Hacker Cinema
Crazy Ex-Girlfriend
2015 · TV series · 43 min episodes · 4 seasons
Created by Rachel Bloom, Aline Brosh McKenna
Rebecca Bunch is a successful, driven, and possibly crazy young woman who impulsively gives up everything - her partnership at a prestigious law firm and her upscale apartment in Manhattan - in a desperate attempt to find love and happiness in that exotic hotbed of romance and adventure: suburban West Covina, California.
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Crazy Ex-Girlfriend did it
https://m.youtube.com/watch?v=9Rtvwu75K3I
The End of the Movie Starring Josh Groban Featuring rachel bloom
So this is the end of the movie Whoa whoa whoa But real life isn’t a movie No no no.
You want things to be wrapped up neatly The way that stories do.
You’re looking for answers But answers aren’t looking for you.
Because life is a gradual series of revelations That occur over a period of time It’s not some carefully crafted story It’s a mess and we’re all gonna die.
If you saw a movie that was like real life You’d be like “what the hell was that movie about?” It was really all over the place Life doesn’t make narrative sense.
Nuhuh
We tell ourselves that we’re in a movie. Whoa whoa whoa Each one of us thinks we got the starring role. Role role role.
But the truth is sometimes you’re the lead And sometimes you’re an extra Just walking by in the background Like me, Josh Groban!
Because life is a gradual series of revelations That occur over a period of time Some things might happen that seem connected But there’s not always a reason or rhyme
People aren’t characters They’re complicated And their choices don’t always make sense
Malick isn't the best example here. Tree of Life was made for around $30 mil and his most recent, A Hidden Life was made for in the vicinity of $8 mil. In the context of our current blockbuster climate where the latest Bond movie costs upwards of $300 mil to make, I wouldn't call Malick's films "big expensive movies," and I certainly wouldn't compare it to Coppola's $120 mil+ price tag. Hollywood has shown that it will only give that kind of money to films that fit a strict, suffocatingly rigorous formula (i.e. existing IP, car chases, explosions, world-saving heroes, etc). It most certainly will not fund a project to the tune of seven figures based on an original idea that has been described as “a love story that is also a philosophical investigation of the nature of man.” If you don't have a remake or reboot of an existing IP, you're not getting funded, period.
Also Malick is a consistent awards contender in years where he releases a movie. Tree of Life is one of the most critically acclaimed films this century and studios like to invest in critical prestige when they can, given a reasonable budget. His movies also generally make their money back. This is also why networks will let TV shows like Crazy Ex Girlfriend and The Americans go on towards a natural conclusion, instead of canceling immediately, even if viewership is low. Coppola simply does not have that reputation anymore. In fact, I think he lost it all the way back in the early 80s. After Apocalypse Now, he failed to make a movie that captured unanimous critical favor like his string of hits in the 70s. Four of his last five movies have been largely panned. His 1996 flop, "Jack," is one of the worst movies I've ever seen and a lot of other critics agreed. A movie like that typically ends careers. He does not have the cachet to warrant an investment of $120 mill on an idea that appears at first glance to have dubious mainstream popular appeal. With that said, I would certainly see it.
> Fox has set up numerous shows for failure, including Arrested Development, which was aired against Monday Night Football and wasn't aired during sweeps week. How does a show succeed, no matter how good, when it's never given a chance to develop an audience?
This is revisionist history. Fox pushed AD hard during season 1 and discovered that it was the ultimate cult show, with a small but devoted audience and no reach chance to expand it's base. Fox pushed it into the dead zones of the schedule because they knew the audience would follow it anywhere. Internally, AD had huge champions which is why it got far more episodes than it would have rationally deserved if you just looked at ratings.
There's no real way Fox could have turned it into a viable hit if only it had treated it better. Like later critically adored darlings like Community of Crazy Ex-Girlfriend, there was a natural ceiling to its viewership that was never going to fit into the business model of an early 21st century network channel.