Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Thursday, March 23, 2023

At the Movies

You may not have realized it, but we a coming up on an important anniversary in a little under two weeks. 

Ten years ago - on April 4th, 2013 - Roger Ebert passed away. And there has not been a critic like him since. 



For people of my generation, Ebert was THE film critic. He, along with his television partner Gene Siskel, was the go to reviewer. Newspapers and television ads would eagerly slap "TWO THUMBS UP!" on every film they could. I would religiously watch "Siskel & Ebert: At The Movies" every weekend, cursing when it got pre-empted by a dumb sports event like the Wimbledon finals. 

The show was fun and breezy, yet still informative. Over the course of 30 syndicated minutes, they'd review four or so new films. To a young boy living in Halifax, NS, it was my first exposure to foreign films, independent films, and stuff you wouldn't see at one of the whopping total of 8 screens we had in the city. (I cannot even describe how wonderful it was to get a tiny, badly-heated, arthouse theatre with uncomfortable seats in town. You kids today with your ability to stream every movie in existence on demand have no idea what it was like to sit in a drafty basement so you could watch Tetsuo: The Iron Man. RIP Wormwood's Cinema.)

Everybody knew who Siskel & Ebert were. Their reviews could make or break a movie. They appeared on late night talk shows all the time! One time, they even bumped a young Jennifer Lopez off of Conan O'Brien when their segment ran long! Can you imagine an ink-stained wretch getting airtime over freaking J-LO today? 


Siskel died in 1999 from a brain tumor. And when Ebert passed away, after his years long battle with cancer, there were effectively no national critics.

Think about it... Is there a name you see in movie ads that could make you change your mind about a movie? Without googling it, who is the lead critic at the NY Times these days? (I thought it was A.O. Scott, but he literally retired a week ago.) Movie ads are as likely to namecheck random users on Twitter or Rotten Tomatoes as they are critics at actual newspapers. (A recent King Arthur film got such terrible reviews, they had to get a pull quote from someone named "Zoidberg95." Twice!)

I know, "gatekeepers bad," but part of the reason that Siskel & Ebert were so great to have around was that you knew what kind of films they liked! I have no idea what Zoidberg95 likes to watch, aside from bad King Arthur remakes. But if Ebert liked a movie, and if you generally agreed with his tastes, you'd probably like that movie, too. 

And if Ebert did get it "wrong," he at least explained why he didn't like something. Famously, Ebert panned David Lynch's film Blue Velvet. While most critics placed it at or near the top of their Best Of lists, Ebert gave it one star. He hated the contrast of stark, raw and emotional scenes that were surrounded by deadpan humor and camp. Which is kind of Lynch's whole thing, but Ebert carefully explained why it didn't work for him. 

Honestly, the last thing Ebert would ever claim to be would be a gatekeeper. He and Siskel constantly championed new voices and filmmakers. Spike Lee, Kasi Lemmons, Carl Franklin all got raves from the duo which certainly led people to their films. He loved movies and it always came through in his writing, which was full of warmth and praise.

The internet has done a lot of wonderful things for society, but it has also accelerated the rise of ironic detachment and sarcasm. Snark and quips have replaced critical insight. Ebert was never snarky, even in his most iconic pan, that of the Rob Reiner movie, North. (Direct quote from his review: "I hated this movie. Hated hated hated hated hated this movie. Hated it.") Rather, the entire review is more sad. He knows Reiner is a good director, Spinal Tap is a favorite movie of his, so it's terrible that this one is so bad and unfunny.

Considering that on the internet literally everyone's a critic, what would it take to get another critic like Roger Ebert? Not just someone whose reviews are respected and well written, but someone who has a nationally prominent spot in the media. The media landscape is so fractured, could anyone bring enough people together to listen to or read a review?

As someone who likes to watch movies and writes the occasional review, I know I've drawn a lot of inspiration from Roger Ebert. His writing on the whole is beautiful, and happily is all archived at rogerebert.com. If you have a quiet afternoon, scroll through and see what he thought about your favorite movies. And maybe check out Life Itself, the documentary about his life made by Steve James (the director of Hoop Dreams, another film Ebert championed). It's a lovely tribute to Ebert, who was a lot more than just "Thumbs Up."




Victor Catano lives in New York City with his wonderful wife, Kim, and his adorable pughuaua, Danerys. When not writing, he works in live theater as a stage manager, production manager, and chaos coordinator. His hobbies include coffee, Broadway musicals, and complaining about the NY Mets and Philadelphia Eagles. Follow him on Twitter and Instagram @vgcatano and find his books on Amazon

Thursday, March 24, 2022

How to Fix the Oscars

It’s Oscar season! The drama! The glamor! The fashions! The Academy trying to desperately reclaim audience share with idiot stunts!



The only thing more popular on Film Twitter than arguing about the nominees is complaining about how badly the Academy is botching the Oscars telecast. And there is a lot of complaining about the telecast. Ratings for the live awards show have been declining for years, ever since the all-time high for Titanic’s big year in 1998 and bottoming out at a record low for last year’s awards that were severely impacted by the pandemic. There have been a lot of attempts to chase those ratings, and this year the Academy has doubled down on the wacky factor. They shuttled eight of the “minor” awards off the air, where they’ll be pre-recorded and the winners announced at various points in the evening. This caused outrage among editors, musicians, makers of short films, and makeup artists. They didn’t invite the star of a picture nominated for seven academy awards (at least not until Twitter raised holy hell about it) but they found room to bring Tony Hawk, Shaun White and DJ KHALED! in to present awards and chase that young. male viewer!


