Your biggest "Fuck you" to the audience

[TheWorstMuppetEver]

The first one that comes to mind for me is South Park's second season debut, 'Terrance and Philip in Not Without My Anus'. Soooo many people were about to find out who Cartman's father was and this episode was just a giant middle finger to everybody who waited. I'm pretty sure that was the biggest "fuck you" in Matt and Trey's long list of "fuck you's". Ahh, classic!

On a more personal level, the ending to LA Noire left me feeling a bit cold...

Spoiler

(Playing as Cole during the Arson Cases) Why does everyone hate me now? ;_; I can't walk down the street without someone a-shaking their fist at me! Is it because I'm with that German lady? How does everyone know? Also, now I'm dead in a sewer. They'll probably never find my body. Why is Weasel McGee at my funeral? Was this secretly Jack's story the whole time? I guess we'll never know...

 

[Kyber]

One thing that happens in the movie Serenity.

Spoiler

Wash's death. His death didn't mean anything to the story, it was just a giant "fuck you, we need a sad thing to happen"

The only thing in that movie that I really had a problem with.

 

[008Zulu_v1legacy]

The movie "Law Abiding Citizen". My God how I hate how it ended.

The ending for Mass Effect 3 (specifically not Shepard dying, but how she was killed off), Command & Conquer 4, Dawn of War: Soul Storm. And by grand extension; Every poorly ported console to PC game ever.

X-Men: The Last Stand, Wolverine's origin movies, Chun-Li's Streetfighter movie, The Bayformers movies, Indiana Jones & The Crystal Skull.

 

[Kyber]

One thing that happens in the movie Serenity.

Spoiler

Wash's death. His death didn't mean anything to the story, it was just a giant "fuck you, we need a sad thing to happen"

The only thing in that movie that I really had a problem with.

I always felt that the point of that scene was to show that since it was almost certainly the shows swan song, nobody is safe. The following showdowns are supposed to be given an extra edge by it.

But I hoped that it would have meant something, it was so random and so out of nowhere, it felt so pointless.

 

[Christian Neihart]

For me, it was Star Trek: Into Darkness. As in, the whole movie.

 

[beastro]

Someone mentioned the last for minutes of Lost as being this, I disagree.

The biggest one in the series was a few episodes before it where we get to see the backstory of Jacob and the Man in Black and discover that Jacob really was the complete ass he came off to be and the Man in Black was screwed over and demonized over having completely understandable and sympathetic motives, most of all, simply being a sensible, rational guy who didn't unquestionable do or agree with what his mysterious "mother" was up to.

But that's all semantics in the end, the biggest part of it is that it maintained what was constantly pushed thanks to the writers laziness and moral bankruptcy "The Man is Black is evil because we just say he is, so keep rooting for Jack as he becomes the last in a long line of people to fuck the poor guy over!"

 

[bono9001]

Actually that character was introduced before the last book in the Dark Tower series.
If you read Stephen King's 'Insomnia' you'll get to find out more about the origin of Patrick Danville. I actually haven't read any of the Dark Tower books, but I've read Insomnia a few times now, and every time I do it does make me want to give that series a go.

I actually got into the Dark Tower because of Insomnia.

Which is one of the reasons the Crimson King is so much of a Disapointment, considering all of the build up he was given in both the preceding books and Insomnia.

Don't get me wrong, the series is still good (though you can skip the middle 90% of book four and miss nothing worth talking about), it's just King apparently decided that he made the Crimson King too forboding and climatic sounding and took steps to remove any level of interest or threat he had once posessed.

I just wanted to add my two cents as a huge Stephen King fan...

I thought the entire second half of the final Dark Tower book felt rushed, not just the final confrontation but the entire lead up to it. In one of the earlier books King mentions in his afterward the gunslinger approaching the tower for an unimaginable final battle. What we got was nothing of the sort. Still, though, the series is more than worth reading and has some of the best moments I have ever read. In particular, I have never read a book with better and more ominous foreshadowing than The Waste Lands.

My final note is about skipping the middle of book 4. When I first read book 4, after years of waiting for it to come out, I was disappointed as it is mostly flashback. However, when King announced he was publishing the final three books one after another, I reread the first four to prepare. On a second reading, I found the 4th book to be my favorite. I was amazed since I was originally disappointed in it. I think it was because I knew what I was getting (a flashback) and also knew that the continuation of the real story was right around the corner. So I advise giving the fourth book another shot-- the flashback segment is, in my opinion, the most complete and well-plotted part of the Dark Tower story, and ranks among the best things King has ever written.

