Black Widow: A Review and Commentary

Estimated Reading Time: 3 minutes 47 seconds

My Rating: 2 out of 5 stars

Popcorn Rating: 2.5 out of 5 stars

My Recommendation: SKIP IT. The movie is a middling Disney money grab chock full of predictable Russophobic caricatures and #MeToo pandering that doesn’t propel the Marvel Cinematic Universe’s storyline forward.

This article contains plot points and minor spoilers for the movie Black Widow.

After a two-year, Covid-induced drought, Marvel is finally back in theatres with the much-anticipated Black Widow.

Black Widow was originally set to kick off Phase Four of the Marvel Cinematic Universe back in May of 2020, but Covid crushed those plans and Marvel fans have had to go to the streaming service Disney Plus to get their Marvel fix in the form of the series WandaVision, Falcon and the Winter Soldier, and Loki.

Black Widow, in case you’ve forgotten, is actually Natasha Romanoff, the former KGB superspy turned Avenger who is portrayed by Scarlet Johansson.

The movie Black Widow, which besides being in theatres is also available to stream on Disney Plus for a hefty fee, is set right after Captain America: Civil War and five years before all the unpleasantness with Thanos in Infinity War and Endgame because, spoiler alert, Black Widow actually dies in Endgame. Consider this movie to be cinematic CPR on Natasha Romanoff.

The fear heading into Black Widow was that it would be the wokest Marvel movie yet. That fear was formed when Ms. Johansson made some pre-release noise about how she was uncomfortable with how her character was “hyper-sexualized” in earlier movies, and also that this film was going to be Marvel’s #MeToo movie.

Adding to that sentiment were tweets from various kiss-ass woke media outlets triumphantly declaring that the film “passed the Bechdel test”, which measures size and substance of female representation in a movie, and “puts men in their place and makes them “squeem”, whatever the hell that means.

It seems an odd marketing strategy to alienate half of your potential audience by having friendly media outlets tell them if they watch your film they’ll “squeem” (which sounds uncomfortably like a cross between ‘squeal’ and ‘cream’) and be put in their place…but what do I know?

After watching the movie, I can report that Black Widow is a middling, rather unremarkable and unnecessary Marvel movie that contains a heavy dose of cultural and political propaganda.

The political propaganda is pretty derivative, just some good old fashioned Cold War Russophobia. Throughout the film Russians are painted as the shallow stereotype of innately ruthless, cold-blooded, heartless killers indifferent to human suffering. In one scene Natasha watches an old Bond film, Moonraker, as a sort of knowing wink from the filmmakers about the throwback Cold War caricatures.

The cultural propaganda doesn’t come in until the final act of the movie, which not surprisingly, is also when the whole venture goes completely off the rails with megadoses of Marvel monotony.

It’s in this third act that Marvel runs the #MeToo flag up the pole and turns the movie into a metaphor for breaking the iron spell of the nefarious patriarchy that brainwashes women and takes away their freedom and choice.

The bad guy, General Dreykov, played by a terribly miscast Ray Winstone who absolutely butchers his Russian accent, is meant to embody both the misogynist patriarchy and the inherent villainy of Russians. Dreykov has stolen little girls and trained them to be killers, and if they weren’t up to snuff, killed them. Dreykov is like a Russian Jeffrey Epstein in that he controls world leaders with his army of women, except he traffics in violence, not sex, and his island is in the sky, not the Caribbean.

In a literal sense, Black Widow must defeat Dreykov so as to free his army of mind-controlled females. In a metaphorical sense, she’s fighting to free all women from the prison of the patriarchy and to exact revenge for the abuse they have suffered at its hands.

I have to say Black Widow’s painfully obvious #MeToo metaphor didn’t make me “squeem” or feel put in my place, although it did make me throw-up a little bit in my mouth. And yawn profusely.

Whether it be the insipid Russophobia or the forced MeToo stuff, the overwhelming sentiment conjured by Black Widow is one of indifference. The movie, especially in the shadow of Infinity War and Endgame, just doesn’t seem to serve any purpose at all.

That isn’t to say there’s nothing redeeming about it. Some of the performances, particularly Florence Pugh and David Harbour, are quite compelling.

Pugh, who plays Black Widow’s sister Yelena, absolutely steals the show. Watching Pugh consistently out shine her more famous scene partner Johansson was glorious to behold. Pugh is a terrific actress, but the magnetism she displays in Black Widow reveals that she’s capable of being a gigantic movie star, much bigger than Scarlett Johansson.

David Harbour, who plays Black Widow’s father, the Russian superhero Red Guardian, is also terrific. Harbour is a dynamic presence and sinks his teeth into the Marvel movie inanity with gusto.

Other performances, most notably from two usually very good actors, Rachel Weisz and the aforementioned Ray Winstone, are uncomfortably sub-par, as is Scarlet Johansson’s bland and rather diffident portrayal.

The bottom line is, if you are a devoted fan of the Marvel formula with its forgettable fights, loud chases and snarky humor, you may enjoy Black Widow even though it is meaningless in relationship to the wider MCU canon. As for me, a fair-weather Marvel fan, I found it to be a rather tepid venture, devoid of any real purpose except to line Mickey Mouse’s coffers.

