@TheNextMazer
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Formic War III vet
Joined September 2022
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Mazer Rackham Jr. retweeted
Which is only a trenchant or interesting observation if he's right about a) the state of the world visa vis 'late-capitalist catastrophe' and b) that left-wing utilitarianism is true, and he's right about neither.
Mazer Rackham Jr. retweeted
The sane mind finds satisfaction and resolution in things being 'put to right' a marriage is a critical resolution to many stories that has been largely forbidden in modern writing.
When you read/watch older stuff it becomes obvious, trivially obvious - you don't even have to look at Shakespearian Comedy - you just used to get a lot of movies where people got married at the end (Philadelphia Story, Robin Hood, Bluerbeard's Eighth Wife) or healed a separation (His Girl Friday, The Awful Truth, Parent Trap)
Instead now you get the anti-writing element of sundry, chaos - Han Solo and Leia are divorced now chud, you yearned in VAIN! etc. Miserable.
Mazer Rackham Jr. retweeted
Starting to understand that this is just the first time a lot of people have thought about baby’s first art topics and that explains the furor around the metanarrative equivalent of a somersault. You naughty people have been misrepresenting yourselves to me 🫣
I do think one of the reasons some are mad at Digger is that it coolly rejects the usual self-congratulatory affirmation of Art as #Resistance in The Present Darkness, affirming instead that yes, art and artists can be coopted, can aid and abet as easily as anyone else, and that some "art" might even sometimes be less authentic human expression than simply profitable bread and circuses useful for channeling rage at fictions and away from the reality that's actually harming us and that we do, indeed, have the power to change.
Also: I'm finding *this* conversation far more enjoyable than the Great Odyssey Debate of '26!
Movies that were destroyed by critics and audiences and/or flopped at the box office only to be completely forgotten years later: 🧵(1/563,878)
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Having ceded all ground on basic likability, the Left is now (correctly) seeing likable people as an existential threat
Robert Eggers has almost singlehandedly inserted into movie discourse the idea that historical adaptations should be autistically accurate to the historical record, an amazing accomplishment.
The people on TV genuinely believe Kamala is a "superhero" being unfairly held below her ceiling because she's black -- instead of a political washout who leapfrogged the competition purely because of that exact trait.
Interesting criterion to hang a list on.
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Mazer Rackham Jr. retweeted
Ladies, if he doesn't pay for your uber or take you to meet a tiger on the first date, he isn't worth it.
The incentives on here demand everything be identified as some form of "slop," even Eggers movies, which express one of the most specific aesthetics of the past decade.
We might term this, "discourse-slop."
Mazer Rackham Jr. retweeted
finally watched The Exorcist; had avoided it for years (I'm not really a horror guy). Was shocked to find out that it's actually a very thoughtful meditation on a pet subject of mine: the limits of the medical/psychiatric system's ability to address profound human suffering 1/
The center of the frame has always been prioritized, especially in ads. For instance, there's lots of "vertical crop" shots in the trailer for Where Eagles Dare (1968).
Framing for social cuts definitely happens, but sometimes the middle is just where it's easiest to look.
We need a Holocaust Museum, but for listening to women, and when you turn the corner from the "Greta Gerwig Narnia" exhibit you find this clip playing on a loop over a little reflecting pool.
