Many posters have identified the numerous plot holes no country is littered with. I say the worst is Moss returning to the massacre to give the drug runner water.
It makes no sense from five different angles. Another measure is this is the scene its defenders have to come up with the most nonsensical rationalizations.
When Dmaria doesn't do well in debates, he can't let it go. Typically he just repeats himself to block it out, but it's unusual for him to actually start a thread to do so. That's a pretty solid measure of his discontent.
Larks doesn't realize how pathetic she sounds in effect patting herself on the back implying she does well in debates. The saying that applies to larks is Self praise goes a little ways. In fact most of the posters agree it makes no sense for moss to go back to the CGF.
Contrary to what larks says it's not difficult to start a thread.
Larks is too stupid to understand the concept of this thread. The question is do you agree this is the worst plot hole? If not name one that is worse.
The concept of this thread is repetition, to try to compensate for not doing so well in debate. Dmaria is right, it's not difficult to do, which is why he does it.
I don't see how it's a plot hole, maybe you could say it was stupid and out of character, but definitely not a plot hole. I really don't think it's that out of character either, it was a stupid decision, but Moss makes similar stupid decisions throughout the movie because his character is irrational and prideful.
See that's the thing. Wde says moss makes many similar dumber than hell decisions. According to Wde this one doesn't stand out. I'm asking what are these similar decisions?
Either way, standing out or just one of many similar, that particular dumb decision doesn't = a plot hole. The thing is still the hole in Dmaria's head.
It's interesting to contrast the styles of Wde and larks. Wde made a vague statement about moss making similar decisions. When called on it Wde cut bait and ran.
Larks is the opposite. Although I addressed Wde larks butted in. Larks will always respond with a nonsensical answer.
Larks has proven herself to be the queen of illogic. In her mind if a character says he is doing something dumber than hell it can't possibly signal a plot hole.
It really is the opposite. When moss says dumber than hell it drops a red flag that something far fetched is coming up. Cormac and the coens are doing a preemptive strike. They know it makes no sense so they are trying to cover themselves. The naive observer falls for these writers tricks every time.
The trick is to have access to character psychology. Dmaria doesn't have that, so he thinks if a character is compelled to do something dummern hell = no sense, a writer's trick, and a plot hole.
The trouble for Dmaria is that he thinks human beings behave sensibly in the manner of robots. By contrast, good writers have access to human beings, and so understand that they make their own kind of sense, which doesn't necessarily adhere to a rational, expected standard. The Goose is honking in the dark.
First larks comes up with the laughable comment saying since moss says he is doing something dumb it can't be a plot hole.
That tanked so larks follows up with another self fulfilling prophecy. No matter how ludicrous or absurd a character acts it can't ever be a plot hole. Instead it shows how the writer is not treating the character as a robot.
Dmaria can't read plain English. Since I've not said either of those things, his complaint is irrelevant. Lke I said, the hole is in the Goose's head. That doesn't leave a lot of room.
Zone doesn't know how stupid he sounds to an educated person.
Zone knows you have been time and again manhandled by whatlarks in you two's endless back and forth of practically every thread in this forum. No education is required to see that obvious watermark.
------------------------- One of these days I'm going to cut you into little pieces. reply share
I didnt "cut bait and run" I made the point I wanted to make and then knew that any further posts would be repetitive and lead to an endless debate where nothing is solved.
I'm sure you are right Harry. But the term plot hole has a weight and pop to it. Thusly I'm going to commandeer it for my own purposes.
You may not be a cognoscente Harry still I think you know we are important to the world. That is to your credit. Many people lash out at us.
I use to love to stand on the top of the Palisade at the end of 84th Street in riverside Park overlooking the mighty Hudson River with the George Washington Bridge in the background where Edgar Allen poe sat and finished the raven. Just stand there and think deep thoughts. It is exhilarating to be a cogno but also very burdensome. Just ask Edgar.
You may not be a cognoscente Harry still I think you know we are important to the world. That is to your credit. Many people lash out at us.
I understand my role, here. I throw peanuts to keep you honest, to keep you on your game. Which leads me back to what I posted about:
I'm sure you are right Harry. But the term plot hole has a weight and pop to it. Thusly I'm going to commandeer it for my own purposes.
It wouldn't vex me so much were it not for the fact that IMDb discussion boards virtually crackle with claims of plot holes where there are none. It has become nothing less than shorthand for 'something that bothers me'. The extent to which it has pop or weight is subjective, of course, but my travels on IMDb have seen its overuse to the point where I find it dreary. Sorry.
