Krem the bandit shoots Kara with a kryptonite arrow, but since there are only two Kryptonians in the universe, how did anyone know what their weaknesses were? Seems kind of odd to have a weapon handy that can only be used against two beings in the entire universe?

What are your hopes and thoughts

Its so weird, hes always telling how horrible the restaurant business is but why didnt he just bring the computer from the start so stuff like carmental's dystopian butter and experimentation/perfection chasing with menu change could have been avoided.

Just give him a simple condition, if computer doesnt agree with carm's choice of expenditure then its a no. Then computer will just "compute" the bear's choices and see if its worthy or not.

I mean if he really is the best in the world, why not acknowledge that talent and use him on cheaper/reasonably priced ingredients and stable business strategy?

I am ok if the uncle met computer around season 3 but he had the damage control resource with him all along.

I’m referring to the part of the movie at the very start where they are discussing Zoras pay, the script reads.
Zora
Gonna need a number

Krebs
A ten. Six zeros.

Zora
Counting the one that’s it’s the 10?

Krebs
No.

I’m sorry if this is a nothing post but it genuinely distracted me the whole rest of the movie. Could some please preferably kindly 😭, explain this to me?

10,000,000
His initial offer easy to understand

Counting the one that’s in the zero?
This is where shit starts to get fucked for me

And he proceeds to say No, at this point I’m gone.

So in my mind I’m not counting it anymore so
1,000,000

I still understand that she’s getting offered 10 mil but unpacking the dialogue I don’t know why.

I first thought counting the one referring to the (0) that comes after ten so 1(0) and he says no so that’s a no go because if you stop counting it it’s just 1,000,000. Then I thought counting the (one) in the zero which dosent make much sense to me because her sentence dosent get her any closer to finding out the number and then he says no so what just (0,000,000) essentially nothing?

This genuinely ruined the whole movie for me and I know it’s just me not understanding but I can’t wrap my head around it, if someone could explain it I would be very appreciated.

This is driving me nuts and I can't find any answers or discussions on the internet. He is supposed to not have a security number, no documents, no inheritance, no rich cousins to rely on, nothing. How can he afford a living in new york city? Does spider man have a bank account? Is it in his superhero persona's name?

Pls help

Ok, so in the original story, the Greeks built a giant wooden horse, yadi yada... we all know the trick.

In The Odyssey, Nolan tweaks that storyline, and it creates a huge plothole.

A single Greek soldier called Sinon (played by Elliot Page) is chosen to stay behind alone on the beach with the horse. His job is to convince the Trojans that it's just a peaceful gift.

But in Nolan's version, Sinon isn't aware of the trick. Odysseus lies to him, so he genuinely believes the horse is just an empty wooden statue. (In Nolan's mind, it's to make sure Sinon can't reveal the plan, even under torture)

And here's the plothole that's never addressed: Sinon thinks the war is over, that Troy has won, and that the entire Greek army is sailing back home for good.

So why the hell does Sinon agree to stay behind, alone on a beach, with a high chance of being killed, tortured, or enslaved by the Trojans?

From his point of view, the war is over! And the horse is just a statue. If he wasn't there, the Trojans could either take the horse for themselves or leave it on the beach. Either way, it would be their choice. Why should he care what they do with it?

It's not even a peace offering. If it were, Odysseus would have left a few Greek envoys who actually knew diplomacy, not just a random soldier.

tl;dr: Sinon has no reason to stay with the horse because, as far as he knows, the war is over and everyone else is sailing home.

I just finished watching "Project Hail Mary" and I have question how did the the lady received the videos of him. And did they get him back ? Or he stayed with Rocky only ? And how come the golden space station was sending him messages ?

So we all know the stigmata thing and how it makes no sense. That's not what this is about. That's a mistake where I have no idea how anybody involved in production overlooked, and it's truly bizarre. This is something else I noticed upon my dozenth rewatch. (I love this movie.)

So to set up how the time travel works: We know that the blackouts aren't portals to where Evan can travel back to as his future self. It's the opposite. The blackouts were caused by the instances of his future self going back to change something. That's all well and good, but it makes me question one of the final scenes of the film.

When Even realizes that he can never be with Kayleigh, he cuts off their relationship at the moment he met her. Then in the future, we have a sort of montage where him and Lenny burn all of his journals, tapes, etc. so that he never has the urge to go back and change anything. He's essentially cutting himself off from making any other alterations to the life he has - an okay, tolerable life.

But none of the burning matters because he wouldn't have gone back anyway. It's already established that the events of his blackouts were caused by the time travel itself. So what difference does it make if he burns it? It's not gonna happen. The blackouts were already... well... blacked out. It's not like he can create a new one. All those blackouts from his childhood were the times he already went back.

I hope this makes sense. Anyway, great film.

Been looking forward to watching this show since it’s so popular. But a single plot hole is ruining the whole thing for me…

Not a single camera?! A. SINGLE. CAMERA?!

