Originally posted by Sits
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Movie/TV clichés
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Prompted by recent Game of Thrones episodes (and this isn't really a spoiler):
If you have a defensible position, like a fortress or wall, you will deploy a large part of your force outside it, a tactic which has no military justification but offers an enhanced spectacle. The inevitable orders "Fall back!" and "Open the gates!" must follow, and be easily heard amidst the deafening chaos of battle.
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But we're talking movies, not documentaries. The plot requires an early setback, that's all. They don't go out to fill their carts with turnips. And those gung-ho expeditions lose enough horsemeat to feed the population for months.
The real justification is usually something like getting the leader-hero wounded, so he can be saved and brought back in a desperately close call, and let the coward who stayed behind take over and redeem himself.
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Originally posted by tee rex View PostPrompted by recent Game of Thrones episodes (and this isn't really a spoiler):
If you have a defensible position, like a fortress or wall, you will deploy a large part of your force outside it, a tactic which has no military justification but offers an enhanced spectacle. The inevitable orders "Fall back!" and "Open the gates!" must follow, and be easily heard amidst the deafening chaos of battle.
Cavalry are useless in a fortress and should be deployed outside the walls and used to harry the opposition at the flanks and, hopefully, the rear (not charge headlong into a massacre). Troops with long spears should be set up at the point where the opposition has been canalised i.e. where there's a break in the fire wall/trench, forming a literally mobile "wall" which can fall back if necessary.
In the Battle of Winterfell the army of the living should've been trying to engage in melee as little as possible whilst using their ranged weapons, artillery and air support to take out mass formations of wights in the choke points.
Then again, if we're talking rubbish tactics then the Night King wins by not sieging the castle, starving everyone and just raising the dead who are inside the walls of Winterfell. When you have an indefatigable army and, literally, all the time in the world, why attack at all?
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We've probably had this...
A villain replies to a victim in an ambiguous / stilted way, then kills them.
Victim: "What about my wife you kidnapped you rogue?"
Villain: "You will see her very soon." <shoots him>
Victim: "Where's my payment?"
Villain: "You'll get what you're due." <shoots him>
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Couples conducting affairs in 1970s dramas were. of course, compelled to leave a trail of discarded clothing from the lounge to the bedroom, clues to be discovered by unexpectedly-returning partners. A giggle from said bedroom was generally the deal-breaker.
(These days used without irony in the opening sequences of Emmerdale, I note. I remember the days when it was all sileage and lambing incidents...)
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- Jul 2016
- 9369
- Dublin
- Bohemian FC Manchester United Mansfield town Torino Berwick rangers
- Chocolate Digestives
Originally posted by andrew7610 View PostIt is really easy to accidentally knock over a row of 30+ Harley Davidsons parked outside a bar.
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Have we mentioned facial recognition software yet? Where main protagonist asks assistant who happens to be the best tech-wizard on the planet to check the facial recognition stuff to ID someone. If we get past the fact that they have good facial database, what really bothers me is that it works by drawing every single picture to the screen until it finds a match. Often with little red lines drawn across. Don't they understand that it's far more processor intensive to draw all those new pictures to the screen than it is to do the facial comparison, so at best it would slow down the process
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Perhaps mentioned before.
Tech person: something something fairly technical, but not really that hard to understand, especially if you work in law enforcement/espionage/medicine or whatever it is the show is about.
Protagonist: "In English, please!"
Tech person: Explains it at a sixth-grade level.
Techy person: Doesn't get right to the point of what they're trying to explain. Instead they do long pre-amble as if they're writing about it for the Atlantic or Carrie on Sex and The City and end the long explanation with a rhetorical question like "But what if we got this backward? What if that isn't what they're really after?"
Protagonist: "Get to the point!" (they should have told them to get to the point three paragraphs ago)
Techy person: Here, look at this - displays what they were explaining in a way that is probably technically impossible - like an animated HD hologram - but would have made the entire previous explanation unnecessary.
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Although the man will still need several more hints before he cottons on (after the audience and the pregnant woman herself, in that order). It would be a lot easier to just tell him rather than wait for it to dawn on the dimwit, but that only happens in life.
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Originally posted by Patrick Thistle View PostI saw a funny thing recently that talked about how morning sickness is used as an indicator of pregnancy almost without fail in films.
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