2 definitions by djwellies
A metaphor for a dramatic principle concerning over-simplicity and sensationalism. It suggests that if one shows an in-flight helicopter on screen in the first act of a blockbuster motion picture, it should be blown up in a later act for no other purpose other than the visual effect eye-candy thereof; otherwise, the helicopter should not be shown in the first place. While the principle was never explicitly articulated by American cinematographer Michael Bay, it is well documented in various forms in most of his directed full-feature films. Namely, Bay's helicopter is the exact opposite of Chekhov's gun.
It is important to note that, much like the opposite literary device of Chekhov's gun, Bay's helicopter does not limit itself to an actual helicopter. We might find the principle exercised in conspicuously placed sunglasses, 360* action shots, Megan Fox, and large offshore prisons in the San Francisco Bay area.
See also: Weiner's window
It is important to note that, much like the opposite literary device of Chekhov's gun, Bay's helicopter does not limit itself to an actual helicopter. We might find the principle exercised in conspicuously placed sunglasses, 360* action shots, Megan Fox, and large offshore prisons in the San Francisco Bay area.
See also: Weiner's window
Movie Critic 1: "The appearance of numerous rotary flying devices in Bad Boys II serve no dramatic purpose, other than giving me an action hardon."
Movie Critic 2: "Indeed, I can say the exact same thing about the character of Mikaela in Transformers 2."
Movie Critic 1: "It seems to me that we've experienced Bay's helicopter. That is, one must not put a scene in a movie if no one is thinking of blowing shit up in it later."
Movie Critic 2: "Indeed, I can say the exact same thing about the character of Mikaela in Transformers 2."
Movie Critic 1: "It seems to me that we've experienced Bay's helicopter. That is, one must not put a scene in a movie if no one is thinking of blowing shit up in it later."
by djwellies November 6, 2012
Dramatic use of faux symbolism in which a show writer drops so many "symbols" that turn out to be red herrings that the characters themselves show disgust. The phrase itself references Season 5 of the popular American TV show "Mad Men" in which window symbolism was heavily employed throughout the season, ultimately culminating with a nude Roger Sterling literally mooning the audience in front of a large Manhattan apartment window.
Whereas Chekhov's gun dictates that objects, actors and actions should be used cleverly and for a reason, Weiner's window dictates that none of that matters. What does matter is the show writer's smugness and lack of empathy for the show's loyal fanbase.
An important distinctionbbetween Bay's helicopter and Weiner's window is that a work employing the former technique will actually be entertaining while the latter will not.
Whereas Chekhov's gun dictates that objects, actors and actions should be used cleverly and for a reason, Weiner's window dictates that none of that matters. What does matter is the show writer's smugness and lack of empathy for the show's loyal fanbase.
An important distinctionbbetween Bay's helicopter and Weiner's window is that a work employing the former technique will actually be entertaining while the latter will not.
TV Critic 1: "Did you notice that color of Don Draper's vase is bright orange? It could symbolize 60s changing morality, the Beatles arriving at Shea Stadium, or sex."
TV Critic 2: "Or it could just be another fucking Weiner's window. I hate this fucking show. Let's watch Breaking Bad."
TV Critic 2: "Or it could just be another fucking Weiner's window. I hate this fucking show. Let's watch Breaking Bad."
by djwellies November 9, 2012