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The Hero we Need: Examining the necessity of Deadpool through the lenses of Post-modernism

Deadpool [2016] is the story of a man who is trapped in the shackles of love, but fears his disfigured appearance will destroy his opportunity to be reunited with his partner. However, Deadpool is not a simple romantic drama. Despite certain pieces of misleading inexplicit marketing, it is the story of a good-for-nothing anti-hero who fights for retribution against those who have wronged him. While both are true, they negate an integral concept present throughout the film: Post-Modernism. The titular character is extremely aware of his own intertextuality in regards to reality, and in response, demonstrates a carefully crafted remix of today’s culture and intrigue. Unequivocally, his depiction within the film exemplifies a paradoxical mindset of interpreting his celebrity status as well as the constantly self-reflective world of entertainment. Specifically, Deadpool illustrates a clear focus on the philosophical representation of cultural identity, which is portrayed through Post-modern elements that enhance the success of it’s narrative: feminism, monstrosity, hybridity and lastly, metafiction. Without it’s inclusion, the film falls into a deep orifice already consumed by the growing saturation of overused superhero movie tropes. Thus, it’s necessity and importance is exemplified by it’s lasting relevance and it’s ability to aid in the cultural longevity of the genre.

Over the course of the film, Deadpool shines strongest when accompanied by female companions. Throughout the narrative, the depiction of female characters promote prevalent concepts of feminism, and as a result, aid the audience in relating to them past surface level qualities. Negasonic Teenage Warhead (Colossus’s X-Men trainee) demonstrates relatable qualities present in modern teenage females, thus creating a female supporting role whose strong personality is entirely independent of the male characters. It allows her to exemplify post-modern societal self-reflections. Negasonic is shown not to be “tied down by sexist comic book tropes” (Truffaut-Wong) unlike the more icon female superheroines. She exemplifies the qualities that most feminists seem to crave from a female hero: she is “not a superhero's girlfriend, she's not the female version of a male hero [e.g. Batgirl/Supergirl], and she doesn't have to seduce anyone to show off her powers” (Truffaut-Wong); Negasonic being one of the most powerful characters within the film. In addition, Angel Dust, while only a secondary antagonist, is given a relatively realistic personality, and is allowed to be more then a female companion on the villains team. She is shown to have incredible super strength, and is more then a match for any of the male characters. Furthermore, Wade’s living companion, Blind Al, acts as comedy relief without being at the expense of her gender. Al’s humor lies in the juxtaposition to Wade and her’s oddly functional relationship.

Wade’s girlfriend, Vanessa, is introduced as a promiscuous–attractive–woman within the first few moment of their initial encounter. A patron at the bar––Buck––walks by and slaps her butt commenting, “I’d hit that”. Almost spontaneously, Vanessa establishes dominance in the situation, grabbing Buck by the balls and subsequently stopping Wade before he gets a chance to demonstrate his machismo. She retorts, “Say the magic words fat Gandalf”, while also causing him great pain. The sequence is representative of how society tends to objectify women based on appearance. On the other hand, Vanessa proclivity to be self assertive clarifies that she is not a damsel in distress and can handle herself. This once again is touched upon later in the film during her kidnapping by Francis and Angel Dust. Afterwards the audience is introduced to her profession: prostitution, but instead of shaming her, Wade jokes about how awful her childhood must of been, furthering their playful banter without degrading her. They continue their conversation, eventually leading to the bedroom, where during the sex montage, “between Wade and Vanessa, [she] takes control more than a few times” (Truffaut-Wong). Overall, she is depicted as a love interest who inspires Wade to grow and develop as a person, while being presented as his equal. In essence, Deadpool’s depiction of feminist concepts, demonstrates how gender equal portrayals in cinema enhance narrative while also contributing to it’s cultural relevance.

“Did I say it’s a love story? No, it’s a horror movie”. Significantly, Wade’s desire to repair the damage done to his face is the driving force throughout the film, and is the main incentive for most of the shenanigans that ensue (post flashbacks). His physical deformation being related to monster ideology, and the representation of cultural environment and inner self loathing. Early within the film’s narrative, Wade states, “[He’s] just a Bad guy paid to fuck up worse guys”. In his case, a blatant disregard for conventional societal norms, general perversion, an immorality complex, and his existential nihilistic outlook, ultimately culminate in his eventual physical mutilation. Wade’s corporeal representation is a manifestation of his views on life it “incorporates fear, desire, anxiety, and fantasy” in turn giving him new “life and an uncanny independence” (Cohen). Notably, the process leading to his monstrous mutation dates back to one of the classic monsters, Frankenstein. Francis, an independent mad scientist/mercenary for higher and resident bad guy, is the means by which Wade will be transitioned into his new life as a monster (i.e Doctor Frankenstein giving life to “The Monster”). The outcome of Francis and his employers desire to create ���super-slaves”, causes Wade to learn he must escape the confines of society’s intentions. However, before confronting the reality of his new circumstances, his fear of the unknown leads to an attempt to retreat back to his previous life. When he returns home to visit Vanessa after the mutation, he is feared by the passer-byres in the streets commenting, “God, he’s so fucking ugly” and “that must have hurt”. Overwhelmed with the resounding newfound judgement, apparent due to his appearance, he encounters vulnerability; Wade no longer has a place in the world he was once apart of. While seeking acceptance, he comes across Blind Al. Lastly, the character of Blind Al is equivalent to the blind old man in “Bride of Frankenstein”, and the parody of the character in “Young Frankenstein”. Wade is accepted refuge by the only person who would take in something so hideous, a blind woman. Al cannot judge him purely by visuals as she cannot see. Importantly, Blind Al subverts expectation by being just as awful and foulmouth as Wade is, depicting two monsters who don’t follow what culture has pre-ordained. As the film progresses, the presence of monster ideology on impacts Wade’s journey of self-discovery as he continues his quest of redemption and acceptance.

