thinking emoji | Tumblr
apple, producing the classic new moon with a face. he has such a smooth face, with baby like skin, and eyes as deep as the ocean, its hard to not get lost in his forever gaze. if you stare too long though, you will swear you can feel his human lips brush against your ear. 7/10
google’s interpretation is very friendly, welcoming. his big round nose reminds me of a papa cartoon character, and is, therefore, very easy on the eyes and lovable. although the eyes are a tad blank, and frightful. 6/10
microsoft takes an interesting take on the moon - it appears to look more like a stale cookie, or like spongebob’s parents. his feline type nose throws me off… hes throwing mixed signals… this is not a moon, but a beast of the night, taunting, lurking. 4/10
samsung… oh samsung… what did you do? you’ve turned microsofts cookie moon beast into a cgi monster, with soft features, similar to that of apple’s. maybe this would be better if he didn’t have those patronized glints in his eyes. 3/10
LG has taken an interesting turn. this moon is… curious… and content, but you can clearly see the pain behind his eyes. his eyes are deep. lurking. a man of mystery. 5/10
what a happy face!! i feel delighted to see this moon on my screen. he is doing great, but not quite giving off the look that this emoji is supposed to represent. he is wonderful though anyways. 8/10.
what an interesting buddy! Facebook has taken a different path, while taking time to accentuate each and every crevice and curve of this moon’s surface. a beautiful boy, with caressing eyes. 7/10
a very calm moon. i feel calm looking at it. it is doing a wonderful job on conveying the night times sleep appeal. it is not doing a great job as the original emoji purposes, but is conveying a different emotion entirely. what a beautiful and intricate boy. a work of art. 10/10
i didn’t think there could be a better moon emoji than the original, but i stand corrected. what a 🌚 emoji. the empty stare takes the cake. 7/10
mozilla does a nice job at creating a unique yet form fitting moon face emoji. nothing to call home about though. he looks too eager to be here… what is he planning… 4/10
… an… interesting… take… terrifying, yes. calming, also yes. i’m not sure how to feel about the immense detail upon this ones face. a solid 5/10 should be okay… although i know that i should give this emoji a higher rating, or else it will come to me tonight and look at me through the window, open mouthed breathing, gently fogging up the window glass around it.
SWEET CHRIST ALLMIGHTLY WHAT THE FUCKING HELL IS THYIS. THIS IS NOT A MOON I CAN TRUST. THIS IS NOT A MOON I CAN RETAIN EYE CONTACT WITH. 0/10!!!!
emoji tee | Tumblr
Two weeks have passed since the Skype incident and so far Jack has texted me one-hundred and four times and called me fifty four. Each time I ignored him though. Obviously he and that brunette bimbo were an item.
I paced my room thinking of what to do. Should I talk to him and risk going to jail because lord knows if he went behind my back and didn’t have the balls to just break up with me, imma beat someones ass? Or should I move on and show him I’m better off anyways? That decision was soon made.
My mom called me downstairs and I groaned but trotted down anyway.
“Honey, you have a visitor.” She said pointing towards the door.
“Mom who is it?”
Jack stepped into view and I rolled my eyes.
“What are you doing here? You’re supposed to be in New York.”
“I know but you won’t return my calls or texts. Just hear me out [Y/N], please. I need to talk to you.” He sighed deeply and ran his fingers through his hair. My mom awkwardly side stepped out of the room, causing more tension to rise between Jack and I.
“[Y/N] I lost my mind when you were away from me. I craved your touch, your kiss, I needed you. Madison temporarily filled that void. Im sorry. You have to understand I was desperate.”
“I don’t have to understand anything Jack. You cheated on me, and all I ever did was love and support you. I was loyal to you Jack! I’ll be damned if I let my guard down like that again. My momma always said if a man is ever desperate enough to cheat, to kick his ass to the curb.So fuck you Jack! Go back to your little junior high hooker and carry on with your life. Forget my name AND number!”
I opened the door and pointed out. Jack walked towards it with his head down. But paused before leaving.
“Just know that I still love you.”
