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Is the government good or bad in this story Tom? Simple question, is the government good or bad? No, I know you are not a mutual aid anarchist or an anti-fascist anarchist, I mean duh! You are a scientologist and believe that you are a superior being in an inferior world the plot of most Mission Impossible films. But maybe you are a right-wing anarchist? Solomon Lane — an anarchist in Mission Impossible and Zizek look alike.

But wait, Tom, we have not finished the plot summary. And so, you need to impersonate one bad guy, John Lark and then kidnap another bad guy, Solomon Lane, and then hand him over to someone called the White Widow Vanessa Kirby, last seen playing another royal — Princess Margaret and wasted here because there is no one to charm because Ethan Hunt is on a mission and has no time for tomfoolery. Luckily, the hunt for John Lark led us, Tom, to one of the very best scenes in the film I hesitate to call it a film but it has a plot, was shot on some kind of digital equipment and trades in visual imagery that overwhelms its human accompaniments.

Yes, the bathroom scene where you and that hunky Henry rough up an Asian dude in a bathroom stall and then when people enter the bathroom, you pretend to be having a threesome in the stall to avoid detection. An arch little wink to the homo rumors that dog you that we have declared null and void and a postmodern moment of self-consciousness that allows us all a good giggle at the idea that you would ever masquerade as anything. Because that was the plan, right Tom, you were supposed to pretend to be John Lark and with some nifty face transferring technology, you would have gone undercover as the Asian guy.

You would have fused with him, entered him, and all kinds of other metaphors for the sex you were pretending to have with him. Would you have been in yellow-face if you had actually followed through on this thoroughly racist premise? But you abandoned the whole idea pretty quickly Tom, not because of the racism but because, well you killed the guy. Dead guy, no face. You are so original, you can only be you, right Tom? Anyway, the plot thickens. Of course it does! You, being the very, very good guy that you are — we remember how you have already saved Ving Rhames several times by this point in the plot, you have killed several baddies, you consistently put your team first — overturn a plan from the government?

Damn it Tom, you are SO good, you just keep saving and saving the world, one innocent at a time. And now you must impersonate John Lark using face technology in order to meet up with more bad guys who turn out to be the government in disguise, just saying Tom, confusing!

Oh right, John Travolta. Is this a metaphor for some kind of sex thing you guys do in the Church Of Scientology? Face off, jerk off, stare into the eyes of other alpha male members and their members, imagine your face in their face, your eyes in their eyes, your members for ever privately communing and confirming with their members in a members only bathroom stall?

But needless to say, by the second or third time you used that technology in the film Tom, I was over it. So, when you left the naughty anarchist alone with Walker, told Walker to watch him and then it turned out that, oops, Walker and Lane were in cohoots and oops wait, Lane is not Lane but Benji with a new face and oops, Alex Baldwin is not the bad government rep but a good guy there to support you….

Way too much Deus Ex Machina shit here Tom…what? Deus Ex Machina, no it is not a church thing, it is a theater thing. It is the way stupid plot can be resolved when the author has painted himself into a corner — you just introduce a moment of technical wizardry that saves the day. With your friend Ellen in it? Sequels Tom, fear sequels. Anyway, Finding Dory keeps painting itself into a corner because Dory was a-dory-ble precisely because she kept forgetting everything and now she remembers everything so she needs new and interesting obstacles to overcome and new ways to overcome them.

In this film, the resolution comes in the form of…wait for it…. No, Tom, I do not think you need to hire an octopus in your film. But you do need something. It works through you, dude. You are the Deus Ex Machina Tom. Whenever the moronic mission takes a wrong turn, you arrive from above, from below, on a bike, in a plane, flying a helicopter, on a cliff, in a tunnel, with a gun, or your fists, on your knees or hanging from a rope, or a ledge, but you always make it, you always get the job done, often with only one second remaining and a bad guy still loose.

RIGGERS

You do it, and you do it again, you save the day. And I have not even finished explaining your film to you Tom. Oh it just means, well, never mind Tom. I just meant that there is a pattern to your films. In fact, in Risky Business , there was also a queer theme — remember the transgender person you nearly had sex with in that film? Wow, magic how that happens…for white boys. Now, that was your sweet spot, the cute story about innocent young white boys getting into trouble but always coming out on top!