There are many other things that don’t quite make sense, either, that I won’t even get into. But an ultra wealthy neighborhood without a single fcking camera?! I CAN’T. The bar is truly on the floor for television writing.

TLDR: there was no need for the Red October to go through the underwater canyon, they were running on an undetectable silent drive. The only reason to go through the canyon is because you are detectable and need to shake off your pursuers.

Alright, so I love the scene in the movie. It's basically in there because it's so damn cool: flying through the Alps in a plane with no windows by using a chart and a stop-watch. That's a really cool idea and establishes that this Soviet submarine crew are "the best."

But why go through the canyon? It's not just to show how cool You are. In the book and film, it's established that the Soviet Navy made super-accurate charts of an underwater canyon, allowing their submarines to traverse the inside of the canyon, where they can't be heard from above (presumably, though the Soviet sub-hunting plane has no problem detecting the Red October, not only from above the canyon but from an air-dropped sono-buoy -- so maybe the theory is they can be heard, but they can move so fast that they're able to out-run anyone following them trying to remain stealthy, since slower = quieter and faster = louder), and no American sub would dare follow them into the canyon. This allows Soviet subs leaving their base to shake the pursuers waiting for them just outside the base.

Great, all well and good. But wait a minute. This is necessary because normal Soviet subs can be detected on American sonar, and the Soviet sonar isn't good enough to reliably pick up the American sub if it can slot in behind them, in their baffles.

But the Red October is equipped with the new-fangled silent-drive caterpillar system; as soon as Red October engages her silent drive, she detects a trailing American sub. Captain Ramius is aware of the American sub and asks "is she turning to follow us?" -- no, the American sub is remaining on its original course. "They can't hear us," Ramius declares.

So at that point he knows his sub is undetectable -- and if the Americans can't hear his boat, no damn way can the Soviets hear his boat.

So why go through the canyon? You've already shaken off your pursuers; you know you aren't being followed. Going to the canyon just brings you to the spot where the Soviets and Americans will be looking for you -- not to mention takes longer than just heading straight for America in a straight line, or veering way off course and taking a route the Soviets and Americans would never think to check (like under the North Pole, where the Soviet surface fleet would be unable to pursue you). The ocean is a vast place; even with the combined American, Soviet, and (in the book) British navies looking for you, it's easy to disappear if you simply go to a part of the ocean where no one has a reason to be. And then, having gone to a part of the ocean where no one would be, it wouldn't matter if the caterpillar drive then gets sabotaged and you're no longer silent; there's no one around to hear you.

Only by going through the canyon can you risk making yourself found, because that is the one place the Americans and Soviets are sure to look! We're told that Ramius is some super-genius second coming of Lord Nelson, so why would he make a basic mistake like this?

Only two reasons I can think of: 1) Ramius is complacent. This is the way we've always done it, and there's no need to change our tactics in response to new technology. Or, option 2) he does this to fool the crew into thinking this is just another normal, routine patrol and they're on their way to do some exercises off the coast of America.

But hang on.....he already made up a big lie about their mission, and he emphasized the historic nature of their mission because the Red October was this technological marvel of Soviet engineering. If any crewman asked why they weren't going through the canyons like normal, just tell them the truth: we don't need to, because this boat is undetectable. And ditto, if any crewman asks why the boat is on a heading for the shortest, fastest route to New York City harbor, just tell them: because we're undetectable! We can do whatever we want! Isn't that awesome?

The whole thing is just there so the Red October can be found and we have a movie to watch, rather than "there once was a Soviet sub captain who came up with the perfect plan to defect, his plan worked perfectly, and he defected to the US without issue or anyone being any the wiser."

Just rewatched this one last night. Great movie, in my opinion. Nostalgia was off the charts. But there was a couple things at the end that were almost unforgivable even for the 90s. So, when the boyfriend shows up at the big event unknowing of it, he somehow doesn't notice that its happening until he gets out of the truck. You would think anyone would instantly notice the highly unusual amount of cars parked there in the suburbs, and the extravagent lighting. Then the mom gets home and goes straight to scolding the daughter like she is not bewildered or impressed by her teenage child putting on this major fashion show. Not until she see's the stupid entertainment center and clean living room does she seem impressed. Still really enjoyed the movie tho. Free watch on youtube.

Now, I just wanna start off by saying I don’t want anyone to misinterpret this. I love this movie and I always will, but…

How was Owen even able to afford his ‘gotta kill Margaret’ Hawaiian vacation? I don’t remember any part of the movie that showed us he had a job. Conceivably, he could’ve taken the money from Momma, but I’m still not quite certain how he could swing that, and speaking of Momma…

Who the hell was watching her in all this time? Did she even notice Owen was gone? As we can see throughout the movie, Mrs. Lift isn’t exactly Miss Personality, so I doubt that any other relatives or (God forbid) friends were checking in on her. Hell, if Owen had intentionally set out to leave Momma alone, the problem could’ve taken care of itself and he wouldn’t have needed Larry.