He trotted out to his car and pulled out of my driveway. I sighed and sank down to the ground and pulled my knees to my chest. I know what I said was harsh but fuck man. He can’t come crawling back to me because I’ll be damned if I am a second option to anyone.
My phone rang and Nate’s name flashed across the screen.
“Hey Lil Mama was shakin.”
“Aight cool Sammy and I will be over in a few. Put on something comfy, we gonna have some real fun tonight.”
“Alright see ya soon.”
I hung up and ran upstairs. I brushed my teeth and put some gel in my hair and teased it. I got dressed in a white emoji muscle tee with a white sports bra underneath, and some light jeans. I slipped on my red and white Vans and kissed my mom bye as I heard Nate pull up. I grabbed my phone and pocket knife. (just in case)
“Hey girly look at you looking all fly.” Sammy commented as he pulled me into a hug. He climbed in the back seat with me and I leaned my head on his shoulder.
“Thanks Sammy boy. How have you guys been?”
“Its all good in the hood Lil Mama. We just dropped another song last week.”
Sammy and Nate have been my best friends since eighth grade. We were all in detention because we mopped the floors with vegetable oil the first week of school.
Nate turned on the radio as we cruised the streets of L.A. I inhaled the smell of Sammy’s cologne and sighed.
“So how are things with you and Jack? He wouldn’t stop whining about how much he missed you.” Nate asked as he stopped at a stoplight.
“We broke up two weeks ago.”
I chewed the inside of my lip and Sammy awkwardly shifted his weight and cleared his throat. Nate turned off the radio and glanced back at me.
“Why?” Sam asked as he looked down at me.
“He uh h-he cheated while him and Johnson were on tour.” Surprisingly I was calm and not balling my eyes out by now.
“He doesn’t know what he missed out on, any guy would be lucky to have you.” Sam said as he rubbed my hand and kissed my forehead.
Nate pulled up to a big house and lights were flashing, music was blaring, people were passed out on the front lawn. Sammy smiled as he unbuckled and hopped out of the car. I climbed out and followed Nate to the front door.
He knocked on the door and a few seconds later, Kenny opened it. His hair was messed up and he had lipstick all over his face. He had mardi gras beads around his neck and looked as if he had just ran a mile.
“My man how y'all doin?”
He did some confusing ass bro hug handshake thing with the boys and turned to me.
“[Y/N]! Long time no see, what’s going on with you baby girl?”
“Nothing really just kickin it wth my mains.”
He chuckled and waved us inside, but not before he kissed my forehead.
People were everywhere. This place was enormous! I grabbed a cup and started chatting with fellow YouTubers and viners for a few hours. I glanced at my watch. We’ve been here for at least three hours, by now it was dark.
Nate pulled me a side and whispered in my ear.
“No getting drunk tonight Lil Mama.”
I nodded and noticed that Kian was here also. I’ve always had a small crush on him. We danced for a while and then decided to head downstairs and play some video games. I beat Kian in Mario Kart and Black Ops and got a little over excited. I leaped off the couch and danced around the room.
“Ha ha in your face!”
“I let you win.”
He teased as he too stood up and walked over to me. He laughed and wrapped his arms around me. Kian looked down at me and bit his lip.He leaned in closer and just before we kissed, my phone rang. It was Nate again.
“Hey Lil Mama where you at?” We gotta get movin. Sammy and I have a suprise for you back at our place.“
“On my way up now. See ya in a bit. Bye.”
I hung up and gave Kian my number.
“Call me sometime soon okay?”
I jogged upstairs and out to the car. Sammy and Nate came out a few minutes later.
“So what’s the suprise?”
“Oh you’ll see…” Nate chuckled and drove back to his house.×××××××××××××××××××××××××××××××××
emoji prompt | Tumblr
The last thing he thought he’d be doing on a Tuesday evening when the sky opened up and let out a monster of a thunderstorm, was leaving the house and getting caught in the rain. And yet, here he is, wringing water out of his clothes in the bathroom sink to get them just dry enough that they won’t leave trails when he takes them to the laundry room downstairs.
He heaves out a heavy sigh but he can’t seem to get mad. Because every time he tries, he thinks of Emma Swan knocking on his door and pulling him down several flights of stairs to soak him to his toes. His best friend is a thunderstorm in herself.
