Movies


The new documentary Fyre, available on Netflix, describes the events surrounding the collapse of the infamous Fyre festival in 2017. The collapse of this festival gained worldwide notoriety because the festival was billed as a super luxury elite event full of models and influencers and famous people, which only the very rich could afford, but which ended with the “elite” guests having to camp in the dark in emergency response tents and eat soggy sandwiches before they fled home. It was covered extensively in the media and was often covered as a kind of disaster for the instagram age, a festival as fake as the world we build on social media, and a moral story about the collapse of truth in an era of influencers and instafame. It was a particularly attractive FUBAR because it involved rich people being scammed out of their money for what on its surface appears to be a completely vainglorious and shallow status symbol event.

I think a lot of that narrative was either untrue or a pernicious interpretation of the evils of social media. This documentary goes some way to helping to clarify what really happened and helps us to understand who some of the real victims and real villains were, but I think ultimately it fails because it does not go far enough or deep enough, and to some extent it is complicit with the scammers. It has three key flaws: 1) it fails to really contest the accounts of the organizers; 2) it does not give much of a voice to the guests; and 3) it does not offer any deeper commentary on the social media aspects of the SNAFU. I want to talk about each of these three problems and give a little opinion about what this festival tells us about social media and scams, again returning to my old saw that there is nothing new about the evils of social media, and no special skills are required to understand and deal with the problems social media creates.

First though I would like to say that although this documentary is flawed it is worth watching: it will give a much more detailed understanding of what happened and help to put the events into their proper perspective. I did not know, for example, that the organizer of the festival had been involved in a previous scam with all the same players; that a website and twitter account started to debunk the festival long before it happened; and that a great many of the attendees were not the super rich. Some of these points are not really clarified or explored properly in the documentary, but if you watch carefully and pay attention you can see these facts.

The first problem of the documentary is that it is highly dependent on footage of the entire project planning that was taken by the organizers themselves. I don’t know why they filmed themselves but it appears that the boss of the whole thing, Billy McFarland, has something of an obsession with filming his work – even at the end of the movie when he is on bail and living in a penthouse running a new direct mail scam he is filming himself doing it, which is weird. But it seems to me that in order to get this footage the documentary makers had to treat many of the organizers with kid gloves, which gives many of them the opportunity to provide self-serving and I suspect highly biased accounts of their own responsibility for the disaster. Four figures in particular – Carolla the financer, an old guy who has backed Billy McFarland for too long and has 30 years’ showbiz experience, the key guy responsible for logistics and the key guy responsible for booking acts – are up to their necks in the scam and it’s just not believable that they weren’t part of it. When one of them says that Billy would keep going away and finding new investments, it’s obvious that he is scamming new investors and they must know – and sure enough it turns out that he has been lying egregiously in documents to investors. Other people not so close to Billy were quick to get out when they realized the shitstorm that was coming, and one guy who saw right through it was able to get direct photos of the development of the festival and could clearly see it was going to be an omnishambles, yet these four couldn’t see it? Some of them, in particular Carolla and Ja Rule, were involved in Billy McFarland’s previous business, Magnises, which was clearly and obviously a scam, so it really stretches credibility when they tell the documentary makers that they didn’t know what was going on and kept not seeing the wood for the trees even when it was really clear what was going to happen. It’s very clear that Billy McFarland has a powerful effect on these people and is good at keeping them disoriented and confused, and he is always ratcheting up the chaos and demands so that they don’t have time to get clear-headed perspective on the damage he is doing. It is also really clear that he has found typically devious ways to keep them entangled in his dramas so that not only they but a lot of people who depend on them will be damaged if they back away; but these people have been around Billy McFarland long enough to know that this is his shtick, and to find ways out. There is a story in here about how incredibly dangerous people with personality disorders are when they have access to money and authority; but there is also a moral tale about the importance of not enabling these people, and of ultimately being willing to take the risk of walking away from them. This documentary shows in the end that when you enable the disordered leadership in order to protect those around you, all you really do is set those people up for a bigger fall when the narcissists’s schemes finally collapse. There’s a definite cautionary tale for Trump’s America in this documentary, but unfortunately by not properly challenging the stories of Billy’s fellow travelers the documentary fails to draw the proper lessons about the dangers of sticking with a leader with personality disorder.

The collapse of Fyre festival was a social media spectacle that was turned into a morality play about millennial idiocy by the media, but it’s worth bearing in mind that there were real victims of this farce. The documentary makes a good case for the low-paid workers of the Bahamas and the businesspeople who were left out of pocket on the island by the scammers, but it does not put much time into the feelings and experiences of the guests who paid to come to the festival and got scammed. It even manages to broadcast Billy McFarland’s point (made through Ja Rule) that nobody got injured or died. Nonetheless, the people who attended this festival turned up to an island far from home and got dumped on a fake beach in the dark with nowhere to stay except damaged tents with sodden mattresses, barely any food, and no idea what to do to get home. A large number were locked inside the airport without food and water for a night while the authorities tried to figure out a way to get them off the island. The fact that they were rich beautiful people doesn’t lessen the fear and hardship that they had to endure for a day or two while they found a way out of this scam – they were poorly mistreated. The documentary finds a couple of customers who were willing to speak on camera about their experience, and it uses a bit of social media footage of other victims, but it does manage to build up an image of these people as wealthy people who were paying for an elitist experience. It even shows a clip of a beautiful girl (possibly one of the influencers who was supposed to get free villa accommodation, though the documentary is careful not to reveal who the people in the social media clips are) saying that the “private” plane was “worse than the lowest class in economy”, which makes her seem kind of snobby from her tone. On twitter today I have been seeing people saying that what these people were really paying for was exclusivity, buying an experience that no one else could have, but I did not get that impression from the documentary: they were pretty clearly paying for the experience of a party on a beautiful beach, and paying for a luxury experience. Everything was marketed as a luxury experience and that’s what the guests were paying for. They weren’t necessarily driven by a desire for exclusivity. After all, they knew lots of other people were going to be there and fundamentally, like with any festival, wanted to go there and share the experience with those people. Any music event is never about exclusivity – you go to live events so you can share the experience with other people. But worse still, this documentary slides over the possibility that actually a lot of people weren’t that wealthy, and had actually been scammed out of real hard-earned money, not disposable income. You can’t tell from the people they interview, or from the prices they display on the documentary screens, but the lowest price tickets were between $500 and $1500. It’s not beyond a person on a normal income to spend a large chunk of their savings on this festival, so that they can have this experience. Looking at the people on the social media footage the documentary shows, and judging by their clothes and reaction, a lot of these people were not throwing away a casual weekend’s cocaine money to drink champagne off models’ tits in an exclusive villa: they were dumping a large portion of their hard-won savings on a chance to enjoy their favourite music in a geodesic luxury tent on a beautiful beach. Now, I have experienced a really enjoyable music festival on a secluded beach (the San-in Beach Party), and it really is a very nice experience, and to do it in luxury on a beach in the Bahamas is something that a lot of people would consider worth burning their savings on. It’s well-established that millennials, knowing they can’t afford a house or a stable retirement, choose to spend what limited savings they can scrape together on experiences like this. No matter how much David Brooks might sneer at their ephemeral spirit, it’s no reason to scam them of their hard-earned cash. That’s not exactly Robin Hood stuff is it? But by carefully avoiding investigating these peoples’ backgrounds, and not trying to do any deeper investigation into who went and why, the documentary falls into the usual traps that bedevil any attempt to explore modern youth culture, and makes it seem once again like a bunch of entitled millenial trustafarians got what they deserved.

Finally, the documentary does not properly explore the central role of social media in the debacle, and what the implications of that might be. The Fyre festival’s initial hype was built up by a bunch of influencers – perhaps 400 – all posting a picture of a blank orange tile to their instagram accounts at the same time, with a link to the Fyre page, where people could see videos of these influencers cavorting in the sea. It was a masterfully done advertising campaign, that used the viral power of instagram and other social media to multiply the value of each user’s post. But let’s not be coy about how this worked: they sank an enormous amount of money on this advertising. The documentary reports that the top girl in the influencer group they gathered, Bella Hadid, was paid $250,000 for that one post. They set up a website that was basically just a collection of movies, and then through a very well designed visual campaign they got a lot of people interested in their product. The documentary reported that in the aftermath of the Fyre farce the US government introduced new rules for social media stars, requiring them to indicate when they’re being paid to advertise product, and the documentary suggested that their behaviour had been duplicitous. The documentary also suggested that they should have done due diligence on the product they were selling, but this point was rebutted by some of the people involved who pointed out – fairly, I think – that these girls are models not scientists, and it’s not their job to vet the quality of a good they’re paid to advertise – that’s what regulatory authorities are for. Fundamentally what happened here is that Billy McFarland paid them to market a scam that neither they, the buyers, any of the contractors in the Bahamas, or apparently any of his colleagues, recognized was a scam. I don’t think under these circumstances these girls are the first people who should be blamed.

