History Creator / LindsayEllis

* A three-part duology[[note]]Facetiously billed as a two-parter, but at the end of the second episode Lindsay revealed there was going to be a third episode, referred to as episode "3 out of 2"[[/note]] revolving around ''Film/TheHobbit'' film trilogy. Completed in April 2018. Nominated for a 2019 Hugo Award for Best Related Work.

* The ''Literature/ViridianSaga'', a parody of ''{{Literature/Twilight}}'' if it were about [[DidYouJustRomanceCthulhu romancing Cthulhu]]. So far only the first book ''Awoken'' has been released, [[PenName ostensibly written by]] JustForFun/SerraElinsen.[[note]]Whose name is a portmanteau of Lindsay's and co-authors Antonella Inserra and [[WebVideo/VampireReviews Elisa Hansen]].[[/note]]

* ''[[https://podcasts.apple.com/us/podcast/musicalsplaining/id1497762464 MusicalSplaining]]'', a podcast where she explains musicals to her friend Kaveh Taherian[[note]]Also the male voice on the audiobook version of Lindsey's novel[[/note]] who dislikes musicals, inspired by their reaction to 2019's ''Cats'' movie adaptation. Now co-hosted by her co-writer and editor, Angelina Meehan.

Her blog is [[http://namebrandlindsay.com here]], her official {{Website/Facebook}} is [[http://www.facebook.com/pages/The-Nostalgia-Chick/167999883240474 here]], her {{Website/Tumblr}} is [[http://lindsayetumbls.tumblr.com/ here]], and she has a (now deleted) {{Website/Twitter}} [[https://web.archive.org/web/20210507233538/http://twitter.com/thelindsayellis account]].

On December 27, 2021, Ellis announced her departure and retirement from [=YouTube=] and content creation as a whole on [[https://archive.ph/S71c7 her Patreon]], though she maintained that she was keeping the door open for a potential comeback in the future.

In 2022, that comeback came to fruition, this time on a creator streaming service called Nebula. Her first episode, "How They Adapted Lord of the Rings (The Good One)", can be viewed [[https://nebula.tv/videos/lindsayellis-how-they-adapted-lord-of-the-rings here]] Her entire back catalogue and other lost episodes, such as an episode on ''Film/TropicThunder'' and another one ''Film/BlazingSaddles'' can also be viewed via her [[https://nebula.tv/lindsayellis profile]].

* WeAllLiveInAmerica: In the ''Loose Canon'' episode on UsefulNotes/JackTheRipper, there is a throwaway "[[UsefulNotes/AmericanGunPolitics they're trying to take our English guns!]]" line speculating as to what would happen if the Ripper killings happened now.

* WeAllLiveInAmerica: In the ''Loose Canon'' episode on UsefulNotes/JackTheRipper, there is a throwaway "[[UsefulNotes/AmericanGunPolitics they're trying to take our English guns!]]" line speculating as to what would happen if the Ripper killings happened now. IN the UK, civilian handguns are completely banned and shotguns heavily controlled.

*** The big thing that killed it, she argues, was Hooper's insistence on "realism." ''Les Mis'' also had a heavy focus on realism--it's just that it was a fairly grounded concept that could at least look passable through a realistic framing, while ''Cats'' was already one of the most infamously gaudy, fantastical, and bizarre productions in all of musical theatre, and the UncannyValley naturally followed.

* UncannyValley[[invoked]]: She discusses the infamous case of this in ''Film/{{Cats}}'' in her video on it, which by her observation was merely ''one'' result of a misguided attempt to make ''Theatre/{{Cats}}'' seem "realistic" [[OscarBait in an attempt to gain critical respect.]]

** In "Loki, the MCU, and Narcissism", Lindsay assesses that ''Series/Loki2021'' fell into this by way of being a direct examination of Loki's [[{{Narcissist}} narcissism]] and how it motivates his actions, but given that the series [[InformedFlaw ironically depicts him as the least narcissistic he's ever been in the MCU]], he isn't really given a lot in the way of showing him growing past the issues he's insisted to have (in turn implying that by the end of the story, [[EpiphanyTherapy he simply "got over" a personality disorder]]). However, Lindsay does acquiesce that [[NecessaryWeasel this was at least partly necessary for the series to preserve its actual superhero plot]], and that it overall does a decent job at least confronting the audience on how they perceive narcissism as a real disorder, even if it lacks a good answer.