 

[CrazyGirl17]

Cartoon Network and Nickelodeon not making proper DVD box sets of their old school cartoons, forcing me to get them through means I don't like or buy them off other people instead of just selling them online directly from their sites. It's like, "fuck you, no childhood nostalgia for you!" So I say right back, "then fuck you too, you don't deserve my money, you clearly don't want it in the first place."

Agreed, it's like all they care about is making the "nostalgia dollar" by putting their classic shows on late at night. It pisses me off to no end.

OT: The ending to Digimon Tamers is bullshit. Basically, the heroes have saved the day, but some some technobabble forces their partners to go back to the Digital World, or else be deleted forever. The very last few minutes are of Takato discovering a portal back to the Digital World... and that's it. What the fuck, writers!?! I know Digimon Tamers is the "darker and edgier" season, but couldn't you just give the characters a happy ending?!?

 

[Mikeyfell]

I think your problem is that your standards were set ridiculously high.There was no way that they were going to make drastically different levels for all of the choices that you made in the previous games (hell Skryim can't even have characters react to shit you've done within that same game. I mean I can be the archmage of the college at winterhold,the head of the theives guild and the listener for the dark brotherhood and it basically has no effect on anything outside their respective questlines. I know that has nothing to do with ME3 but it just really annoys me), and it's not like they have no effect on anything either. You get different dialogue, and different outcomes to the scenarios themselves. Also I don't really understand your point about character death. Sure you don't really see certain characters after a certain point, but in that case (and especially in the case of mordin) it's usually the end of their character arc. You might as well say that it doesn't matter if characters die at the climax of a film from a ramatic perspective, because the film is basically over and you never hear from them again (Unless there's a sequel). The death of well known characters is a legitimate consequence whether you want to admit it or not.

I think when playing a game that was built and sold 3 times on the promise that our choices would effect the fate of the universe, expecting some of those choices to come up, especially (ESPECIALLY!) the 2 at the climaxes of the previous games
Choosing the council seat and destroying/keeping the collector base. which were arguably the two most disregarded decisions in the series to at least have the most minute effect on literally any aspect of the story.

That was my standard going in to Mass Effect 3. if those two decisions were respected I probably would have let 75% of what they did slide, because I would have at least felt like they acknowledged the fact that the first 2 games existed.
When a character died in the suicide mission Bioware took that as an opportunity to write less, not differently, just less. or they replaced them with a character who was functionally the same


There's a mission where you fight Mirands's dad
and if Miranda survived ME2 she kills him
if she's dead you get to choose whether he lives or dies, but it doesn't matter because nothing he does comes up again
he doesn't continue working on the husk thing, you don't get to work with him, nothing.

People will accuse Mass Effect 2 of Cerberus railroading, but at least that was narrative justified. Mass Effect 3 has crucible railroading, which is stupid because it's the one option you know nothing about and it's the only option you're allowed to work towards (Wait choices... character deaths...right)


uh... when you first land on Rannoch with Tali her and Shepard have a really romantic scene regardless of you romanced her, or whether she was even loyal at the end of mass effect 2....
I mean if Tali is alive and an admiral (Which doesn't make sense) the Quarians shouldn't be at war with the Geth because her, Rahn and Corris all say they appose war and only Garrel and Xen are in favor of it. that's 3>2 how did Bioware get that wrong?

Ashley/Kaiden are both written out of the first half of the game
Daag and Grunt are the same character
Legion and Legion VI are literally the same character
Thane dies in such a stupid scene that it's impossible to feel anything for him

Anyway my point about Mordin is that saving him is hard to do (It's not, but what ever)
You need to keep Wrex alive and save the data in a renegade run. You need to make at least 1 decision that's outside your character's base. So it seems like it would be important.
But doing it nets you the same option as shooting Mordin in the back You get "Slarian numbers" instead of Krogan numbers"

That's really the core of it, everything is numbers, they're not people they're not choices they don't have any moral weight they're just numbers. they took all the emotional weight you invested in the first 2 games and boiled them down to math.

recognizing how bad Mass Effect 3 is doesn't have anything to do with my standards. Yes I liked the first 2 so I (Foolishly) expected the third one to be good, but it wasn't even bad, it turned out the absolute worst it could possibly have been. That's why it's a bigger fuck you than anything else I could imagine.