Importantly, Deadpool is clearly self-aware (being rooted in metafiction), and hybridizes much of today’s pop culture–becoming bricolage–to provide a meta commentary on the entertainment industry as a whole. Within the seconds of the start, the song “Angel of the mourning” plays a ironic juxtaposition of image and sound” (Film Theorists). Following suit, the opening title’s display a Post-Modern, self referential mocking of the movie and people within the film. A few examples are: “Some Douchebag’s Film, Staring God’s Perfect Idiot, Hot Chick, The Comic Relief, A CGI character, Written by the real heroes here, and Produced by Asshats”. As the camera continues it’s sweeping pan, a business card foreshadowing the strip club later seen within the film, and a reference to Hello Kitty in the form of lib balm (a nod to the only twitter account the movie follows). The inclusion of these meta jokes at the forefront demonstrate the metafictional elements that would remain prevalent throughout the movie. Additionally, the audience being introduced to the film in this manner are forced to question how far will the film push the boundaries of reality and their suspension of disbelief. While the opening credits continue to play, the camera establishes Deadpool, the film’s semi-heroic protagonist, with his crotch and butt sitting on a thugs face and another shot showing him childishly poking another thugs eyes. Unlike most modern day superhero films, this unconventional introduction to the “hero” undercuts most traditional superhero depictions, rejecting stereotype while also addressing the ludicrousness of his own actions and morality. After establishing the general premiss, the film decides to show just how far their fourth-wall breaking will go. During the first scene Deadpool’s actions and reactions to the environment depict the character’s own self-awareness: He plays with the car rear windows, steals a brochure for a “haunted Segway tour”, and accidentally flings gum at the camera lens, then proceeds to smear the gum off. Through these simplistic actions, he informs the audience about the absurdity of his reality, and of the journey we are about to embark with him. He then joins the Indian cab driver in the front seat, Dopinder:

“Dopinder, I’m starting to think there is a reason I'm in this cab today”, Deadpool remarks.

“Yes, you called for it remember?”

“No my slender Brown Friend, Love is a beautiful thing. You’ve got to hold onto love, tight, and never let it go…Don’t make the same mistakes I did, Got it?”

Through this quick exchange, the movie purposely presents obvious, expository dialogue in order to undermine, and mock the manner in which screenwriters attempt to conceal exposition. Comparatively, Wade addresses the viewers commenting:

“You’re probably thinking, My boyfriend said this was a superhero movie, but that guy in the red suit just turned that other guy into a fucking kabab. Well, I may be super, but I am no hero, and yeah technically this is a murder. But some of the best love stories start with a murder, and that’s exactly what this is. A Love story”

He is referencing the marketing and the present preconceived thoughts on superhero and juxtaposing that to the narrative in which he (and the movie makers) want to tell. While the love story is at the core of Deadpool, it presents the traditional qualities in humorous, occasionally unexpected circumstances to separate it’s self from the over-saturated genre.

Additionally, a more transparent sample of it’s mockery of conventional story-telling tropes would be the conversation between Wade and Weasel at the bar. After informing Wade about a strange man looking to speak to him, he comments, “That guy over there came in looking for ya. Real Grimm Reaper type. I don’t know might further the plot”. The meta commentary on standard narrative allows the film to indulge in it’s own short-hands towards progressing the plot, and to allude to the serendipity of the moment. Altogether, these examples portray the film’s cynicism towards traditional narrative conventions, the standard of the moviemaking market, and to provide a scapegoat for it’s formulaic structure.

In particular, there are countless references to Ryan Reynolds. Within the first 5 minutes, a People magazine of Ryan Reynold’s declaring, “Sexist Man Alive!” is displayed on screen, and at another point in the movie Wade commenting, “you think Ryan Reynolds got this far on his superior acting method?” Similarly, the appearance of a Green Lantern-esque superhero trading card, and Wade stating “Don’t make the suit green, or animated!” before Francis’s experiments, allude to Reynolds past superhero movie endeavor, which experienced an overwhelmingly negative response from both audiences and critics.

Notably, much of Wade’s dialogue is a remixed reference, occasionally originating from sometimes obscure vintage pop culture. After being handcuffed by Colossus, Deadpool says, “Dead or alive you're coming with me!” The line is a Robocop quote. Remarkably, both Robocop and Wade have similar origins (both being saved from death and demand justice and revenge against those who’ve wrong them). Within the same scene, he breaks the fourth wall asking the audience, “You ever see 127 hours? Spoiler alert”. Wade then proceeds to reenact the moment when James Franco’s character amputates his forearm. He pays homage to the intense imagery within the James Franco movie, providing a humorous contemporary twist and relevancy to both films. An obscure example, “time to make the chimi-fucking-changas”, is a reference to a 1980’s dunking donuts advertisement (Film Theorists). In a like matter, he refers to the recruiting agent from the experimental program as “Agent Smith” of The Matrix franchise. Moreover, visual and sometimes dialogue related gags expand upon Deadpool’s self cognizant nature. For instance, Wade wears a Rent t-shirt after discovering he has terminal cancer; it’s inclusion alluding to the musical about people coping with terminal disease. Through these iconographies, Wade expresses himself through a form of short term nostalgia that resonates with viewers on a subconscious level forcing them to relate whatever he references to him (directly or indirectly). Significantly, film’s inclusion of pop culture references plays into the current internet humor mentality growing within our society, thus maintaining a constant state of relevancy among its viewers.

The strongest points of reflection within Deadpool come from moment’s where it questions the continuity and actions the superhero genre. For example, when Colosus tells Wade that he is going to take him back to the professor, he replies “McAvoy or Stewart? these timelines are so confusing”. The introspective comment on his reality also relates to the viewers own questions regarding the complexity of the X-men movies. How does the audience themselves keep track? Through this remark, it subverts the need to think too logically about the chronological placement of the films within the X-men Franchise (Film Theorists). During the climax of the movie, Deadpool verbally acknowledges the “Superhero Landing” and the absurdity of the pose. Interestingly, its continued iconography within pop culture help illustrate the film’s sardonic view on the cliché of the genre, but simultaneously, it points out a paradoxical fact that they too are guilty of. A great example of the scope of Wade’s self awareness of his reality come from the remark, “It’s funny that I only ever see two of you. It’s almost like the studio couldn’t afford another x-man”. This snarky comment is very significant as it references the infamous budgetary cuts that plagued the film before and during shooting. Similarly, Francis and Wade’s banter within the testing facility recounts another contemptible decision:

 “…Or I’ll sew your pretty mouth shut” threatens Francis.

 “Oh… I wouldn't do that..” advises Wade.

