Arbitrarily, I decided to watch the creation of the 21st ct. – the American TV show The Boys (2019).
A psychiatrist would be certain I broke my vow of not watching non-Oriental films under the subconscious influence of Chechar the artist (who had noticed my reblogs and got offended), and a realist cynic would say I was under the influence of the video I had watched a few minutes before taking said decision (admittedly, all film-critics on YouTube with the exception of E;R are gay).
But The Boys (2019) is a fascinating watch. First of all, it is the creation of the 21st ct. – unlike in the 1950s, the piece tries to grab the viewer’s attention immediately. It is the common feature of the medium in the still-ongoing 2010s, characteristic of both masterful and shoddy works.
But the most profound points are these three.
- The nature of the parody allows the film to raise deeper critical questions about the American superhero genre. On the first glance, the subject might be the application of the laws of physics to their feats, but then the nature of the capitalist society may be touched upon. I myself have always found it bizarre that the greatest evil the superheroes fight is crime (was it the main issue of the day in the 1930s or the 1970s?). A Christian would necessarily add that men are born “good” and become “evil”, so they need reeducation in camps. As an admirer of biological determinism, I don’t exactly share this idea, but it is partially true, and the systemic features of capitalism are to blame in many cases of ugliness (although I do believe the GULAG must be married to Auschwitz).
- The play with the scenes from older films such as The Matrix or The Lord of the Rings allows for a reevaluation or a constructive deconstruction of their ideas, and their application in different circumstances. The direct and honest, down-to-earth nature of the parody enables the heroes to be more relatable, and their struggles to be more relevant to the people. (Although sometimes the film does sin against certain hard scientific truths such as the Incel Theory, and is thus bound by a few residual tropes – a good example is the use of the trope of a pure virgin not thirsty for the chad’s cock.)
- But the most striking and surprising to me advantage is the raising of the odds! The stakes are set so impossibly high, and the means of doing that is elegant and concise – because the universe the story is set in is our own! And thus the enemy is the [capitalist] system, against which the hardened fighters of the Taliban itself have trouble winning, what’s to say of a lone terrorist in Jew York? Close to the heart, laconic, tragic, suspenseful – all in one!
Curiously, there are two points in the first episode where the ideology of the female’s approaching the male is mentioned. At the same time, the case where a character confuses the red pill with the blue pill is unlikely, as this Matrix idiom has long since firmly entered the English language.
Harry Potter, the famous film peddled by Kim Suki to unfortunate young Juche men, would have been so much better had it developed a true magical realist world.
I say “film”, the way Russians call it. I do know that Americans make a clear distinction between motion pictures and TV shows.
One thought on “Parody films must demonstrate a certain level of introspection”
I’m slow. I was trudging through the view towards the past – the parody of the current culture. But only on the 7th episode did I understand that the film (TV series) is about the future! About CRISPR! This is Gariépy’s film!
Now the dick-crushing makes sense! Gods, the 2010s films are high-Q, especially if you watch them once every two years (cf. the first season of Westworld).