More importantly, none of what this advertising campaign did was new. It girls have been around since Audrey Hepburn (Holly Golightly was a classic It-girl), and in the era of the big people magazines girls like Paris Hilton were huge news, without ever making a single social media post. The fact that you can be an it-girl on Instagram doesn’t change anything, and although Bella Hadid is more ubiquitous in the feeds of her followers than Paris Hilton might have been, she is no less ubiquitous in popular media than Paris was. I am old enough to remember the Paris Hilton era, and let me tell you, there is nothing that Instagram could teach her about how to get rich and famous by being nothing and doing nothing. Yes the Kardashians’ famous-for-fame-itself lifestyle and business model is repulsive, but so was Paris Hilton’s. Similarly the problem of these girls advertising products without announcing they’re paid: it may shock my younger reader(s) to learn this, but a mere 20 years ago all the Hate Radio stars in Australia – Alan Jones, John Laws, that repulsive dude in South Australia, and the racist pig in Western Australia – were all advertising products all the time on the radio without telling you they were paid. They had a conversational tone in which they told you personally that they used this car oil, and never once mentioned that this conversation was paid for. This scandal blew up in the late 1990s and you should have seen the entitled whining they did when they were forced to admit on air that they were paid to make their endorsements. Now as far as I know, the late 1990s was approximately 60 years after the widespread adoption of radio. So it took approximately 10 times as long for the authorities to wise up to payola on the radio as it did for them to crack down on these pretty young things on Instagram. I’m sure that their haste to crack the whip on those girls has nothing at all to do with their age and gender … and of course all the top 40 charts and bullshit rankings on MTV and radio charts are still completely bought and paid for by the music industry, but we should worry that occasionally a model will slip in an unannounced endorsement on Instagram… No, as I have said before, the problem here is not social media – it’s you. Indeed there were even social media accounts dedicated to revealing the truth about Fyre but they didn’t take off – because nobody cared about the truth. If you cannot tell that a party on a remote island in the Bahamas where you get to cavort with models in a villa with a private plane for a couple of thousand bucks is smoke and mirrors, you won’t be saved by seeing that scam advertised on tv instead of Facebook. And if a slimy con artist decides to lie to you that he has villas for 5,000 people on that beach when in fact there are no houses on the entire island, it doesn’t matter if he does it on TV, Instagram or a message written in the sky – he’s a liar and a con artist, and the problem is that he lied. Unfortunately, while this documentary does make clear much of the way in which he built his lies, it also glosses over the simple fact that the world is full of liars and rubes in favour of the easy lure of social media panic, and schadenfreude at rich people getting duped.

So, watch this documentary if you want a more detailed account of that fateful party and the garbage fire it became, but don’t let yourself be fooled by the easy targeting of social media and rich entitled millenials. The story of Fyre is as old as the story of liars, and our natural faith in the honesty of our fellow humans. Whether you lie to someone’s face, on tv, on Instagram, or on stone tablets, a lie is a lie: and Fyre was a bonfire of stupid, vicious lies that left a lot of people hurt. Let’s hope we’ve all learnt from it, and that this documentary will help us all ensure it does not happen again.

These guys only run forward!

I have just completed a three day trip to Chengdu, China, where I was visiting an NGO that provides HIV testing and counselling to men who have sex with men. There’s not much to report about the trip itself – the NGO is doing well and we came up with some interesting research opportunities, and I spent a lot of time eating exhausting spicy hotpots – but the Sichuan Airlines flight I took there gave me an opportunity to watch Operation Red Sea, the new hyped-up Chinese action movie. I previously reviewed Wolf Warrior 2, which I watched on a work trip to Guangzhou, so I thought this time I would give a review of this new phantasmagoria of action violence.

This movie is apparently based on a real event in which a Chinese warship evacuated Chinese and foreign nationals from Yemen in 2015. I think “based on” is doing a lot of work in this claim, however, since the sheer volume of damage and destruction handed out by the Chinese People’s Liberation Army in this movie could be seen from space if it actually happened, and I suspect that the only thing the real events and the movie have in common is the words “Chinese warship”. But don’t let that discourage you, because this is an action movie and we all know that action movies are at their best when they ignore reality.

The basic plot of this movie starts simple but gets over-complicated very quickly. A coup breaks out in a fictitious north African country, and as the coup unfolds an Islamist revolutionary group takes advantage of the situation to create havoc and try and steal some yellowcake and the plans for a dirty bomb. A bunch of Chinese nationals are caught in the country, working at various businesses, and so a Chinese warship (the Guangdong, I think) enters the port of the capital and deploys teams of soldiers to evacuate Chinese nationals. The parameters of their mission are very very clear: they are only to act with permission from the government (which they seek every time they expand their mission), and they are only there to save Chinese nationals. Anything else is a bonus, but they have to get permission for every bit of mission creep. This was also a strong theme in Wolf Warrior 2: as opposed to certain nations, these movies make very clear that the Chinese government does not interfere in other nations’ affairs unless it has permission from the UN and local governments, and only to protect Chinese interests.

Pretty much as soon as they enter the town where the civil war is unfolding things begin to go wrong. They get attacked from all sides, there are suicide bombers, the people they’re evacuating have been split up, and then they learn of more nationals who have been kidnapped and taken inland. One of these nationals is a female journalist who is hot on the case of a bunch of Islamists who are planning to steal some uranium ore, and a dubious scientist who has the plans for a dirty bomb that can be made with it. The soldiers have to go and save her but are attacked on the way, which requires much slaughter, and then find that to rescue the journalist they will have to fight an entire platoon of terrorists – 8 against 150, which of course they pull off because China! Then things go a bit awol, when the journalist tells them about the yellowcake and they decide – without permission from their superiors on the ship – to go foil the yellowcake plan. Rescuing the journalist leads to quite a few of the soldiers dying, and ends in a rather fantastic tank chase with strong hints of Mad Max.

Aside from occasional 5 or 10 minute breaks to set the scene of the next clusterfuck, and to lay out or reinforce a few nationalist themes, this movie is a non-stop warzone. It’s like your GM squeezed a whole campaign into two hours, with stirring music and a lot of stern faces. The soldiers level up between each scene too, because the challenges they face become more and more extreme and they rise to every single one. I didn’t know that Chinese special forces are also elite tank stunt drivers, but apparently they are, or at least in one of their level-ups they picked that skill to a pretty high level, and I think one of them must be able to fly heavy transport planes too. This movie is basically a team of 8 Rambos, doing Rambo things for two hours against exponentially increasing levels of difficulty.

Which would be frankly ridiculous but the action scenes are very good and the challenges are super fun. The whole thing is also anchored by the story of the sniper and his assistant, who seem to be the pivot around which the rest of the action takes place. The sniper scenes are really cool, and although one of the snipers is a typical East Asian hard-faced bullyboy[1], with vulnerable sidekick, they work out in the end. At several points in the action they are forced to face off against a baby-faced Arabian sniper, who is presented in a surprisingly sympathetic way and is actually pretty cool, though like pretty much everyone in this movie he gets it in the end (I think it’s safe to say that there’s no risk of spoilers here). The bad guys aren’t as one-dimensionally awful as the bad guys in Wolf Warrior 2, but they’re still very nasty, with a fondness for forcing innocent people to be suicide bombers by threatening their children, beheading journalists, that sort of thing[2]. It’s one of those movies where you really don’t feel bad about viscerally hating the enemy. Which is just as well because the body count is very high.