The line, originating from the cumulative disappointment regarding the inaccurate treatment of Deadpool in X-men Origins: Wolverine, depicts cultural reality’s influence on the media. At the end of the film, Colossus attempts to reason with Wade so that he’ll spare Francis’s life. However, during his monologue, Wade gets bored and shoots Francis’s in the end. In a matter of speaking, he demonstrates our culture’s childlike short attention span, and the constant need for vindication and closure. By killing Francis, the film subverts expectation in regards to the manner in which varies from the tradition moral codes taken by common archetype superheroes, clichéd valuable lessons they learn from taking morally conscious paths.

Finally, Deadpool’s incorporation of ironic distance and intertextuality solidify it’s place in post-modern filmmaking, while also exemplifying the necessity for innovation within the genre. Without a change to the status quo, the familiar becomes increasingly boring. As a character, Deadpool satirizes the good natured self-sacrificing hero with a selfish, revenge filled, self absorbed, anti-hero jackass. He understand’s the cultural body because he is a reflection what it encompasses. Overall, Deadpool succeeds at prolonging the life expectancy of the superhero genre, not because of it’s story, but as a result of demonstrating an understanding of exactly what entertainment our society desires in a post-modern era.

WORKS CITED

Cook, Tommy, and Kevin Winzer. Why DEADPOOL May Be the BEST MOVIE EVER! | Film Legends. Performance by Jacob Salamon , Youtube, The Film Theorists , 15 Apr. 2017, www.youtube.com/watch?v=H7pH6jhJnoo.

https://www.englishwithtuttle.com/uploads/3/0/2/6/30266519/cohen_monster_culture__seven_theses__3-20.pdf

Harmer, Natasha. “Deadpool; Pastiche at Its Finest.” Films and Things, 3 Mar. 2016, natashaharmeryear1.wordpress.com/2016/03/03/deadpool-pastiche-at-its-finest/.

Sunnar, Max. “How Can Deadpool Be Viewed as A Postmodern Film? by Max Sunnar.” Max Sunnar, Blogger, 23 Mar. 2017, maxsunnarmedia17.blogspot.com/2017/02/how-can-deadpool-be-viewed-as.html.

Taggar, James. “How Can Deadpool Be Viewed as a Postmodern Film?”JamesTaggarMediaA2Blog, 2 Feb. 2016, jamestaggarmedia17.blogspot.com/2017/02/how-can-deadpool-be-viewed-as.html.

Truffaut-Wong, Olivia. “9 Feminist 'Deadpool' Moments, From Negasonic's Appearance To Vanessa's Sex Positive Attitude.”Bustle, Bustle, 29 Feb. 2016,

Truffaut-Wong, Olivia. “9 Feminist 'Deadpool' Moments, From Negasonic's Appearance To Vanessa's Sex Positive Attitude.” Bustle, Bustle, 29 Feb. 2016, www.bustle.com/articles/144905-9-feminist-deadpool-moments-from-negasonics-appearance-to-vanessas-sex-positive-attitude.

https://www.englishwithtuttle.com/uploads/3/0/2/6/30266519/cohen_monster_culture__seven_theses__3-20.pdf

Staff, Looper “Deadpool Is a Superhero Movie Game-Changer.” Looper.com, Looper, 15 Feb. 2016, www.looper.com/10082/deadpool-superhero-movie-game-changer/

“Posts about Deadpool on Thinking Philosophically.” Thinking Philosophically, 26 Aug. 2017, philosophymuze.wordpress.com/tag/deadpool/.

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“Wouldn’t even hurt a fly”: Questioning Programing and Manufactured Reality in Westworld

“Have you ever questioned your reality?” That is the question the sci-fi show Westworld wants to pose onto it’s audience. Through the search and discovery of authenticity within the artificial, Westworld asks the question which weaves it’s complex post-modern narrative.

The show’s opening credits begins with what appears to be a desert emerging from the darkness with a sunrise. Although, it is revealed to be a artificial light source. Immediately, the concept of reality v. artificial is introduced, asking the audience to pay close attention to what is on the surface, but know that there is more underneath it. Afterwords, a machine is pulling strands of some type of material, eventually revealed to be an artificial tendon for a horse. This introduces the advanced 3-D painteresque technology present within the world of the narrative. As the construction continues, the camera pans out to display the creation an artificial horse presented in it’s musculature anatomy. Subsequently, we are shown an eyeball with the iris is being manufactured. This can be interpreted as a literal reference to observing “through the looking glass”. Furthermore, a desert is shown in the eye’s reflection, foreshadowing the world Westworld takes place in, as well as signifying that was they see is "a reflection" of the past. Shortly after, the audience is visually introduced to the concept that things aren’t what they seem, as it is revealed that the person playing the piano was actually an artificial skeleton the entire time. Thus it blurs the line between reality and augmented reality.

Notably, even the audio playing throughout the opening credits is played artificially. First depicted as a Skeleton playing the piano. Additionally, the movements are increasingly mechanical, further implying the fabrication of authenticity. In addition, we watch as the machines further construct a couple having sex, and then separately, a revolver.  Afterwards, we see a damaged or incomplete face of an artificial woman showing literal layers to her creation. Ultimately, the culmination of all those pieces is shown as there is a woman riding a horse with a revolver in hand.

Suddenly the truth of the piano playing skeleton is revealed as it takes its hands off the keyboard for us to discover that even the act of playing was manufactured. This subtlety expands upon the notion that, what is visually present in the world is not all there is to it. How can the audience trust, what their eyes see if they are so easily deceived? We see a skeleton submerged in some sort of coating liquid before the shows title is revealed. The title’s logo is very industrial in appearance, showing the audience the show’s branding before we as well get ‘submerged’ and take part in it’s world. As the last few names are displayed, an iris can be seen viewed in the darkness, possibly alluding to a greater power within the series 

EPISODE 1: The Original 

Without delay we are introduced to Dolores through a short encounter inside of a scientific facility. "Bring her back online" are the first words we hear in the show. The audience sees a naked female robot sitting in a chair within a dark room. “Can you hear me?" a male voice reaches out. She responds with "Yes. I’m sorry I’m not feeling quite myself". "You can lose the accent" she then follows suit, losing the accent. It is further revealed that the conversations is not taking place with mouths but seemingly through thought. The rest of the dialogue goes as such:

“Do you know where you are?” 

“I’m in a dream” states Dolores.

"That’s right Dolores you’re in a dream". "Would you like to wake up from this dream?" We see a fly land on her face. 

"Yes. I’m terrified" she remarks.

“There is nothing to be afraid of Dolores, as long as you answer my questions correctly".

"Good. Have you ever questioned the nature of your reality?"