DJ MOVIES!!

I should say right off the top that I am an Oscars junkie. I’ve been a film buff since I was 13, and I used the list of Best Pictures as a guide for me at the video store to learn about movies. And as soon as I started watching Best Pictures, I learned just how middlebrow Academy tastes were and how wrong they get it a lot of the time. But credit where it’s due, the Academy has made a major push to get its membership less white than that town in The Harder They Fall. And they do manage to get it right every so often, sometimes a few decades late.  Heck, I used to live blog the Oscars back on my old blog, ages ago! But even while the nominated films as a whole have gotten stronger and more varied, the broadcast continues to get worse.


So in the spirit of the season, I am offering my suggestions to improve the broadcast. Understand that I come here to trash the Academy out of love. You are ruining something I enjoy and I would very much like you to stop. 


NO MORE “COMEDY”


Please end the endless comedy bits. Please. I’m begging you. I don’t need to see Jimmy Kimmel drag a busload of unsuspecting tourists into the theatre. I don’t need Ellen to take a big selfie. The last comedy segment that I remember laughing at was when the Waiting for Guffman cast did a focus testing group for The Wizard of Oz and that was over a decade ago. 





There was so much consternation the last couple years when they couldn’t find a host. You know what? It’s fine! We don’t need Bruce Vilanch to cough up some bad jokes for a dumb monologue. Start the show with a musical montage of the Best Song or Score nominees. 


So, please, just limit it to a couple bad dad jokes here and there. Throw it to the pretty people in fancy gowns and give out the awards. And speaking of fancy gowns…


DRESS FOR SUCCESS!


It’s a cliche that non sports fans watch the Super Bowl for the commercials. Likewise, a good portion of the audience is tuning in to the Oscars to see pretty people in high fashion gowns. The problem is, things have gotten so boring lately.


Quick, off the top of your head, what’s the most memorable gown you can think of? Is it Cher, in her black, sparkly, Bob Mackie bikini and headress when she won for Moonstruck? Is it Bjork, in her swan dress, laying an egg purse on the Red Carpet? Or Matt Stone aping J-Lo when the South Park guys got a nomination for Best Song? 


They understood the assignment. Is that what the hip people say now?


Those are all at least 20 years old. In recent years, it’s been a succession of mermaid dresses. Maybe someone gets wild and wears a long train. Whee. People are too afraid of getting mocked by the Fashion Police on E! or on Twitter that they play it safe and conservative (i.e. booooooring


C’mon people, take a few chances. So what if the ghost of Joan Rivers makes fun of you? I can’t tell you what one person wore last year, but I absolutely remember the swan dress 21 years later. Give them something to talk about! As for talking…


LET THEM SPEAK!


When I was a kid, it was a hack joke that the acceptance speeches were too long. (I think Irene Cara brought up a phone book when she won Best Song for Flashdance. At least it felt like it.) Now it’s swung back in the other direction, with winners getting played off by the orchestra to (literally) the theme from Jaws.  


And sure, you can get very trite speeches by people thanking their director and their agent. But you also get some wonderful, tender moments, like Jamie Foxx thanking his late grandmother. Also some cray-cray ones, like the warring producers of the Best Documentary Short Music for Prudence almost coming to blows. 





Hey, Documentary Short… That’s one of the awards producers want to send off to the kiddie table! This goes without saying, but...


SHOW ALL THE AWARDS!


For the documentaries and short films, this is their shining moment! Let them have it. And put the Honorary Oscars back as part of the ceremony. Samuel Jackson is getting one, but you won’t see that live! Wouldn’t that be cool to see? Wouldn’t you have enjoyed seeing James Earl Jones and Angela Lansbury get their awards in recent years live and on stage? Of course you would! Because you love movies! That’s why you’re watching this! And to that point:


KNOW YOUR AUDIENCE!


The kind of people who love the Oscars  - who love to argue about movies, debate who should be nominated, get angry about who got snubbed - are the kind of people who want to see every award. These are the people (and I include myself among them) that REALLY CARE about categories like Best Score and Best Makeup. We have Oscar parties and run Oscar pools. WE ARE YOUR CORE AUDIENCE! And yet, here are the Oscars basically giving us a giant middle finger while sweatily pursuing a mythical audience of cool kids. 


We are also the people who fucking loathe the idea of a “Hashtag Oscars” moment or a People’s Choice award. They put that nonsense in to appease the people who thought Spider-Man should have gotten a nomination. You know what was leading the poll at one point? The crappy Cinderella movie with James Corden. Dear God. 


Oscar!


Look, people who think the Oscars are “cringe” (or whatever the cool kids use to call something  “lame” these days) are not going to tune in to the Oscars no matter how hip you try and make it. And they aren’t going to tune in to see them mention Army of the Dead on the air either. (Another bad movie that was up there in the voting.)