* NecessaryWeasel: The concept of scènes à faire is brought up in the video on the Omegaverse lawsuit: namely, the idea that a writer cannot be sued for simple plot points or genre elements because often, those plot points are ''expected'' in the genre. Just as a sci-fi writer can't copyright the existence of faster-than-light travel or laser weapons, an Omegaverse writer can't copyright the idea of a strong alpha-male love interest who woos the female lead with his forceful demeanor, because those are what people expect when they read trashy heterosexual romance, much less Omegaverse romance.

In 2022, that comeback to making content came to fruition, this time on a creator streaming service called Nebula. Her first episode, "How They Adapted Lord of the Rings (The Good One)", can be viewed [[https://nebula.tv/videos/lindsayellis-how-they-adapted-lord-of-the-rings here]] Her entire back catalogue and other lost episodes, such as an episode on ''Film/TropicThunder'' and another one ''Film/BlazingSaddles'' can also be viewed via her [[https://nebula.tv/lindsayellis profile]].

* AluminumChristmasTrees: In her video on why ''Titanic'' is actually a pretty good movie, she points out that while the movie is sometimes criticized for being melodramatic, the ''actual event'' really was that high-drama (the captain was legitimately supposed to retire after this voyage, for a start), to the point that if you tried to sell a fictionalized version of it, your editor would probably tell you to tone things down.

** "The enjoyment of experiencing a story should not be ruined by knowing how it ends." Is she talking about the ''Series/GameOfThrones'' showrunners' complete obsession with "subverting expectations" because they believed that if anyone ''could'' successfully guess how the show would end then it would automatically ruin the story for viewers, and thus prove it's not a very good story to begin with if the only thing it has to offer is a twist ending? Or their making an ending that [[AssPull no one could see coming]] was so notoriously awful that [[AudienceAlienatingEnding it ruined many viewers' enjoyment of re-watching the series]] now that they knew how badly it would end? Either way, it fits.

** Is skeptical that the "Golden Age of Television" (2000's to present day) is really due to prime time television shows like ''Series/TheSopranos'', ''Series/BreakingBad'', ''Series/{{Dexter}}'', and ''Series/GameOfThrones'' really being better-written than popular shows in decades past, and suspects it's more because they're more gritty, violent, and [[RapeAsDrama sexually charged]] than their predecessors, and the perception that TrueArtIsAngsty. [[Administrivia/TropesAreTools Not that that's a bad thing.]]

** In "Woke Disney" she argues that Disney has been putting [[BetterThanABareBulb "self aware"]] meta commentary into their movies since at least ''WesternAnimation/{{Aladdin}}'', but while it started out as just the occasional throwaway gag in the UsefulNotes/DisneyRenaissance (such as Zazu briefly singing "It's a Small World After All," much to [[BigNo Scar's]] [[TakeThatScrappy disgust]]), by ''Film/{{Enchanted}}'' it featured more heavily in their stories, and by TheNewTens it's grown into the entire basis for why their movies are made, and to justify each film's existence. From main entry movies like ''WesternAnimation/{{Moana}}'' and ''WesternAnimation/RalphBreaksTheInternet'' ''constantly'' lampshading and lambasting their own tropes to preemptively appease every possible criticism instead of just telling a compelling story, to Disney's live-action remakes obviously having no point to their existence other than to [[MoneyDearBoy make money]], so the filmmakers throw in lot of faux "self-aware critical analysis" as a flimsy pretext to make the cash-grabbing live-action remakes.