I use to love to stand on the top of the Palisade at the end of 84th Street in riverside Park overlooking the mighty Hudson River with the George Washington Bridge in the background where Edgar Allen poe sat and finished the raven. Just stand there and think deep thoughts. It is exhilarating to be a cogno but also very burdensome. Just ask Edgar.
Thank you for confirming the vision of you that has always been in my head - a spirit that fancies itself part of some coffehouse mural, drinking Absinthe with Poe and Hemingway and Terkel in some seedy Paris cafe, pounding the table in mirth and aggravation at the human condition, until....
Funny Harry should say that. I'm trying to master French so I can talk to the locals in Paris. I would like to share a table in a bistrot with Hem, Scott and Zelda on the literary side.
But my passion is movies. I'm thinking of Godard Seberg and Truffaut. To be on the set of A Bout de Souffle and La Nuit Americaine.
Imagine going up and down the Champs elysees filming A Bout. Godard had a permit but no crowd control. They filmed in the middle of the bustling foot traffic. They didn't have any fancy equipment. Godard pushed around the cameraman in a wheelchair. Signs and wonders.
or a plot device. Unlike larks who will chime in momentarily with a deep psychological insight in Moss' mind, (and probably some comment about dmariat as well, in third person natch), most viewers who can think for themselves and have seen other Coen films know that the story often hinges on a dim bulb that thinks he can outsmart people who are much better at crime. So it take some stupid act to set things in motion.
Moss returning to the scene is a simple way to put the character on the run and in great danger with the usual horrible results. There really isnt anything deeper or more meaningful there.....its what the story required.
Like you say, everyone knows that. To remind us it's a plot device doesn't really add anything useful, because like any story element plot devices aren't neutral. They can be anywhere from brilliant to ridiculous. The complaint is related to the quality of the device.
You're making the same mistake. To argue the meaning of his going back is about the quality of the device, not whether it's a device, period. That's why your pronouncement that it's a plot device is redundant.
Using larks definition of a plot device which is different than most people she says the plot device can go from brilliant to ridiculous.
The goal of the writer is to make the plot device fit in seamlessly with the rest of the story. That's what makes it brilliant. This one of moss going back with the water given all the circumstances sticks out like a sore thumb. It belongs on the ridiculous side of the plot device brilliant to ridiculous spectrum.
Since I didn't define what a plot device is, Dmaria's complaint is meaningless.
As mentioned, starting this new thread shows Dmaria can't let go of faring badly in a recent debate of this subject. That happened because he can't distinguish different contexts - "all the circumstances" - and is alienated from human psychology.
It is totally meaningless what larks did or didn't say.
A plot device can go from brilliant to ridiculous. The difference between brilliant plot devices and ridiculous ones is whether the plot device makes one scene go smoothly into the next scene. Whether no one notices it. I wish I was the only one who said it I'd be a genius. The truth is many critics have pointed it out.
Using that standard the moss as water Boy scene is as smooth and seamless as a road of potholes. It has attracted way too much attention. It is the opposite of seamless. It is squarely in the category of ridiculous.
Dmaria makes multiple complaints about what he thinks I've said, and now says it's meaningless whether I said them or not. He accidentally advertises that he makes friviolous complaints. The Goose is a psycho honker.
By "smoothly" Dmaria just means what makes sense to him. Since he can't distinguish between contexts and has no access to character/human psychology, what is sense to him falls in an extremely narrow range. Put it this way, he's not a free range Goose.
His perception of character behaviour comes from thinking of people like they're robots with simple programming. Very like Chigurh, actually. I've always said that Dmaria swallows Chigurh-plum logic whole. They're both psycho-babblers.
I suppose I should take it as a compliment when larks constantly steals my stuff. In this case the idea of psycho babble. I call it Plagiarism and lack of imagination on her part.
It is interesting that larks doesn't dispute my concept of seamlessly in a movie. Many posters have remarked that this scene moss as water Boy seems odd artificial. Anything but seamless.
Larks doesn't have the capacity to sense this so she lashes out at me.
A plot device doesn't need to be seamless to be effective. That's Mother Goose talk. In fact a jarring plot device can work very well. To appreciate this, one needs to be able to grasp context, which of course rules Dmaria out of the discussion.
Dmaria thinks Moss's action is artificial because he lacks access to the character. He doesn't name any critics he says found it problematic. Not even one. Poor guy can't even accomplish a decent fallacy of numbers and authority. What a goober.
Still no mention of who any of those critics are. I think we know by now they don't exist.
Just like I hadn't said any of the things he complained about. And then said it doesn't matter if I did or not. Everything this cluck says is frivolous.