And speaking of “cringe…”


EMBRACE THE CRINGE!


Mark Harris, film historian and entertainment journalist, has written that the Oscars should be run by people who aren’t embarrassed by them. I couldn’t agree more. The Oscars are big, self-important to the point of self parody, tacky, gaudy…


AND THAT’S WHY WE LIKE THEM!


The Oscars are never going to be cool. And there is nothing less cool than someone desperately trying to be cool. Chase the youth demo all you want, you aren’t going to get the young males aged 18-35 to tune in in large numbers. You ARE always going to get the film nerds like me who will complain about Robert Mitchum getting snubbed for Night of the Hunter and fill out Oscar predictions like March Madness brackets. You are always going to get people tuning in to watch the fashion parade. You are always going to get a core audience who loves films and cares about them. PLEASE do not chase us away because you want to sit at the Mean Girls table. 


In conclusion, how to fix the Oscars? STOP TRYING TO FIX THEM. 


This isn’t hard! Just copy what the Tonys do!  While I certainly have my issues with them as well - like not showing excerpts of the Play nominees - they wholeheartedly embrace their theatre kid energy. They understand that the Tonys are a big commercial for Broadway and a celebration of live performance. They aren’t stressing about trying to get 50 million viewers, because they know their audience. They aren’t embarrassed to have the Pointer Sisters come out on stage and sing “It’s Raining Men.” They revel in it!


Look, do you think I take JOY in spending 1700 words writing about how the Academy is screwing up their marquee event? I’d rather spend the energy writing about how the Academy is full of morons who think Don’t Look Up is a better movie than The French Dispatch, In The Heights, and tick tick BOOM. (You know, normal things.) I’d rather be discussing whether or not Spielberg is more deserving of a third Oscar or Jane Campion should get her first, or if CODA or Belfast could sneak in and get a Best Picture win. I’d rather talk about the merits of Denzel vs Will Smith, or Olivia Colman vs Jessica Chastain. I would rather be talking about MOVIES, not about what zany thing Tony Hawk and Shaun White are going to do. 


Really, I’m not asking for much,


Well, maybe that and a write-in Oscar for The French Dispatch. 


Victor Catano lives in New York City with his wonderful wife, Kim, and his adorable pughuaua, Danerys. When not writing, he works in live theater as a stage manager, production manager, and chaos coordinator. His hobbies include coffee, Broadway musicals, and complaining about the NY Mets and Philadelphia Eagles. Follow him on Twitter and Instagram @vgcatano and find his books on Amazon

Monday, April 29, 2019

In Conversation - Avengers: Endgame (WITH SPOILERS)

A post by Mary Fan
Hey everyone! Mary here, and it's my turn to do an interview. Except it's also the Monday after the biggest crossover in cinematic history came to a conclusion, and I can't not think about that. Luckily for me, fellow Across the Board blogger Karissa Laurel also saw it this weekend. So instead of a traditional interview, we're doing an "In Conversation" piece where we discuss Avengers: Endgame -- what worked, what didn't work, and what it could all mean.

And we're discussing with SPOILERS.

So here's your warning: IF YOU HAVE NOT YET SEEN AVENGERS: ENDGAME AND DON'T WANT SPOILERS, DO NOT KEEP READING.

SPOILERS FOLLOW.

LOTS AND LOTS OF SPOILERS.

ALL THE SPOILERS.

MORE SPACE TO PUSH SPOILERS BELOW THE FOLD.

EVEN MORE SPACE.

THE REAL CONTENT BEGINS BELOW THESE RANDOM ASTERISKS.

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All right, now that those who don't want spoilers have all safely averted their eyes, let's begin!


MARY:

Since Avengers: Endgame is essentially a direct sequel to last year’s Avengers: Infinity War, it’s impossible to really talk about it without discussing a bit about its prequel (especially considering all the suspense that’s built up over the past year over how Marvel was going to bring all this together).

Personally, I loved Infinity War. It wasn’t perfect – I’m still mad about the writers basically endangering all of Wakanda over Vision – but it had a level of epic-ness that was hard to match. The sheer scale of the crossover and the stakes are hard to beat. Plus, I really liked how they divided up the cast – the teams they chose to go after the different Infinity Stones. The smaller groups played off each other well (especially Thor and the Guardians of the Galaxy). And as far as Marvel villains go, Thanos was surprisingly sympathetic – the writers gave him enough character moments that I kind of felt for him even though his actions were rather despicable.

What did you think?

KARISSA:

My MCU friends give me a hard time for not being more "in the moment" when I watched it, and I'll accept that as a fault on my part rather than as a fault of the writers, but Infinity War was perhaps my least favorite of the Avengers movies – the team up, full ensemble cast movies. I just could not get outside of my head enough to accept the full impacts of these characters deaths when I knew full well that many of them had future movies under contract. Don't tell me I'm not supposed to think about that in the moment. I know I'm not supposed to, but I did, and it robbed the "snap" of a lot of emotional impact for me.

MARY:

Hah! Well, I've got to agree with you there. I didn't love the ending either. I mean, we all KNEW they weren't going to keep Black Panther dead when his movie had just busted international box offices! But what about all the stuff leading up to that?