Along the way our team of heroes save a couple of victimized local women and some non-Chinese foreigners, and bravely also rescue a suicide bomber from his bomb, while under fire, but mostly their position is non-interventionist: they’re here to do a specific, limited, internationally-sanctioned job and they absolutely will not deviate from that mission unless there is zero risk that they will screw it up by helping out a local. They may be disgusted at the local brand of terrorism, but there’s no liberal interventionism here! The movie also makes a point of pausing regularly to reiterate basic Chinese government policy: we don’t intervene, we absolutely will not allow Chinese citizens to be victimized by other countries, all our actions are in accordance with international law, and everyone from China loves China. The movie also finishes with a shockingly nationalist epilogue: after all has been said and done and the special forces have returned to China, we have a final scene in which some unnamed ships from an unidentified nation are seen moving towards the screen, and a voiceover is saying something like “This is the Chinese navy. Do not enter Chinese territorial waters” with threats of escalating intensity. I think it’s clear enough to everyone who the unidentified nation are and where the territorial waters must be, and I think this might be the clearest case I have ever seen of current great power politics being expressed directly in a movie (barring the infamous final credits from Rambo IV, I guess).

This nationalism is an interesting experience in watching Chinese action movies like Operation Red Sea. Occasionally things happen on screen that are so blatantly intended to push nationalist buttons that you think “wow, this is super unsubtle and really close to fascist!” but then you pause and realize – because you’re viewing it from more of a distance than usual – that what you’re watching is no different to any number of American action movies. It’s probably less blatant than gay porn like Top Gun, and although nowhere near as self-critical as First Blood is definitely no worse than Rambo IV. Because we are not used to seeing military action movies from anyone except America, the kind of nationalism that is routine currency in American movies and that we’ve been raised on suddenly seems shockingly blatant and unpleasant. There’s absolutely nothing in Operation Red Sea that you would not see over and over in any episode of The Last Ship (remember when they pick up that mercenary at Guantanamo Bay? Good times!) But it stands out like dog’s balls when it’s not being portrayed by someone on “our side”. I think it’s very educational to see nationalism from the outside, and reminds me of how much we grow accustomed to in American movies that we really shouldn’t.

Overall this movie is a fun ride, though it has a few problems. The team really is a team, with no strong candidate for a single lead character, and so it’s hard to keep track of exactly who dies and who doesn’t because they’re largely interchangeable. It also seems to hand-wave away some important plot problems, like for example when they’re stranded in the middle of the desert with a bunch of foreign nationals and injured soldiers after the Islamists blow up their ride, and then suddenly we’re at the next battle and all their non-combatant charges have disappeared. They don’t spend much time on character development and aside from the chick, the dude who eats sweets and the sniper team we don’t have a lot of character to hang onto from half of the team (but it’s okay; most of this team aren’t going to go the distance). The first scene with the pirates and the ship also seems kind of unnecessary, like we could have just skipped that, but I guess the GM needed an introductory adventure for the characters. Other than these problems though the movie is a pretty solid contribution to the military action movie genre. It has a little bit of the feeling of Blackhawk Down, though it’s not as good as that (but most action movies aren’t). I recommend seeing it as both a cross-cultural experience, and a rich two hours of exhausting violence, with a tank chase!


fn1: I realize this might sound harsh to my reader(s), but if you have lived and worked in East Asia you’ll know the character I mean.

fn2: It says something about how awful the bad guys were in Wolf Warrior 2 that the journalist-beheading terrorists in this movie are less extreme. At least no one in this movie executed an entire hospital full of Doctors Without Borders volunteers, or blew up a bus full of refugees! (Actually on reflection they did do the latter, but in this movie the bus was part of a military convoy and was also carrying soldiers). But what does it tell us about the movie-maker’s point of view that the enemies in Wolf Warrior 2 were primarily western mercenaries, while the (not as nasty) dudes in this movie are Arabian?

And when you’re a star, they let you do it. You can do anything. Grab them by the pussy. You can do anything.

Avengers: Infinity War is essentially a terrible movie. It’s about an hour too long, it has too many characters and too many plot threads running at once, and most of the characters are either not introduced or barely introduced, get very little dialogue and don’t get any development. If you haven’t watched a long train of interminably dull prior movies in the sequence, you have nothing invested in this shlock, which is just as well because the movie suffers from a more fundamental problem: it bullies its viewers. This movie is basically a series of scenes in which a giant, invincible arsehole does whatever he wants and takes whatever he wants, and all the efforts of the people that we the movie-watchers are supposed to have emotional investment in amount to nothing. If this were an actually serious, well-made movie about a real topic – sexual abuse at Ohio State University, for example – we would be watching the same series of awful bullying scenes, and we would leave exhausted and shattered by the sheer brutal abusiveness of the experience. This isn’t how you make entertainment, it’s how you make documentaries.

Perhaps the movie-makers knew this, and this is why they made sure that not only is a casual viewer unable to invest anything in the characters, but is also unable to engage with the substance of the movie itself. The script wavers between a serious adventure/sci fi, a classic superhero movie, and a comedy. This means that the viewer cannot properly get into the flow of things. Has Thor just seen his entire crew murdered by a fatally powerful demon who aims to destroy half the living creatures in the universe, or has he had an entertaining evening at a bar with some friends? It’s impossible to tell. Is Spacedouche fighting to save his loved one from a fate worse than death, or just hamming it up for his friends at a keg party? It’s impossible to tell. This is one of the (many) fatal errors that sank the recent Star Wars effort, and it did no favours for this movie either. Well, perhaps it did the movie a small favour – the only reason I finished watching it was the dialogue. I watched the whole thing at a remove though, as a disengaged critic, because I had nothing invested in it or its characters.

And how bad were these characters? I have no sense of Thanos’s motivations, or any emotional engagement with his drive to get the infinity stones and destroy half the universe, which is terrible because a fundamental requirement of these kinds of movies is that you be on board with the bad guy’s plans. I felt more in common with the Alien queen in Aliens than I did with this boring dude and his gold fist. Spacedouche, obviously, is a waste of my effort and a completely awful character. Iron Man long since lost his shine and, like late-vintage Elon Musk, has become just a rich entitled white dude with bad ideas. Dr. Strange is a condescending prat who should have stuck with his original career as a detective. Insipid Witchgirl is weak and boring, and I have no idea why she is in love with Useless Robot (Phase? Nobody introduces themselves), who seems to have no purpose in this movie except spare parts. Black Panther might as well also be a robot for all the energy in his performance, and who was that Steve Rogers guy and why is he so useless? I think I was supposed to feel some emotion other than relief when Spiderman died but why would I, when his sole role in this movie is to act as a ham-fisted tool for breaking the fourth wall (and why are we breaking the fourth wall in a supposedly serious movie?) What is Black Widow’s purpose, and what is wrong with this world that Scarlet Johanson can be paid millions of bucks to turn up, say three lines, and then sit in a chair while her stunt double does 90% of her moves[1]? I think there was a guy who flew a thing and blew stuff up, but I don’t know his name and I don’t even remember if he died. Bruce Banner has now thoroughly ruined the Hulk, turning him from a metaphor for adolescent angst into a metaphor for middle aged male sexual dysfunction. Groot – now Groot is an example of how to really terribly mistreat a great character. In the original Space Daddy Issues movie he was a fun and interesting character, but baby Groot in Daddy Issues 2 was just a waste of space and this teenage Groot is such a depressingly bad form of comedy relief that it makes me want to go back in time and destroy the original movie.

A further mark of how bad this movie is is that it introduced time travel. It is a universal truth that a movie with incidental time travel is a bad movie, and that only two movies in the history of cinema have done time travel well: Terminator and Back to the Future. As soon as you casually insert time travel into a movie you ruin it. This was easily avoidable in this story simply by replacing the time stone with some other noun (the shit stone? the mcguffin stone? It doesn’t matter, because there is no sense in which anything Thanos does with his golden fist corresponds in any way to the supposed functions of the stones embedded in the fist). But no, the directors had to go there because there is no stupid thing that cannot be loaded into a modern American action movie. Of course, in keeping with this principle there were a bunch of other incredibly bad decisions that completely undermined the good guys’ efforts and made all their failures both predictable and frustrating:

  • Spacedouche’s decision to punch Thanos in the face while he was sleeping, just as his friends were about to pull the glove off and save the universe, and indeed his decision to stand there arguing with sleeping Thanos and making everything in the universe all about him instead of helping his friends remove the glove and then punch the stupid blue dude when he was actually vulnerable
  • Dr Strange’s decision to go with stupid Iron Man’s stupid plan to confront Thanos while holding the very thing Thanos wants, and then to give up that thing even though he asserted very strongly earlier in the movie that he would let Iron Man die rather than hand it over (we all know why he did this – see below).
  • Dr Strange’s decision to scan all possible futures for the wisdom of his actions after going to confront Thanos instead of before
  • The decision by the idiots at Wakanda to spend precious time and lives defending Wakanda against invading alien hordes so that Little Sister can extract the stone from Useless Robot’s head without killing him, thus ensuring Insipid Witchgirl doesn’t cry, even though ultimately Insipid Witchgirl has to kill Useless Robot anyway, but does it in front of Thanos so that he knows where the stone is[2] and can go back in time and stop her destroying it (but Useless Robot still dies at least)
  • The dumb-arsed series of historical decisions which led the super people of Wakanda with their super-powered Bullshitanium super mineral and hyper high-tech social order to develop an army that fights with spears, has no air support, no artillery, and no projectile weapons of note, and also lacks the strategic sense to stay on the high ground focusing the piss-weak projectile weapons they do have on a narrow breach in an otherwise almost impassable wall
  • Thanos randomly and incoherently spares people, like the entire crew of Spacedouche’s ship (who subsequently go on to try and remove his glove, almost successfully) and Iron Man, who is going to kill him in the next movie

It’s become a pretty much constant aspect of modern American movies that the main characters make bad decisions based on emotion rather than heart, and then at the end have to save the day by sheer grit and determination in the face of the avalanche of consequences their hot-headed decisions unleashed[3]. But it doesn’t have to be like this. Often these stupid decisions simply lead to long unnecessary extra scenes to undo the damage, and plot complications that make the movie less believable than it would otherwise have been, and frustrating. I have got to the point with movies like this and Star Wars that I am basically just hate-watching them: I watch them to see how terrible they are and to get angry at my cultural overlords, more than to enjoy the actual content of the movie. In truth this is why I skipped most of the Marvel movies leading up to this one, and only watched this one because I was on a plane[4].

I also previously avoided this movie because there is one crucial scene, where Dr. Strange hands over the time stone to prevent Iron Man being killed, which basically tells us that Iron Man is crucial to the one possible future in which Thanos is defeated. This means that the rich entitled white guy is going to be the person who saves the universe. Who could have guessed!? That amongst a cast of thousands of super heroes, all the non-white and non-human characters die “randomly” after Thanos gets the final stone, leaving white Iron Man, white Spacedouche, and white Black Widow[5] to save the universe, with rich white Iron Man as the central hero. I can’t wait to see this unusual and novel ending to a movie! It’s highly unlikely I’ll watch the next one, unless it’s playing on a plane in a typhoon, so it seemed like a waste of my time to watch this one too. Perhaps one day someone can remake these movies without all the stupid decisions and white entitlement, and then they might be actually enjoyable. But probably not.

There is one more aspect of this movie which I found amusing, though. It seems to me that there is a metaphor in this movie for the 2016 presidential election, with Thanos as Trump and the six stones as the swing states that he had to pick up to win the electoral college. Everything our heroes throw at him doesn’t stick or slides off, and while some of his buddies are sacrificed on the path to victory, he is ultimately unscathed, and seems to be protected by this strange otherworldly power that enables him to change reality to suit his whims and battle off any enemies. In this metaphor the glove is Russian interference, and the central scene is the moment where the intelligence agencies are trying to reveal the truth to the electorate – this is Spacedouche’s friends trying to pull the glove off – but instead of helping to reveal the horrible truth and fatally weaken him, the mainstream media (represented aptly in this metaphor by Spacedouche) is distracted by Hilary’s emails – a distraction put there by Trump himself – and the moment is lost in their fury. Thanos wakes up and shakes off the people trying to drag off the source of his power over reality, and he goes on to get everything he needs for ultimate victory. It’s up to you to decide whether the half of the universe destroyed by this are a metaphor for women, the Democratic electorate, or most of the rest of the planet. I guess we’ll find out in a year or so.

It’s a nice metaphor, but I have to ask the directors – why did you make us sit through your pain? Couldn’t you have made some other movie, in which the evil arsehole isn’t an invulnerable bully who rampages through the world taking whatever he wants until he gets ultimate power, and the people ranged against him were annoying, powerless losers who consistently make bad decisions? Because I’m not interested in workshopping your pain, and what the world needs now is more superheroes, not more shit superhero movies.

Other reviews you might be interested in

My review of Star Wars: The Last Jedi, which was a horrible movie in every way

My review of Mad Max: Fury Road, as an exemplar of eco-feminist violence

My review of Dunkirk, as a story set in the in-between


fn1: Sorry in advance if this is a slur on Johanson and she actually does all her own stunts. Even if she did, though, she still was almost not present in this movie.

fn2: This is the best gloss I can put on the insertion of time travel into this movie. Otherwise, why doesn’t Thanos just go back in time to the beginning of the universe and hoover up all the remaining stones as they come out of the big bang? This is why this movie is a railroad – you know Thanos is going to get what he wants, you just have to watch everyone suffer and die until he does.

fn3: See also, Battle of the Bastards

fn4: Did I mention that? I didn’t watch this movie by choice, but because I was flying past a typhoon and couldn’t work on my computer for fear it would fly up into the ceiling of the plane during turbulence

fn5: Wait, isn’t Major Kusanagi Asian?

Recently I had the opportunity to watch three movies in quick succession: Solo, Death Wish and Pacific Rim: Uprising. Solo was kind of fun but overall these three movies were pretty ordinary, and none of them is really worth its own separate review. I thought I’d put reviews of all three in one post, as exemplars of how America’s cultural industries are falling apart before our eyes. It’s worth noting that all three of these movies are either remakes, sequels or part of a “franchise”, so there’s nothing truly original in any of them. In many ways they’re also movies that are designed to appeal, well, not even to the worst elements of our nature, but to the most banal elements of our nature. Is this how western civilization ends: not with a bang or a whimper, but a long drawn-out sigh of boredom?