If you want to avoid the vapid cultural and political propaganda that permeates Black Widow, and keep your hard-earned money from the clutches of the Disney devil, I recommend you skip the movie, you really won’t be missing anything.

 A version of this article was originally published at RT.

©2021

Avengers: Infinity War - A Review

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!!!****

My Rating: 3 out of 5 stars                  

Popcorn Curve* Rating: 3.9 stars

My Recommendation: SEE IT. If you love or are even lukewarm for super hero movies, then definitely see Infinity War in the theatre. 

Avengers: Infinity War, written by Christopher Markus and Stephen Feely and directed by Anthony and Joe Russo, is the story of the famed superhero cooperative The Avengers, as they try and stop super-villian Thanos from taking control of the universe. The film stars…well...just about everybody, including, Chris Evans, Chris Pratt, Robert Downey Jr., Scarlett Johansson, Elizabeth Olsen, Don Cheadle, Chris Hemsworth, Benedict Cumberbatch, Chadwick Boseman, Tom Holland, Paul Bettany, Josh Brolin and Zoe Saldana, just to name a few. 

Like all red-blooded Americans, over the years I have paid my fare share of Disney taxes to our Mouse-eared overlords presiding over us from their lair at the Happiest Place on Earth®. Just in the last year alone I have already paid hard earned cash to Mickey Mouse to see The Last Jedi, Spider-Man: Homecoming, Black Panther and now Infinity War and will no doubt see Solo: A Star Wars Story when it comes out at the end of the month. I have usually been underwhelmed by Mickey's moviemaking prowess and at the end of the day have felt cheated by the Disney tax man. That trend was reversed with my journey to the theatre to see Infinity War.

Infinity War is the nineteenth film in the Marvel Cinematic Universe and the third of the Avenger films, and is the first of the bunch to not feel like a complete commercial for itself. Having sat through the majority, but not all, of the previous Marvel movies, I have to say that Infinity War is easily head and shoulders above all the rest, and is worlds better than the previous two Avenger films. 

What I appreciated about Infinity War was that unlike all the other Marvel movies it had a villain, Thanos, who is a complex character that is not only worthy of The Avengers as an adversary, but of my attention. Thanos embodies an existential struggle that is much more complicated than just wanting the world to bend the knee to him, which is a refreshing change from previous Marvel ventures.

To the film's credit, Thanos may appear at first glance to be the embodiment of all evil, but upon closer inspection through the lens of Josh Brolin's CGI enhanced performance and the character's motivations, he is revealed to be less a villain of epic proportions than a misunderstood hero who has taken an unbearable burden upon his muscular shoulders out of noble if misguided intentions. 

Unlike Iron Man, Captain America, Hulk, Thor, Spider-Man, Dr. Strange and the rest who reside in a Manichean world of black and white, Thanos must make hard decisions from the moral and ethical grey area in which our reality truly exists. Unlike his alleged "good" adversaries, Thanos does not get to cut corners or have happy endings, he is only left with the burden of his calling and the consequences of his choice which make him a multidimensional and pretty fascinating character. 

Infinity War also succeeds because it challenges our conditioning and embraces the notion that there are no easy Hollywood answers to be found, and I found that extremely refreshing after having sat through over a dozen predictable, world destroying, sense assaulting Marvel movies over the years. 

To be clear, I don't think Avengers: Infinity War is a great movie, but I do think it is a very good super hero movie. It, like all other super hero films, pales in comparison to Christopher Nolan's masterful Dark Knight Trilogy, but that is so high a bar I doubt anyone will ever reach it, never mind exceed it. 

The problems with Infinity War are less specific to this film than they are systemic to the genre, and they include too much cringe-worthy dialogue, too much snark, too much mindless destruction and in general…well…just too much.

And yes, I know I am nitpicking here, but some of the performances in Infinity War are so bad as to be distracting. Mark Ruffalo may very well be the best actor in The Avenger movies but his performance in Infinity War is so abysmally wooden and out of sync as to be startling. I was actually embarrassed for Ruffalo watching him half ass his way through the movie, spewing out his dialogue with such vacuity he seemed more like an extra in a community theater production than an multiple Oscar nominee. 

Another issue I had with the film is an issue I have with all Marvel movies and that is that I find the cinematography to be pretty lackluster. These Marvel films all appear so flat and visually dull to me, and their failure to use color or shadow to further propel the narrative or reinforce the sub-text is a cinema sin. Infinity War, like almost all big budget studio films, relies heavily upon CGI, which I feel is not quite where it needs to be in terms of visual quality and dramatic realism.

But besides Ruffalo, the hackneyed dialogue and my cinematography snobbery, Infinity War kept me captivated for the entire two hours and thirty minutes, which is no small accomplishment. It did so because the fight scenes were, for the most part, interesting, original and well-choreographed and the storyline was dramatically compelling due to a sense of the good guys being in genuine peril. 

