#Vietnam War Opposition

[dgspeaks]

Martin Luther King, Jr.: Unraveling a Co-opted Narrative - A Journey through the Multifaceted Social Justice Warrior

Martin Luther King, Jr., a towering figure in the American Civil Rights Movement, has become an icon whose legacy is often distilled into a sanitized narrative. Over the years, the complexities of his beliefs and the full extent of his activism have been overshadowed by a simplified version of his story—one that emphasizes a dream but often neglects the depth of his commitment to social…

[ganondoodle]

i'll admit, i know absolutely nothing about kissinger, aside from having heard the name, but i again find myself in a weird spot bc i see the entire internet celebrate that the guy finally died and now i see the news and hes getting big coverage and is talked about only positively ...

ever since i learned about the whoel deal with what israel is doing to palestine i have huge doubt on the news and i cant say this isnt adding to that and im pretty sure im right about this case too

[drzephyr]

.

[ika-3012-blog]

The subtle propaganda that shaped public opinion of the Vietnam War

The Subtle Propaganda That Shaped Public Opinion of the Vietnam War The Vietnam War was a complex conflict that bitterly divided American society in the 1960s and 70s. As the war dragged on year after year, public support steadily declined. The military and government sought new ways to shape favorable public opinion of the war and discredit the growing anti-war movement. One of the key methods…

[justinspoliticalcorner]

Christopher Mathias at HuffPost:

A coalition of 185 social justice and religious groups published an open letter Monday expressing support for the campus protest encampments sweeping the country in opposition to Israel’s siege of Gaza, and calling on university administrators to end the brutal crackdowns of the student-led demonstrations. “We commend the students who are exercising their right to protest peacefully despite an overwhelming atmosphere of pressure, intimidation and retaliation, to raise awareness about Israel’s assault on Gaza — with U.S. weapons and funding,” the letter states. “These students have come forth with clear demands that their universities divest from corporations profiting from Israeli occupation, and demanding safe environments for Palestinians across their campuses. ” Groups that signed the letter include Gen-Z for Change, Working Families Party, IfNotNow Movement, Young Democrats of America Black Caucus, Movement for Black Lives, Sunrise Movement, MPower Change, Jewish Voice for Peace, Palestine Legal, and the Unitarian Universalist Association.

Some 900 students have been arrested during anti-war encampments and demonstrations at American universities in the last 10 days, per a tally from Al Jazeera — a tumultuous period that mirrors volatile demonstrations against the Vietnam War in 1968, when police arrested at least 700 students. The open letter Monday represents one of the largest shows of support among progressive groups for the burgeoning student protests, and makes clear the divide between establishment Democratic figures and social justice groups when it comes to U.S. support for Israel. President Joe Biden has refused so far to condition the sale of weapons to Israel. “Our communities have been horrified to see the militarized and violent response to students protesting an ongoing genocide funded and supported by our government, and our coalition of organizations join millions of our members across the country in standing in solidarity with the students’ efforts in support of the people of Gaza,” Yasmine Taeb, one of the main organizers of the letter, told HuffPost. Taeb is a human rights lawyer and political director at MPower Change, a Muslim social justice group.

“Instead of attacking young people mobilizing for Palestinian human rights, President Biden needs to listen to the majority of Americans who have been calling on him to stop funding and supporting the atrocities committed against the people of Gaza,” Taeb said.

[...] Israel has killed over 33,000 Palestinians since Oct. 7, when the Gaza-based militant group Hamas launched an attack in which nearly 1,200 Israelis were killed. In January, the International Court of Justice ruled that Israel’s siege of Gaza — which has displaced 85% of the population and put the occupied territory on the cusp of famine — left Palestinians at risk of experiencing a genocide. Last week, health officials in Gaza said medics had discovered mass graves at hospitals raided by Israeli troops. “We join [the students] in calling for an immediate and lasting ceasefire and an end to the U.S. government’s and institutions’ role in the ongoing genocide of Palestinians in Gaza,” Monday’s letter states. “As we stand in solidarity with the students protesting in encampments across the country, we reaffirm our commitment to amplifying their voices, condemn the university administration officials’ violent response to their activism, and demand that universities remove the presence of police and other militarized forces from their campuses,” it continues.

[...] Meanwhile, Republican Party officials and right-wing media figures have accused the demonstrations of antisemitism, falsely equating criticism of Israel with bigotry towards Jews. Although there have been scattered reports of actual antisemitic incidents at or near the encampments, many were not perpetrated by students but by interlopers. Many of the student protesters across the country are Jewish. Far-right agitators, including Christian nationalist activists, have also targeted the encampments, with MAGA pastor Sean Feucht leading hundreds of Christian and Jewish Zionists on a march around the Columbia campus on Thursday. The rally ended with pro-Israel demonstrators yelling through the gate at pro-Palestinian Columbia students. “Go back to Gaza!” they screamed.