In other threads I outlined how Moss's return was natural to his character, and Dmaria didn't fare too well because of his lack of access to human psychology and inability to distinguish the different contexts Moss finds himself in. So he's reduced to things like invoking non-existent critics. The Goose is a goober.
Larks better keep stealing my insults. Calling someone a goober went out in the third grade. Larks doesn't seem to be good at anything. Maybe knitting?
It's not surprising larks says playing water Boy is natural to moss'character. If you follow her dubious logic to its conclusion whatever moss does no matter how far fetched is natural to his character.
I love new posts. A recent poster launched yet another attack on the water Boy scene. The jist was it made no sense for moss to return with water. The reason is that the guy in the truck was the only one who could id moss to the police or his confederates. Moss wanted him to die ASAP.
Dmaria has regressed from invoking non-existent critics to some random poster on IMDb. The Goose is desperately flapping but he can't get off the ground.
More flapping: his conclusion follows from his own dubious logic, which can't make sense of any behaviour outside an extremely narrow range. That is why I encourage him to master the Mother Goose level first, before tackling stories for adults. He just embarrasses himself.
The funny part is that larks doesn't understand she is some random poster. I will definitely listen to a poster if it makes sense. After all this is what the board is about. People posting and reading what other posters say.
What he said makes a lot of sense. Moss wouldn't want the water guy to live because he is the only one that could id moss.
Larks constantly makes mistakes in logic. She says that I can't make sense out of anything outside an extremely narrow range. What I'm explaining is Moss as water Boy is way out of an extremely narrow range. It's in another zip code.
I'm hardly a random poster to Pavlov since he targets everything I say in order to disagree with it, and agree with any random poster with an alternative view. This gets Pavlov into all kinds of trouble logic-wise.
We see now there were never any critics who said what Dmaria claimed, which blocked him from using the appeal to authority. In desperation he's grabbed an alternative theory from a random poster.
We can observe Moss influenced by conscience as he's lying in bed. He fills a jug of water, clearly intended for the man who had pleaded for it, whom he'd treated with callous indifference. Given this evidence his intention was to relieve suffering, which would perhaps prolong life. The idea he went back to ensure Aguaman didn't live runs against this linked chain of evidence.
If a theory runs against evidence there is a relatively greater burden of proof required to overcome it, and Pavlov hasn't provided it. Instead all he's done, as usual, is to merely insist. For that reason his theory can't be taken seriously.
Larks is lucky. Apparently she has read a lot of books on cinema but can't apply it to a movie not in the books. For no charge myself, the Mouse man, the hammer and a random poster have given her personalized lessons. The lessons don't seem to be taking. Larks is very resistant. She would have stayed at a north Vietnamese re-education camp for a very long time.
Larks just doesn't get it. The subject of this thread is plot devices. Of course moss is shown as influenced by his conscience. But if you look at it critically there are many reasons why moss playing the water Boy makes no sense. It's just to move the plot along.
Is larks that dull? The idea that moss wants the water guy dead so he can't id him is the latest in a cavalcade of reasons moss wouldn't bring water to the guy. We're not saying moss went back to kill the guy. We're saying it's another reason for him not to go back.
Dmaria needs to adhere to the KISS rule. All this elaborate theory when the evidence shows Moss felt bad about leaving the guy dying in the desert and went back to soothe his conscience. Dmaria thinks people and characters should make sense like robots with strict programming limits, but that's not faithful to life. People do unreasonable things in real life all the time. There's no need for all this flapping and honking.
The mention of the KISS concept is another idea larks stole from me. My theory is well within KISS. Moss did a highly improbable thing not because of conscience but to move the plot along in a very dramatic way. That's pretty simple stupid.
Larks regurgitates her untenable idea about people doing unreasonable things all the time. The conclusion to that is there is according to larks no such thing as a ridiculous plot device because no matter how absurd and contrary to his character in the rest of the film nothing moss can do or any character in any movie can do can be just a plot device because people do unreasonable things all the time. Do you see the weakness in that?
When Dmaria says "highly improbable," that's his total alienation from human beings speaking. In life it would be "highly improbable" for human beings to act like robots and make "sense" in that way, so it's not surprising that a drama should not present character in such a manner.
I've mentioned that Dmaria's conclusion doesn't necessarily follow from such reasoning. For example, it's not contrary to the character in the rest of the film. I've described that elsewhere, and my policy is to not repeat things just because Dmaria can't let go of disliking them. The whole point of his thread is to hammer out his theory even though it didn't fare so well previously.
That's pretty simple stupid.
I wholly agree with that statement, just not in the way Dmaria means.
I said, That's pretty simple stupid. Larks repeats it. She is so pathetic. She steals every clever line I invent and adds on Just not in the way dmaria means. If larks is around hide your spare change folks.