"No." 

Through the interaction between the two, the show sets the stage for what the rest of the episode has in store for the audience. Moreover, the questions are further broadened by one of the character’s within the narrative (*see investigative question 8). He seems to want to make sure that she is functioning properly. Amid their conversation, a fly crawls onto her eye ball, passing through her tear duct, yet she does not respond. Evidently, this depiction exemplifies the difference in nature/programing between the Hosts and humans, and further postulates whether can she experience genuine emotions and reactions.

Notably, the comment about waking up from the dream could have a double meaning, alluding to the world she lives in as well, since the hyper reality world could be attributed to dreamlike aspects. Thus it is inferencing that she will break free from the simulative mold. 

Their dialogue continues as she “wakes up” in her bedroom. She walks down the stairs in her home, newly clothed,and talks to her father, although their dialogue continues off-screen:

"Tell us what you think of your world" he says to her.

“Some people choose to see the ugliness of this world, the disarray. I choose to see the beauty. To believe there is an order to our days. A purpose”

"What do you think of the guests?" remarks the male voice.

“You mean the newcomers?”

“I like to remember what my father taught me. That at one point or another, we were all new to this world.”

Dolores continues, “The newcomers are working for the same thing we are. A place to be free. A place with unlimited possibilities”.

For the Hosts, their world it is real. Even if in truth it is a simulation to humans, the Host’s world they live in is very much authentic. It can be perceived that knowledge is the deciding fact that dictates whether something is genuine or if it is a manufactured distorted copy. Increasingly, the lines are blurred as a result of the influence of simulations and simulacra. Dolores knows not what the interviewer understands as their world is augmented. Overall, the concede is that reality is different from a point of knowledge, which in her case she appears to lack (see Investigative question 6). 

Westworld that has been created as playground that lets morality be unpunished. Similarly to video games, the experience plays into fantasy, and the ability to be unharmed through simulation. Westworld grants “Newcomers” the choice to choose a storyline and get the experience without breaking any of the rules (for a price).  

Ultimately, the depiction of simulacra and simulations are a vital and present concept throughout the first episode of Westworld. The purpose of the simulation is to utilize an era of the past, the wild west, and capitalize on the multitude of broad narratives that took place during the era. From the visuals of the saloon to the storylines of the individual Hosts, the mass production of content masks the reality the Newcomers live in, and invites them to accept the simulation as original. Within the first 10 minutes, we are introduced to guests who keep returning to the world, as it’s fantasy is more acceptable then the reality they come from, and their actions are unpunishable by the Hosts. The Park acts as a window, to remnants of a previous form of the world thats been distorted for personal gains. The sensation thus presents a necessity for repetition for the guests, leading both parties to continuously take part in the hyper reality present. As a result, both the Hosts and the Newcomers accept that the world they live in is authentic, but while one has the conscious decision to accept it, the other lacks the ability to make that judgement. In the end, the Hosts are the significant as they represent a conscious attempt at find authenticity within the manufactured Westworld.

In short, Dolores kills a fly, and that matters.

INVESTIGATIVE QUESTIONS:

1. Where and when is Westworld located, exactly?

The world is viewed from a 3d modeled game-board from inside a lab/conference room. The scientific corporation's intentions are to immerse guests in a world involving 100 interconnected narratives, thus implying they need a lot of realty. The location is referred to as ‘The Park’.

The location might be a closed off island or state. Possibly Utah judging by the geography.

2. What was the malfunction 30 years ago? 

It is never completely elaborated on within the first episode. But Presumably, judging from the creators importance that the “Newcomers can’t be hurt/killed”, one of the Hosts must have killed a person within the park. 

3. Who is Arnold?

Is one of the co-creator of Westworld. He and Ford wanted to advance the robots to the point where they could create a faux consciousness.

 4. What exactly is causing, the “glitches”? 

The recent update Ford programed into the Hosts has led them to improvise too much, and in some cases, completely glitching out. Specifically the inclusion of the Reveries which are Movements dictated by recessed memories.

When Dolores’s father is taken for evaluation. He regresses back to previous build of his personality. This is a direct result of the inclusion of Reveries. It is manipulating the past experiences which thus create a form of subconscious for the hosts.

With that in mind they are effectively transgressing their programming and establishing a faux form of humanity.

Ford states that it is, “no cause for alarm, simply our old work coming back to haunt us”.

5. Is the glitch accidental? Or is Ford advancing the hosts’ consciousness on purpose? If so, why? 

Ford wants to develop a subconsciousness within the robots, which was his and his initial co-creator, Arnold Weber’s, goal for the Hosts. He appears to be doing that on purpose, as that in part was the reasoning for the Reveries.

After Bernard confronts Ford about the malfunctions, he begins to tell him that he believes that with society's evolution in scientific practices and medicine that, “we’re done. This is as a good as we are gonna get”. In response he asks of Bernard to “indulge him the occasional mistake”.

6. How much does Dolores know at this point? 

When the passersby encountered her while painting near the stream, the child asked her “you’re one of them aren’t you? You aren’t real?” She wasn’t phased by the comment, telling the family that their are bandits in the hills. Then once her father uncovers a picture of a woman standing in New York City, he asks her “where is this?” She responds by saying “doesn’t look like anything to me”. Additionally, this leads her to believe that her father is not well, and that he needs help.

Notably it is mentioned that “she has been repaired so many times that she’s practically brand new. She’s the oldest in the park”. However, Dolores’s age foreshadows that she has the biggest wealth of knowledge among the Hosts, although it is unaccessible.

7. What did Bernard whisper to Dolores? And what did he whisper to her father before putting him into storage?

N/A. I never saw him whisper to Dolores within the episode. 

When Bernard whispered to the father it wasn’t audible, but the father’s response seemed to be that of sorrow. More then likely he told him the shut down phrase: “Soon this will feel like a distant dream. Until then, may you rest in a deep and dreamless slumber”

8. What is the meaning behind the “violent delights (have violent ends)” phrase? 

It is the phrase Dolores’s father whispered to her sometime after he found the girl in times square photo, and before he glitches out.

Dolores’s father had a question that “you're not supposed to ask”, thus amid his internal existential crisis, he snapped as a result of his programing and whispered the phrase in her ear.

When being interview by Bernard, Ford and Theresa, It is discovered that he used to be programed as part of a Horror story about a cult who became carnivorous. He played the role of the Professor, which can be taken in a few different ways in regards to the Westworld narrative (the role in which it was intended, someone who “professes” knowledge, or in a sense a prophet of sorts).