There’s a knock at the door, and he hums in reply.
“I made apology coffee,” Emma calls out. He laughs, as though she has anything to apologise for. She could lead him anywhere and he’d follow willingly, as head over heels as he is about her.
“I’ll be right there, love.”
It takes him a few seconds to gather his clothes in the basket at the corner, to push his fingers through his hair several times and look in the mirror, giving himself a silent pep talk. It’s mostly new, the discovery of the severity of his feelings for Emma. He’s always known he was drawn to her, but there’s something else there, too – a need to never be separated, a sensation of care that extends well beyond the natural, and a word that starts with L that he doesn’t think he should ever utter out loud in her presence. Not now anyway. Someday, maybe.
He hears her humming from the kitchen and smiles to himself.
“Apology coffee and a musical performance? Aren’t I just the luckiest man in the world.” It’s easy for him to slip into a tone of levity, even easier when she teases him right back.
“Please,” she scoffs. “You’re going to have to make me coffee if you want to hear me sing.”
“I make you coffee every single weekend,” he replies, throwing in a pout for good measure.
Emma shrugs, her smirk taking away from her excuse of an apology. She turns around to pick up the mugs from the counter and that’s when he notices it, the deep red fabric that bunches around her arms where she’s pushed the too long sleeves to her elbows. It hangs loosely on her frame, the threads fraying, the small tear in the hem glaring at him in recognition.
He hasn’t seen this sweatshirt in years, had forgotten about it completely, in fact. And here it is, worn by the woman he would never, in his existence, want to forget.
She places the mugs on the table and hesitates when he stays frozen in place. He’s staring, he knows, but he can’t help it.
“I forgot to bring an extra sweater, I thought it would be okay if I borrowed one?” she explains, though it comes out more like a question. He opens his mouth but doesn’t get a word out. Emma’s fingers run along the hem, fidgeting. “I’ll just go put it back in your drawer, I’ll be fine in my shirt.”
He steps in front of her when she tries to pass by him, and shakes his head.
“No, no, I just– my brother gave me that sweatshirt. I simply haven’t seen it in a while, that’s all.”
“Shit, sorry, I should–,” she moves towards his room but he grabs her by the elbow and pulls her back in place.
“Swan, it’s perfectly fine. It even suits you,” he grins. And gods, does it ever. It brings out the gold of her hair and matches the red on her cheeks that’s always present during colder months. And it’s something else, to see her wrapped up in clothing that’s his. He’s pathetic in his longing for domesticity, for wanting it with Emma and Emma only. Unbidden, he imagines her in nothing but his sweatshirt, greeting him on a morning after with intimacy he should not be letting creep into his mind when she’s standing right in front of him.
He coughs, trying to cover it up.
She eyes him warily. “Are you sure?” He knows what she’s asking, Are you sure you want to trust me with this? As though she and Liam aren’t on the same standing in his mind, as though she isn’t deserving of being compared to his late brother. How she doesn’t see his heart beat straight out of his chest when she’s near, he’ll never know.
He gently runs a hand up and down her arm, and she visibly deflates at the gesture. He’s so close to her that he can count the creases on her forehead, knows they won’t leave her until the unnecessary guilt subsides.
“Positive,” he reassures.
And perhaps if he was privy to her thought process, he would expect her reaching up on her tiptoes and placing a soft kiss on his cheek. Instead, he stands there like a fool, stock still, as it happens.
“Thank you,” she practically whispers. She squeezes his hand once before stepping back. “Your coffee’s getting cold.”
He watches her walk to the table, damp curls hanging down her back, at home in a place that isn’t hers. Engulfed in an article of clothing that he associates with warmth and comfort. Completely and irrevocably making his heart pound. He lets out a gust of a breath. A thunderstorm in herself, indeed.
meh emoji | Tumblr
It came as no surprise to me, or anyone else, that The Emoji Movie was a disastrous train-wreck of a movie with no redeeming qualities whatsoever. From the moment it was announced, The Emoji Movie was a joke, little more than a punchline of what corporate Hollywood would make just to pander to a younger audience. Yet, by creating the shoddy garbage pile of a “film” (I use this term sparingly) that is The Emoji Movie, Hollywood has done something incredible—they have killed art.
