Yep! I Saw It On YouTube

I’ve kept my posting light this week, because its too hot to concentrate on stuff, and I’d been prepping to do some cooking and grilling for the fam this week. Mom and I have got this thing down, where she does the prep work and I do the grilling and checking.

So here are a bunch of videos that gave me a happy this week, and one that didn’t!

 

The Mighty Grand Piton

I can’t wait to see what this is about! Do you know how many Giant Robo cartoons there are out there featuring little Black girls, set in the Caribbean?

That’s right! None! Plus I just like saying the name Mighty Grand Piton!

So right now, I think this show is only in the pilot or planning stages.

https://www.thelineanimation.com/work/the-mighty-grand-piton

 

 

Eugene Lee Yang (From Youtube’s The Try Guys):Coming Out 

Last week, Eugene Yang came out. I mean we all sorta guessed, but its my understanding that coming out isn’t about our feelings, its about the feeling of the person doing the outing. So this was his big public coming out, and he had some things he wanted to get off his chest about that, so he directed and produced this video, and its just beautiful.

In the following video, he talks about the process of choreographing and designing it.

 

Look Behind You

I’m not gonna say this made me happy, but it was deliciously scary, and I highly recommend Brian Coldrick’s book, on which these images are based. Its called Behind You, and is a great Halloween gift, if you’re into that sort of thing.

 

 

Doctor Sleep

Doctor Sleep is based on the Stephen King book, of course, and is a sequel to The Shining. Here Danny Torrance, (ewan McGregor) is all grown up, but is still trying to master his psychic visions, while working in a nursing home. He gets  drawn into a psychic battle between a little girl named Abra, and a group of psychic vampires called The True Knot.

I did enjoy the book on this, although I wouldn’t classify it as one of my favorite King novels. The movie looks promising, and the director looks as if he’s taken some care with the adaptation, but I don’t know if I’ll be seeing it in the theater.

 

 

Itsy Bitsy

See, its movies like this that give spiders a bad name. Its just straight up spider bigotry is what it is (said by someone with who does not have even a healthy amount of arachnophobia.)

 

 

Carnival Row

I love the visuals in this, and I will probably watch it. I know nothing about this except its airing on Amazon Prime, sometime this year. I love “Urban” Urban Fantasy, and this looks gorgeous, and intriguing, and, as far as I know, is an original story, starring Carla Delevingne, and Orlando Bloom ( who is looking gritty and unrecognizable). Its a serial killer/detective story, with mythological creatures immigrating to America, to escape some type of war, and looks like its set in the early 20th century.

 

 

Undone

Amazon is getting all interesting and shit this year. I don’t know if the same guys are behind this TV series, but it heavily reminds me of A Scanner Darkly, which was an animated movie about philosophy, which starred Keanu Reeves, and looked a lot like this. Here, Rosa Salazar, from Battle Angel Alita, experiences  some trippy, “timey-wimey”, visions, after a car accident. I will defintiely check out the first episode but I wont guarantee I’ll keep watching it. When TV shows start to get too trippy, , like Legion, I have a hard time mentally processing them.

 

 

Ready or Not

For some reason, I’ve already fallen in love with this movie. The idea that you need to audition to get married into this family, by surviving them trying to kill you, is hilarious. It also has a Cabin in the Woods type feel, in that I think the family members are on a schedule, where they have to kill you, or something really bad happens to them. Also, I just find the idea of killer brides, to be deeply funny.

 

 

Knives Out

This movie has the same flavor as Ready or Not, but with the feel of an Agatha Christie novel, starring all my favorite actors. I once mentioned to a friend of mine that  all horror movies could be boiled down to the plot of Ten Little Indians, which is basically, put a bunch of people in a space they can’t escape from, and start killing them. This looks more like a traditional whodunnit, with humor added, and check out Chris Evans being an asshole, Post-Captain America!

 

 

Jacob’s Ladder

The original Jacob’s ladder ttotally freaked me out, but only because of its novelty. I dont think you can reproduce that feeling here for people who saw the first movie, but the idea of a Black version of it never occurred to me. I guess this is the age of Balck people as the stars of horror movies now, thanks to Jordan Peele. Everyone wants to try to capture that magic of seeing us in new and different roles, and not all of these movies are going to be successful. This doesn’t look as scary as the original. but it does look intriguing. Incidentally, there is a whole thing where movies starring White casts, got remade with all Black casts, so this isn’t a new thing.

The movie does have two things going for it: Michael Ealy, and Nichole Beharrie, who both come with their own, but different, built in, fanbases.

 

Nope!

Charlie’s Angels 

I’m so disappointed I’m not even gonna subject you to this trailer. If you wanna see it, you’re gonna have to punish yourself. I really did expect better.

Instead, why don’t we do a refreshing throwback to some  90s, R&B, with one of my favorite videos from TLC:

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Mini Reviews: Swamp Thing; Good Omens; NOS4A2; and “Ma”

Swamp Thing

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I read these comic books like they were religious texts, way back in the eighties, when they were being drawn by Stephen Bissette and John Totleben, when it was called Saga of the Swamp Thing. The books existed before these two artists worked on them (since 1972) but I only read a few of them, sporadically. I had a general idea of the history of the character when I started reading the books, and from the beginning, Swamp Thing has always been heavily based on body horror, with occasional excursions into mystery, dream logic, humor, and  psychedelia, especially during Alan Moore’s run in the mid-80s.

The original story is a scientist, Alec Holland, working on a sort of bio-restorative formula involving plants, for  Arcane Industries. The CEO’s niece is Abigail Arcane, and she develops a relationship with Alec after he becomes the Swamp Thing, which occurs after he falls into the swamp during a murder attempt. Alec spends most of his early years trying to find a cure for what happened to him, and running from the Arcane corporation. Arcane himself is eventually killed, after turning himself into a hybrid insect like creature, in an attempt to reproduce the Swamp Thing effect.

I started reading the books in earnest when Alan Moore started writing the story and his approach changed the entire plot and nature of the story. He crafted a story that was beautiful, majestic, and terrifying in brand new ways. If you’re going to read any of the Swamp Thing books, start a few issues before Moore’s run, (when Len Wein was the writer) so you can get an idea of what the main character was like before that big change. Alan Moore’s run starts with the story The Anatomy Lesson.

That said, the TV show contains little of these qualities. It moves too fast and paradoxically moves too slow, in that we keep waiting for events to happen on screen. Why? Because these are some of the least interesting characters in a TV show. Abby is an earnest, but essentially boring young woman, and a lot of it has to do with the actress who was chosen, I suspect, more for her looks, than any kind of gravity she may have as an actress. The man playing Alec Holland is both unlikable and boring. There a a handful of exciting moments when the plant life in the movie gets a bit rambunctious, and attacks everybody, but those moments are not scary. There is a little bit of the body horror element from the comic books. Why the plant life in the swamp is acting a fool, I don’t know. I must have missed the explanation when I tuned out for a moment.

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I simply could not get into these characters, which is important if I expect to care about a show. I didn’t care about either of these people. I realized this when Abby experiences some pointless drama in the form of a mother figure who hates her for accidentally killing her other daughter, and makes a scene at a party. I tried to care, but this dramatic moment, this pathos, happens too soon, and I don’t know this character enough to give a flying hot damn who does, or doesn’t, like her in the show. Alec likes her, and the two of them flirt a little bit, but since I didn’t like him, and she doesn’t have enough of a personality, I didn’t buy their budding romance. It doesn’t help that the two of them have all the chemistry, and  romantic passion, of a pair of titmice. Nor did I care when Alec gets killed later in the episode and gets turned into the Swamp Thing. I should have cared. I wanted to care. I didn’t.

I feel like the show’s creators put in too many pointless action scenes that don’t actually help the story, or build Abby and Alec’s relationship, or give them much character. We start the episode off with the plants attacking a boat of strangers in the middle of the swamp. The show immediately gets on my bad side, when the only Black man I’ve seen in the entire episode, gets killed in the first ten minutes of the show, and it serves no purpose other than to introduce us to the plants, the only creatures that have a strong personality. I’m hoping that’s the point, and that its a callback to the most famous Swamp Thing story ever written, The Anatomy Lesson. Alec gets turned into the Swamp Thing at the end. I felt that was too soon, and also  that the show had just been vamping to reach that particular moment, because things happened to these characters, and we’re meant to care, but we haven’t spent enough time with either of  them to care about anything that has happened, or will happen to them,  and we wouldn’t want to spend more time with them anyway, because they are  boring. There’s just no spark to these people at all.

I cannot recommend this show. I’m going to persevere  because there’s the possibility of improvement, and the rest of the season may have better tone and pacing than the premiere. The show has since been canceled, so I have all the time in the world to  get around to watching these episodes. I don’t think it was canceled because it was bad. There was some kind of internal fight going on between the creators, the networks, and the producers.

 

+

Good Omens

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This is the total opposite of Swamp Thing. It helps that I’m a fan of David Tennant, who always plays somewhat the same character in everything, but since he’s so charming, and funny, he can get away with it. I even like Michael Sheen, although I’m not as familiar with his career as I am with Tennant’s. The two of them star as an angel and a demon who are trying to prevent the apocalypse because they love living on Earth.

The show is heavily based in Christian mythology, but you don’t need to know all of that to like the show, since a lot of things get explained to you, even as you get thrown in the deep end. There’s a lot of information that gets thrown at you, in voiceovers, and characters speaking their thoughts, but it never feels overwhelming, because the imagery is so much fun. This show doesn’t take any of itself seriously.

Keep in mind that although I’m familiar with the book, I haven’t ever read it. I’m a Neil Gaiman fan, and I’ve read a little bit of Terry Pratchett, and I can’t think  of two more interesting people to write a biblical mythology story together. I like to think of this as a love letter to Christian mythology, sort of like the biblical version of Galaxy Quest. None of this story is done from a place of hate or disrespect. Its an irreverent show, naturally, but its not mean-spirited.

The two celestial entities were both responsible for trying to bring about the End Times, but end up botching the whole thing by losing track of where they put the Anti-Christ. The two celestial entities eventually find the Anti-Christ a week before the apocalypse is set to begin, having been working with the wrong boy who was suspected to be the Anti-Christ, but wasn’t. Just the whole lead up to the two of them losing the Lucifer’s son is hilarious, involving various dim witted and jealous demons, a sect of Satanic nuns, and the pregnant wife of some nobody from a small town in England.

God is portrayed by a woman (Frances McDormand), Adam and Eve is played by a Black couple, and Benedict Cumberbatch is Satan, (but we already knew that). I loved all the colorblind casting going on in the show. The demons are played by every race of humanity, including an Asian woman, and a Black man with a tiny lizard living on top of his head. I’m still unsure if the lizard is the demon controlling the man, or if he is just wearing the lizard for decoration. We get the Four Horseman of the Apocalypse on motorcycles, some of which are women, and the gateways to Heaven and Hell are the escalators in  the local mall. I love the dialogue, and the acting here. The show is just fun to listen to, and watch, and its utterly ridiculous.

But the highlight of the show is the relationship between the demon and the angel. The two of them are meant to work together to bring about the end of the world, and have known each other for centuries, having developed a great deal of affection for one another. Neil Gaiman himself says that its a Romance. Since both of them are asexual beings, they have to express their love and affection for one another in different ways, and they often do. The actors have such great chemistry and its a joy to watch them interact.

I have not finished watching all the episodes, but I don’t think you need me to say that as wild as that first episode was it just gets zanier. Good Omens airs on Amazon Prime.

 

NOS4A2

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Yeah, I was gonna write this long thing about how I loved the book, but was disappointed in this show, but Imma be frank. I fell asleep on it. Zachary Quinto is his usual creepy, yet excellent self, but the lead actress is bOOOOOring! And it is definitely the actress. On the other hand, the show looks great!

NOS4A2 is written, not by Stephen King, although I can see where people might get that idea.  It was  written by his son, Joe Hill, who I’m a big fan of. Charlie is a young lady with the ability to find any object. She discovers this power by riding her bicycle through a magical covered bridge. This draws the attention of a vampire like creature named Charlie Manx, who for decades has been abducting children, and feeding on their innocence, which  turns the child into  a cannibalistic vampire-like creature not unlike himself. All of these feral children live in what Manx calls Christmasland, a perpetually wintry land decorated like Christmas.

Now, I do like to give shows the benefit of the doubt, when the premiere does not inspire enthusiasm, and give the rest of the season a cursory glance at least, but I really don’t want  to sit through that actresses’ lackluster acting for the rest of the season. There’s also the possibility that the show is just too complicated to be written for TV. So, here’s what I’m gonna do. I’m gonna try again, and see if it gets any better, because I want to like the show as much as I liked the book.

*

I have watched a couple more episodes of the series, and I’m starting to actually like it. The acting is better, I like the lead actress more than I did in the pilot, there isn’t any less of the family drama that I cared so little about in the pilot, but I understand a little more of the family dynamics in the show, and the villain is suitably creepy. Zachary Quinto is his usual elegant self. I could really do without the Magical Negro though.

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https://en.wikipedia.org/wiki/Magical_Negro

The Magical Negro is a trope created by white people: the character is typically, but not always, “in some way outwardly or inwardly disabled, either by discrimination, disability or social constraint”. The Negro is often a janitor or prisoner.[7] The character often has no past but simply appears one day to help the white protagonist.[8][9]He or she usually has some sort of magical power, “rather vaguely defined but not the sort of thing one typically encounters.”[8] The character is patient and wise, often dispensing various words of wisdom, and is “closer to the earth”.[6] The character will also do almost anything, including sacrificing him or herself, to save the white protagonist, 

This character definitely fits that trope. We know nothing about her personally, and she shows up right when the lead character needs her,  so she can talk her into fighting the villain, which she knows all about, but seems unable to fight herself.  This actually is a character from the book, although I don’t remember that she was a Black woman. I wouldn’t be surprised because Stephen King has always had this problem of adding Magical Black people to his stories, and Joe seems set to follow his father in that regard. It ‘s also very distracting that she looks like one of my favorite YouTube,  makeup tutorial, personalities, and that’s all I can think about when I see her.

In one of the season previews there’s a scene of that character, being beaten up, and I’m not here for that, because I’m just fucking tired of watching Black pain on TV right right now, no matter how necessary the writers think it is. On the other hand, I suppose I should be grateful that at least her story doesn’t involve police brutality.

I don’t know that I want to watch the rest of the season. The show has gotten better, since that first episode, but my enthusiasm still isn’t up there yet.

 

 

Ma

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I had no plans to go see this movie. It wasn’t even on my radar, but my Mom managed to talk me into watching this with her after I abruptly lost interest in watching Godzilla. I’m a Godzilla fan, but I was just too tired to sit through two hours of Kaiju fighting. I thought Ma would be a bit more relaxing, in the excitement department, and it kind of was, but it was also kind of emotionally wrenching. Ma is a very sad movie. There’s also a few moments of graphic violence, and one full frontal scene of Luke Evans, but I can guarantee you will not enjoy it.

Octavia Spencer plays a woman named Sue Ann, who works at a veterinary clinic, in a Podunk little town, that people desperately want to escape from. She is a lonely, and put upon woman, and one of the few Black people who live in the town. The movie doesn’t have an obvious racial message, but as I’ve said before, there is a racial component, simply because they cast  Octavia, rather than the White actress the role was written for. So, because Tate Taylor cast a Black actress, there’s an element of racism in how she is treated by all these White people in the story, and there is a tiny bit of awareness of this when Sue Anne attacks the only Black man in the movie by slathering his face with white paint. She is condemning his “go along, to get along”, attitude with his White friends, by  whitewashing him. I think that particular moment was added by Spencer, because it is so specifically a Black condemnation. In the Black community, one of the worst insults you can give someone is to say they’re a “Wannabe White”, or that they are “acting White”, and that is her way of showing contempt for him.

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Sixteen year old  Maggie is moving back to the little town with her mother, Erica, played by Juliette Lewis, after her parents divorce. Luke Evans plays the town’s local hottie, Ben Hawkins, who all the girls lusted after back in high school, and who owns a small fleet of vans for his small security company. They all have children, and Sue Ann runs into them while they are trying to buy beer at the market. She get them the beer, but the makes them promise to only drink at her house. After a while, all the local teens are partying at Sue Anne’s house, and Sue Anne is getting to experience what its like to be liked and popular in a way she didn’t get in high school. The original teenagers, sensing her neediness, start trying to avoid her, which pisses her off. driving.

This is one of those little towns where everyone grew up together, and everybody knows everyone, because they all went to the same school.  A lot of what happens in the movie arises out of events that happened when Erica, Ben, and Sue Ann were kids. Sue Ann and Erica were supposedly friends, and both of them had crushes on Ben. Ben thought nothing of Sue Ann, who became emotionally disturbed after he orchestrated her sexual humiliation in front of the whole school. Sue Ann has a host of issues, and yes, she is mean, and she is a killer, and while her  long standing need for revenge against Luke, and the others,  is completely out of proportion,  you get why.

You’ll probably hear a lot about how insane this movie was and there are elements of crazy in the movie, but its really not all that wild. Its been advertised as a Horror/serial killer type of movie, and while  there are some horrible elements, its mostly a Thriller, a campy movie with moments of uncomfortable laughter, because a couple of the characters are a little over the top in their performances, and there’s just a tiny hint of subversive humor. This movie doesn’t take itself completely seriously.

I have to take a moment to  scream about the performances. Octavia Spencer tears it up wonderfully. You can tell she was having sooo much fun making this, but just manages to miss chewing the scenery. Its a fine line, which she just manages to skirt. Her performance is phenomenal, and scary, and surprisingly sympathetic. There’s one scene where she is in a rage, sitting in her car, and some teens drive past and throw a can of beer at her, and she breaks down and cries. She has been mistreated by lots of people up to that moment, but apparently that was just one time too many, and she just loses it. She very cold-bloodedly kills at least three people in this movie.