More than 185 groups, including IfNotNow, Jewish Voice For Peace, MPower Change, and Working Families Party, signed a letter in support of the campus protests against Israel Apartheid State's genocide against Palestinians in Gaza.

[hotvintagepoll]

Propaganda

Eartha Kitt (Anna Lucasta, St. Louis Blues)—My friend and I have a saying: NOBODY is Eartha Kitt. A thousand have tried, and they've all come up empty and will continue to do so. Everyone knows her for something: from "Santa Baby" to Yzma in Emperor's New Groove to Catwoman to making Lady Bird Johnson cry for the Vietnam War. She was a master of comedy and sex, an extremely vocal activist, and she aged like fine wine... I honestly don't know what I can say about her that hasn't already been said, so I'll stick to linking all my propaganda. Like what else do you want from me. She was iconic at everything she ever did. Literally name another. How can anyone even think of her and not want to absolutely drown?

Maggie Smith (The Prime of Miss Jean Brodie)— Look, ok she's best known now for Downton Abbey and the Potter franchise, but the woman won an Oscar in 1969, so that makes her eligible in my oh so humble opinion. She starred opposite Olivier in her first major play role (which was filmed) and her wit and beauty was just the epitome of everything I wanted to be as a child

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Eartha Kitt:

"A hot vintage woman who was not just known for her voice, beauty, poise, and presence, but also her unapologetic ways of speaking about how she was mistreated in the show business as a girl who grew up on cotton fields in South Carolina in the 1930s through the 1940s coming to Broadway first and then Hollywood."

"Have you watched her sing?? Have you seen her face?? Have you heard her talk?? How could you not fall instantly in love. She makes me incoherent with how hot she is."

"She can ACT she can SING she can speak FOUR LANGUAGES she is a GODDESS!!! Although she is (rightfully) remembered for her singing, TV appearances (Catwoman my beloved), and later film roles, her early appearances in film are no less impressive or noteworthy!! She’s an amazing actress with so much charisma in every role. She was also blacklisted from Hollywood for 10 years for criticizing the Johnson administration/Vietnam War, so. Iconic. Also Orson Welles apparently called her “the most exciting woman in the world.”

"She had such a stunning, remarkable appearance, like she could tear you to shreds with just a glance- but the most undeniable part of her hotness was her voice, and it makes sense that it's what most people nowadays know her for. Nothing encapsulates the sheer magnetism of her singing better than this clip of her and Nat King Cole in St. Louis Blues, she pops in at 2:49. Also I know it's post-1970 but her song that was cut from Emperor's New Groove is likely to make you feel Feelings."

Even with as racist as Hollywood was in the 1950s and 60s, Eartha Kitt STILL managed to have a thriving career. She also once had a threesome with Paul Newman and James Dean, and called out LBJ over the Vietnam War so hard that it made First Lady Johnson cry. Eartha Kitt was talented, sexy, and a total badass activist.

Maggie Smith:

[sarkos]

Student debt also largely didn’t exist in America before the Reagan Revolution. It was created by Republicans here in the 1980s — intentionally — and if we can overcome Republican opposition, we can intentionally end it here and join the rest of the world in once again benefiting from an educated populace. Forty years on from the Reagan Revolution, student debt has crippled three generations of young Americans: over 44 million people carry the burden, totaling a $2+ trillion drag on our economy that benefits nobody except the banks earning interest on the debt and the politicians they pay off. But that doesn’t begin to describe the damage student debt has done to America since Reagan, in his first year as governor of California, ended free tuition at the University of California and cut state aid to that college system by 20 percent across-the-board. After having destroyed low income Californians’ ability to get a college education in the 1970s, Reagan then took his anti-education program national as president in 1981. When asked why he’d taken a meat-axe to higher education and was pricing college out of the reach of most Americans, he said, much like Ted Cruz might today, that college students were “too liberal” and America “should not subsidize intellectual curiosity.” It was the 1980s version of today’s “war on woke”: Reagan hated college students. On May 1, 1970, Governor Reagan announced that students protesting the Vietnam war across America were “brats,” “freaks” and “cowardly fascists,” adding, as The New York Times noted at the time: “If it takes a bloodbath, let’s get it over with. No more appeasement!” Four days later four were dead at Kent State, having been murdered by National Guard riflemen using live ammunition against anti-war protesters. Before Reagan became president, states paid 65 percent of the costs of colleges, and federal aid covered another 15 or so percent, leaving students to cover the remaining 20 percent with their tuition payments. It’s why when I attended college in the late 1960s — before Reagan — I could pay my tuition working a weekend job as a DJ at a local radio station and washing dishes at Bob’s Big Boy restaurant on Trowbridge Road in East Lansing.