Larks has a one second childish evaluation if a scene is a ridiculous plot device. No matter what the action is it can't be a plot device because people aren't robots.
My analysis is much more in depth. I have given multiple reasons why moss going back makes no sense. The latest one is why would he go back to save the only witness against him?
Larks makes one of her absurd conclusions. If you think it makes no sense for moss to go back you must think people are robots. Sometimes it makes sense for the character to act against his usual nature. Many times it doesn't. Larks can't tell the difference.
The Goose is acting a cross between a parrot and an ostrich. He repeats points I'd countered effectively in previous threads, and hides his head in the sand. That's what this thread is about for him: he can't let go of being outmanoeuvred, as they say.
Larks has hit rock bottom. She can't make arguments. All she can do is decree that she has countered me effectively which proves nothing. If she really believes that why does she keep responding to me.
Dmaria says I "can't make arguments." With that, he gives away his fondest wish. He asks why I would respond when I've already countered his complaints. As if responding would magically negate those arguments, magically make it true that I "can't make" them. He'd love that to be true, but that previous experience for Dmaria persists, especially when I respond to remind him of it. Which is why I do it, of course.
What blather by larks. Anything but to talk about the subject of the thread.
What's striking is the character himself moss calls the plot device. That's unusual. He says that going back to the hot zone with the h sitting there to bring a drink to the drug runner is dumber than hell.
That is the same as saying it makes absolutely no sense. All his talk to CJ about dying out there foreshadows that something dramatic is going to happen back at the goat *beep*
Anybody who understands cinema can hear the clanging of the machinery as the coens set up the plot device in a big clumsy way.
Oh, that's just sour grapes from our previous exchanges. I'm okay that you don't think my writing is good, because I don't think you're in a position to judge.
People steal from writers because they lack the ability to think of clever words on their own. Larks is always giving compliments to herself this time calling herself a good writer.
I recall many occasions where she stole from me. I missed the part where she made it better.
There you go, justifying and consoling yourself with the " sour grapes " argument again.
I wouldn't have cited a classic reference to good writing if I didn't know something about it. One of Zinsser's first lessons is for the practitioner to separate his ego from his writing. Yours is absolutely infused with it!
Sour grapes is all about ego. Yours got deflated a little when your judgements were effectively challenged in previous exchanges. You've held onto that resentment. The beam in your own eye is preventing you from seeing how Zinsser's first lesson applies to you first and most of all.
I know what " sour grapes " is all about and I can also tell you know nothing about Zinsser or his classic.
Your response is nothing more than deflecting, face-saving obfuscation when you presumed to speak on behalf of " all good writers " with your arrogant comment!
I can also tell you know nothing about Zinsser or his classic.
Let's test your own knowledge of Zinsser.
You said:
One of Zinsser's first lessons is for the practitioner to separate his ego from his writing.
Actually, he advises the exact opposite. Pg. 24, Chapt. 4, Style:
"Leaders who bob and weave like aging boxers don't inspire confidence—or deserve it. The same thing is true of writers. Sell yourself, and your subject will exert its own appeal. Believe in your own identity and your own opinions. Writing is an act of ego, and you might as well admit it. Use its energy to keep yourself going."
Quite clearly it's you, Armhammer, who "know nothing about Zinsser or his classic." Like I said, you're a hypocrite. Never mind Zinsser on writing, you need a remedial reading class.
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I don't know who zinsser is so he can't be worthwhile. Hem and hank moody tell us you can't teach someone to write. Zinsser sounds like a made up name.
In any event I would like to have larks point out where zinsser says to steal words and phrases from others like larks steals constantly from me.
Notice how larks evaded the question. She didn't give me the quote from zinsser where he says to steal other people's work. Or in the alternative larks doesn't admit zinsser doesn't say that. What a coward and a fraud larks is.
Larks proves she knows nothing about writing. One of the most vital parts of writing is having the imagination to come up with clever words and phrases. Larks doesn't have the ability to do that so she steals them from me.
Since I wasn't the one who banged the drum for Zissner I've no obligation to answer Dmaria's question.
Dmaria places too much value on clever words and phrases. That's how amateurs think. They think writing is about being flashy. Dmaria's imagination is impoverished.
Larks calls me a bad writer and says my imagination is impoverished yet she feels compelled to steal from me. What does that say about her writing and her imagination?
Larks says I put too much value on clever words and phrases yet that is exactly what she steals from me. Larks doesn't know how hilarious she is.
