Careercow Robert Chipman / Bob / Moviebob / "Movieblob" - Middle-Aged Consoomer, CWC with a Thesaurus, Ardent Male Feminist and Superior Futurist, the Twice-Fired, the Mario-Worshipper, publicly dismantled by Hot Dog Girl, now a diabetic

How will Bob react to seeing the Mario film?


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Some media critic, won’t even watch a show because it has an evil trump supporter as the star.

As I said in the salt thread, people like Bob are incredibly stupid and hate that this show will humanize middle Americans and show them as people who just want jobs, healthcare, and financial security. It’s scary to idiots like Bob because people might...empathize with a trump supporter. The horror!

Anyway, doesn’t matter opening night was a huge success for Roseanne which has scared liberals after screeching on twitter “don’t watch this show!!”

Just for the record, I voted for Hillary.
 
Some media critic, won’t even watch a show because it has an evil trump supporter as the star.

As I said in the salt thread, people like Bob are incredibly stupid and hate that this show will humanize middle Americans and show them as people who just want jobs, healthcare, and financial security. It’s scary to idiots like Bob because people might...empathize with a trump supporter. The horror!

Anyway, doesn’t matter opening night was a huge success for Roseanne which has scared liberals after screeching on twitter “don’t watch this show!!”

Just for the record, I voted for Hillary.

Somewhere in this Dead Sea Scroll of a thread Bob is literally on record as advocating for the dehumanization of one's political opponents as a legitimate tactic. It's really kind of fortunate for the left side of the aisle that Bob is as obscure as he is; if he were more prominent he'd be an amazing strawman.
 
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I’ve seen fat people in the work force and they got along just fine. Bob must have been disliked for being a cunt.
 
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If you read Tara Strong's AMA. She confirmed she's recording for S4. Chipman, and many people really don't pay attention to the animation community that much. Which frustrate me since that should be on top of his fucking list as a "critic" is to be informed, and not made themselves look like a bunch of jackasses.

Is he trying to make a DC reference with Earth-2? If so, then Bob fails (as he always does) because Earth-3 is the mirror world in DC continuity.

He doesn't read comics. That much has been repeated. He only scroll through wikis.
 
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Adult Swim sperging.
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Was Bob bullied by a miner's kid growing up?
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And will he ever understand how Bitcoin works?
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Leave the jokes to us.
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Bob hates white middle American families because he has a burning hatred for conservatives and like @Mola Ram said doesn’t consider them people.

He also is a lonely basement dwelling fat fuck who will die alone. He knows it and it terrifies him. I’m sure he’s intensely jealous, almost incel levels, of happy, productive families.
 
Bob hates white middle American families because he has a burning hatred for conservatives and like @Mola Ram said doesn’t consider them people.

He also is a lonely basement dwelling fat fuck who will die alone. He knows it and it terrifies him. I’m sure he’s intensely jealous, almost incel levels, of happy, productive families.
He’s also jealous at the middle America for still having their jobs after he destroyed his own career because he never shut the fuck up about GamerGate after bosses told him so. He can’t help it that those middle Americans manage to keep their jobs by not demonizing people and not be lazy spoiled brats that throw a fit when things don’t go their way.
 
He hates middle america because it's full of blue collar people who are successful and have fulfilling lives.

Bob himself is a lonely, irrelevant clod and the fact the people he deems inferior are living better than he ever could burns him the fuck up.
 
He hates middle america because it's full of blue collar people who are successful and have fulfilling lives.

Bob himself is a lonely, irrelevant clod and the fact the people he deems inferior are living better than he ever could burns him the fuck up.

Bob's problem, and the solution, are both really very simple:

 
I like how he sees this as a lesser of two evils situation, but won't grasp that it's how a lot of people felt about Hillary.
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ANTIFA still dindu nuffin.
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Bob's so good at keeping up with pop culture, that he doesn't need Google to keep up with development news.
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I like how he sees this as a lesser of two evils situation, but won't grasp that's how a lot of people felt about Hillary.
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ANTIFA still dindu nuffin.
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Bob's so good at keeping up with pop culture, that he doesn't need Google to keep up with development news.
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ABC already has their diversity quotas filled with Modern Family and Black-ish. Get that shit out of here.
 
ABC already has their diversity quotas filled with Modern Family and Black-ish. Get that shit out of here.
And Fresh Off the Boat and Speechless. Just because ABC has at least one show on about a midwest family doesn't make them racist super-bigots.

P.S. Has Bob ever sperged about The Middle? I feel like he has at one point.
 