Pacific Rim: Uprising

I want to start this review by pointing out that just a few years ago, when the Lord of the Rings, was first made (or was it the Hobbit? I forget and don’t care) a bunch of LoTR fanboys were ruing the fact that Guillermo del Toro didn’t get the gig as Director. Surely he, more than Jackson, would have been able to make these movies soar? Well now, having watched him royally fuck up two movies about giant robots fighting giant monsters in giant cities, are you still sad that he didn’t get to make a movie with dragons and elves? A man who can fuck up a formula as invincibly, trivially easy as giant robots would surely have made an absolute dogs breakfast of something as subtle and culturally significant as LoTR. Thank God Jackson pipped him to that one, because this movie – even more than the shit sandwich that was the first one – was an absolute disaster. The worst thing about it obviously is the two people operating the one machine, in the bullshit “neural mesh” setup, who despite being neurally enmeshed have to operate their stupid giant robot by physically doing whatever it does. Watching the scenes of the soldiers in the brainpod (or whatever stupid name it has) I could only think of those ‘90s comedy skits in which terribly earnest acting school students pretend to be trees or ducks or something. What a fucking joke. Don’t get me wrong, if some idiot paid me a million bucks (or a fraction thereof!) to pretend to be running inside a giant robot I would be all in on that shit, but let’s not pretend it’s a contribution to western civilization. God no, burn that crap down. Also is it just me or is there some new phenomenon in action movies, let’s call it jockburn, where the lead characters are first introduced into the mess hall/ bunk room/ shower room where the other soldiers eat/ reside / fuck and your heart sinks when you realize that you are now going to have to sit through several minutes of macho posturing that is obviously meant to be in the vein of Aliens, but you know before it starts that it isn’t going to come close? And then there is the related experience where the leader is about to make a big speech, and suddenly you know the big speech is coming and you’re going to have to sit through about 20-30 seconds of “stirring” speech about how everyone has to fight and die for glory / the glistening tear on the cheek of a golden child / a sack of French porn and you know it’s going to be a disappointing and shamelessly unselfconscious pile of cliches that will just make you squirm? What do we call that feeling? I think it’s an identifiable and common experience in modern action movies. Occasionally you get a good one (the one at the Gates of Mordor, the speech about taking chances in Rogue One) but mostly they’re just shit. And they aren’ t improved when, as in this movie, they refer to the speech in the previous movie (because that’s how low we have sunk) and try to pretend that this one won’t even be trying. Look, Guillermo (or whoever else squatted out this pile of shit), if your work is so bad that you know ahead of time that it isn’t going to compare to even the last steaming turd you dumped on us, please don’t insult us further by pointing out that you aren’t even phoning it in. Just fuck off home and don’t make this waste of pixels. Oh, and while you’re listening to tips from me, can you please please please drop the daddy issues? They weren’t constant and overwhelming in this movie like they were in Guardians of the Galaxy 2 (thank the gods of shit movies that that arsehole had some trouble buried in his twitter feed! Now if we could just kill off the cast we can all go home happy!) but right at the peak of the movie, when they’re about to save the world, someone manages to make the resoundingly important point that the lead character is going to make daddy proud. Really? He’s going to risk his life saving the world and all those billions of people are going to be looking up at him as the dude who saved the world but his real single only concern is that his dead daddy will finally love him? He’s an adult, right? What is wrong with Americans and their daddy issues? Also what is wrong with the Chinese people in this movie? I can’t figure out if they’re meant to be the bad guys or patsies, if there’s a message about copying technology in there, or something else, but why did they have to be such arseholes? Also, when you choose to portray America’s current Big Trade Enemy as arseholes in an action movie, can I suggest that you perhaps go and check on how the Japanese were portrayed in the 1980s and ask yourself if perhaps, just perhaps, you’re just repeating a massive flyblown cliche? Because at this point in the cultural cycle of the west, any opportunity to do something original would be appreciated kthxbai. This movie also suffers from another weird problem of action movies that needs a name, perhaps something like self-referential SNAFU, in which there is a central problem or barrier that they have to overcome through some special means, but at some other point in the movie they immediately do exactly the thing they said they can’t do. In this case we’re told that you can’t make the giant robots (I refuse to call them Jaegers, fuck off) fly because there is no fuel that powerful, but in the very first action scene the stupidly named giant robot with the enormously stupid flail (fuck off already I cannot believe how stupid that flail is) jets out of the ocean and onto land using just the rockets in its feet which is exactly what they said these things can’t do. Also we’re told that they had to build these giant robots to fight the giant monsters because the giant monsters are invincible, presumably cannot be beaten with say a rail gun from space or a missile, but then their solution to the final massive, extra super powerful monster, is to drop a disabled giant robot on it from space. Now I don’t know how much these giant robots weigh but right now the Falcon Heavy rocket can put 64 tons of material in space, so it seems pretty easy and cheap to me to hoist say 600 tons of material into space, stick it all together, and drop it on your annoying giant monster. Why build stupid giant robots that need two terribly earnest method actors to neurally mesh (impossible – method actors don’t have brains) when you could just use your reusable rocket to build a makeshift rail gun at a fraction of the cost? This is the self-referential SNAFU I mentioned earlier. To be clear I don’t care if the pretext of the movie is that we need to build giant robots that can only be driven by method actors but I want the movie to stick to the pretext throughout. Failure to do so bursts me out of the bubble and just leaves me disappointed and feeling ripped off. Which is probably the best description for how this movie leaves you feeling. In conclusion: this movie was a joke of a reheated disaster, and if you can fuck up two movies about giant robots fighting giant monsters in giant cities, you should fold up your director’s chair and go home.

Death Wish

This movie is a straight remake which has the single redeeming feature of having Bruce Willis in it. Bruce Willis is a legend, and anything he touches is made better (although I note that he was not in either Pacific Rim movie and I think we all know why). I haven’t seen the original but I remember when I was a kid it was hugely controversial because of its ultra violent story and the perhaps morally neutral approach towards vigilantism. Now, 40 years later, as militias roam the landscape and Sasha Baron Cohen can convince American politicians to advertise gun self defense schools for four year olds, we can look back to that time of controversy as a purer, more moral era. Now we can watch as the movie-maker postures through the issue by having talk radio hosts debate whether vigilantism is right or wrong without ever making a decision one way or the other, because heaven knows it would be terrible for someone’s career if they made an actual moral judgment on something as grey and uncertain as whether vigilantism is okay. So it is that Bruce (let’s not waste our time pretending his character has any other name) wanders this morally free and pure space murdering random criminals and getting his own back on the people who refrigerated his wife. Unfortunately for the pretext of this movie, the dudes who refrigerated his wife didn’t really even want to, and they’re just small time criminals, and two of them didn’t really even come across as especially bullying, and we didn’t see their faces, so it’s really really hard to get any strong feeling of revenge when he murders them. In fact it seems pretty clear that two of the criminals, at least, were strong candidates for rehabilitation – they were clearly intending just to rob him, they wanted as little trouble as possible, they didn’t want to hurt anyone, they clearly knew that rape and murder are wrong and should not be done, and they were just trying to make a buck. This isn’t to say they were nice people or anything but here’s the thing: this is a vengeance movie. I absolutely love watching bullies get murdered, beaten up, humiliated and destroyed, it’s pretty much the only reason I am still sitting through Game of Thrones. But for my bullies to deserve brutal murder instead of say 10 years to life, they need to actually appeal to my baser instincts. They need to be real arseholes. Not participants in an armed robbery that went wrong. This is why the only really truly satisfying murder is the death of the Ice Cream Man, who steals children’s money when they walk to school and shoots them in the foot if they don’t pay up. His death – and the subsequent looting, essentially, of his still warm corpse by the residents of the block – was the only satisfying death in this bland flick. The deaths might have been slightly more appealing but there was this additional subtext in this movie that made it really hard to fully get behind our hero Bruce – America’s ridiculous and unsustainable levels of inequality, and rich people’s fear of what will happen when America’s poor decide to do something about it. Bruce is a doctor, he’s obviously super rich, and he works in a hospital – a US hospital. We all know that hospitals in the US are key drivers of inequality, and the doctors who work in them get rich working in institutions that refuse healthcare to people who can’t pay, and bankrupt people who come to them for healthcare with bullshit emergency services like charging $500 for an aspirin. So some poor people break into Bruce the emergency doctor’s house to steal some of his ill-gotten gains, and their theft goes wrong because they’re idiots, so they kill his wife, and then this man goes on a spree, murdering poor people across the city. Additionally, at one point he goes into a gun shop and a smily second amendment girl called “Bethany” tries to sell him some guns and makes it really really fucking clear that she doesn’t care who he is and will sell guns to anyone (though she makes the weak sauce excuse that she doesn’t sell them to criminals haha). This entire fucking movie wouldn’t happen if the gun shop was closed down, “Bethany” was put out of a job (sorry Beth!) and everyone got access to universal health coverage. Bruce wouldn’t have got robbed, nobody would have been able to shoot Bruce’s wife and daughter, and Bruce would be able to go home from his job satisfied that he had spent all day saving lives rather than worried deep down inside that he actually spends all day saving only wealthy lives. And we wouldn’t have to feel guilty about the (only very partial) thrill of watching a rich man hunt down and murder poor people for doing whatever they can to make ends meet in a world with no universal health coverage, no minimum wage, no gun laws and no sense. Now I guess someone is going to come on here and make some stupid point that I’m making excuses for murderers but I hardly need point out that anyone who defends Bruce is also making excuses for murderers. You can’t watch this movie and not make excuses for murderers (well, I guess you could tut!tut! at everything but where’s the fun in that). And if you live in Japan (as I do) you can be confident that nobody’s going to murder you for your watch, certainly not with a gun, and everyone can afford healthcare at Bruce’s swanky hospital, so Bruce’s riches are genuinely morally deserved, and he can be confident that his valet isn’t going to take a screenshot of his navi (except perhaps to steal his daughter’s underwear from the washing line). Call me a sad-arsed SJW if you will, but a movie where Bruce hunts down some people who brutally murdered his family for shits and giggles is slightly more engaging than a movie where Bruce the rich doctor hunts down and murders a bunch of poor people because they tried to rob his wife and daughter in a society where they can afford guns but can’t afford healthcare. (And don’t even get me started on how the cops are underfunded and overworked!) It’s not like these movies can’t be made! Korea makes awesome gangster movies, and Korea has gun control and universal health coverage. When a rich doctor goes on a murder spree in a Korean gangster movie I’m all in. Not so much when it’s against a backdrop of a crumbling empire with a huge inequality and gun problem, the contradictions of its own oligopolic order now so apparent that you simply can’t squint past them anymore. It steals some of the thrill, and it also makes the whole thing just … boring. In crime movie genre terms, making a boring revenge flick is like making a bad giant robot/monster movie. It should be impossible, but somehow whatever loser made this reboot managed to do it. Thanks for your efforts Bruce, but this wasn’t your best showing.