I have to go to the gym now. As a hint of coming attraction I'm going to do a post on CJ's mom and moss going back with the water. Do you you think she warned CJ against him so stridently because he always went out of the way to help others and it would end badly because moss would put himself in danger protecting people?
Dmaria can get pretty snarky at my zingers. He tries for comebacks but they're crude imitations. Recently for example I said the Mouse and the Goose think as one, but unfortunately two half-wits don't make one wit of difference. That's all right. Dmaria's response was typically lame, just plunking down the word dim wit. No wit involved, so he ends up accidentally reinforcing my point.
However, he has his fans. Zzyzx1995 was impressed. Which makes perfect sense.
One of my old favourites is Dmaria swallowing Chigurh-plum philosophy whole. It co-opts Dmaria's use of Sugar for Chigurh and turns it against him, invoking childish things.
I hand out pearls on a regular basis. Dmaria's jealous, of course.
So, you rushed out to your nearest Barnes&Noble to locate and acquire a copy and read the first 24 pages until you found something to cherry-pick to justify yourself with?
He's talking about confidence ( not an over inflated ego such as yours ) because he knows that's what the best of writers struggle with constantly.
Since you referenced 'Style,' how about page 7, Chapter 2, Simplicity:
" Clutter is the disease of American writing. We are a society strangling in unnecessary words,circular constructions,pompous frills( ahem )and meaningless jargon." This seems to describe yours.
And you're no less of a hypocrite but an egomaniac to boot!
You said straight out that "one of Zinsser's first lessons is for the practitioner to separate his ego from his writing." But what he actually said is it's impossible to separate them.
You got up on a high horse and referenced a writing book. You said I didn't know anything about it. Well, talk about clutter and pomposity, because you got your own reference wrong. That makes you a hypocrite and a careless reader.
If you didn't value your ego more than your integrity you would admit your error. You would admit that you don't know the book like you said you did. Instead, you're trying to save your ego by qualifying and changing the goalposts. Pathetic.
You: "One of Zinsser's first lessons is for the practitioner to separate his ego from his writing." Zinsser: "Writing is an act of ego, and you might as well admit it."
You were wrong. Talk about obfuscating.
Obfuscating, " muddying the waters"
You just said the same thing twice. An example of clutter and pompous frills.
Larks is at it again patting herself on the back for what she calls zingers. Clunkers is the accurate description.
The only pearls from larks is what she steals from me. At that she botchs them and gets them all screwed up. It's amazing how she deludes herself.
The point with CJ's mom is she understands moss' nature and that doesn't involve playing water Boy for a drug runner in the middle of the night in the middle of nowhere.
That's a nice example of how Dmaria can only perceive human beings as like robots, with programs restricting them to a single kind of behaviour. So for example if CJ's mom finds Moss no good in general that doesn't somehow prove the character has no good in him at all, ruling out his revisiting the dying man he'd left earlier.
Dmaria says he values the KISS principle, but he breaks it since he's compelled to disagree with me. The latter is a higher value for him. Some days ago I mentioned on this thread that the compulsion gets him into all kinds of trouble logic-wise. In this case instead of observing the KISS principle, Dmaria has latched onto an illogical and more complex theory.
Thus earlier he admitted that "of course moss is shown as influenced by his conscience," which is to also admit that Moss is shown as not all bad despite CJ's mom's comment. Logically then, the correct conclusion is that his character's nature can indeed involve returning to the CGF to help the dying man.
The Goose has no coherent sense of the story. He's constantly waddling off in all directions.
Larks just doesn't get logical arguments. CJ's mom says moss is no and good at all. It is another piece in the 1000 piece puzzle that reveals moss playing the water Boy is a naked plot device.
I use to think larks was semi intelligent but no more. I didn't admit that moss is shown to be influenced by conscience. I said the coens portray him to be influenced by conscience but by looking at the evidence it is a fraud. That is the whole concept of the naked plot device. The writers want the viewers to think the character is taking an action for a certain reason but if you look at it critically the real reason is that it's a naked plot device.
Dmaria flunked logic the first time so he's honking the same illogic in the hope it will change. Subjecting it to logic once again, if CJ's mom finds Moss no good in general it doesn't somehow prove the character has no good in him at all. That's silly to assume since human beings don't display just one quality all the time. So it's perfectly reasonable to show Moss influenced by conscience. A character who is just one thing is not modeled on a human being, and can't be related to. That reflects Dmaria's impoverished view of the world.
If the Coens show Moss "as influenced by his conscience," then CJ"s mom's comment doesn't cover all that he is, only what he is in general. There is no reason to assume that CJ's mom's comment is the whole truth about him, in every way in every context.