9. What’s the corporation’s secret plan for Westworld?

It appears to be that different levels of the corporation want different things: the market, the shareholders, etc. However Theresa’s goal seems to be to rid Ford of his position, and take control of the corporation. 

10. What is the Man in Black’s actual mission here, where is he going? 

The Man in Black appears to be searching for something within Westworld. He has disdain for the guests and their acceptance of the simplicities of the park. Upon his first appearance, his motives appear to be selfish, he shows aggravation towards Dolores not remembering who he was after 30 years of coming to Westworld. Since Dolores is the oldest Host in the park, he too has been going to the park since it began. Overall, he states that he wants to play a “deeper level” of the game within Westworld.

11. Is anybody else that we assume is a human actually a robot? Or vice versa?

Initially, Teddy was believed to be a human because of his situational introduction to the narrative, but upon the end of the first night the audience witness him gunned down by the Man in Black. Subsequently he is revived the following day.

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Going Nowhere: Analysis of the Complex Trails of “Playtest”

“Mom”. In season 3, episode 2 of Black Mirror titled “Playtest”, the audience is taken on a metaphysical journey through the life of Cooper Redfield as he tries to escape his demons. Early within the episode, we are introduced to how he tries to escape the reality of his home life by traveling around the world. Throughout his time away, his mom constantly tries to reach him over the phone, but Cooper refuses to answer. During the last leg of his journey before heading home, he meets and hooks up with a woman named Sonja, who works as a journalist for a technological entertainment magazine. Before buying a ticket to America from London, he is informed that he has insufficient funds at an ATM, unfortunately forcing him to find unconventional ways to make money.  After finding a playtesting job through a phone app called “Odd Jobs”, Sonja informs him that if he were to take photos of the equipment, she could guarantee an even larger sum of money then what the company could offer him. With his intentions set, he embarks on accomplishing the task, heading to the headquarters of video game magnet Shou Saito, to test out his new interactive gaming tech. It is while Cooper is their that the lines between reality are questioned.

When he arrives at the company’s HQ, he is greeted with a very formulaic introduction, which is utilized within the deceiving interactive augmented reality sections of the episode. While walking inside the complex with Shou’s assistant, Katie, Cooper indirectly encounters several visuals, which become prominent embodiments of his fears. The first confrontation appears as a guy walking through the frame with a very specific spider-looking creature on his t-shirt. This references Cooper’s arachnophobia and his eventual interaction with a spider who is partially mutated with his high school bully, Josh Peters. Speaking of his bully, there is a brief glimpse of the bully in a 19th century costume on a computer screen as Katie and Cooper pass by. Additionally, this manages to further solidify the continuity that Cooper experiences during his time in the augmented reality game. While not initially apparent, the importance of theses moments should not be diminished; it provides a possible explanation for some of the distinct visuals represented.

Notably, each interaction Cooper has while under the augmented reality is utilized to exemplify his own shortcomings, and its toll on his psyche. He is constantly running away from his problems, thus he has trouble moving past traumas. After his father started developing dementia he notes that it is like, “[losing] his best friend], and he dealt with the fact that, “[his father] wouldn’t even know who [he] was”. This is pivotal in understanding Cooper’s motivations for leaving his mother. It is inferred that his choice to travel the world is the result of an unconsciously repressed fear: becoming like his father. As a result, he wants to create new memories as a form of a coping mechanism. Furthermore, the relationship he has established with Sonja is perverted into a nightmare, not only questioning the world’s tangibility, but his aversion to commitment. Initially, when she appears at the testing house, her method is to instill fear in Cooper by relying on his apprehensiveness towards program. Realizing that the approach was unsuccessful, the program adapted, reconfiguring to address his penultimate fear: trust. After the encounter with Sonja, Cooper faith in Katie also becomes strained through a similar ploy. As a consequence of the augmented reality’s impressive ability to evolve it’s techniques, it substantially weakens Cooper’s final resolve, concluding in his temporary loss of self.

Ultimately, the implementation of the technology physically demonstrates the ideas of hyper reality (i.e.constant simulations), causing both Cooper and the audience to question what is real and what isn’t. The fragmentation he experiences is constant within the narrative, exploring his psyche similar to a dream, and is further exemplified during the playtest. Likewise, Cooper’s reality is in a constant transdimensional loop, depicting his internalized terror from real life in the virtual simulation. He runs away from his mother, because facing her is equivalent to facing the reality that his father has passed, and that he has no connection with her. Similarly, he feels guilty for not answering her phone calls, due to his inability to confront the truth. Lastly, Cooper finds himself forced to climb the stairs in the simulation house, a visual metaphor for his reluctance to go up the stairs in his mother’s home. In the initial encounter he’s scared of traveling up the stairs, and after he accomplishes it, he immediately fears the worst about his mother. Then, after supposedly leaving the simulation, he travels up a similar staircase leading to his mother’s bedroom. The similarity of the moment foreshadows that Cooper never left the simulation. His fear, no longer being the stairs that lead to her, but the confrontation of his own guilt that he has lost his mother as well. Ironically, in his final moments, he calls to his mother, and when the company records the test, they state he “ ‘called’ mom”.

In essence, “Playtest” forces both Cooper and the audience to question reality, and to discern what is the consequence from avoiding it. Overall, it demonstrates how running away from fear, doesn’t mean it’s been overcome, and dealing with it head on is better than letting it consume you.

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Jean Baudrillard: Simulacra and Simulations - notes

Simulacrum is basic superficial semblance or in other words changing the copy of an original not changing the actual original 

Symbols take part in defining reality and hyper reality (i.e. memories, images, icons)

The lack of originality: results in the birth of nostalgia/sentimentality 

Simulation has two aspects: 1. simulate - Faking aspects or false interpretation  2. Dissimulate - conceal or disguise/faking

Hyper Reality is the better then reality because of its hybridity

Simulation: imitation of a situation or process without origin

EX: In regards to Disneyland, it serves as an example of escapism. A hyper reality that invites everyone to live and enjoy while masking the truth.

