Writer of all things fictional; semi-confessions of an aspiring liar; a professional with no good works to profess; and fuck your letterboxd too
Joined February 2021
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Attention Amazon: The Bond Dream Team
Pattinson = Bond
Watson = Femme Fatale
Oldman = M
Evil Mastermind = a Victorian frog
Doug Pembry retweeted
I’m very sad to hear of the passing of Walter Koenig, aka Pavel Chekov from Star Trek. I got to meet him on a few occasions, and he was always genuine, thoughtful, and a little anxious in a way that made him very relatable. R.I.P.
Doug Pembry retweeted
I like Nathan Fielder, but sometimes elaborate bits will hurt and exploit people. But read the comments and quotes—his fans are the most anti-social, maladjusted lunatics on the planet. They’re just Swifties who get laid less.
When Lana Love received an email from her old performing arts school about casting for a new HBO singing competition, she jumped at the opportunity.
The New York-based singer-songwriter had previously been a contestant on “The Voice” and had an album in the chamber, so she thought the series, dubbed “Wings of Voice,” could be the perfect launchpad for her music career. The winner of the show was promised the chance to perform with a Grammy-winning artist, but Love viewed the exposure of being on an HBO series as the real prize.
Love flew from her home in New York to Los Angeles three times, on her own dime, for separate auditions and tapings of “Wings of Voice,” which was filmed on an HBO soundstage in Hollywood. She waited in line with more than a thousand aspiring singers, performed for judges and made it to the top 50.
But one day before her final taping, Love made a shocking discovery: It was all fake. “Wings of Voice” was not a real singing competition. Instead, the show was an elaborate stunt devised by comedic mastermind Nathan Fielder, orchestrated solely for the purpose of making a tangential point in his social experiment series on HBO, “The Rehearsal.”
Full story here: wp.me/pc8uak-1lFMrb
Doug Pembry retweeted
The Dark, by James Herbert. This is the New English Library 5th edition (hardback) from 1988, though the novel was originally released in 1980.
I've noted before there are surprisingly few movie adaptations of Herbert novels. An Australian version of The Survivor was released in 1981 with Robert Powell and Jenny Agutter, both fine actors, and 1995 saw versions of Fluke and Haunted hit the big screen, but it's not much.
Doug Pembry retweeted
Scorsese was doing a ton of cocaine in the 80s.
For After Hours, he pitched an ending where Griffin Dunne escapes an angry mob by crawling into Verna Bloom’s womb, then she gives birth to him on the street.
Marty’s the one hunting for his dealer with a spotlight in this clip.
Doug Pembry retweeted
Every other animation studio in Hollywood cuts dark scenes to keep a PG rating and secure toy deals.
LAIKA took 7 years to handcraft puppets, got a PG-13 for tragic violence, and told the press that kids need to understand loss; all backed by Nike money
Travis Knight says that ‘WILDWOOD’ had to be PG-13 due to the tragic acts of violence seen in the film.
“Modern cinema generally tends to talk down to young audiences. But young people experience loss. They know what it’s like to feel afraid.”
(Source: nytimes.com/2026/10/24/movie…)
Doug Pembry retweeted
Hoyte van Hoytema did a masterclass today on the Universal backlot. He broke down all the new tech they’ve developed over the years that ultimately helped make THE ODYSSEY possible.
Bespoke camera systems, rigs, lights, and lenses.
I’ll have a video soon. Amazing stuff.
Doug Pembry retweeted
Joseph Kosinski and Michael B. Jordan stroll on the set of Miami Vice '85, discussing their scene, but the focus is actually more on John Leguizamo's role.
Having Leguizamo as the main villain brings the ultimate full-circle energy to Miami Vice. He's a very important character.
Leguizamo got his first TV paycheck guest-starring on the original show. Seeing him return 40 years later to run the underworld is an incredible nod to franchise history.
Doug Pembry retweeted
We don't realize how fascinating of a cinematic time we are currently witnessing.
Two of the greatest filmmakers of our generation have actually come together to make a film.
This is the modern equivalent of Alfred Hitchcock directing a screenplay written by Orson Welles.
Or, Stanley Kubrick stepping in to direct a Billy Wilder script. It is a legendary crossover of cinematic royalty that feels completely surreal.
With Quentin Tarantino providing the text and David Fincher commanding the camera, The Further Mis-adventures of Cliff Booth is a historic anomaly.
We are living in a rare moment where absolute mastery meets absolute trust, and we shouldn't take this pairing for granted.
Doug Pembry retweeted
My career advice is just do it. Make it. Say it. Bring it to life. Whatever it is. The crazier your idea, the bigger risk, but bigger reward. There are plenty of people who warn, even threaten, to keep you in control. The world is filled with the you shouldn't do that folks. They're not your audience, and the world is bigger than their echo chambers. You don't need their acceptance or permission. Just yours.
Doug Pembry retweeted
Need some help navigating Hollywood’s trenches? Check out my free webinar on my YouTube channel: “So you want to be a screenwriter now what?” Part 1.
youtu.be/NbclcxI84C0?is=2JzK…
Doug Pembry retweeted
Director Ridley Scott's hand-drawn cover for a draft of The Martian (released 2015)
Doug Pembry retweeted
Add to your TUBI Halloween watch list... and if you're a physical media company -- Help! We need a physical release of this bad boy!
youtube.com/watch?v=hf8I8RSH…
Doug Pembry retweeted
My late to the party review: THE END OF OAK STREET is a movie where Anne Hathaway plays a mom who hates her family for some reason that is never explained. Lucky for the rest of them they all go to Jurassic Park before she has a chance to abandon them. Ewan McGregor has had a long time to work on his American accent but apparently not long enough.
David Robert Mitchell had a chance to make a subversive take on the Spielbergian movies of the 1980s but he either chickened out or someone wouldn't let him off the chain.
MAGA will hate this movie and call it "woke." Which may be true but only like a "random Black friend" (RBF) in a beer commercial who doesn't get any good lines. Also because all the male characters are depicted as dumb and/or incompetent. There are lesbians here too but if you're a homophobe, don't worry: all they get to do is hug and make goo-goo eyes at each other.
For the rest of us coastal elite liberal progressive leftists, this half-assed attempt at diversity, equity, and inclusion deserves all the praise of a college boy at a liberal arts school who wears a "The Future Is Female" T-shirt because he thinks it will get him laid.
Overall, I give this movie a C+.
Thankfully none of my enthusiasm for THEY FOLLOW has diminished. If this is what it took for Mitchell to get his sequel, then sitting through this movie is a small price to pay.
Doug Pembry retweeted
Funny how much was said of this being a Bush administration satire, but Romero clearly saw where things were heading a decade later.
Thank goodness he didn’t make any more of these. Yes, this is definitely the last zombie film George made.