Larks problems start with her pronounced difficulty in evaluating characters. CJ's mom doesn't say moss has some good qualities and some bad ones. She thinks he is all bad. Her assessment pans out ending in the death of her daughter at a very young age.
But CJ's mom is only one piece of the puzzle showing the Gunga Din scene is a blatant plot device. I have listed them one by one. Larks has seen them unless she is now claiming amnesia like a soap opera character.
New reasons pop up all the time. Today a poster pointed out that moss playing water Boy was important in showing him the seriousness of his situation. In other words moving the plot along.
Dmaria thinks there's a contradiction because he doesn't understand the concept of whole context. When applied to human beings and characters he's especially lost. While Moss is a bad deal for CJ it certainly doesn't follow that he must therefore be completely bad. And we do see evidence that he isn't the single-dimensional robot Dmaria depicts him to be.
As for the rest, as mentioned Dmaria's illogic is the same when it comes to plot devices. Like characters, he is limited to perceiving only one aspect, in this case related to mechanics. In other words, story itself as robotic. But of course a good device, as this one is, does more than merely serve plot.
I've mentioned that Moss's return to the CGF, especially the way in which he arrives at this decision, not only moves the plot forward but gives us relevant information about his character, which will crop up later on. I outlined what that information is, and how it serves the story's meaning, not just its mechanics.
Larks prattles on about mechanics. Her motto is when Dmar out does you throw out jargon. Therefore we hear a lot of jargon from larks.
There is a whole slew of reasons moss' return with the water makes zero sense. As usual larks is exactly wrong when she says his water Boy act gives us relevant information about his character. It actually sticks out like a sore thumb. Moss has no hesitation placing people in the jackpot who get killed.
A good example is hijacking the truck when moss was in the middle of a shoot out with sugar. The driver gets killed immediately. That's what gives us relevant information about moss' character.
Larks always vaguely alludes to what she wrote before. It's yet another logical blunder by the Queen of logical blunders. She is falsely assuming what she said the first time makes sense. It never does.
Dmaria is bamboozled by the word mechanics, referring to the practical aspect of plotting. The poor man embarrasses himself. He just isn't fully operational, as they say.
All his verbiage was just repetitive insisting, and can be dismissed as empty. The only concrete reference was to the hijacked truck driver, a situation discussed previously. It didn't go well for Dmaria, hence the repetitive insistence. His posts aren't really about the story; they're about begrudging his points being countered.
The fact that Moss is willing to put people in jackpots isn't the only relevant information about him. There is another relevant quality, identified earlier. It has a significant influence.
Moss putting people in jackpots is the most relevant information about him. The most telling jackpot is the one he puts his wife in. When you think of it moss is worse than sugar. Sugar doesn't get his wife killed.
I applaud larks for not repeating her previous posts. They made no sense the first time.
There is indeed further relevant information about Moss. The thing about a flightless Goose is that even when he sticks out his long neck it doesn't improve his view enough. He just looks kind of goofy.
There is no situation in the movie that is similar to moss playing a water Boy for the drug criminal. Larks response to my reasoned arguments is Yes suh. It's her best reply.
My best replies were in a previous thread, not long ago, that made Dmaria look a little foolish. Included in them I noted the other relevant quality about the character that his return to the CGF signals, which crops up again later in the story. I can't help it that Dmaria got bent out of shape and had to start a new thread to try and save face. If you think about it a goose does have a bit of a funny face. This doesn't help, IMO.
It is interesting to note that larks puts window dressing on her vacuous responses. One can picture her in the third grade schoolyard saying yes suh and no suh and because I said so to the kids. Their response is aren't you a little old to be in the third grade lady?
Larks is such a phoney. She says this thread I started has little value. Yet larks has made dozens of responses on it. She is fun to make a fool of.
I went back and counted. Larks has made so far 49 posts on my thread.
I get a kick out of the idea of Dmaria going back and counting my posts.
I didn't say his thread has little value, although I will say now that I gave it some value out of none, despite the Goose's tendency to keep sinking to the bottom. In that sense they are courtesy calls.
That's 50 posts by larks and counting. She is such a good foil and fool. That sounds like something by the Bard.
Call me old fashioned but I like to talk about the actual subject of the thread. Since we have been at it for a while I guess I can conclude that no one thinks there is a worse plot hole in the movie than moss going back with the water.
Larks likes to call me Goose for some strange larksian reason. It reminds me of when I lived next to a lake with dmariat. We had a pet goose named Molly. It would hang out in our back yard. When I went swimming it would walk with me down to the lake and go swimming with me. To this day I keep a picture of Molly on my dresser.
