It was diarrhea. Han Solo had the runs that day, and movie history was made.Little movie magic note on that: script called for Indy to fight him, but Ford hurt his back or something, and they switched it to the gun and it’s one of the most memorable moments in cinema.
Possibly my favorite example of how Hollywood "thinks" hacking works:Any show or movie focused on spy/espionage/criminal investigation how these experts so quickly hack into systems
Well Nakatomi Plaza was brand new.Working their way through buildings in pristine clean oversized duct work.
I've seen a lot of duct work in my life. I've never seen any that's as clean as every duct in the movies.
What I hate is when the show is about to reveal something big and you have to wait until next week to hear it and when they reveal it, it doesn't give you any more answers, just more questions.When a character is about to reveal something big and they get killed.
One I can think of off the top of my head is when the bad guy is chasing the good guys and he's walking but the good guys are sprinting and somehow he catches up to them.
It has "evolved" somewhat over time. It used to be a stalk/bunch of celery sticking out the sack.The one that I always laugh at is more of a props thing. Every time someone is carrying groceries there is ALWAYS a baguette sticking out of the top.
And it's always in a large brown paper grocery bag. When's the last time you had groceries in one of those?
A lot of shows end up falling victim to this. A cliffhanger can be very effective, but it's easy to overuse them as a way to ramp up suspense. Take a show like Suits, which is entertaining, but very formulaic. So many of their episodes end on cliffhangers where the very fate of the characters hang in the balance. And once that's solved in the following episode, you've got to make the next challenge just as daunting, if not more. So it becomes a cycle of upping the ante on the stakes, until your stories become farcical and contrived.What I hate is when the show is about to reveal something big and you have to wait until next week to hear it and when they reveal it, it doesn't give you any more answers, just more questions.
I'm thinking of shows like the Black List, Manifest, etc., that have an underlying mystery unfolding during the life of the show that never gets solved even as they solve other, many times unrelated, problems along the way.
Good example of a "good" use of that. It was part of "character development" + the scene/setting didn't suggest it was a possibility AND the viewer can see what's about to happen like two seconds before (enough to register, and knowing the people in the car don't realize it).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.
Depends on how they're used. Look at a show like Community. Many of their best moments are bottle episodes, or gimmicky premises. That's sort of a Dan Harmon signature. Does it with Rick and Morty as well. He leans heavily into that type of thing, and his fans love him for it.I don't know if it's a trope, but I definitely feel like it's becoming one: When a TV show has one random episode that is stylistically completely different from the rest of the show. These episodes are generally artsy/experimental and well-reviewed but by they drive me up the wall since they stop almost all rhythm the series has.
Examples:
Fargo S5: Puppet Show Episode
Ted Lasso: Coach Beard episode
Bojack Horseman: Lost in Translation underwater
Barry: ronny/lilly
I'm not saying these episodes are bad, in fact some are great, but they also aren't the show I wanted to watch. Especially since seasons are only like 10 episodes now. It made more sense to be experimental when there were 24 episodes a season.
And the moment they get in they know precisely how that particular software works.Any show or movie focused on spy/espionage/criminal investigation how these experts so quickly hack into systems
Leaving the door open drives me crazy. Another is they hear something in the house at night so they investigate without turning on a single light. "There might be a killer in here but I don't want to waste electricity"Another prop set thing. I've noticed that almost every door (including the primary front door of the house/apartment) never seem to have a threshold. You can see light coming through. This is in a LOT of shows. Those houses would be cold as **** in winter and every mouse or critter in the neighborhood would be living with those people.
And another 'door' thing. People walk into a house or apartment and it could be a huge blizzard outside and they don't bother to close the door. But it happens a lot. "Hey come on in. Just leave the door open. The heat/AC is on but it's not in the script. so don't bother closing the front door."