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It’s rare to see a movie villain in a vulnerable moment, though, and its not until a little later that you understand why she’s like that. Sue Ann is a sad, angry, little woman, desperately seeking the love and attention she was denied as a teenager, and after you see her back story, you have some idea why the town folk treat her the way they do. She just wanted what any ordinary teenager wanted, which was to be the  popular girl, and get the popular guy, and that guy betrayed her trust. By hosting the teen’s parties at her home, she gets to relive her teenage years, the way they should have been, and she gets addicted to that.

Make no mistake, she is a villain and what she is doing is absolutely wrong, but like Eric Killmonger, you feel for her, and her story resonates with you, although you can’t agree with any of her tactics. Now, this is what I mean about what happens when you change a single component of the story. You end up with some deeper moments than you thought you would, because in the hands of a White actress, this would have become your run of the mill, crazy, killer woman story, but changing the race of the lead character only, adds an uncomfortable racial component, that wouldn’t otherwise be there. This same thing happened with the movie Alien, whose principal role was written for a man. At the last moment they cast Sigourney Weaver, and inadvertently made her a Feminist icon in doing so, without being an overtly Feminist film. Ma isn’t in that league, but it is a more interesting movie than it would have been, because of Octavia’s casting.

The second best actress in the movie is Juliette Lewis as Erica. I really feel that Lewis is one of the finest actresses in Hollywood, but because of the kinds of characters she plays, she really doesn’t get enough love and/or recognition. She is one of the few White actresses I stan, but because she always seems to play working class, and poor women, people tend to equate her with her characters, and think of her as not being especially bright. I would love to see a movie with just her and Spencer,, because together, the two of them are awesome.

Here, Lewis plays a newly single Mom, who is feeling some amount of guilt for leaving Maggie’s father, and moving them back to her home town, which  she was so desperate to leave. There’s an element of shame in her return, as well. None of these things are explicitly stated. Its all in her performance, and her interaction with the other characters, and their thinly veiled contempt of her. There’s also a certain amount of guilt in her seeing Sue Ann again. You can see the tension between the two of them, when Sue Ann visits Erica at home, and Erica acts relieved, as if she’s glad Sue Anne doesn’t hold a grudge against her. Erica never came to her aid, or did anything to help, after Sue Anne’s humiliation.

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Later in the movie, Erica drops the civility mask  between her and Maggie, who she has been coddling since the divorce, even though you can sometimes see her disapproval  at Maggie’s decisions. She puts her foot down, and gets her daughter in line, to try to save her life, and my Mom loved the moment she stopped trying to be Maggie’s friend. One of the rawest moments in the movie is when Sue Ann is threatening Maggie, and Erica pleads for Sue Ann’e  forgiveness, in an attempt to save her daughter’s life. Lewis really sells it, and you feel for both these women, who still feel as if they’re paying for mistakes they made decades ago, but nobody will allow them to forget.

I’m still not sure how how I feel about this movie two weeks later. I should say I liked it. I can’t say that. I didn’t hate it though, and its not a bad movie, and the performances make it worth watching.

New And Exciting Trailers (May 23rd)

Terminator: Dark Fate

This movie actually looks very exciting, although I don’t know how it fits in with the rest of the franchise. I think Miles Dyson’s son Danny is in this one, there are several different timelines, of which this is but one of them, and Sarah Connor survived in this one. Remember, she didn’t survive in Terminator 3, and the World War happened in that one. The “terminators” look pretty cool too. I guess we have to keep upgrading in every film.  James Cameron is a complete, whole ass, but the man does know how to make an action movie, and the Terminator films (that he actually worked on), are some of his best work.

It’s nice to see Linda Hamilton kicking ass again, even if she is looking a little worn. Saving the world, time and again, will do that to a person, I guess.. I’ve never  been a really huge Schwarzeneggar fan, although I like him okay. I’m still I’m not greatly impressed by his presence here, (although he has been doing some  superb dramatic work in the last ten years. Check out the movie, Maggie. Its awesome, and he’s great in it.) I have had a huge crush on  Gabriel Luna, ever since Agents of Shield,  and I hope one day we get to see that Ghost Rider movie, with him as the star, although I just heard there will definitely be a TV show, on Hulu,  about Ghost Rider and Damon Hellstrom, starring Luna as The Rider. I like him as a terminator. He’s not as pantsshittingly scary as Robert Patrick, but he’s alright.

 

 

Star Trek: Picard: (CBS)

I’m cautiously excited about this show. I was a big fan of Star Trek: The Next Generation, and I liked Picard, although I thought sometimes that he was a bit of a stick.But I am a big Patrick Stewart fan,and he always brings his Shakespearean A- game to everything he does.

This show takes place in the 18 years after Star Trek Nemesis, after Picard has seemingly retired from Starfleet, and is said to be less action oriented, with more drama. The trailer looks a little melancholy, though. I wonder if it will tackle some of the themes from the movie Logan, and how much diversity there will be, because the new Trek Discovery is tearing it up in that department.

I also like the idea of the individual stories of different characters in Star Trek. I’d watch a show about Worf’s early life, or Data’s life before he joined Starfleet. Picard will be airing on CBS All Access sometime later this year, and I will consider signing up for it again.

 

 

Downton Abbey

My best friend at work is a huge Downton Abbey fan. I’m a fan too, but I don’t know if I wanna watch a two hour movie about it. Anyway, she’s trying to get me to see it at the theater with her, and I’m considering it. She and I rarely get to watch movies together because we have such widely different tastes in what we consider entertaining. I’ve told her  many times that if no one is being horribly killed, eaten, or having their ass thoroughly kicked in the movie, I’m probably not going ot see it in the theater.

But I really do like the show, the trailer is alright, and it’ll be one of the few opportunities for the two of us to hang out at the movies together.

 

 

Crawl

This is the movie my Mom is trying to get us to go see next. I have no objection to watching this in the theater. This is what I call a safe scare, in that its fairly predictable. People gonna do stupid shit, and die, and some of ’em gon’ get ate. Those are the kinds of things that happens\ in giant killer animal movies ,and I’m cool with that. Its a nice, easy, popcorn movie, that’s not too intellectually taxing.

 

 

IT: Chapter II

I have no particular investment in this movie, but I know some of you guys are big fans. I was unimpressed by the book, and the original made for television movie ,and I wasn’t too keen on the first Chapter of this remake, which kind of bored me. But, this is a Stephen King movie, so I hope it does really well. I always hope his movies do well in the theater, because that means we’ll get more Stephen King movies.

 

 

Judy

Wow! I don’t think you guys understand just how much this movie means to so many people. I’ve loved Judy Garland since I was a little girl, when I first saw her in The Wizard of Oz. Over the years, I’ve watched her in a lot of movies (most of them starring Mickey Rooney), with one of my favorites being Easter Parade. 

This is a grand trifecta of “I’m gonna need a box of tissues-itis”, because I love the song Somewhere Over the Rainbow,  I’m a big fan of movie musicals, and ITS RENEE ZELLWEGER AS JUDY- FUCKING-GARLAND!!!

 

 

Batwoman (CW)

Batwoman is probably one of the worst trailers ever released by the CW, but I’m gonna give most people’s opinions on this show the side eye because Youtube says this about every single trailer about any show with a woman at its helm, and comic book fanboys, who have never read any of the books, are known to be complete hysterics. This is the CW. Its not a show aimed at guys (not that they can’t enjoy it) but squarely aimed at the kind of women who watch Supergirl, a show I find deeply annoying.

That said, I’m also giving the trailer the side eye, not just because it is distinctly cringeworthy, (Yeah, it stinks), but  unlike a lot of people, I understand that most trailers are not created by the same people who created the source material, and quite a number of them have been designed to make a person not want to see the film or show. I’m long used to parsing what bits and pieces I can from trailers, to determine whether or not I want to watch a thing, and I’m actually excited about this show. I’ve loved a lot of shows, and movies, that had shitty trailers, so a shitty trailer doesn’t necessarily mean anything to me. This trailer is just the latest thing for people to be outraged about. All I know is that I have every intention of seeing the show and will probably like it. Maybe.

I actually have read the comic books though,  and I really enjoyed them. I got no problem with the feminism angle, as the feminism shown on the CW has always been very White, ham-fisted, and more than a little cringey. For me, this trailer is just more of the same. I also really, really, like that actress, and this show is groundbreaking in ways the MCU has not even tried to be. It is the only superhero show on TV where the title character is gay! There are other gay characters in superhero shows, but none of them are the  leads, so this is a first, and I suspect a lot of people (especially the ones who are unsatisfied with gay representation in the MCU) are going to tune in for the  premiere, just for that reason.

Also this character isn’t new to me. I’ve seen her in Legends of Tomorrow, which is another cheeesy superhero show, that I happen to actually like, and I was impressed by the character.

 

 

His Dark Materials (HBO)

I’ve not been a big fan of the series this is based on,  by Richard Pullman. I can’t say much about it, other than it looks faithful to the movie, The Golden Compass, which came out a few years ago, so if you remember that, then this is a TV series based on that movie, and you may like it. In this universe, people have familiar-like companions that accompany them everywhere and look like different animals. This is HBO hoping to hit it out of the park again, with a follow-up to Game of Thrones. Hopefully, there will be fewer rape scenes, in this show.

I had not the intention of watching this, because I’m really not a fanatic about Fantasy series and movies, although one might get the impression that I was, based on the things I’ve reviewed on this blog. In fact, my taste in Fantasy shows is entirely arbitrary, depending on a number of unexplainable factors. What is more likely to happen is that I’ll skip the first couple of years, pick it up somewhere in its third or fourth year, and then really enjoy it.

But who knows?

 

 

The Dark Crystal

I saw the original movie when I was a kid, and I remember being terrified of the Skeksis, and enchanted by all the other creatures in the movie. If you haven’t watched the original film, please find a way to stream it, or get the DVD. It really should be as much of a classic as Labyrinth. In fact, if you liked Labyrinth, you will probably like this too.

 

 

Border

I started watching this on Hulu, and will probably not finish it any time soon, but I thought I’d mention it here, because its a very odd and beautiful movie, which  heavily reminded me of  Thelma, which I also watched on Hulu. I like odd and melancholy romances, and this one has been classified as one of the weirdest movies of the year.

Avengers Endgame: Thoughts

You know how I roll on this blog.

Damn right there are going to be spoilers.

I cannot talk about how much I loved this movie without spoilers. So, if you have not seen the movie, get thee the fuck outta here, go watch it, and only then, will you be welcome in this space. (If I’m cussing, it’s  a sign that I’m extremely happy!)

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I spoke about my history of comic book reading, in a previous post, about how the first Marvel books I remember reading, were Conan the Barbarian, and Red Sonja, which I probably should not have been reading, since I was about 9 or 10 years old, but I’d found a stash of these books in the basement of a house we’d just moved into, and since no book ever passed by me without going unread, there I was. I got away from Marvel comics when I was about 12, as I was reading Horror comics by that time. I started reading superhero comics, in earnest, when I was about 14, or 15, starting with The New Mutants, moving on to The X-Men, Spiderman, Doctor Strange, and finally, The Avengers.

Of all The Avengers characters, Doctor Strange is one of the few standalone character books I ever read, along with Thor, and Spiderman. They were the only superheroes I truly stanned, having read nearly all of their different iterations. I never read a single Captain America, Incredible Hulk (I knew him only from the TV series), Iron Man, Antman, Hawkeye, or  Black Widow stand alone book. I knew nothing about the Guardians of the Galaxy.

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That said, I’ve seen all the MCU movies, and of all the films, and I’ve  only seen a handful of them in the theater; The Avengers, Guardians of the Galaxy, Spiderman Homecoming, Captain America Civil War, and Black Panther. The rest I watched on TV, sometimes when I didn’t particularly feel like watching them, like Antman and Thor: The Dark World, and I’m going to continue to talk shit about Antman, despite the fact that I really enjoyed both movies. I  reserve the right to talk shit about movies and characters I love.

Of all the movies, the some of the most fun ones were the Iron Man films. Despite me trash talking Tony Stark at every opportunity, I actually like the character, a lot. The Captain America movies were a surprise favorite, as I had not one ounce of interest in that character beyond his being the leader of The Avengers, in the comic books. As the leader of The Avengers, I’d read Cap say those famous words countless times, and I knew Cap’s history because they talked about it in other comic  books, that were not about him. Black Widow made no impression on me in the comic books. I have never found Russian spies to be interesting  in even my best moods.

All this to explain how incredibly geeked out I was while watching this movie. I can’t wait to see this at home, when it comes out on DVD, so I can dance around the house in my bunny slippers. I loved, loved, loved, the end of this movie, and I’ve been trying really hard to avoid the whiners and complainers (and some of the more hysterical people) on Tumblr, while I read  the reviews. I will not allow any fan wankery to harsh my buzz!

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The Movie:

This is going to be a very long post. First of all, there aren’t any social justice issues to be made of this movie, despite people trying really hard to do so. Most of this movie is just pure fan service, and since I’m a fan of the comic books,, I’m perfectly okay with that. This movie throws the viewer right into the deep end. If you didn’t see any of the other MCU movies, or haven’t read any of the comic books, you probably won’t care about any of the things on the screen, and will probably just be bored, although I have come across people who did none of those things, yet still enjoyed the movie just for itself. If non-fans can still totally get into it, that is the mark of a well written film. For fans of the books and movies though, it hits all the right emotional notes, at all the right times. It has great action scenes, great callbacks to stuff that happened in the other twenty or so films, and the hundreds of comic books, and even a few tears were shed.

 

Now I’ve done some reading, and its my understanding that because of the all the time traveling in the movie, what the characters did was create alternate universes, and the one we end with is a brand new universe, in which a lot of things didn’t happen. Every time they removed one of the stones from some past event, they changed a time line, and created another universe. Steve remaining in the past with Peggy created a new timeline as well. At least that was how it was explained to me, but often  I care little about such plot details. Unlike a lot of people, I didnt get myself too worked up about it.

I did appreciate the way the movie handled the aftermath of Thanos’ Snap. Its been several years, and humanity is still in recovery mode and dealing with its grief. We get a micro look at this trauma through Hawkeye, when his family disappears. Now imagine Hawkeye’s scene happening everywhere, and remember most people wouldn’t know what had happened, or why, or how.  This is  like the TV show The Leftovers, which deal with the aftermath of The Rapture, and how the survivors deal with the disappearance of half of humanity, over its three seasons.

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This movie doesn’t  have time to go into too much detail,  as it’s three hours long already, but it does handle a lot of character, and personality issues effectively. About the first thirty minutes of the movie is just watching these characters deal with their loss. Humanity is pretty resilient, and you can see that most people are holding on by their fingernails. You got Natasha crying in the office, Steve looking more lost than usual, and Imma talk about Thor in a moment.

What was not taken into account by Thanos in his megalomania, is that there would be planets and cultures, (the Snap happened everywhere, but we only see Earth), that because of the way they were set up, they would not only be devastated by such an event, they would never recover from it. (I’m pretty certain that on at least some  planets, everyone is dead.) The Snap most likely killed more than half of humanity anyway, because there would be tens of millions of residual deaths in the aftermath. All of the sick, the very young, and the very old, the suicides, and  basically anybody who couldn’t fend for themselves, would probably die in the weeks after the Snap.

I was reminded of this by the book, The Stand by Stephen King, in which a pandemic wipes out most of humanity. There’s a chapter in the book that chronicles  the deaths of all those who didn’t die from the pandemic itself. The residual deaths, like accidents, other infections, and  illnesses and suicides. I was also reminded of reading stories about the aftermath of the Black Plague and how that so thoroughly changed the social and economic systems in Europe afterward. The Snap was infinitely worse.

Thanos is a megalomaniacal, psychotic, selfish,  dumbass, who really didn’t think any of this shit through, and caused psychological and emotional trauma on an untold massive scale, so huge it  can’t  be imagined. I do not think of Thanos as the greatest villain in the MCU, because I have no respect for a dumb villain. He’s the not even the greatest on the scale of power, and/or amount of damage he caused, because that title belongs to Galactus. This is a fanboys idea of a villain. I am always suspect of people who claim to want to do good for the world, but can only do so by killing as many people as possible. King Leopold, Hitler, Pol Pot, and Josef Stalin all held similar philosophies. Only in Thanos’  case, we’re supposed to be okay with what he did, because it was random, and not personal.

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There’s’ no depth to Thanos’ philosophies. There’s no nuance to his character, either,  despite the Russos trying to shoehorn in some pathos, to make him seem more sympathetic.  He’s just another big, dumb, brute, with the ability to kill more people than the men named above. Like most villains , he simply  wants to kill, and he invented some  reasons for doing just that. reason he invented so that he wouldn’t have to face the idea that he is, in fact,  a monster.

You wanna know how I know this?

Because Thanos didn’t Snap himself. He destroyed the Gauntlet after the Snap, but he didn’t destroy himself, and when The Avengers showed up to beat his ass. he wanted them to affirm his goodness, and be grateful to him.

I knew the movie was going to hit some emotional hot points during the scene where The Avengers track down Thanos, and try to get him to change things back, only to discover that he destroyed the Gauntlet. He starts to go into his usual villain monologuing, but Thor cuts that shit short by suddenly chopping off his head. I wasn’t expecting that, because I’ d, once again,  resigned myself to listening to, yet another, psychopath’s self -serving justification for evil.

Of all the characters, Thor was the most sympathetic, and the most  obviously affected by everything that happened. In the entirety of the MCU, with the exception of Hawkeye,  Thor  lost his entire family, most of the people he was supposed to protect, and his planet. He’s also suffering from a great deal of survivor’s guilt. You can tell he spent a lot of time dreaming of having the opportunity to kill Thanos, because the last time he had it, as he said, he didn’t go for the head. He didn’t prevent the Snap, and his last gesture is utterly futile.

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I like the way the movie handles Thor’s depression and PTSD. This is what  depressed people do. They stop caring about what they look like (and Thor was always rather vain about his looks, so his getting fat was  significant), or they drink a lot, or just stop moving forward, and become very passive. But once he is given the opportunity to go back into the past and change events, he jumps at it. Thor is depressed, but it is never shown to be a weakness. He is never bothered by his size. He owns it, and is still the Lord of Thunder, and he would thank  you to remember that he can still kick ass. I didn’t like the other characters making fun of him for being fat, though. The humor felt forced and out of place (except for his Mom, because that’s such an incredibly Mom thing to say, and she was very obviously worried about him).