You had a good thing going Tommy boy, so why this nonsense about fighting anarchists and stopping the end of the world? Back in the good old days, you did not have to think about the IMF, or ask who exactly represents the government, or figure out how to juggle three women in one film without having sex with any of them or sort through why your wives leave you, often under cover of night and with much planning.

Now, as your church tries to figure out who you should marry next, as your bulked up mid-life crisis body begins to show signs of wear and tear, as your plots contain as many contradictions as a story about why three heterosexual guys were caught in a toilet stall together, now Tom, it is time to do the right thing.

What should you do Tom? Well, stop making these Mission Impossible films. Who is Samuel Beckett, no he is not that Black action actor, that is Samuel Jackson, and no, Jackson is not available to play a support role in your next film, nor is Samuel Beckett. You, in the meantime, have been luring international men of mystery into public bathrooms with hunky Henry. You are so busy that you fail to see all the angry women who are lining up to take down the IMF. When you finally emerge from the restroom, no longer even able to feel your face, not even knowing any longer if it is your real face, the women have formed a rogue group and teamed up with anarchist groups to bring down global capitalism, assassinate its leadership, redistribute wealth, make health care and child care free, put a cap on earnings, abolish inheritance all money goes back into the system , abolish prisons, make university free, figured out how to pay teachers properly, get rid of lawyers, ended marriage, oh and stopped nuclear war.

All that…while you were in the bathroom with the hunk. But, if you really want to help people, and you really seem to want to, based upon all your Scientology videos , give your money away — some could go to Black Lives Matter to acknowledge that it is the police and not the anarchists who need to be stopped. More could go to various humanitarian crises in Syria, the Palestinian Territories, Indian occupied Kashmir and elsewhere remember Kashmir Tom?

You shot the last third of the movie there without mentioning its own ongoing struggle. More could go to help women and minorities make real films instead of these insanely expensive, sorry excuses for movies that you are involved in. You could endow a chair in sexuality studies somewhere so that people can study why people join pseudo churches to cover up whatever sexual secrets they have. You might consider funding a bunch of smart young, radical politicians to start a third party that would really go rogue in the US and would break with the super capitalism of Trump and would figure out how to redistribute wealth, how to hold banks and bankers accountable and how to rescue us from plutocratic democracy.

Ok, I will talk to Ellen and see what I can do. Anarchism , Jack Halberstam , Mission Impossible: Fall Out , Scientology , Tom Cruise. For those of you young enough to associate the term Amazon only with the corporate giant that slew the bookstores and sold the world, the new Wonder Woman movie may not evoke any earlier lesbian or feminist associations.

And while the Amazons so beloved of lesbian feminists tended to be figured as white, others may make connections to the Dahomey Amazons — not mythological figures at all but an all female military regiment started by the third King of Dahomey in the 17th century. These Black Amazons held political power and trained for war and were only disbanded when Dahomey became a French protectorate. Amazon women fly, Amazon women fly!

She does not come to bury patriarchy, she just wants her place at the table. Jenkins, after all, made the fantastic Monster in starring Charlize Theron as famed rape revenge serial killer, Aileen Wuornos. And Wonder Woman as a character and a comic book hero has a long and colorful origin story that stretches back through early suffragettes, birth control advocate Margaret Sanger, and a domestic triangle involving psychologist Dr.

William Marston with both of his female partners Olive Byrne in white and Elizabeth Holloway in the right hand corner and their four children. Her military expertise is fully on show in Wonder Woman. The Germans are still the bad guys in this version and actually the first time Diana meets Steve Trevor he is wearing a German uniform for disguise and the Amazons ask him how they are supposed to tell the difference between him and the enemy.

And would that the film had followed up on this Amazonian instinct that wars pit one form of violent and racist nationalism against another…but we lose sight of any kind of critique quickly as a heteropornographic conceit takes over in which a lovely woman has been stranded in an asexual community of women and then spies a naked man for the first time.