The real reason Republicans oppose efforts to cancel student debt - Raw Story

[bekolxeram]

A helicopter is like a bird mocking a rock for never being able to fly, so the rock sticks a giant ceiling fan on its head, pushes the air down into submission, just to go up in to the sky to personally tell the bird and the laws of physics to go fuck themselves.

Controlling it is even harder. It's like trying to balance a ball on the tip of a baseball bat while riding a monocycle. Every part of a helicopter is intricately linked, you have to strike a perfect balance on all 3 axes just to keep it in place.

Journalist Harry Reasoner wrote during the Vietnam War:

The thing is helicopters are different from airplanes An airplane by it's nature wants to fly, and if not interfered with too strongly by unusual events or incompetent piloting, it will fly.

A helicopter does not want to fly. It is maintained in the air by a variety of forces and controls working in opposition to each other.

And if there is any disturbance in this delicate balance the helicopter stops flying immediately and disastrously.

There is no such thing as a gliding helicopter.

That's why being a helicopter pilot is so different from being an airplane pilot, and why in generality airplane pilots are open, clear-eyed, buoyant, extroverts. And helicopter pilots are brooders, introspective anticipators of trouble.

They know if something bad has not happened it is about to.

This might be the most in-character line Tommy has ever said.

[ihni]

What if ...

... Hopper and Neil Hargrove had been in the army together?

I don't know anything about the army and all I know is that the war at least Hopper went to was the one in Vietnam, but let's play with the thought that the two of them were there together. And did NOT get along, like at ALL; Hopper thought Neil was deceitful and untrustworthy, too proud and manipulative. Overestimating his own importance and competence, and too happy to cause pain in others.

They both survived the war and went back to their own lives, only like 20 years later or so, the Hargroves show up in Hawkins and Hopper meets Neil Hargrove again.

Despite telling himself that they're older now; that they're adults who have had time to grow into themselves, Hopper STILL doesn't like Neil. Like, his skin is crawling when he sees the man, even after all these years. But it's not like he has a good reason to dislike him now; outwardly, Neil Hargrove seems to be just a normal family man, setting down in Hawkins with his family. No one else has had any complaints. And either way, Hopper can't explain it, it's just a feeling. He just doesn't LIKE him.

And the thing is, that the guy has KIDS now, too. Or - as Hopper learns, as soon as he gets the documents he pulled from California - a son, at least (the girl being Neil Hargrove's new wife's kid). And by the file that Hopper has to pull some strings to get his hands on, the kid is shaping up to be a bad seed, just like his dad. Reports on fights, trespassing, shoplifting, underage drinking, reckless driving.

Hopper doesn't want that kind of bad influence in his town. So what, if he wants to nip it in the bud? So what, if he pulls the kid over as soon as he gets the chance, just to get a feel of him? The kid is tense, obviously hiding something, and speaking so respectfully that it borders on sarcasm - strike that, it's definitely sarcasm.

So what, if Hopper feels the need to put the fear of god into the kid? He's here, and his father is not - Hopper can't touch Neil, who never officially puts a toe out of line, but a teenager with a bad attitude? It's basically Hopper's JOB to do something about that.

So he goes hard on the kid. Tells himself it's for the kid's own good; keeping him on the straight and narrow and teach him what's right and what's wrong. And hey, if he gets to bring the kid home to the Hargrove doorstep sometimes and look Neil Hargrove in the eye while he lets him know what his son has done now (Not so perfect now, are you Hargrove?), well, then that's just a bonus. Perks of being the Chief of Police.

It becomes personal, in the way that he will take any chance to gte on the kid's case for SOMETHING. But also the opposite of personal, because the kid - Billy - isn't really a person in his own right in Hopper's eyes. He's just an angry kid. Neil Junior. A chip of the Hargrove block. He is simply a means to an end. The best way to get to Neil in a way that doesn't seem unreasonable, or petty, in the eyes of everyone else.

And of course, I want the Moment of Realization. I don't know where or when; maybe Hopper stumbles over Billy's car parked out at the Quarry, or maybe he nabs him after a party, or maybe he sees him out walking by the side of the road late one night and pulls up next to him.