Solo: A star wars movie

This movie was actually fun! The train heist was a gas, and although the Mad Max elements were a bit obvious and overdone it was enjoyable watching the marauders having their fun. Han Solo was kind of forgettable and the less said about Amelia Clark’s acting the better, plus the betrayals and double-crossings were predictable and the bad guys were not exciting. But otherwise the movie kind of hung together, and although the whole thing in the maelstrom was sort of tedious bullshit, at least there was a tenuous effort at explaining the Kessel run, and given they took a short cut it made sense to refer to doing the kessel run in 12 parsecs (also I like that Han rounds it down and it actually took 13 parsecs, nice touch). That fixed a minor issue in the original movie that had always bothered me. Apparently – my friend tells me, because I won’t go into any cesspit of star wars fanboys – lots of people are pissed off with the director for fucking up a few parts of the original canon, because (spoiler alert!) at the end Darth Maul makes an appearance. Apparently the same fan boys who were pissed off that he died 12 years ago are now pissed off that he’s not dead, which doesn’t bother me at all because about the only thing that was good about the three prequels was Darth Maul’s fighting style (which I guess we won’t see him repeat since the stunt actor who did it must have retired). Also Jar Jar Binks, whose contribution to star wars lore by setting up a plausible theory that he was a Sith Lord is probably the only good cultural contribution of the three prequels. But I digress! One aspect of this movie that pissed me off was the way it implies Han started the rebellion by giving the hyperfuel to the tween girl in the groovy mask. In a universe of trillions of people over billions of planets, why does every single thing that affects the history of the universe have to hang on the actions of just four people? Can things be maybe slightly less incestuous? (And on a related note, the idea that Rey’s parents are nobodies is a ridiculous joke. There’s no way an American franchise is going to let that happen). So overall this movie was light, bearable fun. But I think it says something about Disney and modern American entertainment culture that a movie written by Lawrence Kasdan and directed by Ron Howard, set in a classic science fiction setting like this, would be just “light, bearable fun,” and that we are satisfied with this because at least he didn’t massively fuck it up.

Which brings me to my conclusion about these three documentaries on America’s cultural decline. What has happened to the production of cultural stuff in America that three movies set in three basically failsafe genres can be so shit that “bearably not fucked up” is our new standard of excellence? And why is it that they can’t make anything original anymore? Almost every action sci-fi now is a super hero movie from the same dumb universe, with no original thought put into any of them. I think the only original movie I have seen in the past three years was Atomic Blonde, and almost everything else has been either a remake, a fixture in an existing franchise or setting, or a sequel. What has happened in the past 30 years that the industry that produced Star Wars, Rambo, Aliens, Robocop, Last of the Mohicans, and that insanely cool Charles Bronson movie about the dude whose dog dies, cannot now produce a single original or interesting movie, and can’t make even half-decent movies in the genres and franchises it already has at its disposal? What’s going on in America now that what was once its powerhouse of cultural production has become so incredibly lame? And what will replace it?

Best not annoy the PLA!

Wolf Warrior 2 is an entertaining Chinese action movie set in Africa. It is the story of Leng Feng, a former special forces soldier in the Chinese People’s Liberation Army who lost his job after killing a corrupt gangster in China (in front of about 10,000 cops, natch), and ends up working in Africa, possibly as a mercenary and bodyguard. Things go wrong for him though when some random bunch of western mercenaries team up with local rebels to try and overthrow the government of the unnamed country where Feng is working. These guys are bad news, too – they don’t have any scruples at all, and are happy to do things like fire rocket propelled grenades into buses full of civilians, and destroy a Doctors Without Borders hospital after executing all its staff. As the rebellion grows in force all the international militaries leave the region, leaving just a couple of Chinese navy ships offshore – but they are unable to interfere because they are not allowed to intervene without UN authorization. China, good global citizens!

This is disaster for a small bunch of Chinese workers left inland, cut off and surrounded by bloodthirsty rebels and their nasty western backers. Fortunately Feng is there, so he grabs a truck and heads inland to save the day. He is accompanied by an American nurse who speaks perfect Chinese (and who knows the Americans will save her because she “tweeted at them on Twitter” haha), a retired Chinese soldier, and a spoiled Chinese boy who comes good at the end. Saving the Chinese workers means a long series of brutal battles with the African rebels and their western paymasters, which includes a pretty cool tank battle and a lot of slaughter of innocents (by the thoroughly reprehensible bad guys).

This is actually an excellent movie. It got a 70% critics review on rotten tomatoes, and an 80% audience review, and it deserves the 70%. The action scenes are well executed, the cinematography is good, the scenery and sets are great, and it has some big set pieces and novel ideas that take the action genre forward a step, to the extent that such a narrow and limited genre can progress at all. It also has a reasonably good sense of humour, decent dialogue and okay acting, which is actually more than one can expect from all but the best action movies. The plot makes sense, though some parts of it are thrown in without much explanation or build up so that they seem more like devices to make the violence hang together rather than a fully developed story. It doesn’t mess around with nuance – Feng isn’t an anti-hero or a conflicted reluctant hero – but in my opinion this is a good thing in action adventure movies. Those grim and conflicted action heroes are just embarrassing, generally – simple, straightforward heroes who do what they have to do and do it well are what we want, and Feng definitely does what he has to do very well. Like most modern action movies it’s too long, and could probably stand to lose a few scenes and be about 20% shorter, but I’m starting to accept that short movies are a thing of the past – 2 hour bloat is just normal in modern cinema.

So overall it’s a fun romp through Africa with a driven and determined Chinese dude on a kind of revenge kick (he has a refrigerated ex who is somehow connected to these mercenaries, presumably from the first movie that I never saw). It’s also interesting because it obviously shows a clear sense of how the Chinese government and leadership want their country’s position on Africa and overseas military intervention to be depicted, and overall it’s a fairly positive story. Unlike the Rambos of American cinema, the Chinese military strictly won’t interfere without UN authorization, and unlike a lot of western heroes Feng didn’t blow in with the latest military adventure to sort out some trouble – he lives in Africa and is doing a good job there minding his own business until African trouble sweeps over his home. When we visit the Chinese factory whose workers he is rescuing, we discover that many of the Chinese workers have African wives and family, and when the Chinese factory leader tries to make the Africans stay behind to be murdered while the Chinese flee, we are clearly meant to understand that this is a terrible thing to do – and Feng steps in to make sure everyone can be helped. The movie has more of a sense of Chinese people embedded in Africa, engaged with it and part of its troubles, rather than swinging in to do a bit of wetwork and swing out again. This is very much in keeping with China’s vision of itself as a neutral mercantile nation with a strict non-interference policy, and it certainly is nice to see a movie where the action hero has to go off alone to do his work because the military that backs him up refuses to do anything illegal – a very different kind of situation to Rambo. This isn’t to say that the movie is free of militaristic propaganda, because in fact it’s up to its neck in pro-PLA propaganda, but the slant of that propaganda is very different to American action movies. There are more action movies coming out of Mainland China, and this story of China as a responsible global citizen is also in the upcoming Operation Red Sea. Chinese militarist action movies are a new thing to me, and it’s interesting to watch them and see how they present China and Chinese strategic interests to the world, and what kind of vision of themselves the Chinese are projecting to the world. And it’s certainly different to the American vision!

So if you want to see a good action movie, I strongly recommend Wolf Warrior 2. You’ll find it doubly enjoyable if, like me, you’re interested in how these kinds of movies reflect and project the culture that made them, and like to try and see the national story that the action is trying to tell. You an also enjoy it as guilt free militarist action, since it’s not set in anything that resembles a real geo-political situation, and every bad guy who gets killed in this movie thoroughly deserves to die. Guilt-free, entertaining militarist action with a fresh worldview – what’s not to like? So if you’re into explosions and insane solo bad-arsed action hero madness, get out and see it!

The internet is all abuzz at the moment with the proud news that a men’s rights activist (MRA) has produced a woman-free version of Star Wars’ The Last Jedi, based on a low-fi cam recording from a cinema somewhere in Asia. The stated reason is to (amongst other things) cut out all the scenes which involve women “commanding people around/having ideas” and to get rid of the “girlz powah and other silly stuff”.  This dude’s problems with The Last Jedi seem to be the same as some of the douchier commenters on my (much-read!) review of The Last Jedi, which primarily seem to be that “diversity ruined the movie” and “there were too many women in charge.” These complaints are always associated with some kind of whine about how this insistence on diversity has ruined the original series. For example a random reviewer at Rotten Tomatoes says:

With the clear intention of moving away from the Lucas Legacy, this Director has consumated the machiavellian Disney’s plan of turning SW saga in one size fits all current tendencies: ultra-feminism, anti male, ultra-diversification, pro-millennial ranks…

Suggesting, very strongly, that the original movie did not have a political stance or pro-diversity ideal, and that to do so must ruin the original movie. There’s also no evidence that the bigger plot and consistency problems identified by so many commenters on my blog are of great interest to these MRAs – they don’t complain about the acting, only the fact that the actor is a woman, and (for example) the execrable hyperspace weapon is still in the MRA cut. So it certainly appears that their sole and only concern is that the movie features a) too many non-white male actors and b) too many chicks in charge.