The “plot” of The Emoji Movie is one that has been presented countless times before: a misfit must leave home to change himself but learns along his adventure that his true value lies in his uniqueness. In this iteration of the “finding yourself” story the hero is Gene, a socially-outcast “meh” emoji who is terrible at what he does—he has all sorts of “non-meh” feelings that he simply can’t contain. On his first day of work, he is called upon from his emoji station to be used, but he freaks out at the last minute and causes a glitch in the sending of the emoji, leading to Alex (the phone’s user) embarrassing himself in front of the girl he likes. Because of this, the smiling emoji, Smiler, who is the “big status quo boss lady” decides to kill him. Gene, however, runs away from the antivirus software and hides in the “loser emoji” section of Textopolis (the city where all the emojis live together). There he meets Hi-5, who was once a famous and well-liked emoji who got to stay in the “favorites” section of Alex’s phone, but hasn’t been used in weeks and now seeks to regain his lost fame.
In order to reprogram Gene’s malfunction and get Hi-5 back into the favorites section, the pair leave Textopolis and go to a piracy app that Alex, a fifteen-year-old boy, has on his phone for some reason. Gene’s parents then leave after him to try and find him and Smiler sends her antivirus robot soldiers outside Textopolis to apprehend Gene. Meanwhile, in a story beat stolen straight from Wreck-It Ralph and The Lego Movie, they meet Jailbreak, a hacker emoji who serves as the purple-haired punk love interest for the movie. Jailbreak refuses to help them at first, but when she sees Gene’s ability to express multiple faces, she agrees to work together to get to “the source code” in “the cloud.” Then, the antivirus robots appear in the piracy app, (despite the fact that they were given orders to follow Gene’s parents, who are nowhere in sight) and the hero trio escape through a tunnel to Candy Crush where Gene gets trapped and they have to play the game to help him escape. This scene has absolutely no bearing on the rest of the film and is only an overblown advertisement for a phone app, which one will likely notice as a reoccurring theme in this movie.
After escaping Candy Crush, they take a tunnel to Dance Now (available now in the app store) and they have to play the game because Hi-5 pushed a button for some reason. Here they reveal that Jailbreak can’t dance, and the dramatic stakes are heightened, except they aren’t because Gene teaches her how and then they do the “Emoji Bop” together in what I assume is supposed to be a display of self-love. But oh no! The antivirus robots show up again somehow, so our trio has to escape fast, or risk being deleted. Then, because his phone is playing Dance Now music during class, Alex deletes the app, and Hi-5 fails to escape, sending him to “the trash.”
Naturally, because of the friendship that the three characters have cultivated together after knowing each other for two hours, Jailbreak and Gene decide to use Spotify to travel to the trash and rescue their companion. Meanwhile, Gene’s “meh” parents have had a falling out because each one blames the other for their son malfunctioning. It’s ok though, because they meet in an Instagram photo and Gene’s dad reveals that he malfunctions too, so naturally they make it all up it each other Alex also decides to delete his entire phone because it sent the wrong emoji one time and made noises on its own. Gene and Jailbreak then save Hi-5 from the trash and they’re chased by a bigger, badder antivirus that follows them until they get to Dropbox, where it can’t get them for some reason.
They then have to upload themselves to the cloud, and each character uses their own talents to get past the firewall. At this point the movie realizes it makes no sense and in a series of nonsensical rapid-fire events proceed as follows: Gene professes his love to Jailbreak, who it turns out is actually a princess emoji, Jailbreak denies him because of a throwaway line earlier in the movie about her being an empowered woman, the antivirus appears somehow and takes Gene back to Textopolis so he can die in front of the other emojis, Jailbreak and Hi-5 fly back on the Twitter bird to rescue him, Alex begins to delete his phone but chooses not to when Gene sends himself to Addie and she responds with “that was a cool emoji” (verbatim), Smiler is crushed by a giant robot, the emojis have a dance party, and everyone lives happily ever after.