KARISSA:

I should start with what I did love. Like you, I loved the small teams and their dynamics. Thor working with the Guardians was a brilliant move. The Ragnarok version of Thor fit perfectly with the Guardians' dynamics, and I think that's the best version of Thor they've done so far. His character journey between Ragnarok, Infinity War, and Endgame has been, perhaps, my favorite of all the Avengers (After Cap. My heart ultimately always belongs to Cap).

MARY:

Same! Thor always had this joke-y side of him, and I loved how Ragnorak brought that out and magnified it, giving him the perfect dynamic with the Guardians.

Okay, let's talk about Endgame. And while we're on Thor...
KARISSA: 

YES. Let's talk about Thor.

MARY:

This poor guy has had the toughest character arc of all the superheroes. He starts out as an arrogant prince who has to do better, actually DOES do better, and what does he get for his pains? His entire family dies, his entire world is destroyed, almost all his people are murdered – oh, and his girlfriend breaks up with him – and after all that he still tries to do the hero thing. He wins – he KILLS THANOS. But it changes nothing. DAMN that's gotta hurt.

No wonder why he decided to take five years off to be a shlub. I don't blame him!

KARISSA:

YES!!!! If anyone deserved to be broken and wallow in self-pity… And I'm so glad they allowed him to do that. To show his "humanity".

MARY:

He held up surprisingly well, all things considered! Still worthy of that hammer after all.

KARISSA:

One of my Twitter friends was so disappointed in what they did to him physically speaking. Taking him from this beautifully chiseled specimen of an Intergalactic God to basically "The Dude" from The Big Labowski. But for me it was brilliant.

I got a whole new respect for Chris Hemsworth as an actor, too, for embracing that. For being able to laugh at himself. I can only imagine when he read the script and saw what they were going to do to Thor that he was so excited for it.

MARY: 

Chris Hemsworth is a very good comedic actor, and I love that Marvel recognized that.

What do you think of the team we were left with after the Great Dusting? I remember after Infinity War finding it really interesting that all the original Avengers remained while the most interesting newer characters got dusted (e.g. Black Panther, Spider-Man). And then there were the characters who were killed by other means – Loki, Gamora. That left us with a core team of the original Avengers (Iron Man, Captain America, Thor, Hawkeye, Hulk, Black Widow) plus Ant-Man, Nebula, Rocket, and War Machine. Did I miss anyone?

KARISSA: 

Well… There's Captain Marvel. And I'm still not totally sure how I feel about her in this movie

MARY:

She wasn't part of the core team – she didn't get to go back in time. I was disappointed by her role in this film, to be frank. There was such build-up to her appearance, with Fury calling to her, her appearance in the trailer, and even her introduction in the movie – saving Iron Man, then meeting up with the Avengers to talk about their next move.

But after that, they really sidelined her. They used the handy excuse of "oh, but there's a bigger galaxy" to essentially write her out of the movie, only reappearing to be, as my friend put it, a "ball of light ex machine."

KARISSA:

You basically took the words out of my mouth. Like, I can't really add to what you've said because those are my exact problems too.

After her performance in her own movie, I was like: This chick seems as though she could single-handedly beat Thanos without breaking a sweat. But that's not at all what happened.

MARY:

Right. I was hoping for some epic team-up, but instead, she was kept in the periphery.

KARISSA:

I thought she was going to be the "secret weapon" or something like that. She wasn't that. She was less than that. Other than busting up Thanos’s ship, she hardly made any other impact. And any woman who can tear apart a ship like that should have been able to break Thanos’s weapon at least. What the heck was that thing made out of anyway?

MARY:

When the Avengers were going on about who would be strong enough to wield the gauntlet, I wanted to scream, "CAPTAIN MARVEL!" But then they went with Hulk and I rolled my eyes.

KARISSA:

YES! I thought that too! She swallowed the power of the tesseract and not only survived but let it transform her into a super weapon. She was the ideal to wield the gauntlet. I remember thinking that during the debate.

I get that she's not a core Avenger, and the purpose of this movie was ultimately to focus on the core team, but it's like you said: They set her up to be more. So I expected more. And that wasn't delivered.

MARY:

In general, Endgame felt like much more of a retrograde "white guy" movie than what Marvel's been building toward for the past few years. For all their purported progress toward racial diversity and inclusion of women, they really went backward with Endgame. I get that they were aiming to focus on the original Avengers, but dusting all their women and people of color made Endgame glaringly white and male.

KARISSA:

You're not wrong. And even more than the dusting…


I had HUGE problems with the Thanos and Gamora dynamic in Infinty War. This also ties in with the problems with Black Widow's treatment

MARY:

We had Nebula, War Machine, and Black Widow, but they were really supporting characters compared to Iron Man, Cap, Thor, and even Ant-Man (who wasn't even an original Avenger but... because Paul Rudd??)

KARISSA:

Ha ha ha. These women who are sacrifices. SMEH!

MARY:

Women as sacrifices to advance the men's stories *eyeroll*.

KARISSA:

I knew Black Widow was going to be the one to die at Vormir. Because Clint had a family. Kids and a wife. And I hated to see her go out like that.