*** She explains how a lot of the problems with later seasons were present from the beginning: the showrunners embellished the rape and violence from the books, {{unfortunate implications}} regarding race and gender representation, dialogue not directly lifted from the books being pretty awkward, the showrunners not fully understanding the stories they were adapting, and so on. The difference was the early seasons were adapting Creator/GeorgeRRMartin's beloved books and had strong characters and stories to make up for it. However, by Season 5 they started to run out of book material, and from Season 6 onward the subtle problems that plagued early seasons became all that was left.

* GatewaySeries: In "Why Film/{{Borat}} Works Better in 2020," Lindsay notes how ''WesternAnimation/SouthPark'' and ''Film/{{Borat}}'' normalized "ironic anti-semitism" for the mainstream in the 2000's, which just paved the way for actual anti-semitism by Trump's America.

** She also really enjoyed ''{{Film/Cats}}'' in a "SoBadItsGood" sort of way. In December 2019, she repeatedly changed her Twitter name to some kind of reference to the film, and admitted to seeing it twice.

* HotterAndSexier: Doesn't dispute the writing merits of ''Series/GameOfThrones'' (or at least the early seasons), but argues that the main reason Creator/GeorgeRRMartin's adapted ''Literature/ASongOfIceAndFire'' [[LowestCommonDenominator cracked the mainstream]] the way most other fantasy stories didn't is because, [[LimitedReferencePools compared to]] ''Film/TheLordOfTheRings'', it's DarkerAndEdgier, and [[RunningGag "Hot Fantasy, That Fuuuucks!"]]

* {{Irony}}: In "The Last of the Series/GameOfThrones Hot Takes," Lindsay notes the irony that in the last episode the showrunners have [[CreatorsPet Tyrion]] fetishize storytellers as the most important people in existence, when they show utter contempt for what makes good storytelling ({{Foreshadowing}}, CharacterDevelopment, {{Central Theme}}s, which they dismiss as being "for eighth grade book reports", etc), while increasingly relying on {{Ass Pull}}s, FanService, and CharacterDerailment (especially having characters grab the IdiotBall to facilitate IdiotPlot after IdiotPlot) just to "subvert expectations" and make an unpredictable ending.

* MondegreenGag: In "Loose Canons: Captain America", when she discusses ''Film/CaptainAmericaTheFirstAvenger'', when we see Hydra agents shouting "Hail Hydra!" she would join in with a [[{{NarmCharm}} narmy]] Hydra salute, chanting, "Hang glider!"

* PublicMediumIgnorance:
** Lindsay loves to discuss popular film trends, particularly cases of a GenrePopularizer, FollowTheLeader, GenreKiller, GenreRelaunch, and so on. This inevitably leads to thousands of pedants in the comment's section pointing out how X, Y, or Z existed before or is the exception to her example. This often leads to Lindsay having to clarify in subsequent videos that she's not talking about broad film trends, not obscure {{Cult Classic}}s that the LowestCommonDenominator has never heard of. (For example, while ''Film/TheShapeOfWater'' was far from the first film to depict YouSexyBeast, it was the first relatively mainstream critical and financial darling that didn't result in the "monster boyfriend" transforming into a human at the end.)
** Spends a good chunk of her first ''Series/GameOfThrones'' retrospective explaining how this trope helped launch the show's popularity. Most [[invoked]][[LowestCommonDenominator average, mainstream viewers]] don't know much about HighFantasy beyond ''Film/TheLordOfTheRings'', so Creator/GeorgeRRMartin's ''Literature/ASongOfIceAndFire'' being a DeconstructorFleet to [[Creator/JRRTolkien Tolkien-esque]] HighFantasy (not to mention DarkerAndEdgier and HotterAndSexier) helped launch the show straight into mainstream popularity.