Watching the shoddy piece of work The Emoji Movie calls a story, I felt my head spinning with questions—not just regarding the plot holes and contrivances, but to the world itself. How do emojis reproduce? If emojis age in years, as is stated in the movie, how could any emoji be older than the amount of time Alex has had his phone? What if an emoji isn’t at the station when it is called upon? How does time flow in the phone as opposed to outside of it? Are all the emojis that marry the same emojis incestuous? Why do some emojis have names like “Gene” while others are simply called by their appearances, like Hi-5? Why is the Christmas tree shown in public in the first scene but then shown in the loser lounge two scenes later? How do the emojis know the history of their app? Why do actions in some apps affect Alex’s phone while actions in other apps do not? How to the antiviruses find Gene and his crew over and over again? Why didn’t Smiler send any antiviruses after Jailbreak when she first left Textopolis? Why does Alex try to delete his phone after sending one incorrect emoji and having it make noise in class twice? How does the illegal antivirus get into Dropbox? How did Smiler get the illegal antivirus? Why did Smiler feel the need to kill Gene in front of the other emoji? Why did Smiler feel a need to kill Gene in the first place? Why does the girl on the Dance Now app ignore jailbreak messing up after the second time? How do all the emojis come back from deletion? If the trash is emptied out daily why is an email from weeks ago still in there? And, most importantly, why did I choose to watch this movie. The Emoji Movie does not answer these question, because it doesn’t care.
The Emoji Movie doesn’t care about its story, its congruity, or the specifics of its world, because none of it matters. The story beats, directly stolen from other, better, movies, are still in place, and none of the specifics beyond set up for this formulaic and unoriginal wholesale feel-good message have any relevance to the story. The pink-haired rogue stolen straight from The Lego Movie has no personality beyond what the plot demands, and the same can be said for almost any of the other characters. Gene, or, discount Wreck-It Ralph, has the defining personality trait of “feeling things” and his story arc leads to him “feeling more things” and Hi-5’s slightly more defined emotional journey leads from him wanting fame to wanting friends. All the other characters in the story are even less one-dimensional, somehow, with personality traits that are all literally written into their very names and appearances.
But ultimately, these characters are simply set pieces. There is no investment in the world of the emojis, no feeling when the entire phone is deleted. Half the scenes in the movie are just cash cow product placement filler, and it becomes clear when one realizes halfway through the movie that none of the adventures they have seem to matter, even within the context of their own story. When the characters themselves seem to realize that their journey is pointless, it becomes impossible for an audience to care about or interact meaningfully with the film that they’re viewing, and the best that any viewer can conjure is a “meh.”
The story of The Emoji Movie is a clear cash grab, and rivetingly unengaging in its poor execution, but more lies beneath the surface. The morals that The Emoji Movie tries to impart to its audience are well-intentioned (as any moral is), but also inherently flawed, and violently mangled in every scene where they are introduced. Indeed, the heaping dumpster fire of a film that titles itself The Emoji Movie exists on multiple levels of terribleness, not using poor storytelling techniques, but imparting poor morals through these techniques as well. It often contradicts itself, falling flat on its face and hopelessly bumbling between individualistic self-love and a quite utilitarian doctrine—almost impressive.
The Emoji Movie has all the markings of a summer Hollywood “live your true self” movie at its beginning. The main character has a specific, boring role that he is expected to serve unquestioningly, and is made a pariah for breaking from this role. His sidekick also rebels against the system in his own right, trying to cheat his way back into a position of power. By focusing on these two, the story accentuates the flaws with the emoji system and how it emotionally damages those who are forced to suffer under it. Even the villain, Smiler, is affected in her own right—he constant need to maintain happiness seems to have driven her to a place of near insanity. In the opening monologue (a completely different problem), Gene points this out this flaw to the audience by noting how the laughing and crying emojis can never break their character and the viewers begin to see the thriving city of Textopolis as a flawed dystopia. However, after the first scene, little attention is given to these flaws, instead focusing on Smiler herself as a villain. The plight of the “loser emojis” (emojis that don’t ever get used) is also fantastically mishandled. They are only seen twice in the movie and the second time is in a post credit scene where they remain in their basement, unaffected by the event of the entire movie. After sitting through an entire movie with the message that we should be ourselves instead of acting how society tells us to, we see that by nature, some people will (or must) always be excluded from the metaphorical “emoji dance party” for being themselves. The “self” that The Emoji Movie pushes is not just a best self, but also a “most useful” self.