Early in the thread it was pointed out that this event isn't a plot hole according to the definition, and Dmaria conceded this fact and said he was making up his own. I.e. the subject of the thread had nothing to do with the movie. Dmaria repeating the same conclusion based on the same false premise doesn't change it from being irrelevant. Although it does further advertise his ineptitude, so to that extent I approve of the outcome.
Since Dmaria conceded making up his own definition of a plot hole, none of his posts on this thread has had relevance to the movie. I reckon our post count is roughly equal, with mine addressing the movie itself, adhering to the proper definition. In other words Dmaria has been talking about the hole in his head, not the story's plot.
Larks has reduced herself to quibbling over technicalities. Whether you call it a plot hole, a plot device or something else it will smell equally bad. Everyone except larks knows we are talking about a scene in a movie where the character does something that is phoney and artificial because the true purpose of the scene is to move the plot along.
In no country the most blatant instance of this is when in the middle of the night moss goes back to the massacre scene to play water Boy for the drug runner.
That's 52 posts by larks on my thread. She thinks saying a goose squirm is funny. If you notice larks posted it then agonized over what she posted. She came back 10 minutes later and edited it. Larks needed to edit a two sentence post. What a loser.
Dmaria sure resents me saying he's squirming. There is no other way to say it. As for editing, essentially I edit his posts for him. Just part of the tune-up package I offer incompetents like the Goose.
Dmaria doesn't understand much, it is true; however, I am merciful and will kindly assume the real reason he said he didn't understand the meaning is because he didn't like it. Ain't editing grand?
Larks is always ducking the issue. She likes to call me the goose for no reason. It is much more appropriate to call larks the DUCK in honor of her constantly side stepping the issue at hand. It would be ok if she was light on her feet but in real life they are encased in concrete.
It is crystal clear to everyone except ole molasses larks that my post on editing was in reference to her editing her own posts. How she made a two sentence nonsense post then after agonizing over her two sentence post for 10 minutes felt the need to edit that two sentence post. Larks does this all the time.
can't distinguish between contexts and has no access to character/human psychology
here you go again.....it moves the story forward.....there is no psychological or contextual element. It must make you feel better to think there is, but it simply moves the story forward. The character of Moss is not developed significantly enough for there to be these additional layers you keep blathering on about.
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A character makes a choice to take a specific action and you think there's no psychology or contextual element involved. That it only does one thing, to move the story forward. Well, LOL, as they say. You've just described a robot.
You think a character needs "development" for psychology and situational context to be completely evident. That's the view from the psycho-babble ward. In reality a good filmmaker can say a great deal about a character in his first scene. A single action can tell us much about what we need to know about him, and also move the story forward.
You and Dmaria are disconnected from even the most elementary aspects of storytelling. Signs and wonders.
Except moss is barely a character. He serves as a conduit between bell and sugar. If he doesn't make his dim wit move there is no story. He is cardboard. No depth. There are no psychological reasons behind his actions. It's a simple story.
You seem to need to believe there are elaborate explanations that drive these simple coen stories. You could take moss and interchange him with about a dozen coen characters and there would be barely any difference.
I bet you can babble for hours about the psychological depths to the relationship between r2d2 and c3po. Or Tom and Jerry.
Plot devices aren't necessarily restricted to a single function; in fact, they almost never are. There's nothing "elaborate" in what I've said, which is why you didn't risk specifying to support your complaint.
Your hyperbole aside, there's of course no need for exceptional depth to provide psychological justification for an action, or to provide meaning. The meaning just needs to be enough to help viewers feel engaged with the character, and perhaps offer a bonus of a relevant trait.
In the first part of the story Moss is set up as a character susceptible to impulse, both going down into the CGF in the first place, and returning later that night. In other words we are presented with an influential character flaw. To say it's just a plot device misses this blatant bit of information.
That trait carries through consistently through the story, contributing to his demise. While the character shows a capacity for occasional and limited self-awareness, he also easily loses judgement, unable to restrain himself when impulse seizes him.
Excellent post by the Mouse man. Larks makes up things as she goes along and pretends it is fact. Moss doesn't act on impulse going to the CGF. If he knew in advance hours before he would have still gone after the money. Larks doesn't get what CJ's mom meant that moss was an accident waiting to happen.
When he plays water Boy moss wrestles with going back as he lays in bed. That's not impulse.
In any event as usual larks draws illogical conclusions. Even if moss is impulsive it doesn't mean that anything he does no matter how bizarre makes sense because he's impulsive.
Impulsive doesn't only imply speed; it also implies being driven by emotion despite reason. Which is the meaning of Moss's "dummern hell" line. His wrestling with conscience in bed doesn't negate the fact that the impulse overwhelmed his reason.