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And I believe in love. Only love will truly save the world. But his presence is intended to snuff out any fantasies of Amazonian love between women. Perhaps Patty Jenkins should have made the Wonder Woman film a narrative nested in the far more interesting story about the polyamorous threesome of Marston, Holloway and Byrne who, together, coproduced the fantasy that finally made it to the pages of DC comics.

According to Lepore, Marston, who is also credited with the invention of the lie detector, first married a lawyer, Elizabeth Holloway, and then fell in love with his student, the boyish Olive Byrne. The three lived together and shared household intimacies, chores and inspiration and they had four children together. But the Wonder Woman that he and Byrne and Holloway birthed was sexually inventive and gave voice to a kind of lusty relation to life, love and romance — romance for her often involved inverted gender roles, light bondage and a casual relation to violence.

Power dynamics, in the Wonder Woman comics, were full of eros and like Marston and Byrne, student-teacher dynamics were avowedly erotic rather than sources of anxiety and concern. Wonder Woman was a utopian who believed in a world made lousy by men and a potential world in which women kept everything in check. That the power of women might be linked to lesbianism is not a hidden theme in Wonder Woman.

According to Jill Lepore and others, lesbianism was always a clear part of the narrative. Most accounts of the comic book character refer to her as bisexual. And yet, in the movie, in an era of gay marriage and public recognition of LGT families, the plot makes no nod to Sapphic love at all! Indeed, Diana Prince only comes to life when she meets Steve Trevor, leaves the island and begins a romantic flirtation with him.

While the Wonder Woman of the early years of comics regularly rescued her mates, now she relies upon them to do the heavy lifting. So, what is a contemporary Wonder Woman to do? Too queer for Hollywood, too powerful for male pornographic gazes, too militaristic for feminists, too feminist for Christians probably too Jewish for Christians in the latest incarnation , too dangerous and castrating to be victim to Trump-like pussy grabbing activity, but too liberal to lead a freedom fight.

Or is she the anarcho-feminist from my Gaga Feminism? And at certain points, they would have to part ways. Fortunately, Wonder Woman had a much more interesting twin sister — Nubia — a Black super hero sculpted from dark clay while Wonder Woman was sculpted from light clay by their mother!

When the two meet, in a volume of Wonder Woman comics from January , they engage in woman to woman combat — Nubia wins but does not kill Diana, instead she claims the title of the Real Wonder Woman and the two unite to defeat Mars. Supposedly something is in the works about Marston, Holloway and Byrne and there are also rumors of a Nubia film with squabbles online about whether Nubia should be played by Serena Williams! And when they are finished with him, how about fighting a host of Overlords like Google, Uber, Whole Foods and others and taking back the term Amazon for more righteous and queer utopian freedom dreams?

Just to be clear, it involves police and neoliberal capitalist terror, corporate bullying, and Asian shaming. Those with premier benefits might find it hard to relinquish their bad love. For denial has its own rewards, and complicity its wanton rationalization and even perfume. Membership, afterall, has its privileges. Who is paying the price for your preferred status and clubby jaunt?

They had to catch a connecting flight that would otherwise be understaffed, delayed or canceled. The flight in question was not overbooked or oversold, as airlines officials originally claimed. We are so inured to gaslighting and alternative truth that a white lie is a just white lie switch the color and you are most definitely a liar. Dr Dao was illegally ejected from the plane in violation of 14 CFR But it does not get to the spectacular violence against the doctor, and the seemingly inexplicable assault on the American consumer and Asian America.

Could it be that the corporatization of the Senate and the vindictiveness of male-centered egos exemplified by conservative and rightwing ideologues like Mitch McConnell, Donald Trump, Steve Bannon and their cabal of mediocre apparatchiks, naysayers, white supremacists, 1 percenters and security thugs now go hand in hand with the thuggery of state-sanctioned oligopolies like UA that operate as their armed, air travel functionary disguised as service? It is a rich ethical perversion that gives perversion a bad name.

Enter the Bully-in-Chief with explicit instructions for his devotees and initiads, which include white nationalist groups:. Do you know what they used to do to guys like that in a place like this? S-American nationalist bravura, machismo, belligerence, imperialism and gun culture. But as corporate performatives, it is virtually unheard of unless we examine the violent deeds of corporations as the very enactment of these words.