 

[gridsleep]

I'm still not over the last ten minutes of the last episode of L O S T. It was kinda like when I watched that movie North as a kid (the earliest movie I recall raging over), but with a lot more investment.

I love hearing young people talk (or post "conversations.") Gives me a reason to shake my head and wonder why you don't realize there was an entire universe that existed for, like, eternity BEFORE 1995, or whenever your earliest memory resides.

 

[hermes]

Many movies have the "fuck you" attitude that I find extremely hypocrite. For example, in S1m0ne, the whole point of the movie was a critique of egotistical movie stars; while, at the same time, having Al Pacino chewing the scenery. It was like a parody of their aesop, while taking itself seriously.

 

[Schlorgan]

Star Wars The Force Unleashed 2. Most of the game in general was pretty terrible but then I saw the dark side ending and I wanted to throw my controller and yell at the screen.

 

[Olas]

One thing that happens in the movie Serenity.

Spoiler

Wash's death. His death didn't mean anything to the story, it was just a giant "fuck you, we need a sad thing to happen"

The only thing in that movie that I really had a problem with.

I always felt that the point of that scene was to show that since it was almost certainly the shows swan song, nobody is safe. The following showdowns are supposed to be given an extra edge by it.

But I hoped that it would have meant something, it was so random and so out of nowhere, it felt so pointless.

That IS the point, if the movie had suddenly stopped and given us the whole Disney melodrama it would have taken you out of the scene and removed the sense of danger and brutality that it created. Up till that point the only main character who had been killed off was Book, who was kinda a stereotypical Obi-Wan character anyway, Wash on the other hand is probably the least likely person you'd expect to be killed. I guess I can see how if you were a fan of the character it might seem like dick move, but it wasn't like Whedon did it out of disrespect for the character. Personally I liked it.

 

[Amnesiac Pigeon]

The DmC: Devil May Cry mop hair. You can't really get a more obvious "fuck you" than that. If it hadn't been for the controversy surrounding the new Dante and the way Ninja Theory responded, it might have been a humorous reference to the older games. But given the context surrounding the scene, I really can't help but feel that Ninja tried, and failed, to get a rather childish last laugh.

That was more of a nod to the fact that in the future he will have white hair. Like he does at the end of the game.

I felt like the entirety of the game Limbo was whispering "fuck you" at me.

 

[DANEgerous]

Spoiler: For me personally?

Really, that took the magic out of it. That didn't need an explanation, it was better when it was more mysterious and vague.

That's just me though. Cue the argument, I honestly don't care anymore. -.-

Yeah... yeah... I coincide I mean you force power being hinged on anything other than will or say some other noble trait is rather... yeah. I mean after the force went from "You are a hero because you want to be a hero" to "Woot genetics" it just was so unlike the previous version I was just like like "FUCK MATA CHLORINES" (and yeah fuck em so hard fuck their name) so yeah fuck meta chlorines, fuck Lucas and fuck the force.

 

[Olas]

For me, it was Star Trek: Into Darkness. As in, the whole movie.

Care to elaborate? I didn't really care for it too much either, mostly because I'd rather the new Star Trek try to be something original rather than a quasi-remake of another film. but I don't see it as a "fuck you" to the audience so much as a bad attempt to appeal to them.

 

[Silentpony_v1legacy]

Video Game: Mass Effect 3 ending. Just...just a giant c*ck slap to the face.

Movie: Any of the Tim Burton Batmans, especially after Burton said in an interview that he didn't read comics at all and thought they were stupid. And it shows in what he thought was a Batman story.

Cartoon: Technically this is from a movie, but a cartoon movie; The deaths of the almost all the Autobots from the '86 Transformers Movie.

And I don't really have a book or anime. I know this thread is basically another GoT venting spot, but i never thought they were good books to begin with. And the show takes some liberties, but its more or less loyal to the books. In my opinion that's kinda' the problem - they weren't good books. And now there's a show that's just like the not very good books. If you can't deal with your favorite 'good' characters getting horribly murdered and/or raped, then you have no business near Game of Thrones.
Its like watching DBZ, but not really like fight scenes or magic powers. That's kinda the show.

