Subject: Re: 12 STRONG: The Left is Upset (Again)
On 2018-01-28 3:26 PM, BTR1701 wrote:
> This guy has some serious issues to work through. His obvious issues
> with the military aside, he can't even stand that Hemsworth is
> good-looking. "Greviously handsome"? WTF?
> Oh, and contrary to the writer's claim, Hemsworth's Marines did a lot
> more than decimate the Taliban forces. They annihilated them.
> Peter Maass
> January 27 2018
> The Hollywood Reporter published a surprising story earlier this month
> about film studios turning away from movies about sex. A biopic about
> Hugh Hefner is stalled, gone for the moment is a James Franco film about
> a 15-year-old Russian prostitute, and a remake of A STAR IS BORN is
> being re-thought, too.
> "As Hollywood begins to navigate the #MeToo landscape," Tatiana Siegel
> reported, "one of the first casualties appears to be big-screen erotica.
> In the wake of the Harvey Weinstein scandal, studios are steering clear
> of sex." Alyssa Rosenberg, writing in the Washington Post, hopes that
> Hollywood's embarrassed executives are navigating "the end of a very
> narrow way of thinking about what's alluring." Instead of movies that
> objectify women, she suggests more films that portray sex and sexuality
> in intelligent ways.
> This reckoning is long overdue. And it can be extended to another genre
> that has distorted how men behave: war movies. Hollywood has shown
> itself capable of making excellent war movies (think THREE KINGS, PATHS
> OF GLORY, and THE BEST YEARS OF OUR LIVES), but most are problematic.
> Some of the biggest war movies of the post-9/11 era don't just show
> violence in ways that are often gratuitous and occasionally racist. They
> model a cliched form of masculinity that veers from simplistic to
> For instance, you can see Rambo and John Wayne return to life in the
> latest war blockbuster, 12 STRONG, which was produced by Jerry
> Bruckheimer, who also brought us BLACK HAWK DOWN. 12 STRONG is an
> extravaganza about a Special Forces team that fought the Taliban in
> Afghanistan in the weeks and months after 9/11. During the movie's
> pivotal scene, the leader of the Green Berets, played by Chris Hemsworth
> (the grievously handsome star of the THOR franchise), decimates a hive
> of Taliban fighters with his rifle ablaze as he gallops ahead on his
> fearless horse (yes, he's riding a horse). In the same way that
> Hemsworth's assault weapon goes rat-tat-tat and the bad guys fall like
> bulleted dominoes, the scene itself checks off one born-in-Hollywood
> cliché after another: of the rugged gunslinger, the warrior in camo,
> good versus evil, the modern vanquishing the profane, a man at his
> Whenever I write about the real-world impact of war movies-- and I've
> gone to bat against AMERICAN SNIPER, ZERO DARK THIRTY and 13 HOURS-- I
> always get responses along the lines of "Relax, these are just movies.
> Don't take them so seriously. They're harmless." That's when it becomes
> necessary to say that movies can create or reinforce narratives of
> history and gender that influence what people think and what they do.
> Boys and men develop their notions of masculinity from a variety of
> sources that include the films they watch (the extent to which this is
> true is, of course, open to debate). The time has come for Hollywood to
> turn away from war movies that, while satisfying to both a studio's
> bottom line and a flag-waving concept of patriotism, perpetuate a model
> of masculinity that does violence to us all.
Maybe he needs to make a war movie himself. I'm picturing something
starring the footy-pajama guy that was mocked so widely by conservatives
in the Obama presidency. Maybe call it Pajama Boy Goes to War?
Of course Pajama Boy couldn't *really* go to war. That would be mean and
masculine. So Pajama Boy's war is going to have to be a series of
marches *against* war, carefully strategized over hot chocolate in his