Yes, those are exactly the words that UA is saying to Dr. You know, the time when Asian exceptionalism means you can be legally discriminated against because the law does not apply to you — the Chinese Exclusion Act, the Japanese incarceration camp, just to name two — or, clobbered to death with impunity Vincent Chin RIP. The continuing fetishization of choice in this regard is laughable to say the least.

And lo and behold, United has quickly announced an upper ceiling of 10k for those bumped out of their seats in the future. That is the solution? Some people are excited about how this is an enticing option to game the system. Who do you think will benefit from? When the options are lousy, they are lousier for those at the bottom whether it is U.

They are about creating insufferable conditions for the majority so that the super-privileged who can afford Platinum-level service can take up ever more space and resources just because they can. Because corporate entities love revenues more than anything else. Does this sound like a bloviating cheeto-maniac sucking up all the oxygen in the room, and making everyone parse his gibberish just because he can?

Cheap prices and ruthless profits rule the day. Dao found himself stranded in the limbo of the oversold flight. But while the white Alpha male Hollywood hero is always right and always vindicated, Dr. Dao was knocked unconscious for his efforts on behalf of righteousness and dragged unceremoniously from his seat. So the airlines summoned the full force of airport security, including the Chicago Department of Aviation and Chicago Police Department whose officer promptly smashed his face, rendered him senseless, and eventually carried him out on a stretcher with blood oozing out of his mouth.

Or, for that matter, citizen Warren being dragged out like a rag doll through the aisle, her hair disheveled, and her glasses askew on her face as she is rendered incoherent. All because she refused to shut up or give up her seat. She was given an explanation. Degrees of indignity aside, the different scales of violence tell a story of how gender and race are inflected by notions of privilege and proprietary that shape our political and social sympathies. It would be unacceptable for Senator or even Citizen Warren to be taken out the way the body of the limp and anonymous Asian doctor was treated.

He was some Asian man, maybe a doctor, no one was sure, and many commentators cast doubt about him being a doctor at all based, presumably on the way he looks. There is a lot more to be said about the terrible entanglements of corporate personhood, profit, policing, and biopolitical regulation. Suffice to say, Dr. Team Agent Orange oligarchs, politicos and airlines executives feasting on their bloodied meat.

The violence produced at the systemic level between colluding regimes and corporations are enduring and far-reaching. The satirical jokesters at Saturday Night Live suggest that in Trump Nation, complicity is a political pathology for sale in a seductive package. Their metaphor is a bottle of perfume. It is nonetheless a club that draws many members, including bourgeois apologists of color, other white liberal allies, and the pinkwashing homo-matrimonial types who want to smell nice. To be complicit is to approve the collusion of corrupt power, money, and imperial projects.

The stakes are higher as bombs matching the egos of a bumbling and bloviating team in the White House are being detonated in Syria and Afghanistan to legitimize their violent and morally bankrupt worldview. To speak out as many did on the plane where Dr Dao was assaulted is to reject the normalization of complicity as our moral code.

As we bear witness to the return of an angry U. So, yes, people do care and they make a difference. It gives new meaning to sitting tight with privilege in the face of trouble, and sometimes a face says it all:. Screenshot of a widely circulated video of an unidentified man sitting calmly as Dr. Dao screamed in the background. At the end of a year in which men behaved badly, madly, and even gladly, how appropriate that an Oscar contending film appears in which men behave, yup, sadly.

Indeed all the ladly behaviors that make up the repertoire of white masculinity have culminated in this — a film where we finally understand why the white man is sad, why everyone else is bad and why despite being sad because everyone else is bad, he learns to be a dad. His brother dies but that barely merits a tear from our sad sack chap. So could it be that he has a really bad job as a handy man that puts him in the way of verbal abuse from women and people or color and even an episode that comes close to sexual harassment from a woman of color?

No, the sad white man mostly just takes the abuse and keeps on keeping on. He soldiers on because he is a white man behaving sadly and that is what white men do. Well, spoiler alert, let me explain. Lee Chandler played by Affleck the Younger , we find out in flashbacks, once had a wife and some kids. And he was a good man. And he behaved gladly and sometimes even a little badly. Like, one night he had his buddies over and they made too much noise.