This is expanded upon in Gene’s journey, where he goes from being a hyperactive “meh” emoji to (briefly) being a good “meh” emoji to finally learning to use his true power as a multi-faceted expression emoji. In the stages before he discovered his true potential, Gene was outcast by his peers—and any viewer could argue that this was rightfully so. Gene broke the emoji picking device and injured dozens of emojis in the process of his one mistake and possibly endangered the safety of the entire phone. Gene then realizes his mistake and goes off to “fix” himself, only to come back stronger and more useful than ever. As is the case in many stories, Gene is accepted only after his usefulness becomes apparent, and the villain is revealed as a bloodthirsty authoritarian rather than the level-headed leader the denizens of Textopolis cited her as being. All is forgiven for Gene and the emojis are given a world where they can serve their own purpose to society, whatever that purpose might be.
Utilitarian theory is nothing new, and it has both its merits and its flaws, but the type of utilitarianism presented in The Emoji Movie is inherently flawed, as it places Gene’s happiness above the well-being of the collective for the majority of the movie. The ending in itself is also serves as a perfect propaganda point for the utilitarian theory that it begins to uphold later on. Gene obtains happiness when he is most useful to the group collective—and thus, happiness becomes associated with utility to the group. Instead of positing that happiness can be found through the self, or that the self can and should be used to help others, The Emoji Movie combines the two, raising the idea that true bliss can only be achieved when your “self” is given to others.
Ultimately, this idea is an idea that I disagree with. Whether or not you choose to side with me is up to you, but, speaking objectively, the romanticizing of self-sacrifice is an idea that has tangible harm on audiences who are fed it without question. Modern Japan, for instance, continued to have problems with high suicide rates due to the presentation of hara-kiri, or suicide by sword as “altruistic” in many historical texts (Suicide in 20th Century Japan, 150). This is not to say that using one’s self to assist others is harmful—good deeds are the basis of a functioning society—it is simply to note that the mixed messages that The Emoji Movie gives point towards both complete discovery and complete subjugation of the self in an unhealthy and shoddy portrayal of a moral that has always been cliched at best.
The Emoji Movie also makes the mistake of attempting to tackle “women’s issues,” despite not even passing the Bechdel Test. Throughout the movie, Jailbreak’s primary motivator is that she wants to be free to express herself however she wants, which she will obtain by reaching the cloud. The movie attempts to attach this to womanhood by attaching this to Jailbreak wanting to escape the oppressive strictures of heteropatriarchal femininity—except, in the finale, she is framed as being in the wrong for not reciprocating Gene’s feelings for her. Not just this, but the day is saved by her using her femininity and consenting to be with Gene, despite her feelings on the matter never being brought up for discussion. Despite the single throwaway line about “men getting credit for women’s work” The Emoji Movie is not pro-woman, and could easily be interpreted as the opposite of that. It defines traditional femininity as being the most useful aspect of a woman to a society and inherently ties all its female characters to something within that stricture, pushing its heteropatriarchal utilitarianist propaganda points deep into the dirt as it tries the make the point that “sensitive guys are cool too.” This is not to say that women who embrace their traditional femininity are by any means being women incorrectly—The Emoji Movie just happens to portray its women poorly, using them always as tools for the man-driven plot and never fleshing them out as characters.