Which gets me wondering – exactly what version of the original series did these dudes see, and what exactly did they like about it? For example, A New Hope has a core cast of five people – Han Solo, Luke Skywalker, Obi Wan Kenobi, Princess Leia and Darth Vader. Of those one is a woman who is introduced as a leader in the rebellion, and another is black and a leader of the Empire. Now, you might dispute that Darth Vader is actually black since in the middle of The Empire Strikes Back we see a brief shot of his white head (as we do at the end of the Return of the Jedi), but when you and I went to see A New Hope as callow youths in 1978 or whenever it was, having not yet seen The Empire Strikes Back, we watched a character dressed entirely in black, with a black face mask, voiced by a black man, and we loved him. How is this character not black at the time we saw the movies? We might have imagined he was white under the mask but in doing so we were explicitly disavowing everything the movie itself was telling us. To all intents and purposes Darth Vader was black. But even putting aside that little note of controversy, we still have 20% of the cast being a woman, and she’s in charge – when Luke is going down the death star canyon to stick a photon torpedo up Vader’s arse, he is being directed by Leia from the command center of the rebel base, because she’s in charge. The same rule applies in The Empire Strikes Back, where our cast is further diversified by the inclusion of Lando Calrissian, and in Return of the Jedi we are introduced to Mon Mothma, a middle-aged woman with short hair who is the leader of the rebel alliance (and there are female fighter pilots in the briefing room, to boot).

Then of course there is the small issue that C3PO is super camp, and would be interpreted as a gay stereotype if he weren’t a robot. I’ll forgive MRAs for missing this, since they’re mostly NFL fans which probably means they think high camp is super macho, and misinterpreted C3PO as a football player or something. Also in the original movie we are meant to identify most with Skywalker, which means we’re meant to want to fuck Leia as he does, but in Empire he gets friend-zoned, which is a move that MRAs hate more than almost anything else on earth.

So what about the original movies gets a pass? They’re just as diverse as the Last Jedi, with just as many women in charge, and the key heroes in both sequences are firmly under the control of the chicks: under Leia’s command (Wookiepedia lists her as the leader of the battle of Yavin, for example) and then Mon Mothma’s, while in the Last Jedi they’re under Leia’s command and then Holdo’s. The hero is generally and universally admitted to be a snivelling idiot in the first movie, outshone by Han Solo – who, we are regularly reminded, is a rake and a criminal – and in the subsequent movies he gets friend-zoned and becomes your classic beta cuck, doing all the serious hard work while the rakish fuckboi runs off with the girl we’re all supposed to want.

What exactly in the legacy of the original movies does the Last Jedi betray by having a woman in charge or a black dude in a key role, and how does its pursuit of diversity make it different from the originals in any way?

This matters to me for two reasons: 1) that MRAs suck and I hate that I might be on the same side of them in any debate, regardless of whether our reasons are 100% different; and 2) it’s affecting critical reaction to the backlash against the movie. While 1) might be just a petty personal foible, I think 2) is important. The critics were all wrong about this movie, which was shit, but it wasn’t shit for the reasons that the stupid MRA idiots are ranting about. But the very public, sexist and gross response of MRA manbabies to this movie means that the critics who were so terribly wrong about it can dismiss the backlash against their terrible performance as the disaffected whining of a bunch of MRAs, rather than a genuine critical disagreement. Consider this response to the MRA cut from the website Junkee, which usually does quite entertaining discussion of internet phenomena, in which they say that

a vocal minority of manbabies detested it, mostly because it’s full of women.

A great example of this is the targeted attack on the film’s rating on the review site Rotten Tomatoes, which led to a 40% discrepancy between the critic and audience reviews, and which was later claimed by the “alt-right” as a manufactured backlash

This makes it seem like the continuing decline in the movie’s ratings on Rotten Tomatoes[1], and all the critical backlash against it, are driven by a small number of MRAs, and manages to escape any kind of serious discussion of what was wrong with this movie. This kind of thing was also visible in other responses (e.g. Vox’s) which dismissed it as due to a sense of entitlement among fans, or grown men being uncomfortable with the diversity of the movie. Given that the movie is no more diverse than the originals, and given that there are serious major problems with the rest of the movie (the casting being the least of them, I would have thought), this means that the critics avoid responsibility by pinning the whole thing on MRAs, and Rian Johnson – and the Disney crew generally – can avoid putting any thought into what they’ve done wrong, and what they need to do right to fix their mistakes in episode 9. Given the response of critics and the director himself to criticisms of the movie, I think we can rest assured there’s no point in expecting episode 9 to be anything less than a shithole. And to the extent that this is because the whining and posturing of MRAs created a false narrative of increased diversity, and saturated debate with their stupid whining about chicks in charge rather than genuine complaints about this woeful movie, then I’m comfortable with blaming MRAs for the death of star wars.

Get back in your basements, you grommits. But before you go I have two questions I’d like you to answer in comments here: 1) how on earth did you ever enjoy the originals when there was a woman in charge and 2) how do you enjoy science fiction at all given that movies like Terminator, Aliens, Mad Max, Ghost in the Shell etc. are full of strong female characters, often in positions of authority? Why do you bother going to science fiction movies at all? Also 2a), how do you watch porn?

Answers in the comments, please! And try not to use pointless MRA jargon like SJW, blue pill, or cuck!


fn1: it’s down to 49% now, from 56% at the time I wrote my review. Well done Rian Johnson!

Not what you remember

There’s a moment in Netflix’s The Mist that I think summarizes the rot at the core of modern American TV and cinema. The main characters are Eve and Kevin Copeland, a preposterously young couple with a teenage child, who seem like a nice enough couple though they are struggling with the conflict between Eve and her daughter. At one point near the beginning of the series Kevin’s brother visits them, and we discover something about Eve. It turns out Eve used to be a slut – the town bike, as it were – and Kevin’s rough older brother was a member of the group that she used to hang with. Nothing is made clear, but it is implied pretty strongly that she has slept with Kevin’s older brother. After the brother leaves Eve is unsettled, and so when Eve and Kevin are having sex she demands that he fucks her as roughly as he can. This is funny because the sex they’re having before then is super gentle, and his “hard” fucking is pretty average, but we’re meant to believe that he’s being super rough. Anyway when it’s done there is an air of dissatisfaction, and he asks her “what was that about”, and she does that stupid thing that girls in American movies do where she’s obviously upset about something but pretends everything’s okay.

The upshot of this scene is very clear: that women who sleep around a lot are bad people with problems; that these problems never really go away; that women who like being fucked hard must be sluts with problems; and that to want to be fucked hard is bad.

The executive producer of The Mist was Harvey Weinstein. It doesn’t come as a surprise to me that a TV show produced by a serial rapist and sexual harasser would have a scene that carefully boils down every misogynist idea about women who enjoy sexual freedom into a mess of accusations, but some people seem to be surprised that the kind of movie world that could produce this scene would be occupied by people like Harvey Weinstein. At the time that his predations became public knowledge and the #metoo movement started there was a general upsurge of shock at both the banality of predatory behavior in Hollywood, and the extent to which that predatory behavior was enabled and supported by so many people. For people on the right this manifested as a kind of jaded relief, a sense of “oh look these liberal Hollywood types don’t believe in any of this equality stuff, it’s just a pose they adopt to appear cool to each other.” For the rest of us, and especially for mainstream media critics, there was an atmosphere of surprise at how “liberal” Hollywood was actually a nasty network of sexual predators and bullies, its supposedly famous values of liberal tolerance and equality betrayed by its own members.

I wasn’t surprised by any of this, because I’ve never seen Hollywood as “Liberal”, and I’ve always thought a lot of its politics was pretty dire, most especially its sexual politics.