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The Monster is a Necessary Evil: Monster Analysis through “IT”

A monster is meant to play into what we as human’s struggle to comprehend and externalize it for interpretation. In the same manner, they also act as a mirror, reflecting our humanity and the influences culture has on us. As such, it manages to manifest into many forms, from Bram Stoker’s Dracula [1887], to Henry McRae’s The Werewolf [1913], their purpose is to draw a comparison to the world we live in and present it in a different light. With Dracula, the spread of Vampirism can be associated with “AIDS awarness, [transforming] the disease of vampirism” (Cohen 5). Likewise, The Werewolf it is the relationship between our humanity and our more beastial desires. In relation to our postmodernist culture, monsters remix and hybridize much of the common elements that have been established today.

The popular story of Stephen King’s IT, has recently been remixed with the latest theatrical retelling attempting to modernize much of the story’s elements, while bringing it to a new culture and audience. Within Stephen King’s IT, the monster plays on the fear of adulthood, and the loss of childhood innocence. Moreover, the monster encompasses many transformations throughout both the book, and it’s latest theatrical release, which relate to the main child protagonist’s circumstances. Interestingly,  Within both adaptations, the monster utilizes the forms in order to play into the children’s fears, the sometimes all too present reality that they have to face.  The creature sustains itself off of fear, and requires its prey to experience the intense emotion before it can consume them. However, Pennywise’s effectiveness is directly correlated to his knowledge of the children. As a result, the monster’s transformations are important as it takes from the cultural body the children experience, and manipulates it further.  

Furthermore the portrayal of the monsters adds to their subconscious origins, and helps expand upon topics that are relatively taboo. The monster is potent because he knows how to play into the internalized fears of the kids. At the begin of the latest film, Georgie gets spooked in his cellar while searching for wax to help Bill finish his paper boat. While there, he gets spooked by two glass balls refracting light underneath the staircase. The effect alludes to “eye’s” looking at him in the dark, which in turn, terrifies Georgie. Then, as the movie progresses, he ends up being scared and surprised by Pennywise’s eye’s hidden in the shadows of the storm drain. Through manipulating Georgie’s fears, Pennywise transcends the surface level, and becomes a literal manifestation of psychological paranoia. In the novel, one of the children’s fear’s is that of “Gilman” the monster from The Creature from the Black Lagoon [1954], although in the recent adaptation, the child is missing at the start of the film, and the Gilman transformation is not present. Additionally, the monster within IT is in constant parallel with the lives of the children in the movie. For example, Beverly’s pedophillic, sexually abusive father. Normally, the monster is viewed as the main antagonist, providing sufficient evidence through their actions. However Beverly’s relationship with older men with the story, causes the taboo topic to become further expanded upon. In comparison to Pennywise, are they monsters as well? The question itself helps to bring light to the real world subject matter while also contrasting what the audience, and our culture views as genuine evil.

Ultimately, monsters are crucial to helping culture understand where it comes from, and how our society has evolved because of them. Without them, we would lack a possible reference point to establish fear and excitement, but also to define the taboo and the sinister. Lastly, a monster presents the moral struggle that we, as living beings, go through in our daily lives. While it may not be to such extremes, monsters display an ability to depict and interpret pieces of the past, and provide new interpretations for the future. The monster will continue to exist as its prevalence is rarely diminishing, and thus allows us to constantly reevaluate our culture's values.

[jakob2hakim-blog]

Snapshot of The Moment: MEMENTO Analysis

Who can you trust if you can’t trust yourself? That is the circumstantial struggle Leonard Shelby – Guy Pearce – goes through in the psychological noir thriller, Memento directed by Christopher Nolan. Unfortunately, the character suffers from anterograde amnesia, a form of short term memory loss which results in the inability to create new memories. The nonlinear structure of the movie employs further use of postmodernist ideas, emphasizing the cultural relevance of the film. Throughout the disjointed narrative of the film, the implementation of postmodernist elements such as fragmentation, irony, paranoia, confusion over space and time, and hyperreality depict the film’s intention of causing the audience to question what is the real truth.

From the very beginning of the movie, we are introduced to the most utilized postmodern element of the film, fragmentation. Through the implementation of this technique, the narrative becomes warped as the distortion of reality becomes readily apparent, and increasingly more unreliable in each situation. When the film commences, it rewinds the idealistic final moments of the movie, presenting a unique interpretation, in addition to, a complete subversion of most movie-goers expectations. However, the scene suddenly transitions into a new setting, inside of a seedy, poorly lit Inn depicted in monotone footage. Notably, the framework of the feature consists of seemingly unrelated scenes which are chosen to imply truths of Leonard's reality. The non chronological nature of the film forces the audience’s concentrations on what is happening, in order to not become lost within the narrative, akin to Leonard. Through theses sequential decisions, the audience is indirectly introduced to the psychological impairment plaguing our main protagonist. After establishing the labyrinthine structure, the movie continues to employ the techniques until the end of the film.

Another postmodern element that is consistently addressed through Leonard, due to his Anterograde Amnesia, is paranoia. Leonard constantly finds himself in situations which put his fragile memory in panic, and finds it best to write notes on polaroids pictures he takes. When a moment or situation calls for it, he frequently leaves behind clues that he feels are relevant in the case of finding out his wife’s murderer, which at the same time enhances his paranoia. Despite his notes he finds himself struggling to make correct decisions, in turn, results in people taking advantage of his illness. Natalie, Teddy, and Burt all contribute to his ever constant paranoia present within the narrative as a result of their abuse of his condition. Consequently, Leonard lacks complete trust in anyone but himself, although that too occasionally gets called into question.

Over the course of the film, the past and the present are addressed to help insinuate a sense of hyperreality for the audience. When transitioning to a scene in the past, the movie utilizes a monotone color scheme, alluding to the black and white noir movies of the past. Another instance of hyper reality, can also be the inclusion of the character of Sammy Jankis, a man with a similar case of amnesia, who Leonard constantly “remembers”. Within the story, Sammy’s history is often cited by Leonard, as he relates Sammy’s condition to his own. In his world, Sammy had amnesia and a wife who struggled to accept her husband’s condition. Ultimately, Leonard’s mind rewrote his original memories of Sammy as an indirect way to cope for his own subconscious trauma. The reality is that the real Sammy faked his amnesiac condition and never had a wife. As a response to the traumatic incident, Leonard is not consciously aware of the true outcome of his previous action’s; his brain shifts the actions to a scapegoat.

