Annoying TV/Movie Tropes

MeanDean

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This was more common in the 50s, 60s and 70s. TV shows with an episode with a pet or new 'best' friend or girl/boy friend is added. But in all future episodes you never see the character or pet again. I guess the kid forgot to feed the dog and he died in the week between episodes.
 

madguy30

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Streets and sidewalks in some small backwater town are full of people walking around or driving/parking, going into businesses, etc.

Where in fact, every small town in Iowa has maybe 2 people on the sidewalk on any block.

I've been fortunate enough to watch a couple of outdoor show/movie scenes get filmed just by chance and the amount of extras they have, and the amounts of details that go into a simple 15 second shot is pretty incredible.
 

Mr Janny

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Also biopics that get all sorts of things wrong. They couldn't put more effort into when and where something happened?

I recently saw A Complete Unknown and while it was good the last performance was pretty cringe for how many things didn't happen at that time.
I avoid biopics as a general rule. So many of them are so formulaic. The humble beginning>the ascension>the precipitous/near-precipitous fall>overcoming that final obstacle to cement legendary status. Wash Rinse Repeat

Or sometimes they'll deify everything that comes out of the subject's mouth, with every word being prophetic and meaningful. I mean, not everything that Abraham Lincoln said was worthy of carving into stone. Sometimes he just asked the White House cook if he could have extra bacon with his Johnny cakes.

I also hate the absolutely unsubtle "winks" that show us the origin or inspiration for some well known factoid about the subject. Like a Roy Orbison biopic showing him out buying bran flakes with his bandmates, and watching an attractive lady walk by. They all notice her, and Roy stops dead in his tracks, lowers his trademarked sunglasses, and says "That sure was a... 'Pretty Woman". Cue record scratch and extreme zoom in. And then we all are supposed to go "OHH I, see what they did there. Clever mother****ers!"
 

Die4Cy

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I was bugged about that in Ozark, too.

Seemed like they'd be going back and forth to Kansas City and Chicago in about about an hour each. Osage Beach to KC is about 3 hours. To Chicago is about 7.
The Fugitive was on the other night and I was reminded of the mountainous regions that house a large hydroelectric dam just outside of Chicago.
 

cycloner29

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Constant action with no real point, shoot ‘em up gun fights, 100 unrealistic death escapes, etc. Basically over the top action just to have action when you know nothing will happen to the main characters - like what’s the point?
I’ve been watching episodes of the A-team and they have all these guns firing a ton of bullets and never hitting anyone or anything. Then toward the end the bad guys capture the team, but yet B.A miraculously comes up with a torch and a few sheets of plate steel. Every episode is like this.
 

madguy30

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The Fugitive was on the other night and I was reminded of the mountainous regions that house a large hydroelectric dam just outside of Chicago.

The Great Outdoors takes place on a small WI lake with some foothills around it, grizzly bears, and deep north woods but takes place closeish to Whitewater (far southern WI).
 

Pitt_Clone

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Blatant exposition.

Don't get me wrong, exposition is important, and the viewer needs to be given information about who people are and important details to the story, but sometimes it's soooooo lazy, and when it is, it's just an immediate immersion breaker.
Like characters turning on a television that's immediately discussing something incredibly pertinent to the story, or having unrealistic conversations where they overtly share details that wouldn't come up regularly, or that both parties already know. Sometimes entire characters only exist to deliver exposition.

It just can be incredibly ham fisted when done poorly.

The contrast with clever and/or subtle exposition is drastic, because it definitely can be done very well.
Somewhat related, but it always cracks me up when you have characters who just drove a long way to get somewhere and right after they get out of the car one of the characters asks "why are we here?" or some other question relevant to moving the plot forward, basically to give the other characters a chance to describe what's about to happen. I mean you've been driving in a car for the last two hours and you didn't think to ask them that whole time? What did they talk about in the car, something other than this harrowing experience they're in the middle of right now?

Also sometimes they'll literally have characters in the middle of a conversation before getting in the car and then it seamlessly continues when they get out of the car, as if they just sat in silence the whole time waiting to start up again. That happens more in TV than movies.
 

Mr Janny

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Somewhat related, but it always cracks me up when you have characters who just drove a long way to get somewhere and right after they get out of the car one of the characters asks "why are we here?" or some other question relevant to moving the plot forward, basically to give the other characters a chance to describe what's about to happen. I mean you've been driving in a car for the last two hours and you didn't think to ask them that whole time? What did they talk about in the car, something other than this harrowing experience they're in the middle of right now?

Also sometimes they'll literally have characters in the middle of a conversation before getting in the car and then it seamlessly continues when they get out of the car, as if they just sat in silence the whole time waiting to start up again. That happens more in TV than movies.
100%
There's a show, I can't remember which one, that makes fun of that exact thing. They have one character say something to another right as they're getting into the car, and then it cuts to their arrival and the guy's just continuing the thought he was previously making. The passenger is like "Oh thank God! You didn't say anything for the entire car ride!"
 
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cytor

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Slasher movies: the terrified hot girl discovers her friends are dead and the slasher narrowly misses her with a hatchet. She runs to the car in the parking lot, and of course the car battery is all of a sudden dead.
 
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Pitt_Clone

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Also, adding tension to a frantic ticking clock scenario by making one of the characters a diabetic who needs their insulin. It's just lazy writing.
 

Pitt_Clone

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The one in “Adaptation“ took me completely by surprise, I’ll say that, but that was a movie that broke a lot of traditional rules.
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KidSilverhair

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Rapids of the Cedar
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Surprised nobody’s come up with the one that drives me the most nuts - typically seen in romantic comedies, but any situation where one character finds “evidence” of their partner cheating, or doing something suspicious, or meeting someone under what looks like secretive circumstances, and immediately flies off the handle assuming the worst, leading to a domino effect of hilarious or tragic actions by both characters until the conclusion where everything is wrapped up and they’re all happy. When all that would have been avoided by one simple explanation that the first character just can’t or won’t say.

I mean, like many of the things brought up here, they’re all dramatic inventions to create a story and complications and conflicts that need to be overcome, that’s how you make a movie, and a tiny bit of common sense that would explain everything and have it all work out means the movie would be ten minutes long … but it does make you think these people are total idiots.
 
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