and i extend this criticism to socialist 'pioneer' youth too. it was not a good idea to be emulate, even if you removed half the racism
Seems excessive. Were they really that bad?
AbbysMuscles
joined 3 years ago
Because I'm practicing drawing fundamentals and having some background noise / the illusion of company is nice.
Gaddafi would never have put up with this shit
It was something about him needing to be in contact with the CIA because he was reporting from Mosul / Syria / Rojava? It was always vague and vibes-based. IMO nothing serious, just a continuation of hexbear's collective trend of hating certain people based on optics
The Trueanon subreddit dislikes Behind the Bastards, so by default a large amount of Hexbear users hate him too 🤷♀️
Fuck I hate living in American cities so much, this looks so pretty and I'm so incredibly jealous
What is to happen if an Israeli unit gets scared, makes a mistake and opens fire in the wrong direction, killing or injuring Egyptian forces for instance? Although the situation may be somewhat of a low possibility, it could happen.
We know that Sisi is a cuck, and I don't know what the top Egyptian military brass will do once the IDF starts pushing Rafah refugees into the Sinai. But what about smaller units of the Egyptian military? Is there any likelihood of a smaller detachment of soldiers stationed at the border defying orders and opening fire at the IDF?
what?
The movie's ridiculous presentation hides its fairly sophisticated inner workings. I'm not claiming it's high art, but it's not just pure stupid action a la Transformers or something. There is a lot of interesting storytelling happening just through careful attention to detail, and it's almost a case study in "show, don't tell"*. For example, we know a lot more about Furiosa than you'd expect. She's a capo in this horrific, misogynistic tyrant's society. Towards the end of the film, Max asks her what she's hoping for and she just answers "Redemption". The look in her eye tells us the rest. These little pieces are deliberately placed - we don't know the exact details of how she went from kidnapped slave girl to commander in the Immortan's forces, but we can figure out enough of it.
Or, let's look at Max's changes throughout the movie. He starts off deranged, disheveled, covered in matted hair - feral, in a word. Then he's captured and literally caged. He's got a muzzle on for the first third of the movie! He gets free, lashes out, and is slowly tamed by Furiosa and the other women. Ultimately he ends up helping two generations of women fight back against the tyrant who ruined their collective lives. I don't want to say that this has a direct meaning (something like "oh he's learning how to shed toxic masculinity and be a better ally!), since I think that literal interpretations tend to detract from emotional depth. Themes in story are best when they're expressing feeling and not a literal message. There is a lot going on with gender conflict. From the repeated "Who killed the world?!", to the obvious level of the wives fleeing the big gross dude, the one war boy slowly realizing he's just another foot soldier for a man who doesn't care about him, to the greater susceptibility of men to follow dangerous men to destructive ends while women seem more resistant to that.
Come to think of it, Fury Road is best compared to Chainsaw Man. The manga and anime are about a lot of things - the struggles of growing up poor in Japan's lost generation, a government that explicitly views you as an animal to be used for their own ends, the corrosive nature of workplace politics, cynical sexuality used for manipulation, and more. It's also about a man who is a fucking chainsaw. Ridiculous, over-the-top action serving as the capstone to a carefully planned world and story.
*I happen to think that "Show, don't tell" is overused as storytelling advice, but the execution here is flawless.
Right, but that indirect exploitation applies to effectively everything in everyone's life and doesn't have a lot to do with the laundromat owner specifically.