Lastly, as a postmodern film, it displays elements of remix and hybrid culture. For example, Christopher Nolan has stated that the monotone aesthetic used in Leonard’s flashbacks and memories are repurposed from Terrence Malick’s war film, The Thin Red Line [1998]. In an interview from Movieline website, Nolan attributed to how, “He’s cutting to memories and flashbacks with simple cuts; there are no wavy lines or dissolves. There are moments where Guy’s character is remembering his wife that was taken very much from that film.” Although Nolan has denied their influences, similar fragmented films such as Betrayal or Je t'aime, je t'aime, demonstrate a narrative structure comparable to that of Memento. Conversely, he readily credits Graham Swift’s 1983 novel, Waterland attributing the character of Leonard to the novel’s core themes and plot structure.

All in all, the complicated chronology of the movie is comparable to our own rapidly adjusting culture; notions evolve along with time. In essence, the postmodern elements in Memento portray to the viewers that authenticity is relative, and that reality conforms to one’s perception.

[jakob2hakim-blog]

Faster then a Speeding Bullet: Wonder Woman scene analysis

Although the super heroine epic, Wonder Woman, is a financial success, it is also a testament to how our culture is handling representation within the media. Throughout the film, it subverts the expected gender role archetypes, while still appealing to the societal norm. Thus, it does not attempt to change the past, but to reinterpret and modify what has proceeded it. By analyzing a scene within the movie, we can recognize it’s origins outside of the film, and how it depicts a message that resonates with our current generation.

As the scene initiates in London during the time of World War I, Chris Pine’s character, Steve Trevor, has become alerted to the presence of people following him and Gal Gadot’s Wonder Woman. In an attempt to lose their pursuers, Pine forces Gadot into a nearby alleyway. In response she asks “Steve, why are we hiding?”. They retreat, walking backwards until they are held at gunpoint by a German Spy.

Notably, the rest of the scene draws direct reference to the film’s superhero movie roots, especially alluding to a well known scene in Richard Donner’s Superman [1978]. The spy proceeds to ask Pine, “Captain Trevor, you have something that is the property of General Ludendorff” as more men appear and surround the duo. Pine responds to the spy with a subtle joke, “Ah, it’s the bad guy convention”, which in turn leads the spy to angrily demand, “Give us Doctor Maru’s notebook”. Seemingly, Pine goes to look for the notebook and comments, “Where’d I put that thing…”, but decides to use the moment as a distraction to head-butt the spy holding the gun. He tells her to “stand back” as the other spies prepare to attack. In direct response to Pine’s assault, another spy unsheathe’s his pistol and lets a shot off at Pine and Gadot. However instead of hitting his target, Gadot demonstrates her superhuman speed and abilities, causing the bullet to be smushed and deflected off her gauntlet, and into the panicking hands of Pine.

Likewise in Donner’s Superman, Christopher Reeve and Margot Kidder are held at gunpoint and directed into a nearby alley where a skittish Mugger intends to rob them. As the gun’s barrel is aimed at Reeve’s face, he attempts to reason with the Mugger from committing the crime:

“I realize times are though nowadays but this isn’t the answer…” says Reeve.

“You know something buddy, you’re right. I’m gonna turn over a new leaf” the mugger starts lowering his gun.

“…Right after I rip off this lady’s purse”. He readjusts his gun’s position onto Reeve’s eyes.

Unfortunately Kidder begins to unwillingly hand over her purse, but before reaching the mugger, drops it in front of him. As he goes down to reach the purse, she kicks him in the face. In the issuing momentary chaos, a shot is fired at Kidder, concluding with Reeve catching the bullet before impact.

Similarly, both scenes introduce a male and female couple who wind up at the wrong end of a gun. Both of the male protagonists are in front of the gun’s barrel while shielding their female companion from harm, yet deal with the situation differently. While Trevor attempts to take the heroic approach, Reeve’s character feigns being frightened–part of his ruse as Clark Kent–but does not let his companion get in the way of the gun fire. However, instead of Reeve antagonizing the assailant, a la Pine, it is Kidder who kicks the mugger in the face.

At this point, we realize that the gender roles of the character’s are reversed. Gadot proceeds to demonstrate her physical dominance over their attackers. Realizing her physical prowess in fisticuffs, Wonder Woman can be compared to Tobey McGuire in Spider-man [2002], as he also realizes he can easily out maneuver the bullies in his school. As she continues to deflect the incoming bullets, we see a bird's eye view shot that is reminiscent of several scenes shown in The Matrix: Reloaded [2003] and Kill Bill Vol 1 [2003] (which in itself could be considered simultaneous inventions). In each movie, the protagonist is outnumbered and attempting to deal with attacks coming from multiple sides, and implements that camera angle in order to capture the mayhem. Furthermore, Pine is shown giving Gadot’s Wonder Woman the lead in the retaliation, and even finds himself lacking during the confrontation. Nevertheless, the scene does give him a time to shine as the last attacker gets punched before the action subsides. The choice to include this action helps to relate the audience to the familiar stereotype of his role without disregarding it’s importance in the viewers subconscious.

Overall, Gadot’s character signify’s an important maturation in how our culture interprets female characters. By having her safety be independent of the male protagonist, and demonstrating her wherewithal to take charge of her own destiny, she is an allusion to taking bigger steps to close the gap of gender equality. Intentionally, Wonder Woman pays homage to the Superman scene, and provides a modern twist to the previous saving-the-damsel-in-distress formula. In conclusion, the social relevance of the film displays it’s aptness as a successful remix, in order to take the past and create a new message that can inspire the future.

[jakob2hakim-blog]

A Replicant of the Original: Deconstructing the Blade Runner 2049 trailer

With the world around us constantly hybridizing and remixing products, it is inevitable that we would one day get a Blade Runner sequel. How original can a sequel be while still staying true to the source material? Since the film has not come out yet, it is impossible to answer at the moment. Nonetheless, through analyzing one of the trailers, we can gather and interpret messages and possible allusions of what to expect from the upcoming film.

