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Wolfsheim: Dec 23, 2003; "Ah," Ratz had said, at last, "the artiste."

Movie was great if you didn't think about the actual plot specifics too hard. I kinda wish it hadn't pointed out so much of itself like when she literally says "whoa everything is syncing up in duplicate for some reason!" but I really loved all the allusions:

Actual, literal chuds ascend to the surface in MAGA-hat colored jumpsuits, replace thinking people with incoherent violent simpletons who in the end gather together in a display of gaudy fake patriotism. It even ends with her descending down a loving golden escalator which was so absurd and on point i burst out laughing. Admittedly the symbolism doesn't really mesh with the actual personal drama of her vs. her doppelganger so it's less making a point and more just fun but it's still pretty loving funny.

There were also a handful of film references I got and I'm sure a hundred that I missed but it was a real good time all the same.

# ¿ Mar 22, 2019 08:06

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# ¿ May 22, 2024 06:47

Wolfsheim: Dec 23, 2003; "Ah," Ratz had said, at last, "the artiste."

Das Boo posted:

Huh, I took it as the proletariat rising up and overthrowing the aristocracy. The red jumpsuits, the Soviet-colored shrine of scissors, the escalator only descending, and the main characters wearing all white, a tux T, a college sweatshirt and a designer top while staying in a summer beach house and keeping up with the Joneses.

Maybe I'm just cynical because of the modern world but I saw that as less communism and more the seedy underbelly of capitalism where the doppelgangers were going through the same acts of random consumption without thinking. The fact that it starts in the 80s which was when our current capitalist hellworld really kicked off also clicked, but that might just be an actual plot conceit based on the character's age. But Get Out was so good at satirizing the modern white liberal mindset that I can't help but feel its intentional.

# ¿ Mar 22, 2019 15:11

Wolfsheim: Dec 23, 2003; "Ah," Ratz had said, at last, "the artiste."

To the people trying to nitpick the logic of the clone sewers you really can't, it doesn't fully work as a purely 'government did a sci-fi' because of all the magical elements to the plot. I kinda like the messiness of that, though.

Alfred P. Pseudonym posted:

My favorite moment of the whole movie was when Kitty, near death, is crawling across the floor and reaches up toward Mirror Josh, who extends his hand and then does the fake handshake move super slowly

Hell, same

# ¿ Mar 24, 2019 18:08

Wolfsheim: Dec 23, 2003; "Ah," Ratz had said, at last, "the artiste."

Bellmaker posted:

So I did enjoy this quite a bit.

I think there's two things people haven't brought up about the Adelaide/Red dynamic that explains the second/third acts: 11.) How horrific it was for Red for those 33 years and 11.) How pointless her revenge is.

So we know the Tethered share a soul with their other half, but they're very much on the short end of the stick there. When Adelaide swaps with Red she begins to develop her soul as she learns to communicate, etc. But it comes at a cost: Red's share of the soul. Zero sum gain: the privileged prosper while those without suffer.

So while Adelaide is thriving, Red's going full "Flowers for Algernon", she knows she's losing SOMETHING IMPORTANT but she's just a kid in a tug of war for her soul and sanity. But she has an epiphany: Adelaide's recital. That's the point she's able to wrestle back some control. Adelaide stops dancing because she's subconsciously afraid of losing control in her Tethered Tug of War, early in the movie when she's by the ballet mirror/bar looking for Jason she's spooked by it.

But Red gaining some control may be even worse as that means she's not completely mindless, so she's knows how messed up it is she's eating rabbits, raped by Zachariah, having the kids, etc. So she plots revenge on Adelaide. All of the stuff Red is doing is about revenge, she wants to kill Adelaide in the room Adelaide cuffed her up in.

So back to the Zero Sum Gain thing, there's this thing called crab mentality, those who don't have privilege dragging those with it "back where they belong". Red's revenge is about dragging Adelaide back down to Hell Tunnel. The Untethering is pointless: The Tethered killing their other halves doesn't do anything. They don't get the rest of the soul, they're just getting revenge for the sake of revenge.

You know who would have been a great target for all this rage? The assholes who did all this poo poo. But instead the Tethered are focused on revenge on those with more privilege than them while the scientists and politicians get away with the experiments they ran unscathed.

EDIT: EXACTLY vvv

why would you put spoiler tags individually on every paragraph, jesus

# ¿ Mar 25, 2019 06:30

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