Tony Leondis offered his own interpretation of The Emoji Movie’s story, calling it a “coming-out story” which is significant, as Leondis is both the director of the movie and a gay man. If one looks from a distance and squints, the similarities between The Emoji Movie and a coming-out story can become visible. Gene is outcast for his “malfunction” as many gay teens will be. The butchering that follows this plot point is incredibly poorly done, and leads to something to utterly offensive and heterosexual to be called a “coming-out story.” First and foremost, a “coming-out story” needs to reach the very low bar of deviating from traditional heterosexuality in its story’s romantic subplots, somehow. This seems to go without saying, but the team of The Emoji Movie conveniently forgot this, instead tripling down on the action and giving the audience three heterosexual romantic subplots, those being the ones between Alex and Addie, Gene and Jailbreak, and Gene’s Mother and Father. None of these deviate at all from a traditional heterosexual romantic story, and, if anything, Gene and Jailbreak’s story enforces obligatory heterosexuality instead of contradicting it. Not only that, but the farther one goes into the plot, the less a coming out story makes sense. When Gene’s father reveals that he has the same malfunction, is he being implied to be the emoji version of “gay?” In a better movie, this could have been used as a tool to foster an emotional connection between Gene and his father, but The Emoji Movie is not that better movie, so this plot point is essentially forget after it becomes irrelevant. In the finale, Gene actually watches his parents get “erased” and can’t break out any expression except a “meh,” which is telling of how well the emoji movie establishes connections between its characters.
The themes explored in The Emoji Movie are explore poorly at best, and offensively at worst, often taking a back seat to the far more important message of the film—the advertisements. Ultimately, the reason that The Emoji Movie does such a terrible job with its ideas is that these ideas are only borrowed plot points, there to mask the movie for what it really is—a massive commercial for phone apps. The true message of The Emoji Movie isn’t “be yourself” or even “make yourself useful” it’s “buy our product,” and everything beyond this is simply pointless fluff.
It’s no secret that The Emoji Movie was a corporatist cash-grab, but it was astounding to see just how deeply that had sunk into the movie itself. The entire story is product placement after product placement, a journey to Dropbox, through Candy Crush and Dance Now, so unabashed in its capitalism that it made me question the film industry as a whole. Where do we draw the line between business and art? At what point do we leave all hope of creativity behind and choose to instead sink into shameless cash grabs and commercials like The Emoji Movie? Then I realized, with a sinking feeling in my gut, that The Emoji Movie had indeed killed art.
On its first day, The Emoji Movie made ten million dollars in box office sales—a fifth of what it cost to produce. Despite withering reviews and constant scorn from the demographics it seemed to be targeting, The Emoji Movie will chuckle through its entire life as a movie, because it played us all. This movie is a Frankenstein’s monster created by Hollywood, a mishmash of everything that makes money crammed into one pandering mess of a film, and I’m sure it knows this. I’m sure it knows that it looks like a dumb, out of touch, unwatchable pile of garbage, but I’m also sure that it doesn’t care about this, because it’s found a way to make money without even trying.
The Emoji Movie probably paid for itself in the sheer amount of advertisements it crammed into its ninety minute runtime, and the young, impressionable minds watching it will all be immediately entranced by the colorful scenery of lands like Spotify and Candy Crush. Sales will go up for the sponsors, and the Hollywood capitalist fat-cats who decided that a movie should be made out of emojis will laugh all the way to their enormous Beverly Hills mansions. They knew that they could take advantage of the “car crash phenomenon” that makes people stare at things they shouldn’t, so they sent The Emoji Movie out to their theatres and made a quick buck for Sony Animation.
But beyond this, The Emoji Movie sets a precedent. It showed that idiots like me can be drawn to this shit like moths to a light. It showed that movies do not need to have good quality, or have be art, to be marketable, and that the film industry should prioritize business and profits above all else. The Emoji Movie has proved, statistically, that quality cinema should always come second to quality advertising. The time to organize against the Hollywood capitalist is now. A boycott of terrible Sony films is the least the we can do to stop them, even though such an action would be little more than a thorn in their hide. We Must accept that our idiocy and submission to this trash is at least partially responsible for the state of film as it is in America today, and we must break free of the chains that force us into our roles as submissive cash cows.
Good cinema does good things for those that watch it. It can be used as a tool to convey important and revolutionary ideas, or to relay important information to those that are systemically spat on by traditional education. Historically great films have caused great controversy, such as the movie adaptation of To Kill a Mockingbird which caused riots in the south upon its release. When we let film fall to business we lose a part of our cultural identity—we submit art, heritage, and storytelling as just another part of a capitalist machine.