Immediately, the trailer begins with an extreme close-up of a blueish-green eye. This is no doubt a direct allusion to one of the first shots of the original film; we are introduced to the world of Blade Runner. In response, we are dragged into the same world once again in a similar fashion. After subtly re-establishing the world, we cut to red text reading “California 2049” as a flying car travels out of frame. Looking at the ground, there are rows of white – almost metallic – squares in a circular geometric configuration surrounding a central, industrialized monolithic pillar. Suddenly, the visuals cut to a grey fog with a man wondering through it. We are introduced to the voice of Ryan Gosling’s character inquiring, “Thought you might be able to help me with a case”. With this remark, the audience is subliminally accepting his invitation into the futuristic world. We see him emerge through the fog, walking towards a tree with metal wires wrapped around its branches, strapping it to the floor. The film then switches focus to his character walking through some kind of construction site. Along the sides of nearby tents, we see Russian characters written on the outward facing walls. With a fade to black, we transition over to the inside of a relatively basic kitchen. A man is preparing something at the stove as Gosling asks, “Any idea where I can find him”. To most newcomers to the franchise, this comment might be vague, but those familiar can surmise that he is referring to Harrison Ford’s character, Rick Decker. The following series of clips is a direct homage to another classic scene from the original, the Leon interrogation scene. Within the first 30 seconds, the film has retreaded old grounds in order to establish familiarity with the audience, and continues to do so as the iconic blade runner score is played throughout the trailer.

Afterwards, we are introduced to Jared Leto’s character who states, “Every leap of civilization was built off the back of slaves. Replicants are the future, but I can only make so many. I had the lock, and he has the key”. While Jared Leto’s character is established, Replicants are addressed, continuing to re-establish their importance within the new narrative. The quote itself is ominous in nature and helps set up his possible antagonistic role within the film. Likewise, the introductions of several other characters occur, including a female, whose appearance directly references that of the femme fatal in the original film, and a female police captain who states to Gosling that, “If this gets out, we’ve bought ourselves a war”. This line acts as an indicator of danger and suspense which will transpire throughout the story. Along side, the theme music starts to become more intense to give a feeling of destabilization to the viewers, while simultaneously reviving their interest in the plot.

As expected, we come face to face with Harrison Ford’s character, who comments, “You’re a cop, I had your job once”. This statement creates a bridge to the previous movie, but also depicts the time difference between the films. Gosling responds by saying that “things were simpler then” and that he “want[s] to ask [him] some questions. The trailer then transitions to a shot of Gosling walking down a street and several quick cuts of the futuristic city of Los Angeles. The scenes allude to Ford’s own traversal of the city in the original. The proceeding dialogue then provides context for the rest of the trailer and film:

“What happened?” questions Gosling.

“I covered my tracks. scrambled the Records. We were being hunted!”

Subsequently, we see dark silhouettes with bright white flashlights examining a corpse-filled room, and a scene of Harrison Ford investigating an empty dark nightclub. These shots are call backs to the Neo-Noir setting that was first utilized in Blade Runner. Towards the end of the trailer, Leto’s ambiguous character fuels suspicions of his possible nefarious nature by declaring, “You do not know what pain is yet” and “the future of our species is finally unearthed”. Through a final series of montages, red text appears in between each cut eventually saying, “You can’t outrun the truth”, attempting to sell you to the concept of the new film before ending. The last frames of the trailer are cuts of Harrison Ford and Ryan Gosling beaten and a little bruised in the rain. Thus in the final moments of the trailer, alluding to the famous ending between Ford and the head replicant (Roy Batty) in the original film. Finally, the trailer ends with the movie’s title and the score booming and slowly fading out.

Overall, the Blade Runner 2049 trailer attempts to relate the audience to the new film by relying on many iconic moments from the original film. As a result, the film markets a new continuation of the narrative, but in actuality, is repurposing many scenes and concepts to make sure the audience believes the film is rooted in it’s source material. In the end, the trailer manages to introduce many familiar settings and concepts, but attempts to reinterpret them to give the new film an air of originality and mystic.

[jakob2hakim-blog]

Fetishizing the Past: How Technology and Capitalism Affect our Cultural Development

The rapid changes in the world have caused the population to unconsciously panic, and in the ensuing chaos, we have clutched to the past.

Kurt Andersen’s analytical article, “You Say You Want a Devolution” depicts technology as a detriment to our culture’s developmental advancements. Andersen interprets humanity’s cynicism as a direct result of technology’s dominating presence in our everyday lives. It’s ability to “stylize” the past for our “modern sensibility” (Andersen) has indirectly caused significant stalls in our developmental progression, causing “pop culture [to] [become] fixated on the past” (Andersen). Technology continues to innovate, but as people have retreated to the familiar, this has nullified what was once outdated and reinvigorated it’s perennial lifespan. Andersen states his case best declaring, “new technology has reinforced the nostalgic cultural gaze…the future has arrived and it’s all about dreaming of the past”. Through the innovations created by technology, we have halted our cultural growth as a species, and in turn devoted more time to idolizing the past and it’s familiarity.

As new strides in the field of technology grant us the ability to condense our enormously large history, we have come to acknowledge who and what assisted in shaping the previous generations. Those generational staples have become iconic, thus inspiring many to attempt their own interpretation of what their message and impact means to the populace. However, through modest imitation, the message perpetuates and gestates within the world, losing it’s significance and acts only as a reminder to what was once so unique.

Ultimately, Andersen addresses one of the biggest contributing factors for the lack of growth: capitalism. Industries and companies exploit the public’s insecurity, and provide products that rely on their unconscious desire for comfort and acceptance. The companies manipulate the population’s struggle to adapt by providing people with familiar content. In turn the reintroduction and implementation of television shows, movies, music and merchandise leads the public to “fetish[ize] [over] production design and wardrobe” (Andersen). By putting a renewed focus on material items of the past, the populace relies on nostalgia to reaffirm their position in society. They retreat back to the memories that provide them with a sense of security, thus insuring their dependency. Increasingly, Supply and Demand pray on people’s “[craving] [for] authenticity” (Anderson), but while some accept the modifications, there are those who steadfastly go against the grain. The manipulation of these feelings is constantly at work, causing people to question their lifestyle and indirectly the diminishing cultural maturation. Unfortunately, Capitalists, the anti-conformists, and the insecure become a significant contributing factors to the underwhelming culture growth affecting the current generation.

Furthermore, Andersen notes, “the more certain things change for real (technology, the global political economy), the more other things (style, culture) stay the same”. Culture constantly fluctuates back and forth, while technology is constantly moving forward. Although intangible, the effects of this reverberate throughout the world. This is severely apparent as corporations take advantage of the readjusting climate. With capitalism constantly playing a role, it hinders the overall effort made to advance cultural evolution. Through our cultural desperation, originality becomes more vibrant and scarce, but through perseverance, it may help usher a new age of inspiration and individualism.