so new to the rest of the world, most of the people who knew anything about magic had been the weirdos in the old world, witches or freaks or crackpots, and some of them were still bitter enough about how they’d been treated to refuse to share their knowledge with others yet.

Of course, there were others, eager to spread the word, but there were also people out there spreading false information to further their own agendas, make people afraid of this new world and try to change it back.

Well, Legend Debunkers wasn’t going to stand by that if they could help it. They’d helped people before, with their episodes on what to do if you were in a sinking car or myths about holiday trees, so they could do it now. No way they were just going to stand by while people spread around false information if they could help it.

And blow things up in the meantime, but just as a bonus. These explosions were sparkly, now that they had magic!

Keep reading

Do the Right Thing - Nearing the Boiling Point, and that was almost 40 years ago

The movie that should have won ‘best picture’ at the oscars (or at least SOMETHING) this year. Spike Lee’s first 'big budget’ breakthrough film was big bold splashy and in your face provacative, and was a welcome splash of cold water in the face of complacent movie viewers who are more used to the sort of 'race issue’ movies like 'Driving Miss Daisy’ (which, ironically ended up dominating the awards this year).

A simmering hot single day in the life of an NYC inner city neighborhood, with tensions between the residents at a boiling point and culminating in a riot. This multi-character portrait of American race relations at the tail end of the Reagan years is still relevant twenty years later despite some slightly dated slang and dress, and offers no easy answers or pat sermons at the end. Along with Pulp Fiction, one of the freshest new voices in film at the beginning of the 90s.

4 stars out of 5

Released 1989, First Viewing August 1990 with a revisit or two later

SIXTEEN SIXTEEN SIXTEEN Days of “High School Musical”

Yeah… I’m finally doing this. Let’s get to it. 

Day 1: Which is your favourite movie?

My favorite film has to be High School Musical 2, if only for the introduction of a new and fascinating location, the insight this movie gives viewers to the dynamic of the Evans family, Ryan’s character arc, which is the most gracefully handled of all of the character arcs in this series, and the parallels the film’s narrative repeatedly draws between Troy and Ryan that finally, masterfully culminate in the two of them becoming friends. 

I’ve extrapolated on my criticisms of this particular entry in the series- the complete botching of Troy’s story arc, Sharpay’s G-rated sexual harassment of Troy being played for laughs to a disturbing degree, Gabriella exhibiting controlling and emotionally abusive behavior in response to Troy prioritizing his future (something that should have been understood and accepted by not only her, but Troy’s group of “friends”), the rushed and contrived for the sake of the plot friendship between Ryan and Chad that glosses over all of the tension between them in both the previous film, as well as this one- but Ryan’s beautiful evolution from the antagonist’s comic relief sidekick, to a fully realized, strong-willed, snarky, and surprisingly sweet character, the performances from Lucas Grabeel, Zac Efron, and Ashley Tisdale, and the ever high-strung manager of Lava Springs, Mr. Fulton, earning a few hearty laughs, are enough to convince me to switch this movie on, every now and then, despite the inevitable strain on my blood pressure. 

At everyone against DC Fanboys on the subject of Rotten Tomatoes

PRETTY MUCH EVERYONE judges the DCEU off of MCU because of the success that Marvel has. DC Movies aren’t suppose to be anything like Marvel movies.

Critics AND viewers who aren’t in the DC/Marvel fandom are going to compare any DCEU to the MCU anyway, they wouldn’t know the difference between the two universes. If you haven’t cared about comicbooks and just go ahead and watch Man of Steel, then you watched Iron Man, you would prefer Iron Man because it’s more comical. THAT’S THE THING, DC is not comical and funny, it’s dark and gloomy. It’s the typical superhero stereotype. A lot of people don’t know the difference between DC and Marvel, so they would go ahead and compare the two, but it’s like comparing fantasy to action, apples to oranges, or spice to sweet.

DC IS completely different and has completely different themes and elements. People don’t get that!

Marvel universe has a strong base and foundation because of its success of the first couple of movies, people admire it and think that’s what a superhero movie should be.

They were the first empowering and successful SUPERHERO movies! But since DC comics are dark and gloomy unlike Marvel, the movies had to be just as dark and gloomy. Everyone loved Marvel for having the light and comical relief, so the audience strongly disliked BvS and Man Of Steel because of how dark it was.

This puts the DCEU into a unfair advantage for critics and viewers. They shouldn’t compare any of the DC Movies to the Marvel movies because they are completely opposite.

Critics will keep in mind of Marvel movies when they write their reviews for DCEU movies, that’s the problem.

Wonder Woman is opening in 2017 and WONDER WOMAN DOES NOT EQUAL CAPTAIN AMERICA. Wonder Woman is the biggest feminist, cultural icon and it better break the box office and beat the Avengers.

This is one thing that DCEU has against MCU, they had the first female superhero that has their very own centric, cinematic-motion picture. Well one in this era anyway.

(I would like to side note that anyone that compares Captain Marvel or Black Widow to WONDER WOMAN, I will not hold back my fire. They are a bunch of nobodies compared to Wonder Woman, same with Captain America and the rest of Marvel. Marvel may be doing better, but we have the best legendary superheroes).

Originally posted by ginbell