Uploaded January 2017 | Updated September 2026, 2 hours ago
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Films used in this episode:
The Notebook, 2004, dir. Nick Cassavetes
Transformers: Revenge of the Fallen, 2009, dir. Michael Bay
About a Boy, 2002, dir. Chris Weitz and Paul Weitz
There’s a reason why emotionally-heavy love stories and substance-lacking action films are typically only popular with opposing demographics. One is too feminine, and the other is too masculine.
In his screenwriting guide “Invisible Ink”, Bryan McDonald explains that balancing the feminine (internal) and masculine (external) elements of a story is crucial for it to resonate with both audiences.
I want to talk about one film that has resonated with me: About a Boy.
About a Boy tells a very emotionally-based story, but it has the intelligence to climax with an external moment, where in Marcus commits “social suicide” by dedicating his tone deaf rendition of ‘Killing me Softly’ to his mother at his High School talent show, only to be saved by Will sacrificing his integrity, and the two pull off a half decent performance together.
I think this climax is beautiful, because it’s both masculine and feminine. It simultaneously ties off the feminine/internal transformation of the characters with a masculine/external moment. It resonates with me. How about you?
CULT POPCORN! 60 second video essays which focus on film, television and any other type of media we consume and devour handfuls at a time.
All external media in this video is used for educational purposes
VISIT THE WEBSITE ► cultpopture.com
LIKE US ON FACEBOOK ► goo.gl/9EFEIa
FOLLOW US ON TWITTER ► goo.gl/tuixnW
FIND US ON ITUNES ► goo.gl/7VuQ6L
FOLLOW US ON SOUNDCLOUD ► goo.gl/YGC7oK
EMAIL US AT ► cultpopturemedia@gmail.com
Films used in this episode:
The Notebook, 2004, dir. Nick Cassavetes
Transformers: Revenge of the Fallen, 2009, dir. Michael Bay
About a Boy, 2002, dir. Chris Weitz and Paul Weitz
There’s a reason why emotionally-heavy love stories and substance-lacking action films are typically only popular with opposing demographics. One is too feminine, and the other is too masculine.
In his screenwriting guide “Invisible Ink”, Bryan McDonald explains that balancing the feminine (internal) and masculine (external) elements of a story is crucial for it to resonate with both audiences.
I want to talk about one film that has resonated with me: About a Boy.
About a Boy tells a very emotionally-based story, but it has the intelligence to climax with an external moment, where in Marcus commits “social suicide” by dedicating his tone deaf rendition of ‘Killing me Softly’ to his mother at his High School talent show, only to be saved by Will sacrificing his integrity, and the two pull off a half decent performance together.
I think this climax is beautiful, because it’s both masculine and feminine. It simultaneously ties off the feminine/internal transformation of the characters with a masculine/external moment. It resonates with me. How about you?
CULT POPCORN! 60 second video essays which focus on film, television and any other type of media we consume and devour handfuls at a time.
All external media in this video is used for educational purposes