I also must say that even though the preceding Marvel movies were entirely underwhelming, you could not have made Infinity War without them. The rather boring, paint by numbers, eighteen pieces of manufactured Marvel cinematic junk preceding Infinity War did effectively introduce all of the relevant characters to the audience, and so since we know them, we have at least a minimal investment in them heading into Infinity War, which excels at dramatically exploiting our connection to its characters. 

It is no small achievement what Disney has pulled off with their Marvel money making machine. Infinity War has pulled in nearly a billion dollars in just its first week in theaters, which will add to the incredible $15 billion haul (on a $4 billion investment) thus far for the Marvel franchise films. For Disney to keep the franchise coherent, interwoven and so fantastically financially successful is an incredible Hollywood achievement (even if it may be killing the movie industry and cinema in the process…but that is a discussion for another day), especially when you compare it to the more mundane results of the DC Comics/Warner Brothers collaboration.

In conclusion, I was genuinely surprised how much I liked Infinity War, especially considering how much I disliked most of the previous Marvel movies. If you are even a lukewarm fan of super hero films, I recommend you definitely go see Infinity War in the theatre. If you despise super hero movies then it stands to reason that you'll despise Infinity War because it packs more super heroes per capita than any other movie of which I can think. 

One word of warning though for parents, I do not think Infinity War is suitable for kids. I would put the cutoff at maybe 12, but your mileage may vary. The reason being is that there are some pretty heavy themes presented and also there is some surprising cursing. As for adults who like acting like kids, go see Infinity War in the theatre, it is well worth the time and energy of super hero fans. 

*The Popcorn Curve judges a film based on its entertainment merits as a franchise/blockbuster movie, as opposed to my regular rating which judges a film solely on its cinematic merits.

FILM COMMENTARY

****WARNING: THIS SECTION CONTAINS MAJOR SPOILERS!!****

****THIS IS YOUR LAST WARNING…MAJOR SPOILERS AHEAD!!****

In 2016 Captain America: Civil War came out and its themes and color palette made my take notice. The reason I was so intrigued by Civil War, was not because it was a good movie, I didn't really think it was, but because it was a remarkable piece of evidence in support of my Isaiah/McCaffrey Historical Wave Theory. 

Civil War's poster was a vibrant battle of red versus blue, Iron Man versus Captain America. The theme of the film was that The Avengers were torn apart (due to an overseas misadventure) and divided into separate factions, globalists versus nationalists, and they went to war with one another. The film was obviously conceived, written and shot well before the 2016 election, but it was the perfect film to represent the struggle going on in America's, and the world's, collective consciousness. 

Added to Civil War, was the fact that another big blockbuster superhero movie had similar themes and color palette…Batman V Superman. The posters for BvS were also a striking blue versus red, Batman (blue) versus Superman (red). While the words civil war were not in the title, civil war was the best way to describe the theme and sub-text of BvS. 

The third film of 2016 which resonated with the McCaffrey Wave Theory was X-Men: Apocalypse. That film also highlighted a civil war-esque level of infighting between different faction of mutants aka X-Men, although its poster and its box office made it much less relevant. 

When all three of these films came out in the same year as our very contentious presidential election, it was proof positive that the Isaiah/McCaffrey Wave Theory was an accurate way to measure the turmoil bubbling just beneath the conscious surface of the masses. (The Isaiah/McCaffrey Wave Theory accurately predicted in the face of much scorn Trump's and Brexit's victories in 2016). 

The reason for this quick look back at super hero movies as they relate to my Wave Theory, is that watching Infinity War through the prism of my Wave Theory, was very unsettling. The themes present in the film are pretty obvious to any cinephile with the will to look, namely globalists, in the form of Iron Man and his crew, are able to convince the nationalists, Captain America and his crew, to fight an external enemy that is an existential threat to the status quo and the world order…Thanos. 

To see it another way is to see it as globalist capitalism (Avengers) versus a sort of nationalist post-capitalism (Thanos). Thanos wants to wipe out half the population of the universe because of dwindling resources, so that the other half can live and prosper in peace and harmony. Thanos is not choosing who lives or dies based on their race, creed, class, power or religion, it is totally random who is to be eliminated and who is to live. 

Iron Man and the rest of The Avengers see that as immoral, unethical and evil, and they fight with all they have to make sure that the status quo, where questions of resources, class and social power are never addressed, reign supreme. The sub-text of Infinity War is a sort of Sophie's Choice, with Thanos choosing and The Avengers refusing to choose, which ultimately is a moral and ethical conundrum due to the fact that, like iconic Canadian arena rockers Rush tell us, "if you choose not to decide, you still have made a choice". 

Late stage globalist capitalism is equivalent to a cancer upon the planet, devastating and exploiting natural resources and human populations as it spreads across our world. Like cancer, this form of capitalism can only survive if it is expanding, therefore stasis is death, and it must devour everything in its path, which eventually will include the planet we all live on. 

Iron Man is the face of multi-national corporate power (Stark Industries), and he must keep American capitalism alive at all costs, because if it dies, he dies. Captain America's nationalist impulses are very quickly co-opted and overridden in the face of a threat to the globalist capitalist order. Although it is never articulated that Iron Man and the globalists have defeated Captain America and the nationalists, it is very clear this is the case when Captain America and company come out of hiding to fight side by side with the globalists to defeat the establishment destroying power of Thanos. 