MARY:

That line of thinking is awful – the idea that one's life only has value if one has dependents. I was also disappointed with how they treated Black Widow’s death. Where’s her big superhero-studded funeral?? She was the one holding things together during those five years after The Snap, checking in with the leftover superhero brigade, while Iron Man was off playing house!

And I'm bummed that Gamora's perma-dead. I know they brought back a version of her through time travel, but it seems the Gamora we followed through the first two Guardians films and Infinity War is just... gone.

KARISSA:

Nat's self-sacrifice further underscored a problem I had with Thanos and Gamora in Infinity War. I believe Nat's sacrifice (or one like hers) was the toll required to retrieve the Soul Stone. That kind of sacrifice is true love in action. Her love for Clint. Her love for the Avengers. For humanity as a whole.

I don't believe Thanos love Gamora like that. The moment he tossed her off the cliff was proof that he didn't have that kind of love. His feelings for Gamora were always self-serving.

MARY:

That's a very good point.

KARISSA:

I guess, if you take the rule at its literal interpretation, that you have to sacrifice something you love to get the stone... Then Thanos probably didn't love much of anything, and Gamora might have been the "closest thing" to love he had. So maybe that was sufficient to satisfy the rule.

But regardless, that always pissed me off. Nat kills herself; Thanos kills someone else. Both result in the same conclusion?

But I'm willing to make plot exceptions elsewhere, so I guess I have to make exceptions here too. Ha!

MARY:

*sigh* This is where the writers' bias comes in.

KARISSA:

Yup. Exactly.

MARY:

Endgame really felt like a send-off for the original Avengers. Iron Man, Cap, and Black Widow ended their storylines completely, and it was implied that Hawkeye, too, was done with his adventures. Thor’s still around but in a very different capacity – he’s no longer the God of Thunder or Prince of Asgard. Hulk too – he’s evolved in a way that makes him essentially Banner permanently. I was glad that Marvel was willing to close the book on these story arcs after all these years, and I really liked what they did for Iron Man and Cap. Iron Man got to go out in a blaze of glory and received well-earned honors, and Cap finally got his happy ending with Peggy. What do you think of Endgame as, well, an endgame to an 11-year movie saga spanning 20 or something films?

KARISSA:

Yes, I 100% agree that it felt like a celebratory send-off – even with Tony's death, which I predicted. Ever since he was willing to sacrifice himself to save them all in the first Avengers movie, you knew he had the capacity for it. Didn't mean it didn't break my heart though (Oh and I was so excited to see Pepper in the final battle!!).

The end of Bruce Banner's arc was him finding peace with himself, finding balance between the Jekyll and Hyde aspects of himself. What more is there to do for him from this place? It was always his goal, and he achieved it.

Clint always only wanted his family, and he got it.

Cap got Peggy, which was the sweetest thing to me, even if the time travel aspect of it had plot holes, I had a feeling the story would end with him going back to her, and after all he's been through, I wanted to see him have that bit of normal, domestic bliss. I know some folks are disappointed there wasn't more with Cap and Bucky in this movie. (When Cap was fighting with his past self earlier in the movie mentioned Bucky to distract Past Cap long enough to defeat him, my son said "It's a Martha moment!", meaning the thing that got Batman and Superman to stop fighting in Batman vs. Superman was them realizing they both had moms named Martha *eyeroll*. My kid is so smart sometimes, LOL!) But I felt like Cap and Bucky got their resolution in Civil War and in Infinity War. Cap and Peggy was the thread that still needed tying up for me.

So, yeah, that's a really long way of saying that, ultimately, I'm very satisfied with the culmination of this series, and I'm seriously impressed with these writers' abilities to bring it all together.

MARY:

While I liked the resolutions the male Avengers received, I thought the overall plot could have used more tension. As far as final battles go, I wasn't that impressed with Endgame's, even though the scale of it was clearly designed for applause. I think it's because they didn't do a good enough job of setting up the tension... the Thanos they battled was a flatter version of the same Thanos they battled in Infinity War, and there was so much going on that few moments had a chance to shine. There were some parts that seemed designed for audience applause (e.g. that shot of all the female fighters in one place) that just fell flat (I mean, it's hard to applaud for their mere existence when this was essentially a movie about the white dudes).

If anything, I wish the battle could have been longer and had more of its own story arc. Kind of like the Battle of Helm's Deep in The Two Towers.

KARISSA:

Look, even I felt that all female shot was pandering. It made me smile. But also internal eye roll. And we barely saw the women.

I have always loved Nat's fighting style. Whoever choreographs for Scarlett Johansson does such a great job taking into account her small stature. I was so sad that we didn't get to see her fight one more time. She fights with her WHOLE BODY. But she never got to do that in this film.

MARY:

She wins her final fight – to sacrifice herself.

It kind of felt like 2019's Endgame suffered from being too much in service to 2012's Avengers.

KARISSA:

I go back and forth with understanding that this is ultimately the end story of the core characters, and the focus needed to stay on them, but also wanting it acknowledged that Avengers has become so much more than that. And also understanding there was limited time and space. I mean...the movie was already three hours long.

MARY:

I think a skilled editor could have pulled it off. At the very least, they could have made more space for Black Widow. Meanwhile, Ant-Man got more space than he deserved.

