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[…] - Fady Joudah
And out of nowhere a girl receives an ovation
from her rescuers, all men on their knees and bellies
clearing the man-made rubble with their bare hands, disfigured by dust into ghosts.
All disasters are natural including this one because humans are natural.
The rescuers tell her she's incredible, powerful, and for a split second, before the weight
of her family's disappearance sinks her, she smiles,
like a child who lived for seven years above ground receiving praise.
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“Sure, you could develop new interests, but do you really want to abandon your old ones? They're alive, you monster.”
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Arriving at the turn of the century, as if by prophecy, the Final Destination franchise plays like a dark generational touchstone, entertainment for young people who feel they have no control over their fate, even if they have the insight to see what’s coming. Death does not come through supernatural phenomena like monsters or ghosts, and it doesn’t come through human vendettas, either, like a psychopath with a mask and a knife. The series dovetailed neatly with the Saw franchise, which at least had a sadistic ringmaster, “Jigsaw,” at its center, but both are about mechanized death rather than crimes of passion. Victims find themselves stuck in a grisly game of Mouse Trap or an OK Go video, a Rube Goldberg contraption designed by an uncaring God. To the extent that the universe has order, it is a killing machine.
Scott Tobias / “Breaking Down the ‘Final Destination’ Movies”
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Paying money for a movie pitch disguised as a book is one of the many sad rites of passage a comic fan undergoes, alongside “moving” and “it turns out the secret project a childhood hero alluded to was Become a Racist”. It’s long been the case that any film you can blame on a comic, even if it’s a film people hate, will make a lot more money than any big hit with comics people; cinema had been strip mining comics for over a century before Marvel began pumping comedians full of steroids to achieve the appropriate gravitas to quip mildly at a tennis ball in front of a greenscreen.
review of ULTRASOUND / Generous Bosom #4
/ Sean McTiernan
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