So his wife broke up the party and made them go home. Sulking, Lee makes a fire in the living room and then steps out into the night to get some more beer. By the time he gets home, his house has burned down with his children in it and only his wife escapes. He is hurting and we are expected to cry for him because it is all so sad…for him!

Not for his wife, not for those kids, not for his brother, but for him. All the bad things that happen around him, are his bad things. Why are white men so sad? They are also sad because they work for very little money and do the worst jobs in the world. Poor sad white men. Yes, reader, this is a film made to measure for the coming Trump era, a time when white men can stop being sad, feel very glad and grab lots of pussy with impunity.

Whiteness, the film tells us, is part of the frayed beauty of America and its power hangs in the balance in a world where bad things can and do happen to white men…even when they themselves cause those bad things to happen! This film gives us a clue as to how powerful white men see the world, women, love, loss and violence — it is all one tragic narrative about how hurt and misunderstood they really are.

His wife treats him badly and then later, after the tragic event that he himself caused his Black boss and his female customers abuse him.


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The white world of Manchester by the Sea is elegiac, brimming with a sense of tragedy that exceeds the events on the screen and asks us, begs us even to find a reason for why things should be this way. Think of Medea who kills her children to take revenge on her husband and their father, Jason, for leaving them. These stories show infanticide as a deliberate action taken as part of a sacrifice or to prevent something worse than death from happening. No such logic underwrites Manchester by the Sea — the death of the children is almost gratuitous, it means nothing in the film except as its function as the source of irreducible melancholia for the white man.

This same melancholia does not affect his wife played by Michelle Williams who quickly marries and has another child. There is no set up in the film to show us the bond between Lee and his children; there is little that explains the melancholia — is it guilt? While critics fall over themselves to give this film an Oscar, we should ask what the film is really about.

If this film is an allegory then it is a perfect symbolic landscape of the territory that ushered Trump into office — the film sees the world only through the eyes of working class white men. It sees such men as tragic and heroic, as stoic and moral, as stern but good.

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The film knows that the tragedy from which the white man suffers is of his own making but nonetheless the film believes that the tragedies that they have created happen to them and not to other people. This is the same logic by which Dylan Roof took the lives of nine African American church-goers in South Carolina while claiming to be defending white people from Black criminality and it is the logic by which Elliot Rodger killed six people and wounded fourteen others in Isla Vista near UC Santa Barbara in Rodger left a manifesto behind that represented him as a victim of women who had sexually rejected him.

It is the logic of every lone white gunman in America and while the media depicts these killers as mad and marginal, American cinema romanticizes them as sad and solitary. Obviously, Manchester by the Sea is not about a serial killer who turns a gun on innocents and yet innocents do die by his hand and rather than seeing this as a tragic narrative about white male narcissism or about the dangers of centering one group in a complex society, we are asked to read the film as just another story about white men behaving sadly.

Films that a few months ago just seemed to be about sad things or happy things, now appear in a new light and become part of our national tragedy in which all attempts to make diversity mean something, to resist systems that criminalize communities of color while representing white crime as law and order, to rethink sex, are quickly dismissed as identity politics, political correctness or authoritarian feminism.

It is time, apparently to make America great again, to cater to the sad white man, to feel his pain, to lift him up and dry his tears. White men have been sad for too long apparently, now it is our turn. While the film is a painful coming of age story, it is also a lively rendition of alternative frameworks of embodiment where the powerful ocean, or sea body, is omnipresent and rendered as a space of longing, transgenerational memory, migration, and witness represented by water and light.

Moonlight is not an easy viewing experience, not only because of the homophobia that is directed against Chiron Alex Hibbart. It is also because the shy nine-year old rarely experiences relief from multiple forms of violence and subjectification that brutalize his psychic and physical form. For Alexander, feminist and queer crossings are a site for trans-generational memory, where historical and layered crossings force open a reckoning with the embodied meaning of the sacred, and, the spiritual dimensions of experience.

Amidst a hardened world where the worst forms of structural violence impose themselves upon Black queer bodies, there is an excess that looms large in the film, one that cannot be absorbed simply by naming Moonlight a coming of age story. Both Moonlight and Girlhood share how race, sexuality, desire, and vulnerability are central to the experience of living on the margins, and how every day violence in the lives of Black youth compounds the need for embodied modes of escape.

