History Recap / TheNostalgiaCriticS12E33

* CoolLoser: Young!Corey Taylor comes across as this, more or less looking and acting the same has he does as an adult, but is bullied at the behest of his teacher.

* RogerRabbitEffect: Downplayed, The cover of "The Trail" has the Critic interacting with Lucy Lacemaker and other CG animated characters in equally fantastical environments. Lucy stands on top of him, Fontaine (the scarecrow like character) takes off the Critic's hat and plops it back on, and a third character picks up the Critic by the scruff of his jacket and tosses him into a cage. Other than that, The Critic mostly stands and spectates the performances as the scenes shift.

* {{Irony}}: SatelliteCity characters animated to sing a cover of "The Trial" criticize the film for not building up the creative visuals and characters used in the segment. In truth the characters in the original movie were either people from other part of Pink's backstory (and thus his reasons for building The Wall), or representations of parts of Pink's mind and reasoning. Lucy Lacemaker and co. are not built up apart from one or two brief glimpses before Sullivan calls the Critic to explain that he should be on the lookout. If you didn't know what ''Satellite City'' was beforehand, you don't know who any of the characters that are involved and/or singing are or why the Critic interacts with them.

-->''"Style over substance, showcasing a bunch of weird creatures and worlds... not a drop of intellectual development. All pen, no ink."''

* DramaticallyMissingThePoint: Zig-zagged all over the place. The review criticisms are often not conveyed well, but a big point of contention for the Critic is that Pink/Roger Waters is pretentious and trying to make the audience feel bad for him without developing much, while trying to win oscars and pandering to the younger audience. Doug however seems not to have done the research into the history behind the songs and the movie, namely that it was a album first before becoming a film, explains how the main characters experiences are building the titular wall and he's closing himself off from everyone because of his experiences, and that there's TruthInTelevision that British schools were horrible in the past (to the point that this film brought attention to it and helped influence reforms) among other things, all while claiming to ultimately enjoy the movie in a five second synopsis at the end and advertising the album covering the songs full of complaints as "a love letter".

* [[invoked]]TheyWastedAPerfectlyGoodCharacter: The main issue that Lucy Lacemaker has with the movie adaptation of Floyd's music. Lucy believes music can let an imagination run wild, but a film is supposed to take raw ideas and develop them. Each abstract character was fantastically designed and represented something meaningful, but were never developed enough to help the viewer form as strong a connection with Pink's plight as they could have. This, of course, ignores the fact that the abstract characters are representations of multiple well-established characters in the movie (the teacher, the wife, the mother) and that [[WebVideo/SatelliteCity Fennah]]'s characters [[{{Hypocrite}} are not alluded to often beforehand and appear for just a few seconds]].

Pink Floyd – The Wall is a 1982 British live-action/animated musical drama film directed by Alan Parker with animated segments by Gerald Scarfe, and is based on the 1979 Pink Floyd album of the same name. But does adapting the album to a more visual medium detract from its messages? Nostalgia Critic takes a look, and the lead singer of Music/{{Slipknot}} joins the surreal review of the surreal movie; it's not like a film like this deserved anything normal.

* TakeThat: To elaborate on the misguided notion that Roger Waters of Music/PinkFloyd is an angsty, petulant, entitled, arrogant brat, the NC's review of ''Film/TheWall'' uses a parody of "Another Brick in the Wall (Part 2)" to condemn the American school system for allegedly coddling children, even though the song was an attack on corporal punishment in the ''British'' school system. A parody of "Waiting for the Worms" becomes an attack on "outrage culture", #changethechannel particularly.

* TakeThat: To elaborate on the misguided notion that Roger Waters of Music/PinkFloyd is an angsty, petulant, entitled, arrogant brat, the NC's review of ''Film/TheWall'' uses a parody of "Another Brick in the Wall (Part 2)" to condemn the American school system for allegedly coddling children, even though the song was an attack on corporal punishment in the ''British'' school system. A parody of "Waiting for the Point" becomes an attack on "outrage culture" in general.

* {{Crossover}}: With [[spoiler: WebVideo/SatelliteCity]], especially towards the end, though [[spoiler:Lucy Lacemaker]] makes cameos throughout.
* GrewBeyondTheirProgramming: When the Critic is asked to keep an eye out for [[spoiler:Lucy Lacemaker]], he remarks that Lucy is a fictional character. But he's told that creation is a complex process, and once something is given enough development, things kinda... blur.

* SpecialGuest: [[Music/{{Slipknot}} Corey Taylor]] is the focus of the review's narrative, showing if the music and visuals that were so inspiring and relevant decades ago in his youth still hold up in the modern era. Corey's son, Griff, plays the role of Corey's younger self in flashbacks. And then there's the appearance of [[spoiler:Sam Fennah/Sullivan and the WebVideo/SatelliteCity Kivouachians]]...