KARISSA:

On that, you and I 100% agree.

MARY:

Don't get me wrong – I like Ant-Man!

KARISSA:

I do too, but he shouldn't have usurped Nat. His time travel element was crucial to the story, I get that, but once he brought in that element, he should have taken a step back.

MARY:

Right. Which is what they did with Captain Marvel – had her show up to save Iron Man, then vanish.

KARISSA:

I didn't have as much trouble with the tension as you. And I wasn't as enamored of Thanos in the first movie, so maybe that's why I didn't feel he was as flat in this one.

MARY:

I just realized the root of some of my discontent. Endgame was a conclusion to the original Avengers’ movies. I wanted it to be a conclusion to all 20-whatever movies. I wanted everything that happened in Spider-Man, Black Panther, and Captain Marvel to come to some kind of conclusion in Endgame too, even knowing they had sequels.

KARISSA:

Good point! And of course it's not, because so many of this characters are moving on in later movies and on the new platform. So yeah, it was just wrapping up the original core team. And they did that pretty well, I think.

MARY:

I suppose. I think my views will grow kinder upon re-watches. They often do.

KARISSA:

Mine change too. And talking it out with another person helps me work through it. (We haven't even talked about Cap saying "shit!" and him wielding Mjolnir and his "Hail Hydra" in the elevator.) Those three things had me jumping out of my seat.

MARY:

I really enjoyed him wielding Thor's hammer. And Thor's reaction.

KARISSA:

Ever since he managed to wiggle it back in Age of Ultron

MARY:

That was a nice throwback.

KARISSA:
 
It worked for me. It utterly worked for me.

And the elevator scene throwback was so, so smart. But when he said "Hail Hydra" I wanted to shake those writers' hands. Because I was so, so pissed when that came out in the comics a couple of years ago. SO PISSED.  And here was our chance to thumb our noses at it. It was so cathartic for me.

They took that horrible thing and turned it on its head. A big FU to the comics. Ha.

MARY:

Ha! That was a cool moment.

One thing bothers me though – if Cap went back to the 1940s to live out his life with Peggy and was still in the same timeline as the current Avengers, that means he knew Hydra was infiltrating SHIELD and let it happen. He also knew that Bucky was being mind-controlled and kept on ice and did nothing about it. Which doesn't feel very Cap-like.

KARISSA:

I know, I know. I have conveniently decided to ignore that.

MARY:

Really, I thought there was a simple solution to all this: Have him come back through the machine as an old man,  implying that he came from a different timeline altogether.

KARISSA:

I wonder how no one caught that earlier. I thought about it all night and couldn't really come to a satisfactory answer. Other than he assumed that the past version of himself that he fought earlier in the movie would ultimately do the things that needed to be done, that he'd already done, and he was willing to accept that.

MARY:

I don't think there's a way to logic through this. It felt like the writers wanted their scene and didn't care what plot holes they had to create to get it.

KARISSA:

Yes. I completely thing you're right

MARY:

I don't know about you, but I've definitely bent my plot over backward just to get certain scenes I wanted at times. So I get it.

KARISSA:

Oh no. We never do things like that. *sarcasm font*

The other thing I mentioned to you earlier that, for me, bears repeating is that I was really moved by how much "family" played an important theme throughout Endgame. It, for me, was the unifying theme. All the small individual family narratives of each character got woven into bigger narratives, such as the family of the Avengers and ultimately the family of humans on Earth. Family is sacred and worth protecting at all costs.

MARY:

That's very true. The idea of the Avengers as family is really the emotional core of the whole saga.

KARISSA:

I think most folks can relate to that. But it really struck a chord with me.

MARY:

Before we go, the obligatory last question: What do you think is next for the Marvel-verse? I know they're planning two shows for Disney Plus that Endgame hinted at: one for Loki (I guess that's where he absconded to with the Tesseract), and one for Falcon and the Winter Soldier (or New Captain America and the Winter Soldier)

KARISSA:

Maybe I'm not supposed to take this into account but… Avengers: Endgame has blasted opening weekend sales records. Which, from a business standpoint, I think the MCU powers that be have to take into account when considering whether it was worth the investment in a series this huge. I think the answer is a resounding yes. So I think they'd be smart to develop another cohesive series like the Avengers.

As you mentioned, a lot of spin offs are coming out of this. So... do they take Spider-Man and Black Panther and Captain Marvel and build a new team? Do they focus on X-Men? Do they come up with something utterly new?

Oh, and I just looked... seems like we might get a Doctor Strange 2.

I wouldn't say no to an X-Men/Avengers crossover.

MARY:

That would be fun! Though it would have to be a new cast. I don't think it would work with Fox's current X-Men line-up.

KARISSA:

Yeah... the timelines don't match up yet

But sometime in the future...

MARY:

And hey, comics are known to blow apart the multiverse to get the crossovers they want, so who knows?

Monday, April 1, 2019

Unpacking Jordan Peele's "Us"

A post by Mary Fan
Hey y’all! It’s my turn on the blog again, but what I have to talk about today has nothing to do with books or my usual genres of sci-fi/fantasy – though I would argue that it’s tangentially related to both. I’m here to talk about Jordan Peele’s latest horror flick, Us. Mostly because I watched it recently and have spent way too much time overthinking and overanalyzing everything about it, and really it’s taken up so much brain space that I don’t know what else I could possibly write about. But from a broader cultural perspective, it’s also an interesting study in storytelling, allegory, and genre.