The fact that the "good guys" in a Disney film are fighting to save American "free market" capitalism is not the least bit shocking…especially when Disney is on the verge of acquiring 20th Century Fox which will give them an astounding 40% market share of the domestic film market. Disney undoubtedly is the height of globalist corporate power in media, and in Infinity War they have recruited The Avengers to fight their ideological battle to the death. 

Thanos on the other hand, may have a very bad solution indeed, mass exterminations, to the resource scarcity issue, but at least he is addressing it, which none of the The Avengers dare do. The Avengers only solution is for them to fight tooth and nail for the right to close their eyes and whistle past the graveyard, in other words to make sure that things stay the same, which is untenable and will eventually result in the death and destruction of the entire human race and the planet earth. When comparing those two solutions, Thanos versus The Avengers, as cruel as Thanos' solution is…the chilling reality is that it is the only one that is viable long term. And the even more complicated and unsettling thought is that as unconscionable as Thanos' solution is, it may be the most moral and ethical if the choices are do nothing and do something awful. 

Thanos is symbolic of the uncomfortable questions that America, and the world, desperately ignore, and they do so at their own peril. If Thanos were a presidential candidate, he certainly would not be a centrist Democrat or Republican (or in Euro terms, a Merkel or Macron) like Iron Man and Captain America, no, Thanos would not be part of the centrist establishment at all. Thanos would be a sort of "independent" (meaning he defines himself in opposition to the old establishment) authoritarian (for example- a sort of amalgam of Xi, Mao, Putin and Stalin), who would have harsh, cold-hearted and brutal answers to the questions of immigration, income inequality, global warming and empire that would come at a very high cost to humanity…but he would also bring a solution to the problem of terrorism, environmental degradation, resource scarcity and resource-fueled wars. 

In regards to the Wave Theory, Infinity War is what I consider a level 6 force on the Wave Scale because it is not as dynamic and distinctive visually in terms of color palette (for example, its poster is rather visually mundane without any dominant colors never mind something as obvious as red versus blue) as say Civil War or BvS (both level 9) and also because it not only has no other big budget film buttressing its theme as Civil War did with BvS, but DC's Justice League and Marvel's Black Panther have optimistic narratives that counter it a bit. That said, the reason Infinity War is intriguing is because it portends an ultimate end/destruction to the status quo, and that in and of itself is a staggering statement in a mainstream blockbuster, never mind the fact that so many iconic, archetypal characters vanish before our eyes in the film's final scenes.

Much like The Empire Strikes Back, the best of the Star Wars films, hit theaters in 1980 and was a sign post for the rising American empire of the coming Reagan years whose laissez-faire, trickle down, Wall Street friendly economics has dominated the globe for the past 38 years, Infinity War is hinting at the end of that system, and the coming of a new one. What that system is, be it a Chinese style-authoritarian controlled capitalism, a neo-Marxism, an authoritarian nationalist socialism, or something else, I have no idea, but if history is any guide, it will be a fierce backlash to the greed fueled corporate globalism of the Reagan era (1981 to now). And if Infinity War, which is quickly eclipsing at the box office and in the cultural consciousness the thematic optimism of Black Panther (not to mention that Black Panther himself, and all he represents, is obliterated in Infinity War), is any guide, the transition to this new system will be tumultuous to say the least. 

Another similarity between Infinity War and The Empire Strikes Back is that main characters symbolizing "good" are "killed". In Infinity War there are a plethora of super heroes turned to dust, and in Empire, Han Solo is frozen. But just like Solo was unfrozen in the Return of the Jedi, I have no doubt that all of the now vaporized superheroes will return in the next Avengers movie (Disney ain't turning off the Marvel money machine just to maintain narrative integrity!). But just because the actions in Infinity War, just like those in Empire Strikes Back, are cinematically reversed, does not mean that they do not hold the secret to what lies ahead for our collective consciousness. The turning point of the collapse of the establishment genie is out of the bottle (collective consciousness), and reviving a coterie of evaporated superheroes will not change that fact in the wider consciousness. 

Think of it this way…if, for example, there is another 2008 level meltdown in our economy, then the political and financial establishment are toast. Apres the unbridled corruption of Reagan (Bush/Trump/Clinton etc.) era American Capitalism, le deluge. The deluge is Thanos. Prepare accordingly while you can. 

©2018

The Whitewashing Controversy

Estimated Reading Time : 5 minutes 18 seconds

HELLBOY IN HELL

Last week, Ed Skrein, an up and coming actor best known for his work as the villain in Deadpool, dropped out of the role for which he was cast in the remake of Hellboy, after charges of "whitewashing" were made against the producers of the film on social media. You may be asking yourself…what is whitewashing? Well, whitewashing is when White actors are cast in traditionally non-White character roles. In the case of Hellboy, Ed Skrein is a White actor and his character Ben Daimio is Japanese-American in the original comic book source material. 