* SurprisinglyRealisticOutcome: Argues that the showrunners abandoning this trope is another reason that later ''Series/GameOfThrones'' seasons plummeted in quality. Being a DeconstructorFleet to HighFantasy, part of what made earlier seasons so compelling was WrongGenreSavvy characters making choices expecting things to go their way, only for reality to bite them in the ass, with following episodes or seasons to explore the consequences of their actions. A prime example is Joffrey executing a powerful and beloved noble ForTheEvulz, which sparked a huge civil war that lasted for several seasons. However, later seasons tried to up the ante by having characters commit even more reckless or brutal actions for shock value, only to not want to follow through with exploring how these actions would affect the world around them. A key example is Cersei wiping out the entire powerful and beloved House Tyrell and blowing up the Sept of Baelor, both far more extreme acts of brutality and political suicide than Joffrey beheading Ned (and [[TheyWastedAPerfectlyGoodPlot would have fueled several seasons of story in its own right]]), yet her actions are quickly ignored and forgotten.

Lindsay Ellis (born November 24, 1984) is a former producer of {{web original}} content on [=YouTube=], who specialized in making video essays surrounding film theory and academia.

On December 27, 2021, Ellis announced her departure and retirement from [=YouTube=] and content creation as a whole on [[https://archive.ph/S71c7 her Patreon]], though she maintains she might make a comeback in the future.

In 2022, she made a comeback with regards to making content, this time on a creator streaming service called Nebula. Her first episode, "How They Adapted Lord of the Rings (The Good One)", can be viewed [[https://nebula.tv/videos/lindsayellis-how-they-adapted-lord-of-the-rings here]] Her entire back catalogue and other lost episodes, such as an episode on ''Film/TropicThunder'' and another one ''Film/BlazingSaddles'' can also be viewed via her [[https://nebula.tv/lindsayellis profile]].

* WereStillRelevantDammit[[invoked]]: In "The Death of the Hollywood Movie Musical", Lindsay posits that Hollywood studios have a recurring problem of hugely investing in projects following huge trends they consider commercially "safe" based on prior successes, but ignoring the fact [[DeadHorseGenre their audiences have long moved past them]], all while the projects themselves descend into farce. She cites films like ''Theatre/{{Camelot}}'', ''Film/DoctorDolittle'', and ''Film/HelloDolly'' as examples of this for hugely lavish Hollywood musicals, while also citing ''Series/Titans2018'' and ''Film/Venom2018'' for edgy superhero media codified by ''Film/TheDarkKnight''.

In 2022, she made a comeback with regards to making content, this time on a creator streaming service called Nebula. Her first episode, "How They Adapted Lord of the Rings (The Good One)", can be viewed [[https://nebula.tv/videos/lindsayellis-how-they-adapted-lord-of-the-rings here]] Her entire back catalogue and other lost episodes, such as an episode on ''Film/TropicThuder'' and another one ''Film/BlazingSaddles'' can also be viewed via her [[https://nebula.tv/lindsayellis profile]].

** She notes in her ''Theatre/{{RENT}}'' review that Creator/ChrisColumbus clearly wasn't "comfortable" with the [[BetaCouple beta gay couple]] he was adapting from theatre, so he employed PositiveDiscrimination to make them more bland and down-to-earth than their straight co-cast, and their interactions in the movie as more friendly than outright romantic.

Her blog is [[http://namebrandlindsay.com here]], her official {{Website/Facebook}} is [[http://www.facebook.com/pages/The-Nostalgia-Chick/167999883240474 here]], her {{Website/Tumblr}} is [[http://lindsayetumbls.tumblr.com/ here]], and her {{Website/Twitter}} was [[http://twitter.com/thelindsayellis here]] (now deleted).

Her blog is [[http://namebrandlindsay.com here]], her official {{Website/Facebook}} is [[http://www.facebook.com/pages/The-Nostalgia-Chick/167999883240474 here]], her {{Website/Tumblr}} is [[http://lindsayetumbls.tumblr.com/ here]], and her {{Website/Twitter}} is [[http://twitter.com/thelindsayellis here]] (now deleted).

** Her ''Loose Canon'' episode on Death [[AnthropomorphicPersonification as a character]] runs into this quite a bit, with various Deaths being sympathetic and caring like in ''ComicBook/TheSandman'' or in ''[[Series/TheTwilightZone1959 The Twilight Zone]]'s'' "[[Recap/TheTwilightZoneS3E81NothingInTheDark Nothing In The Dark]]", having a comical side like in ''Film/TheSeventhSeal'' or ''WesternAnimation/FamilyGuy'', having a character arc like in ''Film/BillAndTedsBogusJourney'' or ''Literature/{{Discworld}}'', or some combination of the three.