The different pair-ups in the movie are fun and interesting.  The writers pair Thor with Rocket, the only other  Avenger, besides Hawkeye, who has lost his  family. I hated Thor: The Dark World because that’s the movie where Thor’s mother dies, so one of the  tearful moments I was talking about earlier, is  when he goes back to the past and sees her again. He also gets some tough love from Rocket about losing loved ones.

Natasha dies the same way Gamora did, only her death was voluntary. I’m not a huge Black Widow fan. I mean she’s okay, and she gets some good moments in the movie, (throughout the entire MCU actually), but I was largely unaffected by her death, because she was not a character that resonated with me, although I recognize she meant a lot to other people. That said, I still wish it had been Hawkeye who died, because I care less about him than I do Natasha, and she deserved a better send off. I understand why he was allowed to live, but I still wish he’d died in her place. I’m also not a fan of Hawkeye because in the wake of the Snap he decided it would be a good idea to travel the world killing Brown men, as the comic book character Ronin. His answer to his grief at so much death, is to go out and  cause even more death, and I had an issue with that.

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Tony goes out like a boss, tho’. I’m actually okay with Tony dying, I was long ready for it, and think that’s a fitting end to his character arc. I was one of the few people, who liked Tony, who was unbothered by his death. Yes, contrary to me always talking shit about Tony, I actually loved that character, and I’m gonna miss him. Thanks to Downey, he was a consistent asshole, and I kind of liked that Tony fucked up about as much as he saved, and had to constantly be put back in line by his friends and co-workers. Sometimes heroes have unlikable personalities. He didn’t resonate with me, but I really like Robert Downey, I loved the way he portrayed the character, and Tony’s passing marked the end of an era.

I loved Steve’s character arc too. I did see some grumbling from the more hysterical members of Tumblr, about how Steve choosing to live out his life with Peggy was a selfish gesture, but those people can shut the fuck up, because they very obviously do not care about Steve’s emotional well being. If anyone deserved to live out his selfish fantasy, it was Steve Rogers. I loved the end scene with him getting that dance from Peggy, and I hope they danced a lot, and had lots of fat babies.

Of all the characters, I would say that Nebula is definitely one of my favorites, because she has such a satisfying character arc. I love how her character came full circle from wanting to kill her sister, to protecting Gamora’s life by killing her alternate self.

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Also, I just like her personality, and her interactions with Tony. Of All the Guardians, she seems the one I’d most likely end up being friends with because she seems most like me in real life, which is literal minded, and very strong and  serious looking, but with a heart like a marshmallow. I love how Guardians of the Galaxy laid the groundwork for her being able to convince the Gamora of the past to help her defeat Thanos. Without that groundwork, without Gamora’s loss, she would never have been in that position, and I’m glad the Russos chose to honor what James Gunn did with her character.

I was also very touched by Rocket’s growth as a character too, for which Gunn is also responsible for laying the groundwork. Rocket is still an asshole, but he’s like Nebula and Tony, an asshole with a heart. Its interesting to watch him move to a point in his character where he offers solace to others  (Nebula) and, tough love styles of advice, (Thor).

My other favorite was Hulk. He managed somehow to fuse the two halves of his personality into a whole, and I liked that. He did come across as somebody’s corny dad, and I really enjoyed how happy he seemed to be with his life. The complete opposite of Thor, and Hawkeye. People seem to forget that Hulk was the one to bring everyone back with his own Snap, and spent the rest of the movie injured because of that, (because he was the only one left alive who could survive using  the Gauntlet).

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Favorite Moments:

I had loads of favorite moments.

  • The opening scene where Hawkeye loses his entire family. Its just very emotionally moving to watch it from the point of view of someone who has no fucking clue what just happened.
  • After five years, most cities are overgrown with vegetation. It reminded me of the documentary Life After People. Check it out if you haven’t seen it.
  • Tony and Nebula playing paper football. Nebula wins, but since she can’t smile, we can’t tell if she’s actually happy.
  • Rocket and Nebula bonding over their shared loss.
  • Steve Rogers kicking his own ass. In the five years since he worked for Shield he developed a lot more skills and we have finally answered the question, at least in the MCU, who would win in a fight between Steve and Mr. I Can Do This All Day.
  • Tony meets and makes peace with his father.
  • Bruce looking embarrassed about his behavior during the first Avengers movie, and trying to fake being angry.
  • The Hulk having to use the stairs because none of the others would let him get on the elevator. There  were a helluva lot of stairs, so I’d be angry about that too.
  • The final boss fight was every comic book splash page ever created. Its why so many of us loved these movies. We’ve been reading about these events and characters our whole lives, and to see this, larger than life, on a movie screen, well…words cannot express.
  • When the wizards showed up at the final battle, I think I openly cheered.
  • The Guardians of the Galaxy and The Ravagers all show up to kick Thanos’ ass. It took me a minute to place where all those spaceships came from. They didn’t all come from Wakanda.
  • The moment in the movie that made the whole audience cheer is when Captain America picked up Thor’s hammer, Mjolnir, and the two of them trade weapons back and forth, throughout the fight, until Thor decides that Steve gets the little weapon.
  • The audience’s second favorite moment is when Steve utters the famous words: Avengers Assemble! which is not something he got to do in any of the other movies.
  • Sam Wilson’s quietly stated, “On your left.” into Steve’s ear! This just made me grin so hard, since I really love Captain America Winter Soldier.
  • The arrival of Black Panther/ the arrival of everybody really.
  • Tony hugging Peter, and Peter being perfectly okay with it and saying,  “This is kinda nice.”
  • Pepper Potts has her own Iron Man suit.
  • Carol Danvers and Scarlet Witch   get to put their shit down, and go toe to toe with Thanos.
  • That look on Tony’s face when Doctor Strange gestures at him. Tony knows what he has to do. He knows the gauntlet will kill him, but picks it up anyway.
  • We get an A Force moment of all the women Avengers, (although I’m gonna be seriously pissed if we never get an A Force movie, since they have been treating a lot of the women of the MCU like afterthoughts, including Black Widow). Let me go on the record as stating I want an A Force movie!
  • Basically, the entire battle scene was awesome!
  • Pepper telling Tony that he could rest, just brought all the feels.
  • The disintegration of Thanos and his army!
  • Sam Wilson gets the Captain America shield. Y’all know I’m a Sam Wilson stan so yeah, I totally geeked out at that moment.
  • Thor and Peter Quill arguing over who gets to be in charge of the Guardians.

So yeah, while I thoroughly enjoyed myself, if you’re not a fan of the MCU, or superhero movies in particular, your mileage may vary.

I know a lot of people wanted to see other things happen in the movie, but at three hours and with so many characters, some of them had little room to do anything more than stand still, for a second, and pose for the camera. The movie simply couldn’t cover everyone, and didn’t. But what it did do, for the characters and the emotions, was exactly what it should have done. The trailers promised a certain type of movie, and that’s exactly what  was given.

Favorite Character:

I have a lot of favorite characters, across the entirety of the MCU, but my top three are Spiderman, Drax (of all beings!), and oddly enough, Captain America.

I’ve always been a Spiderman fan, since I was a kid, watching the TV show during the 70s. I like Drax because he’s simply ridiculous. There’s just something about his character that just speaks to my inner silliness, and I always enjoy seeing him on screen. I was surprised Captain America made any part of the top ten because I had no interest in the comic book character, but Chris Evans just tore it up!, and there’s a part of me that just loves the noble warrior hero.

 

Favorite Movie:

Its really hard to pick a favorite, so I have once again, a top ten of favorites. I have no choice but to rank them, and the ranking could change based entirely on my mood. Of all the MCU films, the movie that remains consistently at  number one would be Spiderman Homecoming. I know everyone thinks I’d choose Black Panther, which is definitely in my top ten, but that’s somewhere around number five, because the number two movie on my list is Captain America Winter Soldier. and another surprise movie is Doctor Strange, coming in at third place. I was not at all prepared to like Doctor Strange. In fact, I was prepared to hate it, but I’ve found that I love the MCU magic users.

I’m very much looking forward to the next ten years. We’ve got more sequels coming up, and some new characters like The Eternals, who I know nothing about, so that will be brand new for me, and Shang Chi, because I love martial arts movies.

So until the next phase,

Make Mine Marvel!

 

 

Thoughts for the Weekend

 

The Media

This article talks about why one of the reasons people think the world is  going to hell. It is the prevalence of negative news. The very nature of the news, the tagline being, “If it bleeds, it leads.” accounts for the greater and greater amounts of negativity we see in the news. Each story has to be sensational, outrageous, and/or gory.

A couple of years ago, my habit, like thousands of other people, was to get up each morning, and turn on the news. I stopped doing that. When I get up in the morning now, I watch something light and fun, that doesn’t require too much thought, like a comedy I recorded the night before, or favorite episodes of old shows. I’ve found that I feel more positive throughout the day, I’m less angry, I’m nicer to my co-workers, and generally more cheerful, at the start of the day, than when I watched the news.

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The media exaggerates negative news.

https://www.theguardian.com/commentisfree/2018/feb/17/steven-pinker-media-negative-news

Whether or not the world really is getting worse, the nature of news will interact with the nature of cognition to make us think that it is.

News is about things that happen, not things that don’t happen. We never see a journalist saying to the camera, “I’m reporting live from a country where a war has not broken out”— or a city that has not been bombed, or a school that has not been shot up. 

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Game of Thrones

If you do nothing else this season of Game of Thrones, you have to read the weekly rundown of the show, by the fans at The Root. Even if you hate the show, don’t watch the show, or know nothing about the show, you should read them anyway because they are, hands down, some of the funniest reviews of anything on the internet. At this point, reading the weekly review becomes part of the show. For those of you with real stamina, you can try reading the show’s live tweet on Black Twitter.

I am always amazed that so many Black people love this show, including many non-geeks. It took me years to really get into it, because I just wasn’t interested. I followed the show off and on for the first three seasons, but didn’t become any kind of fan until season five, after the episode Hardhome, which I understand was the turning point for a lot of people.  Last weekend was the culmination of that particular episode, so there are plenty of spoilers in the post.

I want to point out that Arya Stark is one of my all-time favorite characters on the show, and has been my go-to Baby Badass since season five.

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Arya Stark Forces Night King to Drop Out of Presidential Race

Although he has not issued a formal statement, representatives for Walker—also known as the Night King—confirmed that the blue-eyed devil will not take part in the upcoming primaries, citing the fact that he had lost support among a key group of supporters—namely, the Arya Stark demographic.

 

#NotToday: The Night King nor Kim Kardashian Could Stop Us From Keeping Up With The Battle of Winterfell

With five or six tea lights lighting the battle scene on our screens, The Red Woman came and did what the fuck she had to do and said let there be light and lit the field with fire. Too bad the fire didn’t do shit for our screens our Daenerys’ vision from the sky.

 

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 Robot Fear

This is a very interesting article about how Western nations view robots vs. how cultures in the East view them. The Japanese, for example, have a very different attitude towards robots than Americans. The article credits part of that to the Western attitudes towards systems of chattel slavery. The East had slaves, but the systems there were not set up the same here, or perpetuated throughout that country’s other institutions, either.

I also think part of the issue is not just our attitudes about the treatment of slaves, but the Western religious ideas behind them, and the idea of karmic retribution that has attached itself to those ideas. We need to add decades of movie and TV narratives in which robot slaves turned on their owners. I wrote before about how a lot of futuristic fiction involves imagining what White people have done to other cultures, happening to White people, usually by beings once held in bondage, like robots. The term “robot” was invented in the West, and violent retribution by them, is one of its earliest Pop culture themes, as in the 1927 Metropolis.

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WHY WESTERNERS FEAR ROBOTS AND THE JAPANESE DO NOT

https://www.wired.com/story/ideas-joi-ito-robot-overlords/

It’s not that Westerners haven’t had their fair share of friendly robots like R2-D2 and Rosie, the Jetsons’ robot maid. But compared to the Japanese, the Western world is warier of robots. I think the difference has something to do with our different religious contexts, as well as historical differences with respect to industrial-scale slavery.

 

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Yarn Industry Diversity

Here’s a short list of Knitting designers, and Dyers of Color in the industry.

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Black Yarn Dyers and the case for Purposeful Support

https://theyarnmission.com/black-yarn-dyers-and-the-case-for-purposeful-support/

It’s not about tokenism.” Rather, we insist that folks support artists simply because they are Black. Especially for their Blackness we recognize that for so many it would mean “in spite of their Blackness.” This is what pro-Black looks like to us since we are working towards a liberation in the face of rampant, engrained, and internalized anti-Blackness. 

 

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Comedy

I’m still not over Nanette, which is still airing on Netflix. It just floored me. I’m guessing it floored a lot of people, since so many wrote think pieces about it. I do believe Hannah Gadsby is the future of comedy, while people like Bill Maher, Jerry Seinfeld, and Louis C K, are comedy’s past. I noticed that when women do comedy, (any marginalized people, really), they are as as liable to cause tears as much as laughter. The only male comedian I’ve ever seen who captures that particular vibe is Patton Oswalt, in his stand-up, Annihilation, )where he talks about the death of his wife).

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Bill Maher Is Stand-up Comedy’s Past. Hannah Gadsby Represents Its Future.

https://www.vulture.com/2018/07/bill-maher-hannah-gadsby-stand-up-comedy.html

Nanette is also a deconstruction of stand-up specials, as well as several generations’ worth of straight male–crafted opinions on what “good comedy” is and what “great art” is. Gadsby poses a question which, if answered affirmatively, would validate her stated wish to quit doing stand-up: What if “funny” is the enemy of “honest,” or at least at cross-purposes with it?

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Reverse Racism Claims

Recently Jordan Peele came into the cross hairs of the White Bigot League, when he stated that he wasn’t looking to hire White men for any of his lead roles, as that had all been done before, and he wants to try something different. I think this article perfectly captures all my thoughts on this issue.

For the record, he never said he wouldn’t  cast any White people in his movies. What he said was he wasn’t going to cast them in the lead roles.

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There’s Nothing Wrong With Jordan Peele Not Wanting to Cast White Male Leads

https://www.thewrap.com/jordan-peele-no-white-male-leads-nothing-wrong/

But racism becomes a social disease when it systematically and systemically places one race at the top of a hierarchy at the expense of other races. That is why the N-word stings so much more than any word blacks ever coined to denigrate white people. It’s why blackface hurts in a way that whiteface doesn’t. There are centuries of brutal history to back up the sting.

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Black Romance

I thought this article was especially interesting. I do not read Romance novels, as a general rule but I used to have a disdain for them. At some point, I realized my disdain was contributing to an atmosphere in Pop culture that devalues the interests of women, and if the hobbies and interests of women aren’t considered important, then imagine how denigrated Black women’s interests must be.

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Fifty shades of white: the long fight against racism in romance novels

https://www.theguardian.com/books/2019/apr/04/fifty-shades-of-white-romance-novels-racism-ritas-rwa?src=longreads

Some booksellers continued to shelve black romances separately from white romances, on special African American shelves. Accepted industry wisdom told black authors that putting black couples on their covers could hurt sales, and that they should replace them with images of jewellery, or lawn chairs, or flowers. Other authors of colour had struggled to get representation within the genre at all.

 

 

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US

I promise this is the last article I’m going to post about this movie. Its just fascinating how much (and how many) meanings people are finding in this movie.

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https://www.hollywoodreporter.com/heat-vision/us-movies-hidden-meaning-black-identity-explained-1196687

Jordan Peele may have crafted the first horror movie to truly dismantle the MAGA era and how African Americans fit into it.

 

 

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Poverty

Hollywood has crafted a lot about how we think of the world, its situations, and the people around us. I think many of us would be surprised at how much of our “knowledge” of the world comes from movies.

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Perpetuating the poverty myth: How Hollywood gives us the wrong ideas about poor people

https://www.yahoo.com/entertainment/perpetuating-poverty-myth-hollywood-gives-us-wrong-ideas-poor-people-210440365.html

Pimpare believes that at this time of deep divisions in America, movies that accurately portray modern-day poverty are more important than ever. “We are geographically so segregated, racially segregated, and we are very much economically segregated — so it may be that for growing numbers of people, the only opportunities they have to gain insight into lives of poor and low-income people are through mass media,” 

 

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Representation Matters

Yahp!

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https://the-orbit.net/progpub/2018/12/26/representation-matters/

For myself and many African-American moviegoers, one film has stood out from the rest. Not because the others listed (or those absent) are sub-par movies, but rather, because the Black Panther was the kind of movie we have long thirsted for. The first Black superhero of Marvel Comics got to headline the first Black superhero movie from Marvel Studios, with a Black director, a predominately Black cast, diverse presentation of Black bodies, an Afrofuturist aesthetic, complex nuanced characters largely devoid of stereotypes, a rich backstory, and a massive budget. A monumental box office hit, the movie shattered record after record on its way to a final global tally of roughly $1.3 billion. 

 

Movies Normalize the Harming of Black Bodies

Questioning Authorial Intent

I think it’s time we started discussing a writer’s intention in creating marginalized characters. It doesn’t particularly matter to me whether its done consciously or unconsciously, but we need to speak about how writers treat their characters of color, LGBTQ characters, and female characters.

The TV and movie industries have always been controlled primarily by white male writers. They write  women characters  according to what they think women are actually like, or wish they were and we have to be willing to admit that there are more than a few writers out there who fantasize about how they would like to treat women, and realize their fantasies through the characters they create. It’s also an industry made up of a lot of straight men, who have always been prone to homophobia, and who have  written gay characters the way they see them, or wanted them to be seen. And yes, in some cases they fantasize about these characters being  punished for being who they are. (This is something that has been well documented about women, and  Gay characters in movies. See: “The Celluloid Closet”, and documentaries on female characters in slasher films.)

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We have all become aware  of the unnecessary rape scenes of female characters, and the Kill Your Gays Trope, where the writers punish and kill women  for being  sexually forward, and the gay characters who lead tragic lives, only to die horribly. The same dynamic  seems to be at work for Black characters too, and the reason why may be the unconscious, (or hell, sometimes very conscious), racial resentment of White writers, who feel forced to include these characters in their work.