P.S. Has Bob ever sperged about The Middle? I feel like he has at one point.
The Middle is the most inoffensive show of all time. I haven't watched it in a while, but back when I did I rarely remember politics coming up, if they did at all. Compare this with left wing sitcoms which are eager to ram their ideology down your throat at every opportunity.
 
Yet CTH still make much more money than Bob. Wonder how that works.
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Cool to know Bob's spirit is at least gonna vanish into nothingness.
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"I don't care re:Roseanne."
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The Middle is the most inoffensive show of all time.
Tell that to Emily Nussbaum.
Emily Nussbaum said:
Midway through the seventh season of ABC’s family sitcom “The Middle,” Frankie Heck (Patricia Heaton), who works as a dental hygienist, gets a new boss: Dr. Sommer Samuelson (Cheryl Hines, from “Curb Your Enthusiasm”), a prosperity guru with perfect teeth. “Her story is capital-‘A’ amazing,” gushes Dr. Goodwin (Jack McBrayer), Frankie’s former employer, whose practice Samuelson bought. “Her parents made pottery. And now she owns the thirteenth-largest dental chain in the country!” Reluctantly, Frankie attends a corporate convention in Des Moines—“all expenses paid,” a novel concept. But once Samuelson cranks up the dance music—“Tonight is tonight! Tomorrow is tomorrow! Believing is believing!”—Frankie drops all resistance.

“Are you tired of working yourself to death, and still not reaching your goals?” Samuelson yells, gyrating in a silver dress. “Are you tired of looking around and seeing everyone else get theirs and you not get yours?”

“I’d like to get mine,” Frankie murmurs.

“Do you see those people on those fancy boats and planes and think that should be me? Well, that can be you. . . . You can earn your way into our Platinum Élite Club and be on a private jet as part of our Winner’s Circle Retreat in Costa Rica! Whos with me?”

For days, Frankie giddily recites buzzwords, as she and her husband, Mike (Neil Flynn), a manager at a limestone quarry, enjoy the honeymoon they could never afford. It’s only when the bill is slipped under the door that she realizes that “all expenses paid” doesn’t cover dry cleaning, champagne, and room-service ribs. In most sitcoms, this would have been just another goofy mistake. In “The Middle,” it felt, for a minute, like a throat-clutching moment of horror, the floor falling out from beneath Frankie and Mike’s lives.

Finding comedy in lower-middle-class vulnerability is the gift of this long-running series, which, like Frankie herself, is a low-hype, hardworking, unflashy team player that gets way too little credit. The show débuted in 2009, the same year as “Modern Family,” also on ABC, which had a diverse cast—for the era—and a sleek mockumentary style. “Modern Family” hogged all the hype, while “The Middle” plugged along. In the next few years, ABC expanded its family-comedy block, which now features a set of smart and varied series, generally framed by voice-overs: there’s the well-off African-American family on “Black-ish,” whose stories are narrated by the formerly poor dad Dre; the nineteen-nineties Taiwanese-American immigrants of “Fresh Off the Boat,” whose narration, by the tween son Eddie, was abandoned in Season 2; the eighties middle-class Jewish family of “The Goldbergs,” framed by the nostalgic youngest son, Adam; and this season’s début, “The Real O’Neals,” which is about divorcing Irish Catholics in Chicago, narrated by their gay teen-age son, Kenny.

Like those shows, “The Middle” is grounded in insights about parents and children, and it has traced, in touching and realistic ways, the paths of the three Heck kids: dorky Sue (the amazing Eden Sher), jocky Axl (Charlie McDermott), and Brick (Atticus Shaffer), a quirky kid on the spectrum. But it’s Frankie’s voice that guides us, and while at first hearing she might sound corny—like a Midwestern Christmas newsletter—her trademark is a ping of anxiety, the resentful fear that her efforts will never add up. The Hecks have had a few lucky breaks, like Axl getting a scholarship to play football. But their mortgage is underwater and they’re in crushing debt, which they’ve agreed to ignore. They shop in the Frugal Hoosier’s “Eat It Today” section. And two jobs are not enough: Frankie and Mike take extra gigs, for Christmas gifts and to contribute to a barely there college fund for Sue. Eternally exhausted, both parents are borderline neglectful, “floating” holidays and flaking on carpools and skimping on therapy for Brick. One day, when Frankie tosses a spoon into the sink, the whole thing crashes to the floor, leaving a hole that the Hecks can’t afford to fix.