We have the buying power. We choose where we spend our money, and where we place our values. No longer can I sit idly in my movie seat and watch terrible movies for fun—the time for action against the greatest threat to art in the western world is now. Resist capitalism, resist the state, and resist the attack upon the most basic human freedom of expression.
Do not go gentle into that good night.
Until next time, Comrades.
the emoji movie | Tumblr
Well I saw it. I wish I could say it was everything I expected it to be but it was worse. To summarize everything in one fluent and well-arranged thesis is too daunting a task because there’s simply too much to say about this blaspheme and so little time to properly convey it all. so here’s the main points on everything you need to know about this film
-i thought the Wreck It Ralph comparisons were bad enough but we find out Jailbreak was formerly a princess emoji but she rejected her status in favor of something more spunky and rebellious like holy shit they’re just unabashed in ripping off the beats of a superior movie.-Sony hates millenials despite the fact that this movie was tailor-made to pander to them in the worst ways possible. Case in point, at one point the main human contemplates texting his crush and his frind tells him to only use emojis before saying in the most dude-bro way “words aren’t COOL” at one point the teacher is talking about hieroglyphs and has to liken them to “the original emojis” because the students don’t want to learn any other way! they’re too obsessed with their phones! they have no attention spans! get it? GET IT?-ADDING ONTO THAT! what is the message of this film? it doesn’t have one! there’s a scene where we see the main human deleted an email of lyrics/poetry he wrote for his crush but he deleted it because as his friends say WORDS AREN’T COOL. and you think “oh. the message will be that teens need to actually talk to each other more and express their feelings whatever” but oh no no no this is THE EMOJI MOVIE we’re talking about and the climax of the film is resolved by Gene (the main emoji) using his multiple faces to make the first emoji composed of multiple feelings back to back and gets sent to the crush who says “wow! I loved your emoji! it’s so nice to see a guy who’s willing to express his feelings” WHAT THE HELL? SO YOU’RE GOING TO MAKE FUN OF YOUTH FOR USING EMOJIS BUT ULTIMATELY EMOJIS SAVE THE DAY?-ALSO THE HUMAN IS A FUCKING NERD WHO DECIDES TO TAKE HIS PHONE TO THE TECH STORE TO DELETE EVERYTHING JUST BECAUSE ONE EMOJI DOESN’T WORK-There’s a stupid subplot about Gene’s meh parents having a falling out but it’s okay because they reconcile inside Instagram by hijacking a romantic photo and using the right filter-TJ Miller touted the film as having a feminist positive message and let me tell you this is what it is. In Candy Crush, Gene finished one of Jailbreak’s sentences when she has an idea and out of nowhere Jailbreak yells “MEN ARE ALWAYS GETTING CREDIT FOR WOMEN’S IDEAS AND I’M SICK OF IT!” it comes immediately and ends abruptly. Gene doesn’t respond to it and Jailbreak doesn’t build onto that. the subject ends there. 10 minutes later Jailbreak says out of nowhere that in the early days emoji women only had the choice to be “princesses or brides” but that in the cloud she can be whatever she wants to be. again, this is never brought further or built upon. it feels so tacked on and barely even surface level like fuck they patted themselves on the back for this progressive-ass movie-speaking of progressive, an internet troll calls the Just Dance lady a g***y. so yeah, add a slur usage to the list of offenses-they go to Dropbox? Becuase kids love using Dropbox????-Gene creates a new dance. The Emoji Bop. yes there is a dance party ending. -Someone tells Poop that he’s going soft. Patrick Stewart had to say the following line. “Not too soft, I hope” -Jailbreak in her princess form whistles and summons a twitter bird-they go into youtube which has viral videos that are in live action and it’s super disorienting-because this is a Sony movie, everyone uses Sony smart phones-the 15 year old human has one of those fake-out apps that looks like a dictionary to his parents but it’s meant to hide like porn and illegal downloads so yeah fun for the whole family -if there’s one and I mean ONE good thing about the film it’s short. like barely 70 minutes. and yet that still feels like too long
The Emoji Movie is what you get when you have too much money. and nothing else. wait for a camrip online before watching it ironically. please please do not give this money. please. please. please please pleaskd qn