Also, it's April Fool's Day, so... hey, I'm not one of the resident horror writers, but I'm going to pretend to be one? Ah, whatever.

Now, if you haven’t seen Us yet and don’t want spoilers, STOP READING. RIGHT NOW. HERE THERE BE SPOILERS. SPOILERSPOILERSPOILERS. LOTS AND LOTS OF SPOILERS. MAJOR SPOILERS THAT WILL TOTALLY SPOIL EVERY SPOILABLE THING. YOU HAVE BEEN WARNED.

ONCE MORE JUST FOR GOOD MEASURE: SPOILERS.

Theatrical release poster
Alrighty, let’s get into it, then. In the simplest terms, Us is a story about doubles. Jordan Peele came right out and said that the movie was about how we are our own worst enemies. And then there’s the title of the movie – Us. As in Us vs. Them. Except in this move, Them is a version of Us, and then things get really gnarly when it turns out that Adelaide (Lupita Nyong’o) had switched placed with her double as a child. Now, as someone who’s always consuming stories with wicked twists, I mentally called it from the moment little Adelaide encountered her double. But that’s not to say the movie’s predictable in any way – that was just me trying from the get-go to make sense of a movie packed with allegories, symbols, references, etc. etc. etc.

Interestingly, the Tethered, as the doubles are called, are not supernatural monsters. The movie emphasizes over and over that they are, in fact, human. They possess no special abilities (no super strength, no mystical powers, no ability to come back from the dead, nada). They die like humans – no garlic or divine powers required. What makes them, well, Them, is their behavior. They have creepy smiles, they don’t speak with words (other than Adelaide’s double), and they move in unusual ways. The one possibly supernatural element they possess is shared with their above-world counterparts – the tether that binds them. According to the movie, the Tethered were created to control people, but the experiment failed, and they were abandoned underground, forced to mimic the actions of those above, who lived blissfully unaware of their actions. Yet the mirroring isn’t absolute. Tethereds are implied to be capable of behaving separately from their counterparts. With the Adelaide switcharoo, it also seems that the control could go both ways, even though, for the most part, it hasn’t.

The last time I watched a movie about doubles, it was Black Swan (which I believe counts as horror). And of course, Swan Lake was referenced in Us as well. Tween Adelaide is revealed to have been a talented ballerina, dancing the white swan’s role beautifully while Red, as her double is called, is forced to dance a grotesque imitation. However, while Swan Lake depicts the black swan as the white swan’s evil doppelganger, in the dance scene, both Adelaides are dressed as the white swan, which I found interesting. It seems to be a deliberate rejection of the good/evil dichotomy. Both Adelaides are good, both are evil.

Original Adelaide (which I’m calling her for simplicity, even though both presumably came into existence at the same time) was innocent – just a little girl in a funhouse. But so was her double – just a little girl who had the misfortune of being born into a dark, twisted world. Then Tethered Adelaide attacked Original Adelaide and took her place. She went on to live as just Adelaide for the next 30+ years. Meanwhile, Original Adelaide evolved into Red, who organized the mass uprising in which the Tethereds brutally murder their unsuspecting counterparts. These were acts of villainy, sure, but were they evil? Tethered Adelaide, a child born into bondage and living a horrifying life, wanted freedom and privileges and took it at the expense of another child. Red, a woman in bondage and living a horrifying life, wanted the same things – and also was willing to take them at the expense of others. Double, double, toil and trouble.

Now, I wouldn’t think too hard about the mechanics of Us’s world-building, as some professional critics have (side-eye). Worrying about the logistics of a horror movie completely misses the point – this is horror, not hard sci-fi. In fact, it might not even be sci-fi. People have assumed it is because of the familiar imagery of the underground tunnels, which put in mind a million nefarious and dystopian “institutes” and because of the reference to the Tethereds being created. But nowhere does the movie explain how the Tethereds came into existence (and really, they don’t need to). No one said they were genetic clones or results of some kind of Star Trek-esque dimensional accident. For all we know, whoever created the Tethereds were a cabal of modern-day sorcerers, putting the world in the fantasy camp. Who. Cares. I know I’m not one of our resident horror experts, but even I know that the genre is about the emotional impact on the audience, not the logistics of how that impact is achieved.

I found it interesting that the Tethered were (according to Red) originally created to control “us”, but the dynamic seems to have been reversed, with “us” living our lives as we do and the Tethereds being forced to mimic them. Then Tethered Adelaide reverses the dynamic again when she kidnaps Original Adelaide and takes her place aboveground. Meanwhile, Jason is able to force his double, Pluto, to self-immolate – the only instance after the uprising of such mirroring (that I noticed).

What does it all mean? What do the Tethereds represent?