Similar to Moonlight , where the color blue is a filter, a costume, a painted wall, in Girlhood blue functions as a contrast to the overseen use of murky palettes. To counter such conventions in both films the color blue, in all its shaded richness, becomes the medium for a parallel narrative of an outside to extreme pressure.

In short, the color blue offers the potential space of freedom as the imaginative and the intuitive. Teaching Chiron how to swim, the two Black bodies float alongside and entangled with each other in a lingering choreography of embodied sensation, floating between jade and shimmering waves. Juan teaches Chiron how to swim for himself in the sea, as the camera lingers over the touch of Black skin and the mesmerizing mutation of turquoise green waves.

Through the blue-green glistening sea, we are reminded of the Middle Passage, its histories of collective death and commodification, but also the sea as a quintessential site of freedom. Coming back for a visit to Miami in adulthood, Chiron meets up with Kevin, his adolescent friend and with whom he shares the powerful memory of teenage desire and touch. At a restaurant by the sea where he works, Kevin prepares Chiron a special dinner. In this sense, ocean water might be read as a powerful symbol of the Orisha and goddess Yemaya.

In Santeria, Yemaya is the source of all, the constantly mutating and transforming force that is both protector and the mother of all life that rules over the seven human figures of the pantheon. Even amidst the alienating and violent environments that Chiron is exposed to and must survive within, the spiritual symbolic of the African diaspora explodes in the most of the scenic backdrops. Thus, while Moonlight inhabits the conditions of structural violence, it also invokes its spatialized transits — between the Caribbean islands, the economies of empire and sexual tourism, the non-spaces of historical memory.

Meanwhile, the color blue, the sky, the ocean become the means of metaphorical escape. This secondary symbolic level, is where the director touches other dimensions of experience that pass through Black diasporic cultural memory and embodiment, reaching into the shadowy and liquid transits of the Caribbean basin and the trans-Atlantic. Moonlight exceeds the frameworks that criminalize queers, diminish Black life, and individualize the logics of racialized gender as determining of particular outcomes. Moonlight is the other space, the parallel world of ancestors, the shadow world, the porous line between living and dead, the drowned and floating worlds as histories of crossing and being otherwise.

And, it is also the Orisha world where all is not ruled by the human condition, all is not tamed by capitalist materialism, and all is not predetermined by the structure of violence that forces Chiron to become a muscular man who dare not touch another man, even well into adulthood. The moonlight of the film is cast on Black male bodies, that during adolescence find their intimacy with each other.

While as recently as a decade ago, many butches could still be found in their natural habitats — dyke bars and softball teams — and while some could even be spotted in the wild, in recent years, their numbers have declined leading some scientists to predict their eventual disappearance.

Indeed, like the passenger pigeon or Lonesome George, the last known Pinta Island tortoise that died in , the butch seemed like a category whose time had passed — a relic, a fossil, a victim of cultural climate change and an irredeemable symbol of past times that a new generation was eager to forget. But, in a kind of miraculous adaptation, the butch, like the Eurasian beaver or the Dalmatian Pelican, seems to have trembled on the brink of extinction and…made a remarkable recovery!

Or, my favorite — a Bale? Are the new representations of butches ghostly after-images of a recent past that has come and gone and taken its place within a pantheon of gay and lesbian histories relegated to the past by the recent triumphalism of the gay marriage era? Or, conversely, are they harbingers of a new future of gender variability that has expanded beyond man and woman into a wide ranging set of expressions of the gendered body?

Is butch back or was it never gone? Has butch been around long enough to become trendy? Or, in an era of unprecedented visibility for transgender embodiment, does butch represent an obstinate fragment of an older paradigm, still capable of generating both fascination and fear? How, then, did we leap, in the last year or so, from uniform expressions of disgust, suspicion and dismay directed at the masculine female form to empathy, recognition and even acceptance?

In an interview in The New York Times Magazine in May of this year, Alison Bechdel, who appeared in the photograph accompanying the piece dressed in a very smart tailored suit, was asked:. Today a young person like you would be more likely to identify as transgender than gay.

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