The miracle of the show is that it’s able to make this stuff funny: that sinkhole was pure slapstick, as was their solution of washing dishes in the shower. But beneath the warmth and the jokes the show keeps cycling back to a tense marital debate. From Frankie’s perspective, she and Mike would do better if they thought bigger, a story that she’s picked up from multiple American philosophies, from Oprah on down. After she gets fired, in Season 4, she cries, “When one door closes, another opens,” then slams into a locked glass door. Mike has no patience for such talk. To him, a job is how you make money. Sometimes you love one kid more than another. Marriage isn’t about passion, it’s about mutual toleration. Frankie argues that Mike has cut himself off from intimacy and excitement, but he sees it differently: no false hope, no disappointment! Part of the show’s nuanced appeal is how it keeps shifting as to which approach seems healthier: Mike’s wry fatalism, which can seem like depression, or Frankie’s manic, near-libertarian insistence that she is the master of her fate, which makes her fume when hard work leads nowhere.

In Barbara Ehrenreich’s book “Bright-Sided: How Positive Thinking Is Undermining America,” she dissects the darker history of positive thinking, the cult of optimism that has, in recent decades, she writes, metastasized into “an apology for the crueller aspects of the market economy.” “The Middle” is a sitcom-shaped meditation on this phenomenon, but it’s not purely a critique. On the one hand, Frankie’s beliefs do make her miserable and, often, hard on her family. (Her kids’ adjectives for her: “lazy,” “angry,” “tired.”) There are echoes of early “Roseanne”—the creators of “The Middle,” Eileen Heisler and DeAnn Heline, both wrote for the show—whose pilot episode satirized the dangerous New Age babble sold to factory workers: “If your mind can conceive it, and your heart can believe it, then you can achieve it.” The affirmations Frankie clings to feel like curses when they don’t come true.

On the other hand, there’s Frankie’s daughter, Sue, a lover of rainbows and unicorns, for whom positive thinking has been a lifesaver. At nineteen, Sue is so devoted to the Web site kickingitteenstyle.com that she once wrote her own version, Sue’s Tips for Sue-cess. Now that she’s at a local public college, a professor steers her away from turning in poems titled “A Recipe for Peace in the Middle East,” pushing her toward critical thinking. Fellow-students upset her with the news that cops can be mean. But rose-colored glasses protected Sue from what would have been a truly ugly adolescence, had she absorbed the world’s view of her: homely, mediocre, a nobody. She could have folded. Instead, she became self-reliant enough to back out of an engagement to her high-school boyfriend, a sure path to her mother’s life. Sue’s sweetness is a type of moral strength, a force of Christian decency rare for TV.

Although Sue’s old enough to vote, we’re unlikely to see her first Presidential election. Unlike the Norman Lear-inspired “Black-ish,” “The Middle” has never addressed real-life politics. (Including, significantly, racial ones: it’s set in a mostly white Midwestern area, and although Axl’s best college friend, Hutch, is black, when the two are hassled by a cop Hutch’s reaction is no different from Axl’s.) But the sitcom still manages to press on a modern economic bruise, hard. After Super Tuesday, Trump voters were described in the Times as being unified by one motivation: “a deep-rooted, pervasive sense of anxiety about the state of the country, and an anger and frustration at those they felt were encroaching on their way of life.”

On their worst days, that’s the Hecks. While the neighbors give Frankie the side-eye, she is driven crazy by a feral single mom, Rita Glossner (played with hilarious ferocity by Brooke Shields), whose family has all the pathologies the Hecks lack: drugs, violence, absent dads. A sitcom can skirt the tough stuff: no Heck ever uses bigoted language, or talks immigration, not even Mike’s prickly hermit of a father or his socially awkward brother. But they’re white, working-class Christians in a small town in a red state. Frankie Heck is no xenophobe, but she’s frustrated, overwhelmed, and thirsty for inspiration. Could she be drawn to a smiling orange demagogue who promised that she’d “get hers”? She might. If Frankie longs for anything in her life, it’s for someone to make America great again.
(P.S. She won a Pulitzer Prize.)
 
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Heh, perfect transition into...
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"I almost feel like myself again." You're telling me there was a point when you weren't a hateful piece of shit? I couldn't tell.
Film expert Bob Chipman has never seen Metropolis, has he? A big part of that was about "The head, the heart, and the hands" of a society being disconnected from one another and that fucking things up.

Also: "marginalized and genuinely oppressed by the government". The same government that was run by the Democrats for most of the past 12 years? Tell me more, Blob.
 
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