Monday, June 26, 2017

YIKES! Pitch Perfect 3 Trailer

I have had the worst sinus infection of my life: for the past week, I have felt like I am under water in a swimming pool; I am so sorry, I haven't been able to get anything done. I WILL get the post for The Mummy up, I am just too sick to be able to finish it, I am so sorry. The first trailer for Pitch Perfect 3 has been released and it's going to be a massive liberal propaganda piece..., but wait, is it? That's the problem. Screenwriter Kay Cannon, who also penned Pitch Perfect and Pitch Perfect 2, writes like a capitalist, so we're going to see a good, solid capitalist foundation; director Trish Sie, however, is a liberal, which is why we're going to see some of the "cheap shots" that appear in the trailer; in other words, the film will be a "mixed bag," some good, but plenty of bad, too:
Cheap Shot #1 is when Flo (Chrissie Fit) has prepared a drink for a line of white women and mentions that the beverage has a shot of "white privilege,"  Cheap shot #2 is when we see Fat Amy (Rebel Wilson) at 1:27 wearing a red hat, saying, "MAKE AMERICA EAT AGAIN," which is an obvious attempt to slam the Donald Trump presidential campaign of "Make America Great Again." If we took out these two objectionable, superficial slurs, the trailer would suggest a film that will be highly pro-capitalist, as the Bellas use what skills they have (the signing and rhythm) to make their own way in the job force. But what about the characters of Gail (Elizabeth Banks) and John (John Michael Higgins)? Who are those two bizarre characters always showing up in Pitch Perfect films, and what's their purpose?
Gail and John are a peanut gallery, but because they reflect the peanut galleries existing all over the internet and modern society, they then become an important symbol, interacting with the events of the film. I could say much more about them, but I'm sick, so this is enough for the moment, sorry..
These are the people who the internet comment sections gave birth to who believe they have to comment on everything and who believe that people want to know what they think; but they don't have anything of their own to offer, only their miserable misspellings and in-cohesive fragments of thoughts which don't mean anything.
On a different note,...
Wow, there is a lot going on in this poster! This is your homework assignment,... I know, I know, you hate homework, but the whole purpose of this blog is to help you have your own thoughts and develop your own analytic skills, and you won't develop those skills if I just give you answers the whole time, and you set back and are content with those answers. Here is a hint to start you off: color. What colors do you see, and what do you know those colors symbolize? That's more than half of the problem right there.
The trailer for Kenneth Branaugh's Murder On the Orient Express has been released (a couple of weeks ago, actually, but I'm been slow) and I'm going to do a full write up of the trailer because it's so good. Here's the problem: in order to discuss the trailer, and the poster above, as well as all subsequent material, we will have to discuss the main plot spoilers, giving away the ending and the way to solve the case. If you haven't seen the 1974 film, or haven't read the book, then you will need to decide if you don't mind knowing what happens beforehand, or if you want to wait and let the film tell its tale (if you don't know, or have forgotten, here is the Wikipedia summary of the plot details so you can have an idea of what happens). If you ask me, given the complexity of the plot, I would rather know the generalities of what happens in the narrative so I can notice the particularities of Brannaugh's approach to the story which is being presented for us today, but that's my perspective. So, here is the first trailer, and we will delve into this ad infinitum after I am well:
"My name is Hercule Poirot, and I am probably the greatest detective in the world." Right there, we know where Branaugh stands: first, "Hercule," is "Hercules," the very standard of masculinity and manhood, so Hercule Poirot is his own standard of masculinity; secondly, he's the world's greatest detective, so there is nothing mediocre about him, nothing for the Left to champion and feel good that he is one of them. What about that obnoxious mustache and those electric blue eyes? You know what that symbolizes, so I will let you figure that out for the moment, while I try to get well and finish up The Mummy.
Eat Your Art Out,
The Fine Art Diner