Once the Hellboy whitewashing uproar gained some steam on social networks, Skrein dropped out of the role stating, “I accepted the role unaware that the character in the original comics was of mixed Asian heritage. There has been intense conversation and understandable upset since that announcement, and I must do what I feel is right.”

Skrein continued, “Representation of ethnic diversity is important, especially to me as I have a mixed heritage family,” he said (Skrein is of Austrian-Jewish and English descent). “It is our responsibility to make moral decisions in difficult times and give voice to inclusivity.”

From a public relations standpoint, this is a masterstroke by Skrein. He turned a story that was potentially damaging to his career into one that makes him out to be the hero. As for the repercussions of Skrein's decision on the wider world in general, and Hollywood in particular, I am skeptical that his kowtowing to the anti-whitewashing mob is a positive maneuver. 

THE WITCHES OF WHITEWASHING AND MICKEY ROONEY SUCKS

Whitewashing has been a hot topic in Hollywood of late, as a string of high profile White women have been cast in Asian roles or that had Asian women in the source material. The three most notable were when Scarlett Johannsen was cast as the lead in Ghost in the Shell to play a character that was Asian in the source material, Tilda Siwnton was cast in a role that in the comic book was a male Asian guru in Dr. Strange, and Emma Stone was cast as a woman who was 1/4 Hawaiin and 1/4 Chinese in Cameron Crowe's Aloha.

Whitewashing is not to be confused with "yellow face", which is when a White actor plays an Asian character and wears make up to simulate Asian characteristics. Yellowface is to Asians as Blackface is to Blacks, it is a highly offensive and aggressive way to demean and diminish a minority through caricature and stereotype. The most famous instance of yellow face is Mickey Rooney's cringe-worthy performance in Breakfast at Tiffanys, but other famous actors, including Marlon Brando and Katherine Hepburn, have done it as well. And it wasn't just back in the 50's and 60's either, as recently as 1992 Jonathon Pryce starred on the London stage wearing yellow face in Miss Saigon.

HISTORICAL CONTEXT AND STATISTICAL REALITY

In terms of whitewashing, the theory behind people's resistance to it is entirely understandable. As long as Hollywood has been in existence, the majority of roles have been for White actors, and for a good portion of that time minority actors were systematically discriminated against, so casting Whites in potentially minority roles doesn't sit very well with some people. That historical context is important to keep in mind when addressing the whitewashing issue, and it easily explains the perception that White actors are still cast at disproportionately high rates compared to minority actors. That being said, while the conventional wisdom is that there is an imbalance towards Whites in casting, the statistical reality does not match up with that perception.

Whites are certainly cast in the overwhelming majority of roles, but that isn't due to racism, but more likely because Whites make up the overwhelming majority of the U.S. (and English speaking world's) population. Some statistics jump out at me in regards to casting and population in terms of race and ethnicity. For instance, an Annenberg study found that Asians are cast in 5.1% of roles in film and television, which doesn't seem like much, but, according to the American Community Survey in the 2010 U.S. Census, Asians make up 5.1% of the U.S. general population. This shows that Asians are not under represented in casting, but in fact, are perfectly represented. The same is also true of Black actors, who are cast in 12.2% of roles and make up 12.4% of the U.S. population. These statistics show that contrary to popular opinion, Asian and Black actors are not under represented. 

In addition, a further look at the Annenberg study shows that White actors are not over represented according to their population percentage, but slightly under represented. According to the Annenberg study, Whites are cast in 71.7 % of roles and the census tells us that Whites account for 73% of the population. This seems counter intuitive to many people, but it is accurate, at least according to the Annenberg study and the census.

REVERSE RACISM? SO WHAT!

The question remains though, do any of these statistics matter in regard to the whitewashing controversy? The casting pendulum, so long on the White side of things, has swung away from White dominance in the last few decades, and now casts people (at least Asian, Black and White people) at relatively the same rate as their population percentage. This is a positive thing, but the fact that some people still perceive an imbalance towards Whites creates an atmosphere where whitewashing accusations resonate. 

The problem with claims of whitewashing, is that they push the pendulum beyond the center sweet spot of equality, with its embrace of a meritocracy, to a position of identity/inclusivity, where an actors ethnicity or race trump questions of talent and skill. This identity/inclusivity approach is just as unfair as a White dominated approach, and is ultimately cancerous in the wider culture as it brings with it a backlash in the form of White resentment and in some cases, even White supremacy. 

Many people would say, "so what?" to charges that identity/inclusivity angers White people because it is a form of reverse racism. Some people I have spoken to on the subject tell me that White people are racists or have an inherit privilege, so they deserve to be shortchanged for once. I get the sentiment, I do, it is entirely understandable in historical context, but the problem with that kind of thinking is it is entirely emotionally driven and not rational. Shortchanging White actors because they are White may be emotionally rewarding in the moment, but in the long run it is not only unfair to White actors, but undermines talented minority artists and diminishes artistic quality across the board.

IS WHAT IS GOOD FOR THE WHITE GOOSE, GOOD FOR THE MINORITY GANDER?