** In "Why ''Film/{{Borat}}'' Works Better in 2020," Lindsay theorizes that most Trump supporters (for all their bigotry) don't want actual bloodshed, but they're kinda fine if ''someone else'' suggests or acts on it. And she finds this dangerous, since it emboldens [[VocalMinority fringe assholes]] to commit hate crimes thinking they have society's support, and many Trump supporters implicitly give that support by showing they're okay with random acts of violence against minorities and political enemies as long as it's no one they know and it doesn't happen in front of them.

* AdaptationDecay: In "Why is ''Cats"'', she explains that musical movies (such as the one in question), often suffer from this because directors mistakenly try to inject realism, which doesn't work because theatre and film require different levels of suspension of disbelief. Thus, movie adaptations of stage shows trying to be realistic only serves to highlight the ''un''realistic aspects. For example, cats singing songs and competing to go to cat heaven is kind of silly, but if the rest of the work embraces that, then the audience can easily roll with the experience and have fun. But if you try to make the cats realistic by having them occasionally walk on all fours, attempt to show them proportionally to human-size sets, etc, then suddenly the audience is actively thinking about it and realizes it doesn't make much sense.
* AdaptationExpansion:

** She notes that this was probably necessary in the case of ''Film/{{Cats}}'', since the original musical's plot was pretty deliberately flimsy, but notes that the final result didn't so much fix the problem as it did add ''more'' flimsy plot.

* InnocenceLost: A focal point of Lindsay's ''Film/TheHobbit'' trilogy is of people losing their sense of innocence through [[UnderminedByReality disillusionment in media resulting from real-life consequences]], citing ''Literature/ToKillAMockingbird'' and {{Music/Kesha}} as other examples. This is paralleled through Lindsay's trip to New Zealand: she leaves hoping to reclaim part of her childhood innocence formed by ''Film/TheLordOfTheRings'', but after realizing [[TroubledProduction the sheer scope of damage]] ''Film/TheHobbit'' resulted from as well as resulted in, [[DownerEnding she returns even more jaded than before]].

** A large theme in her three-part series on ''Film/TheHobbit'' is of the [[BrokenPedestal audience becoming disillusioned with a once-beloved piece of media after growing up and discovering the not-ideal to exploitative circumstances it was created in]], and attempting to [[UnderminedByReality separate the controversy from the work itself]]. Considering this miniseries was released around the time of the [[Website/ChannelAwesome #ChangeTheChannel]] controversies, as well as Lindsay's own disclosures of serious behind-the-scenes mistreatment at Channel Awesome during her time as The Nostalgia Chick, many viewers have commented that the series was ''very'' timely.

* UnderminedByReality: [[invoked]]{{Discussed|Trope}} and explored in detail during her ''The Hobbit: Battle of the Five Studios'' mini-series.

** [[invoked]]Ellis did a [[https://twitter.com/thelindsayellis/status/1093688825434361857?lang=en lengthy Twitter essay]] about ''Film/BlazingSaddles'' and [[PoliticalCorrectnessGoneMad why so many critics of political correctness feel the need to protect the film from the "woke police."]] She comes to the conclusion that a lot of people missed the point about what Mel Brooks was saying about the stupidity of racism and came out of the film saying "Why does Mel Brooks get to say the n-word and I can't?"

** This is among her biggest complaints about ''Theatre/{{Rent}}'', a work explicitly taking place during the AIDS crisis which encourages a [[SmallNameBigEgo self-righteous]] and [[CluelessAesop nebulous mentality]] of rejecting "[[TheMan the system]]." Lindsay argues that this completely misses the point since that wasn't what actually solved the crisis -- namely, the aggressively direct, active protesting to pressure the government into doing its job and save its people.