I’m not advocating that no Black characters ever be punished or killed, but I am questioning the intentions of the writers who do this, and I wonder if, like the OP above, if it’s resentment at having to include characters of color. More and more often, White writers are being called on to be inclusive beyond white, straight, able bodied, men, and some of them might feel some type of way about that.

Hollywood and TV have a long history of depicting White men bullying, torturing, and gunning down “the other”.  Is it any wonder that it is primarily White men who are the main perpetrators of mass acts of violence against women, (The Ecole Polytechnique Massacre) , gay and transgender, (The Pulse Nightclub Shooting), Blacks, (Charleston Church Shooting), Jews (The Synagogue Shooting), Muslims, (Christchurch),  and others too numerous to mention. (This is not including regular acts of police brutality against people of color, and hate crimes against immigrants, and Jewish people.)

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What is new in Pop culture is an influx of Black characters being written by white writers, who think they’re being inclusive, but  who have not done their due diligence on racial issues, or Black culture. Sometimes, I’m seeing characters of color get bullied, tortured, punished, or killed in the narrative by White characters, some of whom are meant to be heroes, and I’m starting to believe that White characters  are stand ins for the writer’s own racial resentment. These characters get to do the kinds of things to Black characters that the writers, whether consciously or not, would like to do themselves, which is sometimes telling off, or hurting, or punishing “The Other”.

I have written before about how Black characters have been traditionally created in the white imagination, often associated with crime, murder, and sexual brutality, (That’s about how racial ideas in the real world get reflected in pop culture). I’m now talking about a different iteration of this theme, and I’m going to use the MCU  as an example, because this is where I first noticed it.

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The series The Defenders, is an amalgamation of the other Netflix series in the MCU,  Luke Cage, Daredevil, Iron Fist, and Jessica Jones, (all of which have since been canceled). In the one season of The Defenders, there are approximately two Black men, one of whom is a villain. There’s a scene where he is being tortured by Daredevil and Iron Fist, while the other team members stand around and debate this tactic. What you have is a team of superheroes torturing a Black man for information, and this is being shown as okay, even though real world specialists on this issue, have clearly stated that torture does not work as a tactic for getting information.

https://www.scientificamerican.com/article/we-rsquo-ve-known-for-400-years-that-torture-doesn-rsquo-t-work/

The prevalence of torture, committed by ostensibly good guys, in movies and TV shows, also accounts for the dramatic rise in  the public’s belief in torture as a real world tactic that  Americans should use in the fight against anyone who is considered “a bad guy”. Since Black men are stereotypically  associated with crime…well, you see where this is going.

 

And this isn’t limited to The Defenders, because Jessica Jones contains the scene of the unceremonious killing of the only  Black woman in the show, and Jessica’s disregard for the life of the only other Black character on the show has been duly  noted.  The Punisher, Iron Fist, and Daredevil are all known for showing their White protagonists beating up, torturing,  and killing whole squads of men of color. I mentioned, in a previous post, how Iron Fist had a nasty problem with beating up young Black men, without asking questions first. Even Spiderman tries to get in on the action by trying to intimidate a Black man he needs information from. (That he fails to intimidate him isn’t the point. The point is that he tried it, and that that was his first, go-to, move.) For the record, none of these supposedly heroic characters limit themselves to torturing only Black men. All men of color are fair game, as evidenced by the sheer number of Asian bodies Daredevil mows down, in any season.

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Many of the MCU movies have such moments. In Captain America: The Winter Soldier, you have another man of color being tortured for information by Captain America,  Black Widow, and Falcon. In Captain America Civil War you have a scene where Rhodey, Tony’s Black sidekick is injured by Vision, but Tony punishes Falcon,  for an incident that he was not responsible for. In Iron Man 3, Tony threatens the man he thinks is the Mandarin, by brandishing a gun at him to get information. To be absolutely honest, heroic characters of any race often get in on the torture of villains in the MCU. In the movie Black Panther, a movie written by a Black man, there are scenes of T’Challa beating up a villain  for information.

Primarily, this is about the use of torture by any “superhero “, towards men of color. These characters are all still  written by white men, and all these supposedly “good people”  end up harming or torturing men of color. (To be absolutely fair “good guys’ torturing “bad guys” is a problem across most, if not all, superhero comic books, but in the movies, these bad guys have a tendency to be men of color.)

https://www.complex.com/pop-culture/2018/04/racist-moments-in-comic-book-history/

We know racism is real. That is not a matter for debate. We also know that people, in the fandoms surrounding these movies, regularly engage in racist thoughts and actions regarding characters of color, and show a great deal of resentment and hatred for them. What I am questioning here is the idea that, somehow, writers of  Fantasy  TV and movies are somehow exempt from racial resentment because …well, they’re creators, I guess.

And just because the hero committing the torture is Black, that does not make the situation exempt from this criticism, as these are Black characters as interpreted through the lens of  White writers. White writers create these characters, making them say and do whatever they want, including voice their own racial resentments, as what happened with Nick Spencer’s  version of Falcon as Captain America. Nick Spencer wrote a parody version of SJWs, and later Sam Wilson, who had been written as a voice of reason, apologized to Steve Rogers for ever having been like them. A Black man apologizes to a White man for ever having been a passionate activist!

https://www.dailydot.com/parsec/captain-america-sam-wilson-nick-spencer-controversy/

Over and over again, White audiences (which this sort entertainment is primarily written for) are subjected to the concept that its okay for good (ie. White) men to beat up on, and/or torture, Black men.  Vigilantism. Is it any wonder that there’s is so little  empathy for Black characters in movies and TV, (The Racial Empathy Gap), or that White people are quick to make excuses for White men’s violent aggression against Black men.

The most recent case of real life vigilantism was when Trayvon Martin was killed by George Zimmerman, and it was Trayvon who was painted as a villain who deserved to be shot by the innocent Zimmerman, who was just trying to protect his neighborhood. This is how such vigilantism plays out in the real world. How is what happened to Trayvon different from a scene in Iron Fist or Daredevil, which are shows about fine upstanding White men, who just want to protect their neighborhoods.

White America has always told such stories, which often resulted in the beatings and lynchings of Black Americans, when White men take it upon themselves to protect against Black criminality. Two of the overwhelming messages in Pop culture, (books, movies, and TV shows), for decades, is that vigilantism is a perfectly acceptable response to criminality, and that Black men are  the criminals, who deserve whatever violence is meted out to them by White men.

There is a connection between the normalization of brutality against marginalized bodies onscreen, and White male brutality agaonst “the other” in the real world. One of these is a reflection of the other, but which of these, remains the question. And what is served by showing audiences image after image of White heroes willing to do their worst to marginalized others?

Exciting Trailers For April/May

Gemini Man

I am really excited about this movie. I am a huge Will Smith fan. I have been since Fresh Prince, and will watch any movie he stars in, or any album he releases. This is non-negotiable, and I am unanimous in this! Plus I like the premise of this movie, of a government assassin fighting a younger version of himself…c’mon! that is John Wick levels of awesome!

 

See You Yesterday

I love the premise of this movie, but ultimately I probably am not going to see this in theater. Some movies I just can’t watch because I would have serious problems controlling my anxiety, and shootings of unarmed people is one of those topics. But don’t get me wrong, I hope it does really well, and I urge people to go see it for its novelty, if nothing else. Groundhog Day-like stories, with Black people in, them rarely get seen. I can always support a movie about little Black nerds, I just don’t want to see any more fictional stories involving unarmed Black people getting shot by the police, (or real ones either, for that matter).

I  do think the fact that Black writers are capable of telling these types stories, at this time, in their own words, is kinda awesome and groundbreaking, though.

 

 

Final Godzilla Trailer

I’m really excited to see this movie, and I hope I can talk my Mom into going to see it with me, even though she claims to hate Godzilla. She says that, but she does like that Michael Bay movie that I hate, so maybe I can get her to see this one.

 

 

Child’s Play

My Mom is  a Chucky fan, but she has emphatically stated that she does not want to see this movie, and that its going to be crap. I, however, am not a Chucky fan, beyond the first film, and this  looks interesting to me, and I’m already trying to figure out how to manipulate her into going to see this movie with me, (which may or may not work).

 

 

 

Addams Family

We goin’ waaay back, to the original Addams cartoons for this …well, cartoon! This is how they were originally drawn by their creator Charles Addams. I remember reading these in some collection when I was a kid, and I do remember loving the TV show which was  toned down from the comics, in that there was less of them actually trying to kill each other. I am looking forward to seeing Lion on screen, though. This seems to be getting back to the Addams’s darker aspects.

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Star Wars: The Rise of Skywalker

I’m not sure what to think about this trailer. It looks pretty good, and I hope they do right by Finn in this episode. I was a little disappointed in Finn’s character arc in the last movie, although I loved his fight scenes, and his chemistry with Rose Tico. I think the movie got bogged down with too much emphasis on Kylo Ren’s backstory, which I like to skip over, when I’m watching it on Netflix.

But this trailer looks good, and I’m looking forward to seeing Lando Calrissian again.

 

 

Swamp Thing

I’m a big Swamp Thing fan, especially the 80’s version, which was much more Horror than superhero type story. In fact, Swamp Thing wasn’t a heroic character, really. He had his own personal battles he was fighting, and then there was the introduction of The Green, which really made the books deeply surreal. There was also some pretty deep philosophies  about man and nature ,and man vs. nature, and self identity. I don’t know if the Arcane arc will be covered in the series, but I’ll check it out when it airs.Well anyway this new show is airing on the DC Universe streaming service, along with Titans, and Doom Patrol.

 

 

The Boys

I never read the comic so I can’t say how accurate this is to the written material. This trailer looks insane though. I’m not sure I’m going to watch it, just for that reason. I don’t know if I’m ever ready for intensely crazy imagery like what’s happening here. It also doesn’t look especially deep, seeming to be more spectacle than thought, and it probably needs more PoC in it.

 

 

Like a lot of fans, I am going to see Avengers Endgame, and will probably have some thoughts about it. Hell, I have thoughts about it now because of been doing some reading on Malthusian ethics, (for lack of a better word), and I had some thoughts about Thanos and White Nationalists, and Swift’s A Modest Proposal.

I Said It On Tumblr

I have got to say some things, so sometimes I respond to posts  by people on Tumblr. Sometimes, I simply make my own posts. As you can see, the things I post on Tumblr are a lot more blunt than the things I put on this blog,, which is mostly meant to be geeky about stuff I watch on TV.

So here’s some shit I said while I was on Tumblr, that I was apparently  too chickenshit to post  on this blog!

White Characters During Slavery

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I saw an interview with Danae Gurira, who stated something similar to this, where she said, if you make a movie about Black people, and then add one White person, the audience will focus on the White person, and if you make a movie that’s supposedly about women, and add one male character,  the audience will focus on that one man. So obviously, the thing to do would be remove those characters from the story, so that the audience has no choice but to  focus on who you want them to focus on.

One of the side effects of adding sympathetic White characters to narratives about slavery, (or any story involving Black pain), is that it makes White audiences comfortable with viewing Black pain at a remove. As long as there are White characters in the story that White audiences can identify with, then they can remove themselves from the (historical) causation of Black misery, and just view that as part of the landscape of the story. Instead of focusing on the idea that “White people were responsible for causing this pain.” , they will focus instead on, “I would never have been a part of that, just like that guy.” or, “There were good White people back then and I would have been one of those.”

In fact, I highly suspect the reason why so many White creators have written Slave narratives is that its a low key excuse to hurt Black people, show Black pain, and express their latent racial resentment. It makes Black pain and horror part of the “entertainment” of viewing historical narratives, while Black audiences have no such outlet. Outside of being mildly informative, (and occasionally highly misinformative), it’s not cathartic for us to watch these stories. We feel the pain being inflicted on Black characters, who are suffering, with no reprieve for us in the story, because that’s who we are meant to identify with.

White creators can punish Black people within the story, and harm Black audiences who view that pain, as well.

I’m proposing a moratorium on Slave narratives being told through a White lens, because White creators have not only done a piss poor job of the accurate depiction of what slavery was like, but have done an excellent job of inflicting trauma on Black audiences, while making White audiences feel good about themselves.

I’ve made myself this promise, at least. I will not watch anymore movies where the story is nothing more than depictions of Black pain, and misery, with no emotional outlet.

 

Earlier I said this:

I can see the parallels to this in a lot of marginalized groups depictions in popular media. Before this new era,  white, straight audiences wanted to see groups of other non-white people suffering, and they flocked to that kind of drama. We went  too, because, for us, it was representation, and for white people it was the tragic  drama of a life they will never live, and the affirmation that they were living correctly.

But now I see PoC and LGBTQ people wanting to see different depictions of themselves, in media, that go beyond merely suffering. We want images of ourselves being happy, and being in love, and being loved, and accepted. We want power images, and adventure images too.

Those previous depictions of marginalized people as sufferers of indignity had their place, (and sometimes still do), but now, this is a different generation, a different era, with new audiences that are demanding media that is a reflection of how far we’ve come ,rather than a mournful reliving of the past, or the wish fulfillment of straight white men that think they anyone who isnt them, should be suffering.

 

Racism In The Knitting Community

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This answer was a response to an article about how the knitting community is dealing with racism, and the dismissal by some members of the community of its importance. The attitude was why can’t we just knit, and forget about  this stuff, and my response was, it’s easy to say that, when they don’t have to worry about it.

The reason why we have to deal with this now is because white people don’t stop acting like racists just because they’ve taken up a hobby. A person doesn’t stop treating other human beings like crap because they enjoy an activity, and white people take racism, and discrimination with them everywhere.

BIPOC can’t ever just enjoy an activity, especially if white people are heavily involved in it. Just because you don’t have to deal with it in your personal life doesn’t mean it’s not important to the people to which this keeps happening.

We’re not letting our insecurities stop us from succeeding. What’s stopping us from making progress as designers, yarn dyers, shop owners, etc, is white racist attitudes at the idea that we don’t/ can’t share hobbies with them, and then the dismissal by white people, of our lived experiences, as not being important, because THEY don’t experience it.

Instead of opening your mouth about things you don’t experience, so therefore  think it’s not important, you need to go to Instagram and read the testimonials of BIPOC experiences in the community. All it takes is a handful of white people to make the entire experience a living hell for someone who wants to simply love a hobby as much as you do!

And it’s not just personal experiences either. How many designers of color can you name off the top of your head? Do you ever see any knitters of color anywhere just in passing ? How many knitting books have no PoC in them as models? How many have you bought any products from in the past year?

Honestly it’s very disappointing, and entirely in keeping with the article too, that all these people would go into the comments to dismiss what we go through, and tell us to just get over it!

Why am I not surprised?

 

 

Cyberpunk Revolution in Film

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For some reason, I felt prompted to speak on the concept of the Lone Agitator in Pop Culture/SciFi.  I forget what inspired me to write this, but I think I had in mind the many Futuristic and  Dystopiam movies that revolve around the lone White hero, who starts a rebellion.

Since so much of Hollywood is run by white men, the futures they often imagine, and put on screen, are often reflections of their lived experiences, which they don’t notice, or refuse to acknowledge.

Like the depiction of revolutionary futures in cyberpunk movies. Too often white imaginaries see revolutions as movements led by a strong leader, often a man, but sometimes a white woman. They rarely imagine rebelling against systems of futuristic oppression through unionized or collective grassroots action, through the use of social media, and this is because many of the men writing such stories have had no experiences with that type of action in their own lives. They are mostly likely to think of rebellion in lone rebel/hacker terms. For example, only one person (a young white person) is in charge of whatever decisions needed to fight against a system of capitalist oppression.

Even in cases which depict groups of people coming together, those groups only do so at the urging of one strong leader, who rallies everyone to action. Such future rebellions are almost never depicted the way they often look in the real world, which is decentralized, with no clear leader, and is often just a group of people who all believe something, and all decide to meet up somewhere at sometime, place phone calls, or donate money.

We can see this in the difference between how marginalized people organize to address social and corporate oppression, and how white men address what they believe to be oppression of themselves. With only a handful of exceptions, they rarely come together in unionized collective action to bring about the change they want, preferring instead to go it alone, believing their individual actions to be of primary importance, for example, witness the many “lone wolves” engaging in terrorist actions. Even in cases where white men collectively organize their organizing can still be disrupted by lone actors, as it was in Charlottesville. Most terroristic actions, the bombings, the shootings, are carried out by loners who believe they’re fighting against white male oppression and believe that violence is the only way for such change to occur.

White male rebellion against something they disagree with often looks very different from the revolutionary behavior of marginalized people, which is often non-violent (and when it does become violent, the violence is often against property rather than people). Instead of group actions, they would rather engage in individual activities, like harassment, deception, and misinformation, and when that doesn’t work, violence against people seems to be their next and only option.

This is depicted, at least  in movies, as violence against their oppressors, when in real life, grassroots, feet on the ground, rallying, marching and rebellion is most often completely nonviolent, and a carefully coordinated group action, often reached by consensus. (“Hey, let’s meet here and do______, for _________.”) But lone wolves don’t need to to reach consensus with anyone. They can skip all that and go to direct (and often violent) action, thereby retaining autonomy as individuals, without having to compromise their behavior or beliefs. (This isn’t a hard and fast rule, just a tendency.) Far too much of White men’s ideas about activism consist of causing harm to others, and its also how they classify real life activism against themselves.

The white men who make the rebellion movies we love to watch often do not depict marginalized people (beyond white women) in leadership type roles, for such, and the futuristic stories they tell about it, do not accurately depict how grassroots organizations actually work, because many of them have absolutely no experience with such activities. Most of them have never had to rally for or against something. It is one of many things Hollywood creators depicts inaccurately because the people controlling the industry do not have a window into different kinds of life experiences, and overwhelming come from the same racial, and socio-economic class.