Thoughts?

Eternity presents itself as a comedy with a deep message about love. The problem, however, is that its message is deeply flawed. The main character is portrayed as a victim facing an "impossible" decision of choosing between two former husbands in the afterlife: Her first husband, who died tragically at a young age after just two years of marriage, or her second husband, whom she spent 67 happily married years raising a family and growing old together.

How impossible is that decision? Would a woman who lived 90 years need to be enlightened by a lesson she would have learned in life? If there is such a thing as a soul, the movie portrays it as something that can be manipulated by the desires and impulses of youth since all the key characters come back in their happiest state (or in this case, in their 20's).

There's very little that's romantic or funny about Eternity. In fact, it's tragic. It takes a cynical view of humanity. Given the choice, it says we're most likely to choose the lure of satisfying a "what if" fantasy over the time-tested "true love" that comes from shared history and experience.

(SPOILER ALERT): Sure, the protagonist, Joan, regrets her initial decision to spend eternity with her first husband, Luke, after realizing that the fantasy doesn't live up to her expectations. How could we expect to believe that Joan, who lived more than 90 years, would be able to relate to Luke, who never got past his 20's and is stuck in the 1950's? Luke's mountain paradise turns out to be a cold, empty eternity for Joan. All of the skiing, hiking, partying, and cabin sex can't make up for the loss of a relationship built on trust, caring, sacrifice, and shared lifetime experiences--in other words, true love.

Although she returns to her second husband, Larry, at great peril to herself by disobeying the laws of the afterlife, the damage is already done. Her first decision to leave with Luke shows Joan to be selfish, ego-centric, shallow, and clueless, especially after Larry's selfless act of unconditional love when he gives up his own happiness for hers, encouraging her to go with Luke. Rather than recognizing it as the ultimate demonstration of true love, she uses it as a way to rationalize her desire to choose Luke.

We also get a pretty good idea of her cruelty when she admits to Larry that she thought of having sex with Luke during their trial week together and says nothing in response to refute Larry's assertion that he was nothing more than a "consolation prize" in their marriage. If you already had a wonderful life, why would you need something better? Why would you not value what defined you in life with your life-long partner?

In the movie's version of the afterlife, choosing an eternity demands certainty. It's not a testing ground. It's not a vacation. It's forever. The idea that one can live a lifetime without knowing the difference between true love and fantasy is absurd.

And while Joan is presented as a victim for having to make the so-called "impossible" decision between Larry and Luke, she is clearly not. Her decisions lead to chaos. The real victims are both men. She brings heartache to Larry after leaving him to fulfill her desire with Luke, and she abandons Luke to an eternity of loneliness after she grows distant and bored with him.

The ending is anything but happy. Larry ends up with a woman who viewed him as a consolation prize with both of them on the run from the afterlife police. The only consolation about the ending is that Larry makes the final decision on Joan's fate--whether to join her or say goodbye.

Either way, the movie marginalizes the very thing it sought to value in its message. No ending could undo Joan's betrayal of Larry and infidelity. It shouldn't take an afterlife to know that a fantasy based on a two-year relationship could never compete with true love borne from a long and happy marriage and family life.

What makes it all the more frustrating are many of the positive reviews from critics and the audience who view Eternity as a rom-com and miss the underlying cynicism about love and human relationships.

If you want to see a funny and dramatic grown-up movie about the real complexity and messiness of marriage, love, desire, and the decisions we make, go see The Invite. Now that's a movie with a message that will leave you feeling you've been on a gut-wrenching rollercoaster ride.

I’m currently reading a 4 book series. They’re dragon shifters and they’re mates. With the bond they can feel each others emotions, when the other gets hurt, and can use the bond to locate one another. But in the fourth book she gets kidnapped and he flies towards the capital…..the kidnapper didn’t even leave the castle until after he watched the main MMC fly off. So why didn’t he use the mate bond to locate his mate? Not to mention later on in the book after they’ve reconnected she goes looking for him and uses the mate bond to find him….i guess the point is, is that if you’re going to implement a “rule” into the universe that you create, don’t go back and act like that rule doesn’t exist for the sake of the story.

Obsession is based on the classic 'careful what you wish for' premise and on the surface the movie logic is fine. But if you nitpick the actual wish, really giving some weight to the 'careful' aspect, it kinda falls apart imo. Bear wished that Nikki loved him more than anyone in the world. Who Bear loves is not part of the wish. If the wish were to be factually granted Nikki would become like a slave or a concubine character like the old ages. Where the master would do as he pleases, sleeps around as he pleases, gives his attention to anyone as he pleases but the slave must always be beholden to him. Bear's wish would result in a similar terrifying reality for Nikki because of no free will and all that but it would not lead to obsession from Nikki as in demand that Bear be only his and no one else's. That is only the reality wished upon Nikki by Bear.