** In her video on ''Film/{{Titanic|1997}}'', Lindsay gives context for what makes the film work against one of its infamously failed derivatives, ''Film/PearlHarbor''. She spends a bit of time explaining how it tried to copy the superficial aspects (namely the love story framed against a famed historical disaster), but failed because [[EightDeadlyWords it lacked anything that would make either the romance or the actual disaster emotionally compelling]][[invoked]], something ''Titanic'' worked far harder to accomplish.

** She finds Erik in ''Theatre/LoveNeverDies'' a weird mix of both. She points out that his actual bad behavior--murdering multiple people, kidnapping Gustave and threatening to murder him too--ends up glossed over to frame him as a romantic hero and Christine's true love, but the show attempts to frame Meg's descent into violence and instability as partly his fault (so that losing Christine is tragically a result of his desire to have her in the first place). Except Meg and the Phantom don't interact before the end, and he repaid her and Madame Giry for the rescue by making them part of his very popular and profitable business, so textually, he hasn't ''done'' anything to Meg besides not fall in love with her.

** "The enjoyment of experiencing a story should not be ruined by knowing how it ends." Is she talking about the ''Series/GameOfThrones'' showrunners' complete obsession with "subverting expectations" because they believed that if anyone ''could'' successfully guess how the show would end then it would automatically ruin the story for viewers, and thus prove it's not a very good story to begin with if the only thing it has to offer is a twist ending? Or their making an ending that [[AssPull no one could see coming]] was so [[EndingAversion notoriously awful]] that it ruined many viewers' enjoyment of re-watching the series now that they knew how badly it would end? Either way, it fits.

* EndingAversion[[invoked]]: Discussed as Lindsay's final point of critique in "The Last of the Series/GameOfThrones Hot Takes", arguing that due to [[SeasonalRot the show's infamously botched ending]], it retroactively sinks the rest of the show before it, as it became a journey constantly building up to a payoff that was ultimately unsatisfying.
-->'''Lindsay:''' Making a case not just for this tragedy, but the endurance of [[{{Tragedy}} tragic stories]] in general: ''Theatre/RomeoAndJuliet'', [[Myth/ClassicalMythology Orpheus and Eurydice]], we tell and retell these despite [[ItWasHisSled knowing how they're going to end]]. I bring this up because knowing how [[Series/GameOfThrones the show]] ends... are you going to begin to watch it again? What is the legacy of ''Game of Thrones'' going to be?\\
[...]\\
I think after the dust settles and all the hot takes are taken -- [[SelfDeprecation and I recognize I'm probably at the end of this train]] -- the answer is going to be "no". It's not going to be remembered for the journey we all undertook -- it's gonna be remembered as a thing that was ruined by its ending, one of the greatest examples of that. Maybe ''ever.''
* EngineeredHashtag: Lindsay in her video on ''Film/BeautyAndTheBeast2017'' jokingly comes up with [=#BeastForShe=] (referencing the [[https://en.wikipedia.org/wiki/HeForShe HeForShe movement]]), applying it to the film's shallow attempts at being progressive.

*** She also cites how the showrunners would keep the ending to character arcs despite [[AdaptationalNiceGuy changing their personalities]] leading up to it. She cites Tyrion and Shae's relationship in particular: The showrunners made Shae and Tyrion {{Adaptational Nice Guy}}s with a genuinely loving relationship, yet still had Shae betray Tyrion to Tywin, and Tyrion still strangled Shae in a jealous rage, even though it no longer fit their characters. But while this could be overlooked in earlier seasons since the overall characters and stories were still compelling, after seasons of SeasonalRot and CharacterDerailment, the GrandFinale keeping Martin's planned ending for the characters despite the showrunners changing the characters so much felt contrived at best, and a strong case of EndingAversion at worst.

* {{Irony}}: In "The Last of the Series/GameOfThrones Hot Takes," Lindsay notes the irony that in the last episode the showrunners have [[CreatorsPet Tyrion]] fetishize storytellers as the most important people in existence, when they show utter contempt for what makes good storytelling ({{Foreshadowing}}, CharacterDevelopment, {{Central Theme}}s, which they dismiss as being "for eighth grade book reports", etc), while increasingly relying on {{Ass Pull}}s, FanService, and CharacterDerailment (especially having characters grab the IdiotBall to facilitate IdiotPlot after IdiotPlot) just to "subvert expectations" and make an [[EndingAversion unpredictable ending]].