 

 

White Negligence

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I know exactly what prompted me to write this one. I was feeling seriously pissed off about the mainstream media’s reaction to the Opioid Crisis vs. their reaction to the Crack Epidemic, (and before that, the Heroin Epidemic), in Black communities. But what made me especially angry, was just the sheer fucking waste of time and energy spent by White people on making themselves feel good by pointing out how it was our fault, (because we’re pathological), instead of putting structures in place to fix the problem. The same structures that would have been in place to help them with their current crisis.

White people have been so damn busy piling all their worst sins onto the backs of black and brown people, and smugly patting themselves on the back for not being like those violent n*gg*rs, and sp*cs, they they have absolutely failed to address any of their own pathologies.

One of the problems with spending all ones time smugly pointing out everyone’s else’s sins, and admonishing them to fix their shit, is one gains the very bad habit of allowing one’s own dysfunctions to grow and fester unimpeded. It’s been several decades of white people acting this way, and now their many, many pathologies are catching up to them, and resulting in their own deaths, while they stand around looking bewildered, and wondering what happened, or why there are no structures in place to help them.

Meanwhile, people of color, who were always being admonished to fix their shit, have been doing the work, and at least acknowledging their issues (as white people are always quick to helpfully point them out to us),  while trying to warn them that things were soon going to catch up to them, sooner or later, because they’ve got some shit they need to take care of, too.

I have observed that PoC are more compassionate and empathetic than any of the White people who have spent the past five decades wagging their fingers at them. PoC have spent a helluva lot of time trying to save them from themselves. Ultimately, it will not be immigrants, Muslims or other PoC who will destroy White people. White people will destroy themselves (as they seem to be bent on  doing so) in a paroxysm of drugs and violence, because they refuse to take care of any of the issues that have plagued their colonization of this country. The problem is that they seem hellbent on taking the rest of us with them.

 

 

Angry White Men

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I think I wrote this after the Kavanaugh hearings, in which we saw a White man have a complete, and total, breakdown-conniption-fit, in a professional setting, on live television. I remember thinking at the time that that must have been really nice, because there’s no way in Hell on Earth I would be able to get away with acting like that, in any business setting. Ever!

In fact, there’s not a woman, or PoC on this planet, who would ever be able to act that way in a public setting, without having the police called on them, or at least being fired from their job. If you think for one moment that what we saw wasn’t White privilege at work, think about acting that way in a job interview, and still getting the job!

The only group of people who have the luxury of screaming in anger and outrage in a public space are White men. Not even White women get that luxury without, (at least), being dismissed as hysterical, and if you’re a Black woman, you can look forward to being demeaned as a ‘hood wench, demonized as an angry black woman, or mocked as a ratchet hoe.

If you’re a Black man, you can look forward to getting arrested, or killed by the police, if you show any sign that you may be thinking about being angry, on even the most justifiable issue, like your own injustice.

So when you see images of white men in suits screaming at other white men in suits, just know that’s something that will be applauded as manly by other White men.

 

 

 

White Surprise

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I think what prompted this was testimonies from various White people evincing  surprise, at certain other White people, who are always calling the police on Black and Brown people, for living while having color. It really wasn’t that long ago that White people could do whatever they felt like doing to anybody Black, in any public space, without any pushback or repercussions.

I’m getting really tired of White people being surprised at the depths to which other White Americans will sink, in their hatred of people  they think are  different from them.

Such people have always existed in this country, and there were times when such people were in total power over Black and Brown people. Middle class, straight, White people have had the luxury of ignoring what doesn’t directly affect them as they were almost never the targets of such people. Apparently it’s really easy to declare something to not be a problem at all when the problem isn’t yours.

Black and Brown and Indigenous people have been the victims of such bullies since the beginning of this country, and have been warning everyone that those people will be coming for them at some point, because such people are not respecters of any humanity but their own. Now that it’s coming home to rest in their backyards, because they’ve ignored it when it was happening to everyone but them, they want to act surprised and outraged.

It’s just another form of White narcissism, that the only time anything becomes a problem to be solved , like drug addiction, authoritarianism, and poverty, is when it hits White people. As long as only “those other” people are on the receiving end of it, most White people will sit by and simply watch it happen, (if they notice it at all), while convincing themselves what good people they are. Usually by the time the problems reach White people it’s too late to do anything to stop them.

 

Black Torture

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I’m pretty sure that what prompted this post was watching Iron Fist, The Defenders, and Captain America, back to back some weekend, and noticing t scenes that all connect to each other. See, this is what my brain likes to do for fun, when I’m doing something else, which is collecting trivia, and then bring it to my attention at three o’clock in the morning, when it knows damn well I need to go to sleep. 

I can see the parallels to this in a lot of marginalized groups depictions in popular media. Before this new era,  white, straight audiences wanted to see groups of other non-white people suffering, and they flocked to that kind of drama. We went  too, because, for us, it was representation, and for white people it was the tragic  drama of a life they will never live, and the affirmation that they were living correctly.

But now I see PoC and LGBTQ people wanting to see different depictions of themselves, in media, that go beyond merely suffering. We want images of ourselves being happy, and being in love, and being loved, and accepted. We want power images, and adventure images too.

Those previous depictions of marginalized people as sufferers of indignity had their place, (and sometimes still do), but now, this is a different generation, a different era, with new audiences that are demanding media that is a reflection of how far we’ve come ,rather than a mournful reliving of the past, or the wish fulfillment of straight white men that think they anyone who isnt them, should be suffering.

Is it just me or has anyone else noticed this trend in superhero movies of Black men (and sometimes other men of color) being tortured by characters who are supposed to be heroes?

I first noticed this in Captain America Winter Soldier, when Steve, Falcon, and Natasha were torturing Jasper Sitwell, who was then brutally killed by The Winter Soldier.

I noticed it again in The Defenders, when the lone Black member of The Hand gets  tortured by the group of supposed heroes.

Daredevil’s plot (at least for the first season) seemed to consist entirely of him beating the crap out of poor men of color, which is ironic, because earlier in the season of The Defenders, Luke Cage chastised Danny Rand for beating up poor Black men, and then stands idly by, saying nothing, while Daredevil tortures yet another man of color.

I haven’t watched every single movie and show in the MCU, but wanted to know if anyone  else noticed this in other superhero shows, or franchises. Did this happen in Jessica Jones? (I understand that that show has other racial issues, too.)

Outside of the idea that people referring to themselves as god guys probably should not be using torture to get information, I’m concerned about the use of torture against Black men by White characters who claim to be doing good.And my second concern is the massive amounts of bodily trauma (beatings and deaths) being visited on men of color throughout the franchise.

What To Do At The Zombie Apocalypse

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I think what prompted this  post, was an article I read, about why we never see people riding bicycles after the apocalypse. I started thinking about a lot of the tropes, and imagery, we get fed, in Popular media, about what to do when the world is ending. When the apocalypse comes it is almost overwhelmingly White, for one thing. it almost never seems to impact communities of color, nor do we often get to see how poc react to the world ending. I think its because the vast majority of these stories are told by middle class White men, and this is their idea of what it would like like.

I’ve been saying this about the Zombie apocalypse for years. What city dwellers do you know who are  gonna immediately run out to the woods and live at a subsistence level just because dead people are walking around? People with disabilities, allergies, or just elderly parents to care for, ain’t going to be doing any such thing. Why is the advice given to people, that they need a “bug out” plan just because the dead are walking? I’m not buying it.

I live in the hood. Do you know how many handy men we have in the hood? How many military personnel. Or even homebody engineers. Do you have any fucking clue how resourceful and cooperative poor people are, and have to be to survive even with electricity? And how many of us have been trained to expect the best, but plan for the worst case scenario. No, you don’t, because that idea of poverty is never represented in popular culture. Shit! A zombie apocalypse won’t even ruffle our fucking hair. We’ll come up with ways to kill the zombies while keeping it moving. Hell, my brother all by himself, could have the electricity up and running, a defensive tower, a moat, schooling, and gardening, all in the space of two weeks.

It’s also interesting to me that all zombie apocalypse movies only seem to consist of middle-class white suburbanites trying to survive, with a handful of PoC thrown in like confetti. The most that White writers can imagine, for PoC, even during the apocalypse, is that we all die? Really! That seems to be their only scenario. They don’t take into account that poor people have been taking care of each other since the invention of poor people. The poor have never believed in an isolationist, go it alone, ruggedly individual attitude, when it comes to surviving, because we couldn’t afford that! Poor people are not lazy, and of everyone, they would be the most likely to survive any apocalypse because we have experienced surviving hardships and insecurity!

On the other hand, the middle class white guys who invented these types of stories are obsessed with that attitude. They really think that soon as the electricity stops, people are gonna lose their gotdamn minds, and start trying to kill their neighbors for fun and food, or planning a long journey to go find their wife, son, daughter, lost somewhere in the pre-tech Badlands! Not even taking into account that we have real life scenarios right here, right now, that we can look at and figure out that most people aren’t gonna act like that. (*cough, ahem! Puerto Rico! Cough*).

I have long come to understand that apocalypse scenarios are just wish fulfillment fantasies for middle class white guys who think that the end of the world will make them the heroes they always wanted to be. As a result I’m no longer interested in end of the world scenarios with white men in the center of them as the heroes, and yes, I’m also talking about a certain TV show, too.

 

 

Brooklyn 99 is Propaganda

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This was prompted by a long discussion on Tumblr about what constitutes propaganda. Mine was not the definitive answer on the subject  (at this time, the argument is still ongoing), but whether or not you think of some show as propaganda, sometimes depends on your  definition of the word. I used a very broad definition, some people wanted to be more specific.

Uhmm, actually it is. Don’t get me wrong, I absolutely love this show and all it’s characters, but that’s what makes it propaganda. Any cop show that is set up for you to think of the characters as likable, dutifull, and most importantly “good cops” is propaganda. I don’t think that’s the creators intentions, (I think their intent is to be funny with great characters, and tackle social issues) but it is propaganda because the “effect” is that you end up liking the cops on the show, and in real life they’re generally pretty conservative, whereas the cops on this show are very woke. If it were a hospital ,or a college campus it wouldn’t be considered propaganda, as a hospital or college campus are not political entities in the same way as the police. The police are tools of the state, so ANY show that makes us feel some type of way about them (good or bad) automatically makes the show political, making it propaganda.

So yes, as wonderful and lovable as the show is, as nice as the characters are, that is the very reason that it qualifies as propaganda. Technically, even if all the cops on the show were evil and corrupt, it would still be propaganda because the side effect is that you watch the show and feel some type of way about a state-run, political entity.

In a broad definition of the term, the creators have an agenda, and while that agenda is not making the police look good, the side effect is that the show makes the police look good, and makes you feel good about them. Just because it’s a comedy doesn’t mean it doesn’t have an effect on the landscape of peoples thinking. Because, in the end ,it’s not about the “intention” of the creators. It’s about the “effect” the show has in the landscape of television, along with 15-20 other cop shows.

So yeah, Brooklyn 99 qualifies. And it’s a testament to just how damn good this show is that I will watch the hell out of it, even though I avoid almost all cop shows as a believer in BLM, and recognizing they’re all propaganda.

 

Source:

In Defense of After Earth (2013)

Only straight, White men have the luxury of being lazy about watching a movie. The rest of us always seem to have to be on guard, just in case whatever White guy who wrote the movie, fucks up and traumatizes us with surprise images he didn’t give any thought to showing. Sometimes, when watching films, we have to constantly be wary of either being freshly traumatized by something on the screen,  or desperately clinging to whatever tiny nuggets are in the film, that we can apply to our lived experiences, in order for us to like it.

Not that White male reviewers are all particularly lazy, but there’s a very shallow sort of film critique that a lot of them engage in, that’s only about whether the movie is objectively good or bad, or the technical details. (And ranking movies seems to be really popular with such people, too.) There’s nothing inherently wrong with those kinds of reviews, but often people from marginalized groups require reviews that are a little more in-depth.

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White men don’t get a lot of  practice of thinking about movies through different lenses, the way marginalized people often have to do. Many of them only have one lens, because most movies are made with them in mind as the audience, so they don’t NEED to look further into a movie, in order to like or dislike it. I’m not particularly interested in  a shallow review, or in ranking things from best to worst. If the word “suck” is mentioned anywhere in their critique, I  automatically dismiss anything else they might have to say about the movie. I want more from a critique than “It sucked!”

Yes. This is yet another essay on how White male film geeks review movies which star people of color!

After Earth (2013)

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I have a real issue with how badly this movie was treated by everyone. The critics made it very clear that this was an awful film. It was not. And when this movie was released, Black people were not in the social position we’re in right now, where we could see how groundbreaking this was, (it was released just before BLM), and we were not in a position to provide pushback to the narrative that this was the worst film ever made.

No!

What it was, was a  film that was attacked with the agenda of demonizing  M. Night Shyamalan and Scientology. Will  and Jaden Smith were simply caught in the crossfire. This movie, while not a masterpiece, was vilified entirely out of proportion to its effect on the landscape. At any other time, especially any time after 2014, it would have been recognized as a middle-of-the-road, Summer blockbuster.

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After Earth can be seen through both a thematic and racial lens, as  an example of Afrofuturism. Seeing this movie through a racial lens means that I need to put on my Black filmgoers glasses, and view the movie through the historical depictions of Black people in film, and whether or not the film has any messages in it that are about racial stereotyping, or agency, for example. This movie contains these things, not because it contains overt messages about race, but because it stars Black characters, and  our mere presence in the source material is enough to make whatever we say and do a political issue.

 

In After Earth, which stars Will Smith and his son Jaden, a father and son reconcile their feelings about each other, as the son comes of age, while set against the backdrop of planetary survival. A thousand years after Earth has been abandoned, their ship crashes, and  an alien predator the ship was carrying, called the Ursa, is set loose. Will and Jaden Smith are both Black men. The movie has no White characters in it. There are spaceships, alien/human cityscapes, and futuristic weaponry. This is as much Afrofuturism as Black Panther, and there is definitely some sort of dialogue occuring between the two films, though they were released several years apart, because they both involve sons dealing with the emotional legacies of  powerful fathers.

https://drmillerjr.wordpress.com/2014/03/11/after-earth-is-afrofuturism/

Traditionally, Black people have been erased from futuristic narratives, and Afrofuturism is an attempt to center us, and our cultures, and priorities, in those narratives. Will Smith, in particular, has a long history of starring in Science fiction films like Men in Black, Enemy of the State, and I Am Legend, movies that tackle the subjects of alien immigration, dystopian state surveillance, and the apocalypse, all features of what is, traditionally, White futurism.

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After Earth has much to say about the relationships between fathers and sons, how sons want to live up (or down) their father’s legacies, and how father’s must reach out and connect with their children. Cypher Raige is a man who is cut off from his emotions because that is what has helped him to survive. In our world, it would be said that he suffers from a toxic form of masculinity, but Cypher’s ability to cut himself off from his feelings has made him one of Earth’s greatest soldiers against an alien race  that uses human fear to hunt and kill human beings. Cypher has gotten rid of fear, but in the process he’s also gotten rid of some of the  more positive emotions. He is a controlling, authoritative, and grim father figure, without much humor or warmth.

This lack of fear has made him a great Ranger, but it has made him an indifferent father to his son, Kitai, (a name which means “Hope” or “Prince of the Air”). Kitai wants not just to be like his father, follow in his footsteps, and become a great soldier, but to emotionally connect with his father. He wants desperately to know his father loves and supports him, especially after he fails his last exam to become a Ranger. He believes his father thinks he’s a failure because its what he himself believes. He is also suffering from the trauma of the death of his sister, who sacrificed her life to protect him from one of the Ursas, his guilt at being unable to save her, and his father for not being there when it happened. These are the motivations behind many of the decisions Kitai makes after he and his father crash on a long abandoned Earth, and Cypher is too injured to walk.

This set up puts the two of them in a position where they are required to rely on each other, not just physically, but emotionally. Kitai’s character arc involves learning that he is as capable a soldier as his father, and does not need to carry all these emotional burdens,  and Cypher’s character arc means having to open up to his son emotionally, and expressing how he really feels, and that that will be the only way his son can save both their lives. And all of this is an allegory about the emotional connections between Black men,  living in a White supremacist society, that is intrinsically dangerous to them, and requires that they be  hypermasculine, and emotionally cut off in order to survive it.

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Cypher Raige Everything on this planet has evolved to kill humans. Do you know where we are?

Kitai Raige No, sir.

Cypher Raige This is Earth.

Viewing a movie through a racial lens requires that I provide some historical context to my opinions. I could discuss how the American version of the performance of toxic masculinity is based on a White supremacist dominance hierarchy, that requires violent domination and oppression of non-Whites, and that to survive this oppression, Black men have have felt the need to “out man” their oppressors. To essentially be more dominant, and more manly, than the White men who established this hierarchy to keep them in their place, and that their emotional disconnect with each other is not only what is ultimately desired by this dynamic, but leads to worse oppression, because attempting to compete with White men, to be more manly, dehumanizes them, and doesn’t allow them to unite against a system created just for that purpose.

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https://oliviaacole.wordpress.com/2013/06/03/black-children-and-after-earth/

This movie had messages, moments, and dialogue,  that greatly resonated with me. The scene in which Cypher believes he has lost his son, in the same manner in which he lost his daughter, (both of them trying to win their emotionally distant, father’s approval),  was deep for me, as I suspect it was for many of  the Black men who watched it, and  who considered  their relationships with their own fathers, or their sons.

I watched After Earth several times, and it’s one of my favorite movies, which is why I was interested in why so many critics hated this movie,

 

(https://news.usc.edu/144379/usc-study-finds-film-critics-like-filmmakers-are-largely-white-and-male/)

and while there are a few legitimate criticisms that can be made about this movie, most of the criticism I saw wasn’t any different than the criticism I could lob at films with White stars. There is nothing wrong with the acting in this movie that is wrong in any of the other movies Will Smith has made, nor is there anything wrong with Will Smith making a movie with his son as the star, as he did in The Pursuit of Happyness, nor is this movie Scientology propaganda, any more than the other movies in which Smith was the star. (Will and Jada Smith have clearly, and emphatically, stated that they are not Scientologists, only sympathizers.)