* [[invoked]]TheyWastedAPerfectlyGoodCharacter: The main issue that [[spoiler:Lucy Lacemaker]] has with the movie adaptation of Floyd's music. Lucy believes music can let an imagination run wild, but a film is supposed to take raw ideas and develop them. Each abstract character was fantastically designed and represented something meaningful, but were never developed enough to help the viewer form as strong a connection with Pink's plight as they could have. This, of course, ignores the fact that the abstract characters are representations of multiple well-established characters in the movie (the teacher, the wife, the mother) and that [[spoiler:[[WebVideo/SatelliteCity Fennah]]'s characters]] [[{{Hypocrite}} are not alluded to often beforehand and appear for just a few seconds]].

* BaitAndSwitch: At the end, it appears that Corey is going to sing one of his most notable songs, but it ends up being [[spoiler:the opening theme to ''WesternAnimation/SpongeBobSquarePants'']].

* [[invoked]]TheyWastedAPerfectlyGoodCharacter: The main issue that [[spoiler:Lucy Lacemaker]] has with the movie adaptation of Floyd's music. They believe music can let an imagination run wild, but a film is supposed to take raw ideas and develop them. Each abstract character was fantastically designed and represented something meaningful, but were never developed enough to help the viewer form as strong a connection with Pink's plight as they could have. This, of course, ignores the fact that the abstract characters are representations of multiple well-established characters in the movie (the teacher, the wife, the mother) and that [[spoiler:[[WebVideo/SatelliteCity Fennah]]'s characters]] [[{{Hypocrite}} are not alluded to often beforehand and appear for just a few seconds]].

* GrewBeyondTheirProgramming: When the Critic is asked to keep an eye out for [[spoiler:Lucy Lacemaker]], he remarks that they're a fictional character. But he's told that creation is a complex process, and once something is given enough development, things kinda... blur.

* TheyWastedAPerfectlyGoodCharacter: The main issue that [[spoiler:Lucy Lacemaker]] has with the movie adaptation of Floyd's music. They believe music can let an imagination run wild, but a film is supposed to take raw ideas and develop them. Each abstract character was fantastically designed and represented something meaningful, but were never developed enough to help the viewer form as strong a connection with Pink's plight as they could have. This, of course, ignores the fact that the abstract characters are representations of multiple well-established characters in the movie (the teacher, the wife, the mother) and that [[spoiler:[[WebVideo/SatelliteCity Fennah]]'s characters]] [[{{Hypocrite}} are not alluded to often beforehand and appear for just a few seconds]].

* TakeThat: To elaborate on the misguided notion that Roger Waters of Music/PinkFloyd is an angsty, petulant, entitled, arrogant brat, the NC's review of ''Film/TheWall'' uses a parody of "Another Brick in the Wall (Part 2)" to condemn the American school system for allegedly coddling children, even though the song was an attack on corporal punishment in the ''British'' school system. A parody of "Waiting for the Point" becomes an attack on "outrage culture" in general, but some took it as Doug's personal attack on the #[=ChangetheChannel=] movement, what with Doug having the words "Person U Hate" tattooed on his face during the sequence.

* GrewBeyondTheirProgramming: When the Critic is asked to keep an eye out for [[spoiler:Lucy Lacemaker]], he remarks that they're a fictional character. But he's told that creation is a complex process, and once something is given enough development, things kinda...blur.

-->''"Style over substance, showcasing a bunch of weird creatures and worlds...not a drop of intellectual development. All pen, no ink."''

* TheyWastedAPerfectlyGoodCharacter: The main issue that [[spoiler:Lucy Lacemaker]] has with the movie adaptation of Floyd's music. They believe music can let an imagination run wild, but a film is supposed to take raw ideas and develop them. Each abstract character was fantastically designed and represented something meaningful, but were never developed enough to help the viewer form as strong a connection with Pink's plight as they could have.

* SpecialGuest: [[Music/{{Slipknot}} Corey Taylor]] is the focus of the review's narrative, showing if the music and visuals that were so inspiring and relevant decades ago in his youth still hold up in the modern era.
* TheyWastedAPerfectlyGoodCharacter: The main issue that [[spoiler:Lucy Lacemaker]] has with the movie adaptation of Floyd's music. They believe music can let an imagination run wild, but a film is supposed to take raw ideas and develop them. Each abstract character was fantastically designed and represented something meaningful, but were never developed enough to help the viewer form as strong connection with Pink's plight as they could have.