 

[Isra]

TLDR right away! What was, in your opinion, the biggest "FUCK YOU" to the audience that you ever witnessed in a movie, tv show, book, video game, anime, manga etc.

Okay then, let's talk about last episode of Game of Thrones!
I am seething with rage and infuriation. And don't get me wrong, I'm not against good characters getting killed. I think that the Red Wedding was brilliantly done and felt not forced and even somewhat natural in the flow of events as a whole. But the conclusion of that fucking fight between Viper and The Mountain just really felt like a giant "FUCK YOU" to the whole audience! Here we have an amazing new character with interesting backstory portrayed by a very good actor. And now he's gonna get brutally murdered by a FUCKING CARICATURE whose actor was replaced two times! And don't even get me started on how freaking bullshit that death was! You telling me that someone with skills and reflexes of Oberyn wouldn't be able to just roll away quickly after getting knocked down? Or that he wouldn't be able to block one hit to the face? And that even Mountain would be able to do all that after getting hamstrung, pierced through the chest AND poisoned?! It all just felt forced! Like Martin was thinking "There's no way I can just let more skillful warrior win! Let me check up my ass... oh, here it is!"

Sigh... anyway, what about you people?

=/ I feel exactly the same as you for exactly the same reasons.

Spoiler

But it's not even about realism for me. Here you have a brand new, interesting (not to mention handsome and LGBT friendly) character with a lot of potential killed off by a really, really incredibly boring one. One who is so flavorless I can't even muster a hatred for him. He's closer to a walking can opener than even the basest human being, so in lieu I just end up hating Martin.

I saw it coming because I had read the books a long time ago and already had the same reaction back then, so I thought I was prepared. But seeing it play out so... graphically... I did keenly feel that shit eater grin that Martin must have had on his face. Another interesting character gone to make room for more boring/shitty characters stepping in. There's a point where the whole "good guys don't always win" message starts to wear really thin. Sometimes they fucking do. More than anything, it just feels like a wasted opportunity to inject a little more life into the increasingly dull cast. I was actually holding out hope that the producers would change it.

 

[McKitten]

Okay then, let's talk about last episode of Game of Thrones!



Sigh... anyway, what about you people?

Keep in mind that GoT was very heavily inspired by the actual War of the Roses. I.e. Martin said he wants to write something that's a lot more like a fictionalization of a history book than a typical heroic saga. And in reality, everybody can die, and cheap and stupid deaths happen all the time. There is no plot armour, and things quite often don't really make sense. Some terrorist shoots a Duke and a little time later WWI is in session with most of the World going WTF?
The Pope bribes the Holy Roman Emperor because he wants to cut Venice down to size and his own senate wouldn't let him. Three years later he has to beg the Venetians to defend him against a French invasion. And two more years later France and Venice are allied and fighting the Pope, Spain and the Holy Roman Empire.
Maccabeus wants to kill king Antiochus, tries to kill the elephant the king is riding on, but picks the wrong elephant, manages to kill it and gets squished by the elephant corpse.

If you are going to continue watching GoT, "Shit happens" is the motto you need to firmly keep in mind at all times.

 

[Sutter Cane]

I think your problem is that your standards were set ridiculously high.There was no way that they were going to make drastically different levels for all of the choices that you made in the previous games (hell Skryim can't even have characters react to shit you've done within that same game. I mean I can be the archmage of the college at winterhold,the head of the theives guild and the listener for the dark brotherhood and it basically has no effect on anything outside their respective questlines. I know that has nothing to do with ME3 but it just really annoys me), and it's not like they have no effect on anything either. You get different dialogue, and different outcomes to the scenarios themselves. Also I don't really understand your point about character death. Sure you don't really see certain characters after a certain point, but in that case (and especially in the case of mordin) it's usually the end of their character arc. You might as well say that it doesn't matter if characters die at the climax of a film from a ramatic perspective, because the film is basically over and you never hear from them again (Unless there's a sequel). The death of well known characters is a legitimate consequence whether you want to admit it or not.

I think when playing a game that was built and sold 3 times on the promise that our choices would effect the fate of the universe, expecting some of those choices to come up, especially (ESPECIALLY!) the 2 at the climaxes of the previous games
Choosing the council seat and destroying/keeping the collector base. which were arguably the two most disregarded decisions in the series to at least have the most minute effect on literally any aspect of the story.