I believe a lot of non-professional critics didn’t approach criticism of this movie in good faith, and I believe more than a few of them used the flaws in this movie as an excuse to express their racial resentment about the fact that there were no White men centered in this movie. There are also plenty of White people who felt some type of discomfort at not being centered, or even depicted, in the movie at all, and unwilling to attribute their discomfort to their narcissism, attributed their discomfort to the film being bad. The message of the movie, the relationship between young men and their fathers, is a universal one, (and I’m certain that many White men understood and enjoyed it, but then they’re not film critics), and it is well documented that  White audiences have always had trouble identifying with Black characters on screen.

https://www.salon.com/2016/10/05/luke-cage-and-the-racial-empathy-gap-why-do-they-talk-about-being-black-all-the-time/

https://www.indiewire.com/2014/01/why-white-people-dont-like-black-movies-162548/

https://mic.com/articles/74291/why-white-people-won-t-see-black-movies#.J55x1mpgF

 

Will Smith is an especially beloved actor, so many critics would not attack him directly, but they can get away with tossing insults at Shyamalan, and questioning his motivations for making the movie. One of the major criticisms I encountered were White critics who said the movie was a thinly veiled attempt to recruit viewers to Scientology. Why? Because Will Smith and Shyamalan are Scientologists. This is suspicious to me since none of these critics have ever given one thought to Smith being a follower of Scientology in any of his other Scifi movies.

And sometimes people will express racial resentment towards individual people that they don’t feel they can express against an entire group of people. So rather than saying “All ____ are ______.” , what they will do is vehemently call out the mistakes of individuals from those groups, in order to disguise their loathing for the entire group. The individual becomes a stand-in for racial sentiments they are reluctant, for whatever reasons, to express out loud. (And since they only ever attack individuals of that group, they never have to admit whatever phobia or -ism there is, to themselves.)

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For example, witness some of the more  interesting criticism that White male film critics have said about Captain Marvel being military propaganda, when the same could be said of nearly every other movie in the MCU, at which none of them lobbed this complaint. And one can witnesses the same dynamic play out in the Jussie Smollett case, where people tried to hide their homophobia by expressing deeply vehement criticism of him, and his circumstances.

This type of criticism is dishonest, and disingenuous, and serves to protect the critic from backlash if they state their actual reasons for not liking some film, which is really ,  “I didn’t like this movie because there were no White men in it for me to identify with.” (This is not a hard and fast rule, all the time,  because plenty of White people liked Get Out, Black Panther, and other Afro-centered movies, but it is far too common, and there are too many, who  think they’re not being racist because they liked two or three highly popular movies that starred Black actors. It’s  basically, the critical equivalent of, “I have Black friends!”

I’m not the only person to notice this type of bullshittery either:

https://heraldiccriticism.wordpress.com/2013/06/14/when-criticism-becomes-agenda-setting-in-defense-of-after-earth/

 …but when you’re trashing a film based on its star’s belief system, you’ve ceased to criticize. You’re now spearheading an agenda.

Fred Harris touched on some of my suspicions, here:

Did a perception that this is somehow a “Black film” have anything to do with its poor opening? I know that this is a question that Hollywood producers (black and white) must be asking as they prepare for a summer of Black films.

https://newsone.com/2530136/after-earth-movie-review-racism/

And if you are wondering why I haven’t brought up “The Pursuit of Happyness” just yet, which was given 4 out of 5 stars by IMDB, it’s because Jaden was cute and fuzzy back then — and it was his debut. But the moment it seems that the Smiths are actually on to something, meaning leaving a life-long legacy for their children, now all bets are off.

Now we will call Jaden’s acting with his blockbuster dad an exercise in “vanity,” now we are disgusted with the apparent nepotism that this type of pairing suggests.

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This movie was nominated for a Razzie, and was panned by almost every White male critic with a pen and an ax to grind. All of them questioned whether or not Will Smith had lost his Star power, and what that would mean for his future films. Even Bright, a film I intensely hated, wasn’t panned as badly as this movie.

Outside of my usual critical ranting, I also want to shine a light on why my opinions on a lot of movies can sometimes diverge from that of critics, what criteria I  use, what lenses  through which I can,and will, see a movie,  and how I approach watching and critiquing movies and TV shows, vs how White film critics might view movies I happen to love, and how these two ways of seeing a movie are sometimes not compatible.

This is a mindset I have had no choice but to develop though, because, as a Black woman,  I am generally not the audience  that a lot of these movies of are made for. I have had to look beyond surface issues, like whether or not it was better than some other film in a franchise, to find reasons to like movies that White people love, and sometimes I’m successful, but sometimes, I also get tired of making the effort to care, and skip the movie altogether, as I did with Ready Player One, and Back to the Future.

White men have never had to look deeper than the technical aspects of cinematography, plot, pacing, or whether or not the hero of the movie looked like them, and what that might mean if he did. For them, the movies they love don’t even need to have any meaning. When you hear them complaining about entertainment being political this is what mean. For such men, movies and TV really are not political, because they don’t need to have any deeper meaning to enjoy a movie. They can just be flatly judgmental about whether or not a movie is just “good” or “bad”, because traditionally, the movies, which are aimed at them as the audience, are supposedly universal, and  appealing  to everyone. Too many critics never go beyond the mindset of ,”I liked this movie, so naturally, everyone else must like it, and here’s why it’s so great.” I can  critique a movie from that angle but its shallow, and  “unsatisfying” for me.

It has always been my rule since I was a teenager, really, to only rely on myself to determine whether or not a movie is any good, but after examining this for some time,  I have come to the conclusion that I most definitely cannot rely on  the opinions of White men to determine if a movie is bad or good for me, or indeed, anyone, other than themselves.

I have always tried to be honest about why I did or didn’t like something. Even if I don’t know why  I feel the way I do, I’m willing to say that too, and state that, where I found nothing in the movie to intrigue me, the movie may be of interest to someone else. I will flat out state, I’m not interested in a movie because it lacks racial nuance, or because its not feminist enough, the way I did for Wonder Woman.

This is not a mindset I’ve seen, from some critics, that a movie simply might not be made for them. One of the key warning signs that you are with a bad critic, is their insistence that a movie is objectively bad or good, and that if you disagree with them, then something is wrong with you. I’ve seen far too many critics assert that, because they liked a movie, it was good, and that a movie was bad, because they didn’t like it, and then, on top of that, say that that they gave an objective review. I have hated plenty of movies that are, in fact, very good and cohesive films. But I’ve also loved plenty of movies that just aren’t great movies. Just like After Earth.

No! There’s nothing wrong with you. You are simply looking at the film through a different lens, and using different criteria than them. and you must be confident that YOU know what you like in a film.

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Side note: I do not believe in “guilty pleasures”. I am never ashamed of loving or liking  a movie, or television show. I have my reasons for why I like something, I have actually thought it through, and I’m secure enough in my tastes that I know what my reasons are, even if the only reason is that it makes me feel happy, or that it looks pretty! I may occasionally be ashamed that I didn’t catch something seriously wrong with a movie, in my zeal to praise it, but I  am generally not ashamed when I like something, or to admit that I do, nor will I feel guilty about it.

And you shouldn’t either.

As a corollary to that general rule, I refuse to shame people for their own tastes, even if I find those tastes “puzzling”… If you can explain to me in a coherent manner why you love something (even if your only explanation is it makes you happy, or its just pretty), I can get with that. Your feelings about a movie are entirely valid, and you will never hear me describe anything on this blog as a “guilty” pleasure, and I would prefer that you don’t either.

Own your feelings!

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https://www.rogerebert.com/reviews/after-earth-2013

https://www.syfy.com/syfywire/in-defense-of-after-earth-the-m-night-shyamalan-movie-we-misunderstood

*Coming Soon: Why We Loved Suicide Squad and Venom, and Why They Didnt’

In Defense of The Village

 

 

For the me, there’s more than a movie just being good or bad, whatever that means, because,  as a Black woman, I am not the audience for a lot of movies that get made, so I have to find different ways of connecting to a movie. In doing so, I  sometimes  find gems where others don’t, or end up liking  movies others are set on hating (and yeah, sometimes a movie just stinks.) On this blog, I’m not necessarily here to tell you what to like. That’s a reviewers job, and I’m not actually a reviewer, although I do reviews. I consider my job to provide a fresh perspective on a movie, a way you may not have thought of before, so that the next time you come across it on TV or Netflix, you’ll remember ,and give the movie a try, maybe see it with fresh eyes.

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I’m going to talk about two films that were hated by its critics, M. Night Shyamalan’s The Village, and (in the next post) Shyamalan’s After Earth. I see value in these films that other critics don’t because they are not looking at these films through the same lens that I’m using. (Caveat: Some of them don’t have the luxury. They are film reviewers and must go see movies I can happily reject. I can pick what I want to see, so I can remain positive about a lot of movies, in a way they may not be able to.

These movies resonated with me on an emotional level, and because of that, I am reluctant to say that they are “objectively” bad or good, which is a favorite word for armchair movie reviewers on Youtube. I’m not saying movies can’t be considered bad or good, but often that those words are sometimes wrongly used to describe movies that just did or didn’t emotionally resonate with the viewer, or did or didn’t do whatever the viewer wanted the movies to do. This doesn’t always mean the movie was bad. Sometimes it just means the viewer wasn’t the audience for that movie, or just didn’t get what they wanted out of it because of the critical lens through which they watched it. I have sometimes found that a movie isn’t actually  bad, but that the reviewer had very different criteria for liking it, or viewed it through a very different lens than I did.

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For that reason, I generally avoid hate- watching movies and shows. I want to like what I see, and if I dislike something, I try to have a concrete reason behind why I didn’t. But sometimes I don’t have a reason. Sometimes, I simply wasn’t in the mood to watch it at that time, and when I come back wearing a different emotional, or critical lenses, I may enjoy it, as was the case with  the movies Ravenous,  The Descent, and My Cousin Vinny.

Sometimes, I will develop an undying hatred of a movie, such that no amount of lens polishing will allow me to enjoy it, like the movie Prometheus. This doesn’t mean that Prometheus was a bad film. It just means it was exasperating for me to watch it, and someone else might get enjoyment out of it. If you like it that’s great. If you can clearly explain to me why you do, I’ll watch it again, with your lenses on, and try to see what you saw in it. On the other hand, and as I’ve said before, just because critics hate something doesn’t mean I’m not going to like it, such was the case with Suicide Squad, and just about any movie by Zack Snyder.

I have also seen  situations where public opinion on a movie changes over a length of time. Movies that were panned when released were, in time, lauded as being the best whatever of their genre, and I have found that I’m usually correct in having loved the film at that time. As a result, I’ve gotten pretty confident about my taste in movies, (and dismissive of critics ideas about movies I happened to enjoy), because I usually get proven right, at some later date. This happened with a number of eighties films, (The Thing, and  Bladerunner, for example), that were disliked at the time, only to be considered Classics of the genre, twenty and thirty years later. (No, I didn’t hate E. T. I was indifferent to it, at the time, and still mostly am.)

 

The Village

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I love stories and characters, and movies are just another way to tell stories. I  get into a movie through its characters. I have to like them. I’m also attracted to certain types of stories, but it’s not the minutiae of the story, like pacing and technical aspects, so much as what type of story, and if it’s an appealing story to me. I tend to love GRAND ROMANTIC stories. Not stories with romance in them , but stories with huge, grand, idealized philosophies, and if I see that in the story, chances are I will probably love the movie.

And this was the case with The Village. Yes, it does have a romance in it, but it also contained wider, broader themes about the human condition, that just appealed to me personally, (because ultimately, any movie experience is deeply personal). When this movie was released, it was panned by everyone, with some people jumping on that bandwagon because they hated the director, who started his career as a media darling, but public opinion  turned on him, after a series of failed films.

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When I’m watching a movie, I’m mostly concentrating on how the movie made me FEEL. When I’m reviewing a movie, I ask myself different questions that help me evaluate what the movie means to me, what did I like in the movie, what was it about the movie that resonated with me, and why did I feel that way. From the micro, to the macro.

What is the point of the story? What is the theme of the movie?

Things can get complicated, just at this one point. According to the trailers for The Village, most of the people walking into the film expected it to be a horror movie, and they focused on the idea of monsters because that’s what the trailer told them to focus on. But the movie was not about scary monsters, and a lot of the audience walked away disappointed. Rather than accepting what was given to them, they focused on what they were not given: monsters. I wanted monsters too, because that’s what I was told would be in the movie, but finding out there was no monster was a pleasant surprise for me.

The Village is not a horror movie, in the strictest sense of the word, and apparently,  I was one of the few people who were okay with that at the time. I didn’t leave the theater upset because  I didn’t get to see monsters. Would I have liked the monsters in the movie to be real? Sure. But The Village turned out to be deeper than I expected. It had a grand, overarching, theme that resonated with me. It’s a meditation on unrequited love, grief, and loss, and I was pleased that I got that instead. If one disregards the trailer, than the movie accomplishes exactly what it set out to accomplish.

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I  try to walk into a movie viewing experience with only loose expectations, like, “What type of story is it?” and “Will this be entertaining?” Based on what I think the movie may be about, I try to go in open to anything that may happen in it, without trying to place my agenda (what I want the story to do for me) onto the movie. But I do want to feel something, while I try to keep in the forefront of my mind, what is the creator trying to tell me, what do they want me to know, and what purpose might that serve.

What I  expect, on the most basic level, is to be emotionally moved by the characters, and entertained by the plot. I’m going to go wherever the movie wants to take me, and accept whatever scenery I’m given. I don’t worry about plot holes, or pacing, or musical cues, and stuff, (although, if I notice them and like them, that’s a huge plus, like with the movie Spiderman: Into the Spiderverse). Was the movie entertaining? Did I stay engaged the entire time? Was there a point to the story? Later, I can ask myself deeper questions like why was it entertaining for me, or what was it about the movie that made it fun for me, or scary, or funny.

What you should always ask yourself is: What did the story do for you?

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The story in a movie is like being on a driving tour. That tour has a theme,  sometimes several. The driver is the storyteller, and he/she directs the action, decides where we’re going to go, and what we’ll be seeing on the tour. The characters onscreen are the other passengers on the tour, or just some people on the scene.  I like the other passengers, and  I enjoy watching them do things I didn’t expect, and see things I wouldn’t have found on my own. Sometimes the other passengers are terrifying, but it’s okay because they can’t actually hurt me.

If I think it’s a Horror movie, (if the driver has told me I’m going to be scared on my trip), I expect the journey to scare me. If I wasn’t scared, then the driver lied to me, but if I was given more than  just a scare, I consider that a bonus. That was the case with The Village. I was told (although I was not told that by M. Night Shyamalan/The Driver, himself, but a third uninvolved party, the people who made the trailer and marketed the movie), that I would be scared, and I was a little bit, but at the same time, the journey was worthwhile because of the movie’s other elements. I got something deeper, and much more unexpected, than just a scare. As I said before, I like Horror movies to have something extra, whether its romance, or comedy, or intellectual depth.

If I have been lead to believe it’s an Action movie, then I expect to see thrills, and spills. If a movie delivers on its basic foundation, but adds something extra, I can and will overlook all manner of faults, like plot points, pacing,  bad characters,  timing, or even whether or not it delivered on what I expected.This was the case with Suicide Squad, a movie critics absolutely hated, but I (and a bunch of other people) really enjoyed. Why? Because I genuinely liked the characters, who did exciting and interesting things on screen. I enjoyed their interactions with each other, and I liked a lot of the action scenes, which were just plain fun. There are a lot of perfectly legitimate criticisms of this movie, but the reason I love it is because it was a really fun trip, and other people’s problems with the movie were not enough to keep me from enjoying it.

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What is the theme of the film? What is its message?

Understanding the message of a film often requires multiple viewings. There’s the initial impression, and based on whether or not I liked my initial impression, there will be multiple viewings, which will allow for greater insight. My mind is just really, really, good at recognizing patterns. That’s all it is, and anybody can develop that skill. I do it through lots of repetition.You cannot gain greater insight into a movie with only one viewing, because the insights  are often in the details you didn’t notice that first time. If there is something  I didn’t care for in my initial impression (like all the characters being unlikable), there are unlikely to be repeat viewings.

This also ties into how my mind works as a visual artist/illustrator.  When I first watch a movie, its from a kind of  overhead viewpoint. I get into the emotions of the movie, the characters, and the overall plot. Subsequent viewings allow me to focus on the finer details. Later, I will fit those tiny details into larger and larger patterns. It’s really like putting together a puzzle. You see the finished picture on the box,  and you like it. You sort the pieces and then  put them together to create that final picture, (sometimes that final picture may be part of an even larger picture, as well.)

The messages I got from The Village were about love, sacrifice, and grief. It’s  a story about LOVE, with parallel tracks chronicling different types of love, such as romantic,unrequited, sacrificial, and possessive.. There’s the romantic type of love between Lucius and Ivy, the tragic love between their parents, Walker and Alice, and the possessive love that Noah feels for Ivy.  Ivy and Walker are examples of sacrificial love, as they are both willing to sacrifice their peace to save Lucius’ life. Ivy endangers her life for Lucius, and Walker is willing to allow Ivy to leave (and possibly lose her) because he loves Alice, Lucius’ mother.

At the beginning of the movie, Ivy’s sister declares her love for Lucius, but is rebuffed because Lucius prefers Ivy. There is a contrast in how Ivy’s sister reacts to unrequited love, which is sacrifice and moving on vs. Noah’s reaction, which is possessive violence. And then there is the unspoken love between Ivy’s father, and Alice. This is unrealized love. The two are in love, and according to the rules of the society they created, can never  be together.

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There is familial love between Ivy and Walker, and  Lucius and Alice. This type of love is emphasized through the character’s reactions to loss and grief. There are also  all the missing family members that the other characters mention, the loss of family that spurred them to run away from the world, to form a “utopian” society where they believed grief could not touch them. The movie opens with a funeral, and the death of a child. Grief can still access their lives. The pain is still going to happen, for example, witness how many times we see  shots of empty chairs throughout the movie.

