Wonder Woman 1984 Is a Comic-Book Movie for Every Liberal
Hollywood liberals are nervous because their frustrations of losing and winning overwhelms their judgment and greed. This is the clear lesson from Wonder Woman 1984, a 2017 sequel to the DC Comics genesis of the Amazonian superhero (played by Gal Gadot) that has been sold and lauded as the Hillary Clinton analogy. Feminist director Patty Jenkins and her co-screenwriters Geoff Johns and Dave Callaham, as well as her co-producers including Gadot, are back for revenge by doing a Trump bashing follow-up.
Wonder Woman travels the ordinary human world as Diana Prince. In this next phase of Diana's timeless existence, during the Reagan era, she battles a television-fixated businessman, Maxwell Lord (Pedro Pascal), who seeks to rule the world by indulging the selfish desires of everyone, including the President of the United States, fulfills conditions. Using a prehistoric, phallic stone that fulfills wishes, Lord manages to brainwash the president and take over the government's global broadcast system (a reef over Reagan's Star Wars program), unleashing a nuclear war with Russia.
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This exaggerated mess resembles the overreach of the Democratic Party. Jenkins and his team project their political fears onto the film's story through trifles: A prologue about Diana's childhood in old Themyscira introduces the idea of gender superiority; The adult Diana employee Barbara Minerva (Kristen Wiig) suffers from sexism and her own inferiority complex. and both women get caught up in romantic foolishness when Max Lord takes advantage of their insecurity and selfishness - and remembers the self-destructive madness that President Trump's opponents accuse him of.
You have to be an idiot not to see how Warner Bros.'s DC Comics Extended Universe ruined its entertainment goal by not going beyond politics. Producer Zack Snyder's efforts to revive the complex morals of the classic myths in the Superman series are diminished and replaced by the film's failed satire.
Despite its title, Wonder Woman 1984 has little to do with George Orwell's prophetic novel. Why show this year? Jenkins has said that she was "curious to see our Wonder Woman collide with the height of our current modern belief system and what kind of villains it would result in." Her thoughtless reference to today's era, to which Orwell's cautionary story is seen as a political handbook, ignores the actual tide of increasing totalitarianism and submission (what the Amazon goddess Asteria calls "the tide of men"). It is no coincidence that Diana works at the Smithsonian Museum in this film. that her Washington, DC apartment overlooks the Watergate Hotel; or that Max Lord's greed ultimately ravages the world, especially the American capital, which lies in smoking ruins. Not even this accidental picture draining the swamp is much fun as Jenkins is unable to emotionally convince Diana's commitment to love and peace. ("I hate guns," explains pacifist crime fighter Diana, but can you trust that statement in a film by a director who shot Aileen Wuornos' serial killer film Monster as a feminist protest?)
The tone of Wonder Woman 1984 fluctuates from semi-serious political satire to silly comedy. Jenkins parodies Back to the Future to portray the kitsch of the '80s, but their film ends up just sticky like Richard Donner's 1978 Superman. It lacks the humor of Richard Lester's' 80s sequels and the compelling vision of Snyder's Man of Steel.
Perhaps the problem is that Jenkins (born 1971) was just a kid in the 1980s. Her Trumpian villain is closer to TV Huckster Crazy Eddie than to the star of The Apprentice, a misrepresentation that ignores President Trump's own pre-election pop culture status as a pre-election businessman that was once loved by rappers, the media, and even the young hero from home alone. Pedro Pascal plays Max Lord as a sumptuous combination of Trump, but without Alec Baldwin's SNL Galle and Michael Douglas' Gordon Gekko. Still, Jenkins cannot make up for her own ambivalence. This is also the problem with Wiig's transformation of Minerva into supervillain The Cheetah ("I want to be like Diana - strong, sexy, cool, special").
Wonder Woman 1984 wants to be everything for every liberal. (Ironically, Max Lord has the same problem, telling Diana, "We want what we want, just like you.") It also betrays the appeal of comic films with too many action scenes that are supposed to excite boys more than girls - or maybe is this a sign of cynicism that there is no difference, with the intention of indoctrinating girls the way Black Panthers bamboozled black children.
In the Sapphic decathlon sequence, in which the moral theme of the film is taken up, the future Wonder Woman tries to win by deceiving her competitors. She is told, “You cheated, Diana, and that is the truth. And the truth is all there is. “So, Wonder Woman 1984 and Jenkins political / showbiz confusion instantly fails.
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