I actually agree with this. This was also one of my biggest problems with mass effect 2. The end game choice doesn't matter for either game.

That was my standard going in to Mass Effect 3. if those two decisions were respected I probably would have let 75% of what they did slide, because I would have at least felt like they acknowledged the fact that the first 2 games existed.
When a character died in the suicide mission Bioware took that as an opportunity to write less, not differently, just less. or they replaced them with a character who was functionally the same


There's a mission where you fight Mirands's dad
and if Miranda survived ME2 she kills him
if she's dead you get to choose whether he lives or dies, but it doesn't matter because nothing he does comes up again
he doesn't continue working on the husk thing, you don't get to work with him, nothing.

I fail to see how that is necessarily a story problem. He was left with no research data and no resources to start up his research again, and it wouldn't make sense for him to join shepard given that he/she is actively fighting cerberus.

People will accuse Mass Effect 2 of Cerberus railroading, but at least that was narrative justified. Mass Effect 3 has crucible railroading, which is stupid because it's the one option you know nothing about and it's the only option you're allowed to work towards (Wait choices... character deaths...right)

Don't even try to downplay how bad te ceberus railroading was in the 2nd game. My shepard had the sole survivor background, so cerberus was directly responsible for his entire unit (save for himself and one other person) on Akuze, and yet i'm given no option but t work with them. On the other hand, while the idea of the crucible is introduced rather abruptly at the start of the game, the decision to focus resources on building it makes perfect sense. I mean theres zero chance of beating the reapers in a straight up fight, and while there's no guarantee that it will work, it's the only option left with any chance of working at all. It's desperation time for the milky way galaxy, and the crucible is the hail mary pass at the end of the game. Makes sense to me

uh... when you first land on Rannoch with Tali her and Shepard have a really romantic scene regardless of you romanced her, or whether she was even loyal at the end of mass effect 2....

I actually wouldn't know about that since i've romanced tali on both of my playthroughs of the series

I mean if Tali is alive and an admiral (Which doesn't make sense) the Quarians shouldn't be at war with the Geth because her, Rahn and Corris all say they appose war and only Garrel and Xen are in favor of it. that's 3>2 how did Bioware get that wrong?

I seem to recall that Raan was undecided on the issue of war with the geth in ME2 which would have left the Admiralty board in a deadlock with 2 for, two against, and one undecided. this also makes since given the reason tali states in the game for going along with the invasion plans, which was to avoid a public disagreement that would divide the fleet.

Ashley/Kaiden are both written out of the first half of the game
Daag and Grunt are the same character

I diagree. While they serve the same role they are different characters. Daag is a grizzled combat veteran and acts accordingly, while grunt is, well grunt. He has a very distinct personality that i'm finding a hard time putting into words, but it is very destinct.

Legion and Legion VI are literally the same character

well of course the geth vi is gong to be similar to legion since they are both geth and don't really have much of an individual personality

Thane dies in such a stupid scene that it's impossible to feel anything for him

In the words of the immortal dude. That's just like, your opinion man

Anyway my point about Mordin is that saving him is hard to do (It's not, but what ever)
You need to keep Wrex alive and save the data in a renegade run. You need to make at least 1 decision that's outside your character's base. So it seems like it would be important.
But doing it nets you the same option as shooting Mordin in the back You get "Slarian numbers" instead of Krogan numbers"

That's really the core of it, everything is numbers, they're not people they're not choices they don't have any moral weight they're just numbers. they took all the emotional weight you invested in the first 2 games and boiled them down to math.

First off I've never understood playing purely paragon or renegade just for the sake of playing purely paragon or renegade. I always actually try to roleplay in my games, so picking a choice from different alignments doesn't really ever bother me. Secondly, as I said before, that mission was the end of mordin's arc. It finally resolves his lingering guilt and doubts about the work he did on the genophage, or alternatively Shepard betraying one of his/her own team mates and causing their death. In the first case, there isn't really a necessary reason to keep him around anymore, and in either scenario, he's got his resolution. Sure the game boils down consequences to numbers, but it's never just numbers. The characters take focus, and each of their appearances is related to their ongoing character arcs rather than shoehorned in cameos as well, and because of this focus on character I personally feel that whether these characters live or die is a big deal even if we don't see them again after their individual missions.