* ItsTheJourneyThatCounts: Her thesis of "The Last of the Series/GameOfThrones Hot Takes." She posits that humans love retelling popular stories [[invoked]][[ItWasHisSled even knowing how they end]] (like ''Theatre/RomeoAndJuliet''), because humans love experiencing the emotional journey of a story more than being surprised by the ending. She argues that the showrunners being obsessed with creating twists and a ([[EndingAversion notoriously awful]]) ending that ''no one'' could have seen coming ruined most people's enjoyment of re-watching the series and re-experiencing the journey with the characters.

Her blog is [[http://namebrandlindsay.com here]], her official {{Website/Facebook}} is [[http://www.facebook.com/pages/The-Nostalgia-Chick/167999883240474 here]], her {{Website/Tumblr}} is [[http://lindsayetumbls.tumblr.com/ here]], and her {{Website/Twitter}} is [[http://twitter.com/thelindsayellis here]].

On December 27, 2021, Ellis announced her departure and retirement from [=YouTube=] and content creation as a whole on [[https://www.patreon.com/posts/60406124 her Patreon]], though she maintains she might make a comeback in the future.

* WeAllLiveInAmerica: In the ''Loose Canon'' episode on UsefulNotes/JackTheRipper, there is a throwaway "[[UsefulNotes/AmericanGunPolitics they're trying to take our English guns!]]" line speculating as to what would happen if the Ripper killings happened now. IN the UK, civilian handguns are completely banned and shotguns heavily controlled.[[note]] Though this "ban" is de facto nonexistent, as Pistols freely become "legal" the addition of an extended barrel and a small superfluous rod attached to the grip. Pistols, military grade combat rifles, and even military shotguns are all perfectly purchaseable in UK with the appropriate firearms license, with the primary limits being on ammo capacity and caliber.[[/note]]

* WeAllLiveInAmerica: In the ''Loose Canon'' episode on UsefulNotes/JackTheRipper, there is a throwaway "[[UsefulNotes/AmericanGunPolitics they're trying to take our English guns!]]" line speculating as to what would happen if the Ripper killings happened now. IN the UK, civilian handguns are completely banned and shotguns heavily controlled.

Lindsay's video essays are often very analytical, owing to her experience and Master's degree in film criticism. Her videos tackle various topics, from film technique, to feminist theory, to production history, and more, observing popular works including that of the Franchise/DisneyAnimatedCanon and [[Film/TransformersFilmSeries Michael Bay's Transformers]].

Initially gaining popularity as ''WebVideo/TheNostalgiaChick'' on Website/ChannelAwesome in 2008, she departed in 2015, discontinuing the title, but continued to produce content on Website/YouTube under her own name until her departure and retirement in 2021. She initially started with a SpiritualSuccessor series titled ''Loose Canon'', though she has since moved onto producing miscellaneous video essays.

Lindsay's video essays are often very analytical, owing to her experience and Master's degree in film criticism. Her videos tackle various topics, from film technique, to feminist theory, to production history, and more, observing popular works including that of the Franchise/DisneyAnimatedCanon and [[Film/TransformersFilmSeries Michael Bay's Transformers]].

Lindsay Ellis (born November 24, 1984) is a former producer of {{web original}} content on [=YouTube=], who specialized in making video essays surrounding film theory and academia. Initially gaining popularity as ''WebVideo/TheNostalgiaChick'' on Website/ChannelAwesome in 2008, she departed in 2015, discontinuing the title, but continued to produce content on Website/YouTube under her own name until her departure and retirement in 2021. She initially started with a SpiritualSuccessor series titled ''Loose Canon'', though she has since moved onto producing miscellaneous video essays.

[[caption-width-right:300:"Thanks, I hate it!"]]