An example of this can be found in the Skrein case where, according to the producer, he was cast not because he was White, but because he gave the best audition. Merit is why he was chosen, not race, and replacing him with an ethnically "appropriate" actor who was not as good, will reduce the quality of the film. But for those crying "whitewashing", merit has no appeal in casting decisions, only identity/inclusivity matters. Again, this approach may feel emotionally gratifying at the moment, but it is intellectually incoherent, and ultimately counter productive for minority actors when taken to its logical conclusion. For instance, if, as those crying whitewashing wish, we base casting decisions solely on the identity of the character in the source material, then no minority actor would ever be able to do classical theatre like Shakespeare (with Othello being the notable exception), Chekhov or Ibsen and Arthur Miller, Eugene O'Neill and Tennessee Williams would be off the table as well.

Identity casting is much like identity politics, it is a double edged sword. When democrats make politics about identity, then not only will minorities respond to that siren's call, but White people will embrace their identity as well, and like it or not, White people are the overwhelming majority of America. In casting, this slavish embrace of identity can, and most likely will, come back to haunt those who celebrate it. An example of this was seen when Edward Albee's estate refused to let a theatre company do a production of Who's Afraid of Virginia Wolf? with a Black cast member. People were outraged by this decision and charges of racism soon followed, but Albee's argument (through his esate, Albee died in 2016) was that the play is about White people, and a Black actor would distort the meaning of the play. This is the flip side of the same argument that the whitewashing crowd uses against Scarlett Johannsen playing the lead in Ghost in the Shell. 

The reality is that many minority actors have gotten jobs not despite of their ethnicity, but because of it. Many theatre companies are compelled to use diverse casts in order to get grants and funding and it is in their best interest in some cases to eschew a more talented White actor in favor of a less talented minority actor, in order to get that funding. The same is true of tv shows and films, because contrary to what "whitewashing" critics think, networks, studios and producers desperately want diverse casts. This leads to minority actors actually having a slight advantage in the casting process, not a disadvantage, due to their non-White identity.  

The bigger problem, beyond claims of whitewashing, is the mania and hysteria brought on by our current addiction to identity, be it in casting or politics. This hysteria showed its face with the vapid #OscarsSoWhite campaign over the alleged racism of the Academy Awards. Just like claims of whitewashing, claims of Oscar racism are emotionally driven as well, and are proven false by statistical analysis. (see that statistical reality here).

CRY RACISM, AND LET SLIP THE DOGS OF WAR

Another story from last week that highlights the corrosive effect our current identity/inclusivity mania and hysteria has on Hollywood and our culture, was when actress Chloe Bennet, best known for her role on Agents of S.H.I.E.L.D., played the role of victim when she said that Hollywood is racist. Bennet, whose real last name is Wang, is of Taiwanese descent, and when someone questioned her for changing her Taiwanese last name, her defense was that she changed her name because "Hollywood is racist." This episode is a wonderful study in how identity politics and casting will devour those that cling to them. 

To start with, Ms. Bennet was smart enough to sense that she was going to be the victim of the same mob that attacked Hellboy and Ed Skrein when asked about her name change. The left is great at eating their own, and Ms. Bennet knew to throw them some red meat or she would be the next meal. In order to avoid the consequences/shame of her name change, Bennet took the cheap and cynical way out by crying racism, which seems to be the only way many liberals can argue these days, and claimed she never got cast in anything until she changed her name. Of course, the charge is vacuous at best, and insidious at worst.

Are there racists in Hollywood? Sure, there are racists in all walks of life. But did Ms. Bennet not get cast prior to her name change because of racism? To think that anyone would care if an actress had the last name of Wang as opposed to Bennet is the height of absurdity. Casting people don't give a rat's ass about your last name, usually only your fame, talent and your attractiveness. Ms. Bennet did not become more or less attractive or talented with a different last name. Ms. Bennet basically admitted her reasoning was circumspect when she said, "Changing my last name doesn’t change the fact that my blood is half-Chinese, that I lived in China, speak Mandarin, or that I was culturally raised both American and Chinese". Yes, her name is different but she still looks exotic and not pasty White, so if Hollywood was racist they would discriminate against her for how she looked, not her last name. 

Ms. Bennet's cries of racism, besides being self-serving, were counter productive, not only in Hollywood, but in America. It is statistical fact that Asians are cast at exactly the same rate that they make up the population, so there is no casting bias against them. Yet by crying racism, Ms. Bennet diminishes the power of that charge, and undermines and belittles the struggles of people who are truly suffering under the torment of racism and injustice in the real world. 

THE STRANGE CASE OF DR. STRANGE

An example of the intellectual inconsistencies of the anti-whitewashing crowd was also on display when Tilda Swinton was cast in Dr. Strange. Swinton's character, the Ancient One, is a Tibetan man in the comic books, and the reason the producers cast a White, middle-aged woman in the role was because they explicitly wanted to avoid any racial stereotypes, such as the Fu Manchu - Asian man, stereotype. The anti-whitewashing crowd got up in arms about it anyway. Apparently Asian men are higher on the victim scale than White woman, which will come as a terrible shock to many of the White women I know in Hollywood who proudly wear the hat of victimhood like a crown. 