After reading a million thinkpieces and mentally turning it over, I’ve come to the conclusion that they’re meant to represent a deliberately vague underclass (I mean, they’re literally underground). Marginalization, in contemporary American society, occurs on many axes -- rich/poor, white/non-white, male/female, cishet/queer, abled/disabled, etc. etc. ad infinitum (I could go on about intersectionality, but that would be a whole ‘nother blog post). And the movie makes it pretty obvious that it’s specifically about Americans – when asked who she and her family are, Red literally says “We’re Americans” (also – Us, U.S., duh). My take is that this is ultimately a movie about privilege vs. marginalization – in their many forms.

The privileged, the above-ground “us,” go about their lives blissfully unaware of the horrors belowground. They have no idea that their actions directly impact the marginalized Tethereds, the movie’s “them”. But just being unaware doesn’t exonerate them. One of the movie’s most horrifying implications is that Adelaide’s courtship with and marriage to her husband, Gabe, led to Red’s rape by Gabe’s double, Abraham. Some theorize that Adelaide repressed memories of her belowground origins, which makes sense given her apparent confusion when the Tethered family attacks. If that’s true, then Adelaide had no way of knowing that sleeping with her husband was leading to Red’s rape. Adelaide can’t be blamed. But that doesn’t mean Red didn’t suffer. (If Adelaide actually remembered that she was born a Tethered, then things become even more horrifying.)

Viewed through this lens, it’s a powerful message about how unware the privileged are of their own advantages. For most people, privilege is an invisible thing bestowed upon us by chance. Someone who’s born, say, able-bodied and poor doesn’t think about the former as being an advantage of any kind. The focus is on how the latter is a disadvantage. The characters in Us demonstrate this behavior, most apparently through Adelaide’s bougie white friend Katie, who is unsatisfied with her life despite being very well off. Meanwhile, despite their ignorance, the actions of the privileged directly affect the lives of the marginalized. The aboveground “us” makes a move, the Tethered is forced to make the same move. The CEO makes a business decision to save money by closing unprofitable stores. The worker making minimum wage loses their livelihood, their stability, and possibly their health.

Meanwhile, the Tethered, the marginalized, don’t seem aware of their own potential power until Red leads them in an uprising to kill and replace their counterparts. It’s an act of desperation, and it comes at great cost to both sides – as with any revolution. All that red imagery, from the Tethereds’ outfits to the bloodshed to the Adelaide’s candy apple, is both ominous because of its association with blood and horror and telling because it’s the color of rebellion.

Toward the beginning of the movie, a red-and-gold Frisbee lands on Adelaide’s beach towel, perfectly aligning with one of the blue dots and literally replacing it – foreshadowing of events to come as Tethereds attempt to replace their counterparts. All the talk about replacement brought to mind the white supremacist chant of “You will not replace us” during the 2017 Charlottesville demonstration, with “you” being the marginalized people of color and “us” being white people (especially white men). Horror has always served allegory for societal fears of its time. Us seems to be a statement about how the privileged fear losing their status and being replaced, representing the worst nightmare of those born to power.

One part that seemed particularly poignant was when Red, confronting Adelaide about their encounter as children, said, “You could have taken me with you.” Adelaide chose to save only herself – at the expense of Red – which she was able to do purely because of chance. Then she abandoned and/or forgot all her peers still trapped below, entrenching herself in her new privileged life. She’s a self-made woman, and her actions are reminiscent of many-a “self-made” person who never acknowledge the lucky circumstances that allowed them to rise above, and indeed look down upon others like them who weren’t blessed by some twist of fate. Yes, she seized the opportunity when presented to her, but she didn’t create that opportunity to begin with. Events didn’t have to unfold as they did – when she encountered Original Adelaide, she could have tried to escape with her, instead of chaining her below.

Red, meanwhile, doesn’t only seek her own revenge, but is determined to bring freedom to all the Tethereds.

All this seems also to be a statement about forgotten American history. This is a nation built on genocide and enslavement, but the privileged like to forget that part and talk only about exploration and triumph. But just because you forget or abandon something doesn’t mean it goes away. The Tethered were the results of a forgotten and abandoned experiment. Long after their creators forgot and abandoned them, they remained and continued suffering.

The movie both embraces and challenges slasher-film tropes. You could watch it as a fun, gory home-invasion flick about creeps that stab people with scissors. Yet by the end, if you’re paying attention, you’re left thinking about your assumptions. Imagine if the Tethereds, instead of displaying disturbing behavior, were relatable and well spoken, and the aboveground people, instead of being normal middle-class Americans, were depicted with the excessive opulence. And Red was the POV character. The Tethereds still rise up, and they still kill those with power. You wouldn’t have a horror movie. You’d have a dystopia in the vein of The Hunger Games. Us challenges the audience to consider who they find sympathetic.

Are the Tethereds evil? The film primes the audience to think so -- they're out for blood, after all. But so were the French revolutionaries who beheaded aristocrats for the crime of being rich. When it comes to actual body count, Adelaide and her family seem to rack up more than their Tethereds. One side is fighting for freedom. The other for survival and status quo. Which is... how any revolution works, really.

Anyway, there’s far more that could be discussed in a movie as rich as Us, but I’ve already gone on for far too long. This is a film that was created to be talked about, to be analyzed, and to send a message. As for what that message is – we can only speculate at this point. My take is above. If you have any thoughts, I’d love to hear about your take in the comments.
 
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