Same thing would likely be the case if he'd had hours lead time. We know this because he certainly had lead time to think about returning to the CGF. If he wasn't driven by impulse rather than reason, he'd have made an anonymous call to the authorities.
Moss is a bit primitive; he's not particularly self-aware; it takes a lot to get him to actually reflect on what he's doing. That character quality is introduced early, and is consistent throughout. An impulsive person like Moss can indeed be "an accident waiting to happen."
Dmaria gives no reason that Moss doesn't act on impulse going to the CGF. He only insists. And when he says "no matter how bizarre" he's advertising his own limitation. He can only conceive of characters "making sense" in an extremely narrow way, like robots with very simple, predictable programs. Like characters in Mother Goose books. Everything else to him is "bizarre."
That's an outstanding post by the Mouse man. It hits the nail right on the nose of what bell would call that dang fool larks. Larks specializes in concocting elaborate theories that have no residence in reality.
The Mouse puts it very well. Larks constantly violates the mandate of KISS. Keep It Simple Stupid. Larks specializes in elaborate theories that get weaker as they go along.
The water scene is an excellent example. Larks ties herself up in knots. She says no matter what a character does it shows he is not a robot. In other words a character's action no matter how bizarre and out of place can never be to move the plot along. A rule like that is invalid and laughable.
As mentioned, Dmaria can't read plain English. Since I've never stated what he claims, his argument is irrelevant. He really tackled that straw man, though. Maybe The Goose can make a nest of it.
Larks has said robot countless times. She can't even follow her own nonsense to its logical conclusion.
According to larks the lame action moss takes with the water is not a plot hole but it shows the roundness of his character. It follows what larks is saying is no matter what any character does the more bizarre the better it can't be a device to move the plot along it must be a writer showing how rounded the character is.
Dmaria thinks if you use a word that the sentences it's in must fit his misinterpretation. What a goober.
Since I've never said anything about the roundness of Moss's character, that complaint is again irrelevant.
What Dmaria says follows is his own fantasy, since I've never stated or even implied anything like that. The Goose is knocking down so many straw men he could outfit a whole flock with winter nests.
Not a plot hole, Chigurh would have tracked him down anyway due to the transponder. In fact, Moss going back to the scene of the crime is probably what bought him some time.
~ I'm a 21st century man and I don't wanna be here.
Not necessarily. It's quite plausible that they'd check the CGF area and account for those involved, including the last man. And nose around the local area. Sanderson's the nearest town, not very big. Don't see why they wouldn't, for a missing $2M, which is around $6M today.
The Mouse man makes a good point but there is a lot more to it that degree and larks can't comprehend. A plot hole is not dependent on whether things would come out the same. That's false logic larks thrives on.
The scene where the movie becomes briefly an absurdist comedy by sending moss back as a water Boy drives the whole movie. It kicks it into gear. Along with the sugar vs moss duel it is a action highlight of the movie.
Well, Dmaria admitted he's not talking about a plot hole, but really about what bothers him. So the false logic is assuming his complaints have relevance to the subject. Let's just say his logic is loosey-goosey.
Even though I hand feed larks she still can't understand how scenes are constructed in a movie. She is smart not to talk about movies but confine her remarks to personal attacks on me.
Ironically I confined my remarks to Dmaria's logic about an aspect of the movie, but in response he confines himself to a personal attack. Some geese sure have thin skins. Oh well, it's extra crispy when you roast 'em.
Did you notice larks calls you Pavlov yet the moment anyone makes an6 kind of post here,replying to her or not, a bell rings somewhere and here she is telling someone they are wrong?
You mean the one where you try to go to lengths to explain how they could still find moss via transponder if he didnt go back to the scene? The one where you apparently have a map of west texas because you need it to back up your argument?
Yes, its typical of you going to ridiculous lengths to explain how a minor plot point could be made into something major, followed by pathetic attempts to troll using lame insults.
Congrats because 47 words is the definition of brevity for you. Your silly responses are straight out of the troll handbook. And speaking of lengths you have something like 1000 nonsense replies to dmariat because you are obsessed with him apparently. That's the actual self sabotage.
And yes it's minor since you are arguing about something that didn't happen in the film. Sugar could have spent the rest of his life tracking down the transponder since it could have gone in a million directions.
You acknowledge it was only 47 words, so clearly you were wrong to say I went to "lengths" to explain it. Your complaint about it was actually longer. So far you lack the integrity to admit you were wrong.
As for the transponder, you claimed that the odds of Chigurh tracking him that way were very slight. I point out why that wouldn't necessarily be the case. But rather than confront that point, you run away from it and lob insults. Not too impressive.