Further making the Dr. Strange case intellectually incoherent, was the fact that in order to have a more diverse cast, the producers cast Chiwetel Ejiofor, a Black actor, in a role that was a White character in the original source material. Apparently, slavish adherence to source material only matters when White actors are cast in minority roles and not vice versa.

BREAKING NEWS: THE BRITISH ARE PASTY WHITE

The identity/inclusivity mania and hysteria was even on full display this summer regarding the film Dunkirk. The film, set in 1942, tells the story of the British army and their emergency evacuation from Dunkirk, France in world war two. The cast of the film is almost entirely White, which is completely in keeping with the historical facts of the story, yet controversy swirled around the film for not having a diverse cast. USA Today's reviewer, Brian Truitt, commented about the film's lack of minorities in his review by writing, “the fact that there are only a couple of women and no lead actors of color may rub some the wrong way". Not surprisingly, right wing writers had a field day at Truitt's expense, turning what some thought was a molehill of a comment into a mountain of political correctness. 

In response to the right-wing backlash against Truitt's review, Jason Wilson, a writer at the Guardian, wrote a piece decrying the right wing outrage as being manufactured nonsense because no person in their right mind would be bothered by Dunkirk's racial make up. Wilson's piece makes pains to point out that the right wing is itching for a culture war over Dunkirk, but none exists. Then a week later, Sunny Singh, a writer at the Guardian, wrote a piece directly in contrast to her compatriot Wilson by decrying Dunkirk's unabashed whitewashing and lack of Black faces. The cherry on top of the unintentional comedy of Singh's article is that Dunkirk actually does have some Black faces in it, the same ones she longs for in her piece. 

The whole Dunkirk episode, and most of the cries of whitewashing or racism, are exhausting because they are so bloated with the wine (or is it whine?) of emotion, and are thirsting for even a drop of the rational. But sadly, in this emotionalist age in which we live, this is the nonsense that captures our imaginations. 

LIBERTE, EGALITE, FRATERNITE

In a perfect world, we would live under the rule of equality, where meritocracy reigns supreme, and as Martin Luther King Jr. dreamed, people would be judged by the content of their character, or in this case, their ability, talent and skill, instead of their ethnic or racial identity. I certainly hope that we get there one day, but I am not nearly as optimistic as Dr. King. If history and human nature is any guide, with our current pendulum swing beyond the center where equality lives, into the deeper realm where cries of whitewashing and imaginary racism are not only accepted but encouraged, then the inevitable swing back away from that will go into even darker and more perilous waters than I care to consider. 

In our current age of emotionalism, people of all races and ethnicities do not value merit, or talent, or content of character, as much as they care about identity and instant gratification. This rise of this Church of Identity brings with it dangers, and one of those dangers now resides in the White House. If we are going to make things about identity, then we can expect to feel the wrath of the majority identity in America…White people. The resurgence of White identity, and White supremacy, is a direct result of the emotionally-driven, factually unsubstantiated claims made by those decrying White privilege where no privilege exists. As the Annenberg study and the census proves, this is the case in regards to the casting of television and film. 

When viewed within the troubling historical context of White domination in casting and the vicious arrogance and repulsive racism of yellow face, it is understandable that some, if not most, Asian actors and their supporters, would find the story of a White actor, like Ed Skrein, losing a job simply because he is White, emotionally satisfying, but that doesn't mean it is logical, rational, fair or right. Sadly, the whitewashing controversy is just another sign of our troubled and troubling times.

Don't get me wrong, I am not saying Hollywood is a wonderful place filled with rainbows and puppy dogs where people are treated kindly and fairly…it isn't and they aren't. Make no mistake, Hollywood is an absolutely awful place where people are routinely and systematically dehumanized, diminished, exploited and victimized. That said, it is apparent to me that  Hollywood, with its unquenchable hunger for money and power, treats everyone, regardless of race or ethnicity, equally like shit.

©2017

Avengers : Age of Ultron - A Review

THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!

When you go see a comic book or superhero movie, you have a certain set of expectations. One might describe those expectations as 'lowered'. You certainly don't go into the theatre expecting to see Citizen Kane, but you do expect to see something entertaining and fun. When the stars align and a superhero film ends up being great, as in the case of The Dark Knight for instance, you are more than pleasantly surprised, you are downright thrilled. I didn't expect Avengers: Age of Ultron to be great, and the filmmakers certainly didn't disappoint on that count. Avengers is typical, sadly, of many recent films in the comic book genre (The Dark Knight series being the exception) in that it is big, loud, incomprehensible and incoherent. It will still make a billion dollars because kids of all ages will flock to to see it for the same reason that boogers are ingested at such an alarmingly high rate across the globe.