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An empty chair in a movie scene is often meant to represent a space where someone should be. In this movie, the empty chairs, usually situated on porches, (or at dinner tables), which are, traditionally the site of familial gatherings, are meant to represent  the absence of loved ones. The entire movie carries a mood of unspoken grief and melancholy, which is only alleviated by its hopeful ending. The Elders of the community fled to The Village because each one of them has experienced the tragic loss of a family member, and  the point of the movie is that they cannot run away from loss or pain. The scattered, empty chairs are a constant reminder of their loss.

Critics and audiences completely turned against Shyamalan and started denigrating all of his films for not being as good as his first film, The Sixth Sense. They went into his next movies expecting all of them to have  surprise twists, and they do have surprise twists, just not the kinds of twists that were expected. (To be absolutely fair, Shyamalan definitely made some questionable film choices, though.) In the case of The Village, audiences were expecting a Horror movie, but since the monsters turned out to be false, some people decided that the movie was no good, because the trailer fooled them into thinking the monsters should’ve been real.

Many of these people failed to realize that the surface levels of Shyamalan’s movies are often not the point of the film, anyway. What appears to be the primary plot is often simply a backdrop for the telling of a different story altogether. The point of this movie isn’t the monsters. The  basic plot is just a backdrop for the examination of love and grief, just as the point of the movie Signs, isn’t the alien invasion. The alien invasion is simply a backdrop against which is being told the story of Reverend Graham regaining his faith in God. The story of Unbreakable isn’t about superheroes, but  about the disbelief in the modern mythology of superheroes, and one man overcoming that disbelief to take a leap of faith, and believe in himself.

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Now, I also must discuss here, the disturbing racial angle of some people’s criticism. Shyamalan is one of the few men of color directing big budget Hollywood movies. True, they are not always successful movies,  but audiences and critics did not seem willing to give his movies any chances after The Sixth Sense. They kept wanting him to repeat that first film, and some of them seemed to look no deeper into the motivations behind his stories beyond “the twist”. The Twist seemed to be all they wanted from him, and when he stepped away from that, to make other types of films, they vilified him for it.

I bring this up because I see the same thing happening in real time to Jordan Peele, especially after his comments in which he voiced the idea, that being a filmmaker gave him a platform, by which he could showcase actors of color, as leads. Its as if having been successful twice, there are people waiting in the wings for him to make a mistake, any mistake, which they can use to vilify his character, and bring him down. When men and women of color are highly successful, there is a contingent of White people who wait for them to make even the most minor of miscues, so that they can attempt to humble them. I witnessed this with Barack Obama, Beyonce, and I’m seeing it now with Ocasio – Cortez, and Jordan Peele. And I believe this is what happened with Shyamalan.

White film directors are given numerous opportunities to make bad films, some of them, have entire careers that consist of little more than mediocre flops, and yet the filmmakers have never received the sheer levels of vitriol that was leveled at Shyamalan by film critics. Some of them still manage to have great careers, or be considered critical darlings. Yes, he still manages to have a career, (so somebody is going to see Shyamalan’s movies), but critics insist on tearing apart all of his films, on the most minor details, no matter their quality, while sometimes excusing  just as shoddy work from some White filmmakers. And as I said before, some people use the failures and mistakes of PoC as an excuse to openly express the racism they’ve been taught not to express against an entire group of people.

 

‘Love, Death & Robots’ suffers from blatant sexism

https://www.dailydot.com/parsec/netflix-love-death-robots-review/

Short films can find it hard to attract a wider audience, so it’s cool to see Netflix promote a big, splashy showcase of animated sci-fi shorts. Sadly, Love, Death & Robots feels much less cool and boundary-pushing when you take a closer look. Curated by Tim Miller (Deadpool) and David Fincher (Fight Club), this anthology is full of gratuitous onscreen sexism—and blatant gender discrimination behind the camera.

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I did watch this on Netflix,  and I actually enjoyed a few of the shorts featured as they were written by one of my favorite authors, John Scalzi. John Scalzi is not known as an especially “edgy” type of writer. In fact, he’s very progressive, so those shorts seem incongruous next to some of the other, more violent, shorts in the anthology. But this article is correct in stating that in every short that featured violence, female sexuality and nudity was associated with it, and in every instance of female nudity or sexuality, there was an extreme amount of violence involved in that story. In some of the stories the two occur simultaneously.

In all fairness though, not all of the short films feature either topic, and some of them are actually worth watching. Most notable were:

The Day the Yogurt Took Over was written by Scalzi from his anthology titled Miniatures. It’s hilarious.

Ice Age was very interesting. I enjoyed it a lot.

Fish Night is a story I remember reading, in another anthology, a couple of decades ago, and the story just stuck with me.

Lucky 13 was one of the better Scifi stories, and has a Black woman as the lead character.

Three Robots was really cute and it has cats, so some of you will definitely like it, and Suits was frantic and suspenseful.

But the story that affected me the most was Zima Blue, which I consider one of the best stories in the entire anthology. It was emotional and though provoking.

 

The Wired is a lot more damning of the show than I am though:

Netflix’s Love, Death & Robots is sexist sci-fi at its most tedious

https://www.wired.co.uk/article/love-death-and-robots-review-netflix

It’s not just a male gaze that ruins Love, Death & Robots, it’s an adolescent male gaze. The sex scenes are so bad they’re funny. At times, the dialogue is borderline farcical. All too often the series leans precariously on visual tricks – and while the worlds created here are vast and vivid, the plots are often non-existent.

New Trailers In April

Joker

Contrary to the many fanboys who are always bitchin’ and whining about the different depictions of the Joker, I didn’t have  a problem with Jared leto’s version of the Joker. I’ve seen several different versions already, and I grew up with the Cesar Romero  and Jack Nicholson versions, so for me, Jared Leto was just one more. And I don’t have problem with this one either. I think he’s intriguing because I’m heavily reminded of the Brian Azzarello, and Lee Bermejo versions from the comic books.

There are almost as many versions of the Joker as there are Batman,and Shakespeare’s plays, so I don’t actually understand what the problem is, since each actor for the character brings something different to the role. Some you like, and some you don’t, and I like this one okay. I probably won’t see it in the theater though because it looks tragic and I have a quota.

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Dead Don’t Die

I got no opinion on this movie other than it heavily reminds me of the movie Slice, which I never finished watching. I won’t see this in the theater because I’m not a Bill Murray fan. Sacrilege! I know. But the man has never really appealed to me outside of some very specific roles.

On the other hand, I’ve always liked Jim Jarmusch’s silly humor, and this does look pretty funny! It also has some of my favorite actors in it. You know we’ve reached the zenith of monsterdom when they start making parody movies, so: Go Zombies! 

 

Dora the Explorer

I grew up watching this with my two little sisters, so my knowledge about Dora comes from a genuine place of “Oh, God, I’m so tired of watching this show!!!”

On the other hand, the movie looks really cute, has an all Hispanic, Latinx cast, and seems kinda action-y. She’s like a tiny Latina Tomb Raider.

Avengers :Endgame

This is the last trailer before the release of the movie, and I just know there’s gonna be feels. One drawback I can see coming a mile away is there are three women in this movie, and I bet none of them say a word to each other.

I did see something on Tumblr about how someone was going to lose their shit watching their favorite characters die, and I’m like, “Dammit, I already watched all my favorite characters die. In this one I get to watch them come back. I don’t give a flying fuck how many of the original Avengers have to die to get them back either! Tony, Steve, and Natasha been around long enuff!”

John Wick 3

I will probably go see this one in the theater and I would love to drag my Mom along, since she’s making me  go see Pet Sematary, and messing up my Summer movie scheduling, with her unreasonable demands to see Horror movies I did not make plans for, especially when I planned to see Action films. So for every Horror or Comedy she makes me take her to, I’m picking an Action movie. (We already have Shaw and Hobbes on our radar after this one.)

This also has all of my favorite actors in it. No,really! All of them!

 

Hellboy

There was supposed to be a new Hellboy trailer in this spot, but I skipped over  it, as a sign of protest, because  I’m not going to see it in the theater, because the movie “Little” gets released at the same time, and because my niece and Mom have made it very clear that’s what we’ll be seeing next week, or I haven’t got long to live! So imagine the new Hellboy trailer in this spot (to the remixed version of Smoke on the Water.)

I don’t object to seeing Little, because it looks pretty funny, but I prefer monster movies to comedies, which is why I’m going to treat myself to:

Godzilla

No, it’s not sad that I can name all the monsters in this movie. I grew up watching all the Godzilla related movies, so I come by this knowledge organically. My Mom hates all the Godzilla movies, except for the 1990s version which, naturally, I would hate, because I enjoy being contrary.

I cannot wait to see all my favorite monsters (Mothra, Rodan, and Ghidorah) on the big screen, because this looks fucking awesome! Slow motion monsters always get to me…

 

Next week, lets review some TV shows! 

This Is Wakanda

I said Wakanda Forever, not Wakanda for six months!

 

I loved these videos,because as usual, Black people were acting silly as Hell for several months after the movie’s release.

 

This Is Wakanda: a parody of Childish Gambino’s This Is America

 

There are a ton of Black Panther tribute videos. I’m really happy to see this movie get the full action movie treatment, which include music videos based off the film:

 

 

Saturday Night Live got in on the action when Chadwick Boseman hosted the show:

 

 

Black Panther gets the action movie video treatment:

 

 

This is one of my favorite songs, and still on my playlist today:

 

 

This was supposed to be funny, but it was mostly just sad:

 

 

 

 

 

 

 

The Meanings of Us (2019)

Spoilers Spoilers Spoilers Spoilers

 

If you have not seen this movie, know that this review will contain plenty of spoilers.

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I went to see this and guess what? I got thinky thoughts!

 

The Personal

This movie was a very emotional experience for me. I really got into the characters and situations presented here, and I’m baffled that some people were baffled by this movie, but then I’ve had many years of practice trying to understand the plots of weird horror  movies. Most of the puzzlement I’ve read comes from people who don’t regularly watch horror movies. If you’re not a fan of horror movies, and don’t watch them all the time, its best to go in thinking of this film as if it were a dream. There’s a lot of what we call “Dream Logic”. and some of the imagery will fly right over the heads of people who have never thought about movies this way.

This movie has been really polarizing, with people loving it or hating it, and that’s understandable. Peele made the decision to add a lot of depth to Us. Its a movie that addresses many issues, and is meant to be heavily analyzed, but how you look at it says a lot about what you feel, and what your priorities are. Peele  also doesn’t tell you how to feel about the movie, or its characters, and some people hated that. The end of the movie was unsettling for a lot of people. My Mom didn’t care for the movie, saying it ended badly, but she is one of those people who likes her horror to be very clear and straightforward. She likes a clear case of who the heroes and villains are in a movie, and she disliked having rooted for the protagonist for the entire movie, only to have that turned on its head at the end.

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On the other hand, I’m okay with ambiguity. I’m uncomfortable with having rooted for what I thought was the hero of the movie, but I’m going to sit with that feeling,  process it, and figure out what I think about it. There were a lot of moments in the movie that had an unexpected affect on me. One of the most horrific moments in the movie is when the Tethered child died in flames, echoing Red’s statement that he had been born in flames. (But I have some serious  fire fear, so…). The movie felt unfinished, because usually at the end of horror movies, the evil has been vanquished, and the status quo, which had been disrupted by the monster, has been restored. This movie doesn’t really have a monster, or a villain or even a hero. Things do not go back to the way the movie began.

https://www.theatlantic.com/entertainment/archive/2019/03/lupita-nyongo-in-jordan-peeles-us-terrifying/585649/

Because of the ending, the movie felt melancholy and tragic, reminding me heavily of  Annihilation, a movie that produced much the same feeling.. But Us also had moments of real humor, where we (the audience) just laughed out loud. I’ve often asserted that laughter lies on one  side of a coin, with terror on the other. Peele himself has said he likes to take innocent, innocuous things, and imbue them with dread and horror, and he succeeded. I expect that I will never hear the song, “I Got Five On It”, or “Fuck the Police”, ever again, without thinking of this movie, and I’ll never look at rabbits the way I used to.

I described this movie as a cross between CHUD, a movie about Cannibalistic Humanoid Underground Dwellers coming up from below, Invasion of the Bodysnatchers, as it deals with cloning, and identity, and Halloween, because of the red jumpsuits  and sharp pointy weapons, which remind me of Michael Myers. Well, lets just say, I have a different set of references to this movie.

 

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Here’s an interesting video from Latasha about the significance of some of the symbols, colors, and moments, in the movie. There are far too many to catch all of them after just one viewing.  She discusses the movie in great detail, though, especially the idea of trauma and mirroring: 

 

 

 

 

The Movie

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The movie opens in the 80s, with little  Adelaide watching an ad for the 1986 charity event, Hands Across America, which I’m old enough to remember. This is a key component of the film. In fact, everything you need to know is laid out at the beginning of the movie, just without any context, so you don’t put the whole puzzle together until somewhere in the middle of the film. Adelaide attends a carnival on the beach with her family. She wanders away from her bickering parents, into a mirrored funhouse, that has the proclamation : Find Yourself Inside, which she unexpectedly does, to her detriment. One of the most interesting clues is that Adelaide  whistles Itsy Bitsy Spider on key, but her double can’t. I think the Itsy Bitsy Spider is a reference to Adelaide’s double, who has climbed up from below, to capture her.

Adelaide gets kidnapped by her double, another key component of this movie, and the motivation behind every decision that gets made, and  she gets trapped in the underground hell  where her double used to live. Her double is actually a clone of her, but without a soul. Because she has no soul, Adelaide has no sense of rhythm, (or beat), which I find hilarious, because in American culture, Black people joke about people who cannot dance on the beat, or have no rhythm, and are said to lack “Soul“.

There’s an old  sketch I’m reminded of from the movie, Amazon Women on The Moon, which is also from a Black filmmaker, Robert Townsend. I know for an absolute certainty that Jordan Peele has seen this, and included just this tiny bit of this element into his depiction of the Tethered. Notice that neither Adelaide, nor her son Jason are capable of snapping their fingers to the beat of the song, snapping instead on the 1 and the 3, instead of the 2 and the 4.

 

The underworld Red comes from is  full of the clones of the people who live above ground, and who  are the failed result of a  government experiment to control the American people. It’s left for the audience to decide if all Americans were cloned, or just half, or just enough of them to be dangerous. The clones have no souls, hence they have no vision, imagination, ambitions, or  sense of self. They don’t even have language, and Adelaide, because she is human, and remembers the world above (the other clones have no knowledge of the above world), becomes their leader. Over the next thirty years, using her childhood memories of Hands Across America, and Michael Jackson, along with a great deal of rage,  she organizes The Tethered to invade the above world, and kill their counterparts. It’s a literal uprising.  Adelaide is so enraged at what was done to her, the Tethered have adopted some of that.

Adelaide, Red, (and their families), spend the rest of the movie playing a murderous game of cat and mouse, against the apocalyptic event of The Tethered coming from underground to kill their doubles, and stage their version of Hands Across America. I  specifically remember this event, including the theme song in the ads. I was a teenager at the time, and  distinctly remember scoffing at the idea that it would be at all helpful, or useful. And guess what? It wasn’t! The event was kind of a failure although it turned out to be the high point of the life of the person  who orchestrated the event.

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In the end, Adelaide, the character we’ve been rooting for the entire  movie, turns out to be the double from the underworld, while Red is that long ago human girl, who dreamed of getting out of the hell her life had become, through Adelaide’s actions. According to Red, life underground is pretty bleak. Because they have no sense of self, the Tethered are forced to mimic the actions of their doubles, and none of them have ever had cooked food, feeding exclusively on the rabbits that have overbred in that environment. (This explains why Adelaide is a vegetarian.)

In other words, the Tethered are uncivilized, barbaric mirrors of their above ground counterparts, (through no fault of their own.) They act like animals, running on all fours, howling and grunting.They don’t know enough to know what or where they are, until Red teaches them, which she is only able to do because she came from above ground. She  is their M.L.K. She is their Malcolm X. She had  a “vision”.

This movie looks absolutely gorgeous. Lupita Nyongo really carries this movie, and does it very well. Her speech, body language, and facial expressions, just her all around physicality, was astonishing to watch. People forget that she is playing both Red, and Adelaide, and she makes the two so distinctive that you often forget its the same actress. Winston DUke is his usual fine self in the acting department. I understand some people were disappointed in his role here, but I understood why he was shown the way he was shown, and he did do a couple of heroic things that people seem to have forgotten.

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There are already a lot of people out there tagging all the Easter Eggs, the various connections, and parallels in the movie. I’m only going to talk about those things a little bit. If you want more of that sort of thing, there are a billion Youtube videos for it, but I want to talk about the themes, and subtext occurring in the movie, because that’s what I find the most interesting. The movie has so much depth, so many things are addressed, and have real life parallels, that the movie can be viewed through almost any lens,  I want to talk about some of the top themes through which the movie can be understood:

Folklore

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There is the German construct of the Doppelganger, which is an apparition, or double, of a living person. There is a significant body of folklore that deal with people seeing their own double. Traditionally, seeing one’s double was often a portent of death, and that piece of folklore is what’s being applied in Us. It is said that everyone in the world has a twin somewhere, and in some cultures, it’s said  should you meet your double, you should kill it, because there can be only one of you.

Legend has it that if you come face to face with your doppelganger, it’s an omen or warning of death, for both you and your twin. Because of this, if you see a replica of yourself, run for your life. … Often, a person does not actually see their own doppelganger, but someone else does.

There is a lot of doubling and mirroring in the movie, from Adelaide’s and Red’s reflections, to the neighbors twin girls, who speak in unison, to the numbers 11:11, which is a “palindrome”, a word or set of numbers that reads the same in either direction. (There are several articles on  the significance of those numbers. 11:11 is a bible verse about God forsaking those whose sins have come back to destroy them.)

In Celtic folklore, the doppelganger was known as a Fetch, and its purpose was to alert people that someone’s death was imminent, but the concept of the alter ego, and the “double spirit” is part of the lore of  most cultures, and not always in a negative way, just as in the movie, some of the mirror images are benign.