We see the same thing in the reactions to fan disappointment over the Last Jedi. I have read many articles now in Vox, the Guardian and the Washington Post about how this reaction is partly due to fanboys being disappointed in the “diversity” on display in the movie (i.e. there are two female leaders and a couple of non-white characters), and the idea that this focus on diversity distracted from the production values of the movie (or something – I can’t quite figure out how these points are supposed to link together). This has been a controversy since The Force Awakens and Rogue One, both of which featured strong female leads, and we also saw it with the Ghostbusters remake and the latest Mad Max. I think these debates, rather than being a sign of how “liberal” Hollywood is, are really a sign of how incredibly conservative it is and has been. Consider movies and tv shows like Ghost in the Shell, Gunnm, Neon Genesis Evangelion, Appleseed, Bubblegum Crisis, and pretty much any early work from Studio Ghibli. These are all movies from the 1980s and 1990s in Japan, and female leads were a routine part of that world. Nobody questioned whether Major Kusanagi, Alita, Nausicaa or Deunan had a right to be where they were, and nobody thought diversity killed those movies – female leads in Japanese sci fi and fantasy are a pretty standard part of the picture (and this isn’t limited to anime – consider Library Wars, the recent excellent live action Gintama, or Attack on Titan as examples of live action movies with important female characters in main parts). But in America in 2017 the decision to cast a single woman in a lead role, or to have a team of women doing a job, is controversial and a sign of political correctness gone mad. If Hollywood is being castigated for finally doing something Japan was doing in the 1980s, I think we can say it’s not very forward thinking.

Hollywood’s diversity problem is not the only example of its persistent inability to be anything except thoroughly reactionary. Here are some others.

  • The lesbian always dies: It’s pretty reliable that if there is a lesbian character in a major movie or drama, she’s either a fucked up person or she dies, or both. Usually she’s in a couple and the other one survives to suffer the grief, but one has to die. This fate also often befalls the fat chick, or the gay dude (it will probably not come as a surprise that the “gay” dude in the Mist is a psychopath, or that I guessed this in the first episode simply because of his implied sexuality)
  • Black dudes are always a stereotype: The dragon in Mulan, the black dude who briefly surfaced in Angel, almost every character Eddie Murphy has ever played … they’re almost always a stereotype, either a gangster or a magical negro. Despite the fact that a sizable proportion of American people are black, and they have been clamouring for better representation forever, it is impossible for an American movie maker to portray one in a sensitive way, except perhaps in a character piece about slavery or oppression
  • Sluts are always bad: If you are a woman who has lots of sex for fun, you are either psychopathic or severely emotionally damaged. Eventually you’ll grow out of it but you’ll never forget it
  • The goth secretly wants to be normal: See for example the horrible betrayal at the end of The Breakfast Club, which is a model for how alternative sub-cultures are treated in Hollywood
  • All women come by being fucked: And it would be completely impossible to show a woman getting licked. True love means that two people can come together and instantly have perfect sex just by fucking, and no man wants to lick a woman, and no woman cares to be; though women love to suck dick, usually on their knees. This is particularly infuriating because there’s a whole branch of American feminist criticism of porn that says it’s an unrealistic depiction of sex, but at least in porn the women actually get licked and the men actually enjoy doing it! It’s also really frustrating in Sex and the City, which is supposed to be about how the main female characters are completely empowered, but every sex scene I saw in the one episode I watched was them selflessly sucking cock
  • America’s latest geopolitical concern is your enemy: Something really jarring in Blade Runner 2049 was the casual insertion of Russian into everyday scenes. There was no Russian in the original, and no hint that Russia was relevant. Why? Because now Russia is a big geopolitical issue for America. It’s not only pathetically insecure, and it doesn’t just make every movie dated, but it also shows really obviously that Hollywood serves primarily to manufacture propaganda for the US as a whole, not to tell interesting independent stories. You can see this in so many action movies, that the enemy du jour is simply whoever happens to be in the American political consciousness at the time. Pathetic.
  • They cannot cover Global Warming: In Blade Runner 2049 it was snowing in Los Angeles. How can it be snowing in California in 2049? We know that is not going to happen! In almost every movie set in the near future in America, global warming is not depicted – it doesn’t form the theme of the movie but it doesn’t figure in the backdrop either. Florida is unchanging despite global warming, and if the weather enters into it it will be weird but it won’t be warmer. This wasn’t always the case – Soylent Green is set in a warmer world – but it is now. Hollywood will not touch the political realities of the future or of America now, only the fantasies Americans have about themselves. America produces a bunch of disaster movies every year, and none of them ever cover anything caused by global warming. Of course global warming is politically controversial in America (and only in America) – so Hollywood simply won’t touch it.
  • Guns are wonderful: Every American movie with even a hint of action has a gun fetish. There is a very simple truism of previews at movies in Japan: If it’s a live action Japanese movie, someone in the preview cries; if it’s a live action American movie that isn’t a rom-com or a human drama, everyone pulls a gun. This wasn’t always the case – watch old episodes of Knight Rider (haha) or CHIPS (hahaha) and you won’t see anyone – even the cops! – wield a gun. But now guns are fetishized. Top tip for people considering whether this is good or bad: guns are not cool, and you can enjoy action without them. See e.g. anything made in the UK, and Jackie Chan.
  • Violence against women is casual, brutal, and full frontal: There are so many crime movies on American TV, and in so many of them women get treated horribly. There is even a very long-running show about a team of cops that only deal with sex crimes (featuring Ice T as a cop, haha show us your principles Ice T!). And in recent movies especially killing women in horrible ways that are shown fully for our viewing pleasure is a real thing. If you look back at the original Blade Runner, for example, the sex scene between Deckard and Rachel is very very rapey, and it really didn’t have to be. This kind of thing is a feature of Hollywood movies
  • The criminal is often a woman: In a lot of the crime shows the murderer often turns out to be a woman, which is likely way above the actual probability that a murderer would be a woman (they’re almost always men). I think this happens because the directors want a twist, and the obvious twist in a crime show is that the killer wasn’t the dude you thought he was. But it’s interesting that when violence against women is too excessive the film makers will argue they’re being honest; but when they could be honest about how almost all murderers and sex criminals are men, they suddenly plead fantasy. It’s as if every single aspect of the film making process is set up to make women look bad!
  • Workplace sexual harassment: This is especially common (though not limited to) TV shows, where women in the workplace routinely get subjected to comments about their gender and their sexuality, jokes about dating co-workers, and suggestive comments about what they should be doing. The really disturbing thing about this is that the jokes are not presented as transgressive, or risque – they’re just facts of the workplace. Is this what it’s like to work as a woman in America? Or is Hollywood just trying to remind women they shouldn’t really be there?
  • Everyone’s home is perfect: Even people on minimum wage have perfect houses. While you, you peon, live in shit. Do you feel like a loser now?
  • Whitewashing: Do I even need to say anything on this topic?

This isn’t even the whole of it. But when you put all of these things together what you are really seeing when you watch material from Hollywood is often an intense barrage of reactionary ideas, combined with a wilful resistance to some of the core challenges facing modern society, and a stubborn refusal to look at the ways that the world has changed. For example, Hollywood in general absolutely will not allow any ideas from pornography into its sex scenes. Sex scenes in major movies in Hollywood have not changed since Sarah Connor and Kyle Rees came together in sudden intense love in Terminator (though that scene was way more consensual than some others I guess). Thirty years later and still it is simply impossible for Hollywood to update its love scenes. We all know that everyone’s watching porn, but nobody in Hollywood will admit to the fact that sex is about more than dicks in cunts. This is just one example of the many ways in which this image factory is still stuck in the 1850s.

We in the rest of the world put up with this, and of course we watch our own cinema which has its own problems and its own reactionary issues, its own humour and its own misogyny, so it’s not like anyone is perfect. But the difference is that nobody in Australia wastes time claiming Australia’s movie scene is relentlessly liberal, then feigns shock when it turns out that the dudes making all these rapey creepy shows were actually sexual harassers. It’s a uniquely American problem that everyone thinks Hollywood is liberal, when it’s really really not.

So don’t be surprised when the people who make this destructive shit turn out to be destructive shits; and don’t buy into all this hype about representation and diversity. Hollywood is not your liberal friend, and because Hollywood is not liberal and not feminist and not interested in equality at all, it has attracted power hungry shits like the Weinsteins. That doesn’t mean we have to credit this industry with being a force for good, even as we pay to watch what it produces. It produces images of America for America, and I really hope America is not as conservative and reactionary as the images it produces, but one thing you can be certain of is that those images are not intended to support any radical ideals – quite the opposite.

Hollywood is not your liberal friend.

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