The key for a superhero film is not the superhero involved. Superheroes are great, everybody likes superheroes. What a superhero film needs though is tension. The key to creating tension is the villain. If you are going to make a great superhero movie, you need a villain that is equal or better than the superhero. There must be a balance in power and ability between the good guys and the bad guys. Avengers suffers from a lack of a clear cut and worthy opponent to take on its all-star team of superheroes. The first film suffered from the same malady. In contrast to the Avengers, the X-Men work because they have one group of super folk taking on another group of equally super folk. (That is not to say that X-Men movies are great, they aren't, they are just ok but could be great, the reason they aren't is singularly because of the truly poor directors at the helm of those films, not because they lack worthy villains). Professor X faces his shadow in Magneto for instance. The Dark Knight films worked so well because the Joker is as big a name and draw as is Batman. Bane may not be as famous as The Joker, but he was the physical better of Batman in every way and proved it in the final Dark Knight film (until he was dramatically and narratively undercut by an atrocious script twist in a horrendous breaking of the most basic of filmmaking rules!!). In the first Avengers film, Thor's trickster brother Loki was the villain. Loki is a a second rate character at best, and even on his best day struggles to challenge his more famous, and powerful brother Thor.  In Avengers: Age of Ultron a group of the most elite superheroes take on Ultron, an artificial intelligence hell bent on world domination. Ultron is nowhere near ready for prime time as a villain. The match-up between the Avengers, with Hulk, Captain America, Iron Man, Black Widow and Thor against Ultron is like the '27 Yankees against a little league team. Ultron and the actor voicing him, James Spader, both seem to possess the same singular super power, an overwhelming smugness. 

Due to a less than engaging villain, the film lacks any tension whatsoever. Avengers: Age of Ultron is about as interesting as watching kids playing with action figures in a sandbox. While it may be fun for the kids doing the playing, only an imbecile would be able to find watching them interesting for more than ten minutes at most.

The script makes no sense whatsoever. None. Zero. Trying to figure out what is happening and why would be a total waste of time, and the film assaults you so relentlessly that you are rendered completely incapable of critical thinking altogether, so you just sit back and let the spectacle overwhelm your senses. The film is much too long in terms of it being an enjoyable watching experience, but much too short in terms of it trying to explain itself.

There is not a single compelling or memorable scene, sequence or shot in the entire film. I saw it less than 24 hours ago and can barely remember anything about it. For a film that put so much money into production, it looks unconscionably cheap and flimsy. The CGI makes the film look flat and dull. The story, when not incoherent, is at best tedious, at worst entirely forgettable.

Avengers: Age of Ultron is another in a long line of recent films to have decided to focus on sheer volume and scale to overwhelm the viewer as opposed to winning them over with quality and worth. Like its obnoxiously loud and senseless predecessors Man of Steel, Transformers and Godzilla, Avengers turns the volume way up to 11, and it never met a building it didn't want to turn to rubble in the course of a poorly choreographed and cinematically flaccid and repetitious brawl.

On the bright side, the cast all do yeomen's work. In a film like this the job can be boiled down to this, look great, be charming and don't laugh out loud at your idiotic dialogue, or as George Clooney calls it, "Acting". The cast all succeed at the task before them. Robert Downey Jr. is really fantastic as Iron Man. His charisma, energy, pace and wit carry every scene he inhabits. Scarlett Johannson does admirable work as well, both seductive yet vulnerable, as Black Widow. She does a lot with the little given to her in bringing her role to life. Chris Evans (Captain America), Chris Hemsworth (Thor) and Mark Ruffalo (Hulk) all do solid work as well in pretty thankless roles.  The actors are definitely not the problem with Avengers: Age of Ultron. The problem with Avengers: Age of Ultron is the laborious script and the impotent direction.

The fact that the first Avengers film made a billion dollars, and Avengers: Age of Ultron is most assuredly on its way to a billion, is less an endorsement of those films than an indictment of the human race. I couldn't help but think that the film's villain Ultron is very right, when he says, and I'm paraphrasing here, that 'mankind is a disease worth eradicating from the earth', after seeing the first weekend gross that hovered near $200 million. Just because Avengers is a comic book movie doesn't mean it has to be stupid. What is wrong with people that they go out and spend their hard earned money on this poorly made, steaming pile of garbage? If people are this stupid as to go see this junk than they deserve to be obliterated by Ultron, Transformers or Godzilla, or whomever the movie studios decide to send to abuse us next. If you are dumb enough to waste your money on these films then YOU are the problem. YOU are the one who is slowly but surely destroying whatever little dignity we as a species have left. YOU are the one who is too stupid to realize that it is YOU who are the destroying the little civilization we have left with your gluttonous, narcissistic, corrosive and idiotic lifestyle. YOU are the one who should get off your fat ass and go and take a good, long look at yourself in the mirror so YOU can see the face of foolishness, selfishness, gullibility and self destruction. Take a good look at that face…wait…hold on… hold on...that face looks an awful lot like…ME! (GASP!!) Nooooooooo!!!! Noooooooooo!!!! Noooooooooo!!! I'M THE IDIOT WHO SPENT MY HARD EARNED MONEY TO SEE THIS CRAP!!!  I MAKE ME ANGRY!!! I NO LIKE WHEN MY JUDGING OTHERS BAD DECISIONS COMES BACK TO BITE ME IN BACKSIDE!!! I EMBARRASSED AND ASHAMED I SO STUPID TO PAY TO SEE THIS HUNK OF JUNK!!!! SHAME MAKE ME RAGE!!! HULK SMASH!!!!

© 2015