 

Books and Movies

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It’s also an idea that has found its way into  many movies and literature, the most famous of which are Dr. Jekyll and Mr. Hyde, The Prince and the Pauper, The Man in the Iron Mask, Dave, Moon Over Parador, and the 1985 Ran. In The Prince and the Pauper type stories, the original ruler is often incapable or dead, and is then replaced by a twin of low birth, who sometimes triumphs in the originals place, which is basically the plot of Us.

Another popular trope is the Evil Twin, which has found its way into everything from Star Trek to Gilligan’s Island, where one of them is unaware of the existence of their double, and their differences in upbringing is what accounts for their different characters. In Us, we are meant to attribute Red’s murderous sensibilities, and difficulty speaking, to her upbringing among the Tethered, and there are distinct parallels between the Jekyll and Hyde narrative.

Adelaide is meant to reflect innocence, as evidenced by her white and neutrally colored wardrobe, at the beginning of the movie. As the movie  progresses,  as Adelaide keeps killing,  violently defending the life she usurped from the original, her clothes get redder and redder, to reflect her true nature. We watch as she becomes more and more her true self. But where Jekyll’s story ends in suicide, Adelaide’s ends in triumph.

One thing I’ve not seen discussed is  Lewis Carroll’s 1865  Alice’s Adventures in Wonderland, as a theme. The symbol of the white rabbit (which is in the movie’s logo) is meaningful because it is one of the few types of animals that have ever been cloned, and is often experimented on. Also, in the original  tale, Alice follows a rabbit into a hole in the Earth, where she finds a hall with many locked doors. This is what happens in the movie when Adelaide, chasing her doppelganger underground, finds a hall of locked doors, and rabbits everywhere. The rictus grins of the Tethered remind me of the Cheshire Cat’s phantom grin from Alice’s adventures. These are grins  that do not indicate humor, but menace.

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There’s also the  parallel to the numerous mythological themes of people visiting the underworld to rescue (or destroy) something, called a Katabasis. In  a Katabasis myth, the protagonist travels through the underworld, on a mission of retrieval, and this is featured in everything from The Ring of the Nibelung, to The Aeneid, to The Odyssey,  persisting across many cultures, from Egypt, to Greece, and even  South America, which features the myth of the Hero Twins of the Popol Vuh, who go into the underworld and win a ballgame, to avenge the death of their father.

After Adelaide’s son, Jason,  is kidnapped by Red, she must go underground to rescue him, echoing the Greek myth of Orpheus and Eurydice, Jason’s  doppelganger is named Pluto,  the  Greek King of the Underworld. It  is also theorized by some that Jason is actually a Tethered. That Pluto switched places with him at least a year before the events of the film, so Adelaide is really rescuing her actual son.

 

 Socio-economic/Political

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https://www.hollywoodreporter.com/heat-vision/us-movies-hidden-meaning-black-identity-explained-1196687

Race

The movie can also be seen through the lens of socio-politics, and race.  Peele says the movie isn’t specifically about any racial issue, but the subtext is there, because  the story involves a Black family, and introduces the idea of “double consciousness”. Double consciousness is a term coined by the writer W.E.B. DuBois in his 1903 literary work, The Souls of Black Folk, a series of essays about the psychology of Black people. It is a state of mind specific to people of color, whose thinking is divided between who they think are, and what White people think they are.

Double consciousness describes the individual sensation of feeling as though your identity is divided into several parts, making it difficult or impossible to have one unified identity.

Understanding W.E.B. Du Bois’ Concept of Double Consciousness …

There’s who I think I am, which is settled, often uncomfortably, next to how I know I’m viewed by White people.

Adelaide is an example of this in that she knows who she is, and wants to be, vs the above ground world’s perception of her. She dresses to  not draw attention to herself, to seem just like everyone else and  blend in. Adelaide, like  many immigrants, or those from a different social class, tries to hide her impoverished background by  assimilating into her adopted culture. As she fights Red to keep the status to which she’d become accustomed, more of her true background  reveals itself.

Economics

 Adelaide has moved up in the world by violently condemning her counterpart to a life of hell. (There is the strong implication in the film that Red was raped/impregnated by Gabriel’s counterpart, Abraham.) There is also some amount of survivor’s guilt for Adelaide, as she did nothing to rescue any of the other Tethered, and lived a life of luxury, knowing that her comfortable life was built on someone else’s misery. This is a question that successful Black people, from humble circumstances, often wrestle with. How much responsibility do they have to the community they left behind on their way out of poverty? Are they truly their brother’s keeper? Red seemed to have no problem answering this question, as she organized the release of all the Tethered from below, but then her ambitions were fueled by rage at what had been done to her. What was Adelaide’s excuse for leaving the other Tethered behind?

 

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In fact, the Tethered are an allegory for those who most people consider  “beneath” us. The laborers and workers who are invisible to us,  but help our society run more smoothly, and who we often think of as less than, often not even bothering to learn their names. In the movie, the Tethered don’t have names, with the members of Red’s family being the only ones with names she gave them.

Those who live above ground (the privileged) can pass their sins on to some other group of people and thereby declare their innocence, and ignorance, to the misery which sustains their lifestyles,  to be justifiable. In America, White people often project their worst qualities onto other races of people. In declaring that some sin is a problem for some other group, they don’t actually have to look at their own behavior, acknowledge the pain they have caused, or fix the problem. Black and Indigenous people have often been the scapegoats of White pathology, as they stereotype us in terms of actions they  have committed themselves.

Red isn’t just angry because her life (her agency) was stolen from her. She  tells Adelaide that for every good thing Adelaide  experienced above ground, Red experienced some hardship, or misery, in equal measure down below. The Tethered represent the “laborers” of modern society, the people  who take care of the minutiae of our day to day lives, freeing us up to pay attention to those jobs we think are more important, because we went through more years of schooling, or get paid more money to do. We place our burdens on their backs, so we don’t have to carry them, and then refuse to think about how the comforts of our lives are built on their impoverishment.

 

https://www.popsugar.com/entertainment/Why-Do-Tethe red-Wear-Brown-Gloves-Us-45958045

This theme of mistreated laborers is reflected in the Tethered manner of dress, and I can see parallels to themes from the 1927 film, Metropolis, in which the workers of a technological society all live in ceaseless, dangerous, labor in the bowels of the city, while the rulers have lives of  luxury oblivious to what’s happening beneath them. One of the rulers son’s trades places with one of the workers in the underground, and with the help of a robot named Maria, causes a rebellion.

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Most Americans don’t think about the uniformed maids, janitors, maintenance, and sanitation workers,  until something stops working. If you have ever visited a large public venue, like a theme park or a zoo, you might or might not notice the uniformed housekeepers and  maintenance workers who slip in and out of disguised doors to keep the place clean,  and make our stay comfortable, and this is very much a statement on how Americans live everyday.

On a larger scale, most Americans don’t think of the many wars, that never reach our backyards,   and the underhanded behavior that this country has engaged in, to steal other country’s resources, to  make American lives comfortable. Our government has engaged in a great deal of global destruction, which we rarely we think about because we don’t have to worry about a drone strike hitting our Wedding party.  Even when we do worry about such things, we  have often been completely misinformed as to the true causes, and do little or nothing to resolve it. Just as the Tethered are Shadows of us, they exist in a Shadow America, where their lives are controlled by mysterious others who live above them.

https://www.hollywoodreporter.com/heat-vision/us-was-movies-biggest-twist-hiding-plain-sight-1196584

But really, all the characters are Us,  as no matter how we behave, we can always justify our behavior by telling ourselves we are the hero of the story.  Us is a movie in which everyone is committing justified violence against the other. As righteously brutal as the Tethered are in their revolution, The Wilsons are every bit as  brutal as  the Tethered in the protection of their family and  privileged lifestyles. One can make the argument that the Tethered started it,  and that the Wilsons were just defending themselves, but that stance does not take into account the decades of misery the Tethered had to endure, so that people like the Wilsons could live free.

 

Psychological

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When you think about it, Adelaide’s development stopped at around age twelve, so she has all the rage, planning, and mindset, of a child. Children in their early development often focus on a sense of fairness, and equality,  something Red specifically states to Adelaide. That what happened to her was not fair.

Americans cherish their ideals of fairness. And American children can be especially strident—some might say loud—advocates for equality. Anyone who has ever painstakingly cut and distributed a child’s birthday cake knows how closely those little eyes watch for injustice. And when they see it, especially in their ever-so-slightly-smaller slice, they protest with the anguished cry: “No fair!”

https://www.bu.edu/research/articles/child-development-fairness/

In Jungian psychology there is the idea of the Shadow Self, that dark part of oneself that one tries to ignore or bury.  The Shadow is everything about yourself you try  hard to forget is there. The Tethered represent our worst selves. They are our dark side. Adelaide has worked very hard to forget where she came from, but it turns out that Adelaide is actually the Shadow of Red. It is not until after you’ve watched the movie that you realize that it was Adelaide who was trying to ignore her original sin of trapping Red in the underworld. Sooner or later she knew this would come back on her. The message seems to be that every sin you commit will eventually come to back to bite you in the ass.

https://www.thefourohfive.com/film/article/us-review-what-happens-when-our-shadows-run-free-and-what-the-hell-is-with-the-rabbits-155

The logo for the movie features an example of a Rorschach Test, a test in which a therapy patient interprets meaning from inkblot images. The meanings determined gives the therapist clues to your character or personal issues. This is a reference to the film itself, which is a kind of Rorschach test for the viewer. The movie has so many facets, so many themes,  which ones the audience focuses on tells  a lot more about the audience.

Here take the Us rorschach Test, and see what your responses tell you about you:

 

Movies to Watch After Seeing Us:

Invasion of the Bodysnatchers (1978)

Single White Female (1992)

Metropolis (1927)

CHUD (1984)

The Nightbreed (1990)

Donnie Darko   (2001)

 

Us is being written about and discussed as much as Get Out. This is what we all do now. Analyze movies, I guess!

https://www.elle.com/culture/movies-tv/a26988747/us-movie-review-horror-tropes/

https://www.polygon.com/2019/3/22/18274732/us-twist-ending-explained-spoilers

 

https://www.polygon.com/2019/3/27/18284361/us-movie-spoilers-tethered

 Umbrae (Shahidi Wright Joseph), is referred to as a “little monster” by her mother, Red (Lupita Nyong’o); though she shares her double’s talent for running, it’s the addition of a permanent, eerie grin that brings up shades of how young women in particular are always expected (and instructed) to smile. She’s manifesting the image that’s projected onto her in the same way that her father is.

 

**In Part Two of The Meanings of Us let’s talk about the invasion plot in movies, what it really means, what its a stand in for, and how its applied in this movie.

An Old Man Filled With Regret: Men, Masculinity, and Atonement

Saito: Do you want to take a leap of faith? Or become an old man, filled with regret, waiting to die alone!  

-Inception

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In the movie Inception, this is a mantra shared between two  of the primary characters, Saito and Cobb. At the beginning of the film Saito asks Cobb if he wants to take a leap of faith, or die an old man filled with regret, and that question is enough to move Cobb to accept his offer. He is asking for Cobb’s trust because the two of them need each other. This is paralleled at the end of the movie, when Cobb repeats these words back to Saito.

Dying old, alone, and filed with regrets is the nightmare scenario  of the Action and Western film genres, as ex- killers, full of the guilt and shame of what they’ve done, seek redemption through killing for a good cause. This can take the form of revenge for a life lost, or the saving of a life that has meaning to them. Some of  its most famous incarnations are William Munny from Clint Eastwood’s 1992  movie, The Unforgiven, Robert McCall from the 2018 Equalizer franchise, Walt Kowalski from the 2008  Gran Turino, the 2017 Logan, Liam Neeson’s Taken trilogy,  John Creasy, from the 2004 version of  Man On Fire, and the 1953 Shane, starring Alan Ladd.

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Movie history is full of old men,  filled with the regrets, waiting to die alone, until something, or someone, moves them enough to risk coming out of retirement, often to attempt atonement for their past misdeeds. These are men beset with trauma. They are damaged killers who have committed questionable behavior.. Because of that, they are emotionally disconnected from other people, and sometimes  from themselves, until fate provides one last opportunity for personal connection, that gets taken from them. Often the person they’re trying to save is a stand in for their more innocent self, which is why this is often a child. The child is a stand-in for their lost innocence ,so in saving that person, the killer can symbolically save their former self.

Taking a leap of faith to form that emotional connection is the key. Often the former killers have locked themselves away from personal connections, feeling that they do not deserve to have love, or trust, or any human attachment, because they are bad men, who have done horrible things. They believe they are separate from the rest of humanity, and that they are unworthy of being a part of it, until someone (often a child) makes them realize there may be hope for them after all, and that they are not irredeemable.The child’s love and trust is a sign that they are salvageable. That they are “good  “men.  An innocent’s hand is offered to them, and they can take that leap of faith, one of the bravest acts a person can perform, or they can continue to dwell in their emotional abyss, and die alone, and unloved.

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Sometimes it is the innocent’s belief that the main character is a good person who will save them, that is enough to spur them into action. This is the basic plot of the 1953 movie, Shane, which is heavily paralleled, and referenced, in the 2017 movie, Logan, although the outcomes of these movies are very different. In Shane, Joey is a little boy who is drawn to Shane and idolizes his lifestyle as a gunslinger. In Logan, Laura is Logan’s genetic daughter, who idolizes his life as a comic book hero.

At the end of some of these movies, the ex-killer must go into exile, because they feel they cannot live with “normal “people. Alan Ladd plays a gunslinger who wants to retire from killing, to  become a farmer, but is called back into battle, when the woman and child he comes to care for, are endangered by an unscrupulous land baron. The townsfolk know he is a killer, but they look up to him, and think of him as heroic, but at the end of the movie, Shane cannot live in the valley with the farmers. He leaves because he feels he does not deserve to live a life of peace among normal people. He is a killer and is not the type of man who can live with people who have never lived that lifestyle, because he is too corrupt. Sacrificing the life he hoped to have is his punishment for having taken up the violence he’d previously rejected.

In the movie Serenity, the Assassin sent by the Council to collect River Tam, says that he kills to make a better world, but he knows he will never be allowed to live in that better world, because such a world has no place in it for the corruption he represents, and this is Shane’s predicament.

More often, at the end of these stories, the killers must die, because that is the price for having  picked up the sword again, although they are often happy to die, because they killed (and died) for a good reason, rather than whatever reasons they  feel regretful for. Many of them were ruthless killers in the  past, killing people for money, sport, or war. Some of these characters share more than a passing resemblance to the men they are trying to kill, because these bad men represent their past selves, and in killing them, they destroy their own evil past,  and can die at peace, knowing they did at least one “good” thing before they died.

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In Logan, the Wolverine has “retired” from a life of killing. He isn’t The Wolverine any more, and no longer “saves” people, but he is forced back onto the killing  field, to protect the “daughter”, to whom he has become emotionally attached. He dies in Laura’s arms, having redeemed himself for, as he once said, “…being the best there is at what I do.” Throughout his long life Logan had been the personification of death, relentless, inevitable, and unstoppable, as we see in the scene in the hotel, when Logan kills an entire room of armed men to save Charles Xavier. Logan also encounters a  younger, stronger, and more ruthless version of himself, that was made from his DNA. Logan must  literally kill his evil, past self, only then can he die at peace.

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In Man on Fire, Denzel Washington plays John Creasy, a former government assassin, who is so haunted by his past deeds that he has become suicidal. He has killed a lot of people in service to his country, feeling shame,  guilt, remorse, believing himself a monster, but  his soul is saved when  he falls in love with a little girl he was hired to protect. When Lupita’s life is endangered, he comes out of retirement, and uses his former killing skills to take revenge on the people who took away his one chance at happiness. Lupita entered his life as a reward for giving up his old one, showing  him that it was okay for him to live and love again

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For Creasy, Lupita’s love is a sign that he is worth saving, and that he is a good man. Her unconditional love and trust redeems him. When she is taken from him, he has the option of letting it go, and walking away, but  without Lupita there can be no redemption, and if he is going to die, then he wishes to do so in a blaze of glory, punishing the men who took his life, both literally and figuratively. In the end, rescuing Lupita from her captors will be his atonement for a life of sin, but his death is the price  he must pay for killing again, no matter how deserving his victims, or righteous his cause.

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During the movie Creasy has several conversations with his friend Rayburn, and with one of Lupita’s teachers, on the nature of sin ,and atonement. He asks Rayburn if he thinks God will forgive them for the things they’ve done, and he tells Lupita’s teacher that he was the sheep that got lost, when she asks if he sees the hand of God in what he does, quoting  the scripture: ‘Do not be overcome with evil, but overcome evil with goodness.’ In Creasy’s final killing spree, he  is righteousness personified. He has become the hand of God, a Christlike figure, (even to the point of having a stigmata like wound in his side), who once saw nothing good in his ability to ruthlessly  take lives.The man who, early in the film, wanted to take his own life, willingly sacrifices that life to save his chosen daughter.

In the movie The Unforgiven William Munny, a famous gunslinger, has retired to a country life, but he is goaded back onto the stage when a young man who idolizes him, puts his life in danger by trying to emulate him. In The Dark Tower, Roland Deschain, the famous Gunslinger of Eld, has given up hunting The Man in Black, until he is pulled from “retirement” by a young boy he befriends, whose life is endangered by the MIB. In the movie John Wick, however, the spur out of retirement is the death of his dog, (the last remembrance of his late wife), caused by a local mobster’s son who came to rob his house. The dog is his last link to his old peaceful life, and with it gone, there is no point to trying to live peacefully. Like John Creasy, he aims to go out in a blaze of glory to avenge his wife’s memory.

If these men are lucky, they get to ride off into the sunset, but that is no relief either, as they may yet die in their beds, as old men filled with regret, but more often than not, there is a price to be paid for picking up weapons and taking lives again. They must sacrifice their life for taking up a lifestyle they’d rejected, and this is seen by these men as better than dying alone, and unloved, regretting all the evil they’d done.

“Life is too short to wake up with regrets. So love the people who treat you right. Forget about those who don’t. Believe everything happens for a reason. If you get a chance, take it. If it changes your life, let it. Nobody said life would be easy, they just promised it would most likely be worth it.” 
― Harvey MacKay