And maybe that's the time when Billy has had ENOUGH. When he either gets angry and starts yelling, 'What do you have against me, man?? What have I ever done to you?", or maybe he tries to run because he can't do this right now, or maybe it's a Bad Night and he's tired and terrified and he breaks down crying (but tries to hide it).

Maybe it's all three.

And, I don't know, but maybe Billy's hurt and wincing and Hopper notices, and maybe when Billy refuses Hopper (not very gently) demands to see, and -

Maybe there are bruises. Maybe there's a burn scar somewhere on Billy where he couldn't have put it himself (like between his shoulder blades), the one you get from a red-hot lighter. A mark that Hopper remembers from his time in the the army, from when a buddy of his made a bet with Neil and lost, and Neil let his lighter burn for a long time and then pressed the hot metal against the guy's back. That too scarred, and it looked just like this.

And maybe that's when Hopper lets his memories boil over, and his voice is rough when he asks what happened, who did that, and maybe that's when Billy mutters something about Hopper and Neil being army buddies and Hopper doesn't have to worry, Billy isn't a snitch, he can keep his mouth shut.

And that's when things slot into place in Hopper's brain, and he realizes that the kid is just a KID, that the anger comes from hopelessness, that the attitude is a mask to hide his fear. Because even now, he's cowering in Hopper's grip - but still keeping eye contact, back straight, hands to the side. Learned behaviour.

And that's when Hopper realizes he has Fucked Up.

[victoriadallonfan]

Let's Talk About the Alien vs Predator Films

Talk about wasted potential, am I right?

I'm struggling to format this in an interesting way, since so much has been covered over the past 20 years since the first film was released. You can read my thoughts on Aliens Franchise and the Predator Franchise as well.

Note that it doesn't include Alien: Romulus, but suffice to say it was a good movie!

I think the best place to start is with covering the themes of Alien and Predator, and the history before these films were created (and the failure of Fox).

My fellow AvP enjoyer @agendergorgon has already posted some thoughts on the topic, giving me a lot to think about, so check out their blog too!

For the purposes of this review, I am not going to include Alien 3, Alien: Resurrection, Prometheus, nor Alien: Covenant.... mostly. The AvP films really don't take much of anything beyond the first two films, though I will touch on Prometheus when it comes to religion.

Ditto for the Predator films, but that's because Predator wouldn't get a third film until 2010, 3 years after the AvP duo.

The themes of Alien Franchise:

I'm sure the first thing to come to mind is that the Alien series is about sexual assault, and you'd be correct. The xenomorph is designed to be extremely phallic, the facehuggers quite literally rape their victims, Burke locks his victims (including a child) in a room to be raped, Ash tries to murder Ripley by thrusting a rolled up porn magazine down her throat etc etc.

Some of you might also remember how Aliens was noted by James Cameron to be a criticism of the Vietnam War, Corporate Greed, and the callous arrogance of the US Military. The xenomorphs represented the innumerable "faceless" soldiers that could overwhelm more advanced enemies with ambush tactics and numbers, Burke thinks only in "goddamn percentages" and how this could benefit himself and the company, and the Colonial Marines are not only woefully mismanaged a newly brought on commander but also completely delusional with their own sense of invulnerability, only to break and panic under pressure once they meet a foe who is determined to fight to the death.

(I will NOT be tackling the fucked-upness of comparing people fighting for their independence vs a fucking Xenomorph, because holy fucking shit, it is literally the opposite AND worse counterpart to having the Predators be colonizers)

But, in the broader scope of the series, Alien - and the xenomorph - represent the uncontrollable, unfathomable, unknown. What are they? Why were they there? What are their motives? How did they end up in that ship? Were they built? How do they 'see'? Why did the xenomorph spare Jonesy the Cat? Are they intelligent life? How on earth do they function with their bizarre biology?

We don't get any real answers to these questions in the original films. The whole point of these movies is that there are things that mankind does not understand, and the horrors of space are vast. And equally terrifying is the arrogance of man (and synth kind) to think they can harness this horror for profit at the expense of human lives.

The themes of the Predator Franchise:

There's been tons of articles on how Predator is either a reconstruction or deconstruction (depending on who you ask) of the 80's action hero flick. A team of muscle laden, big gun toting, sweaty men spouting off one-liners as they mow down their enemies in a secret CIA led operation during the Cold War, interrupted by the presence of an intergalactic hunter than treats these badasses like mere toys. The massive Arnold Schwarzenegger is smacked out like a mouse facing off against a particularly cruel cat, needing to rely on tricks - not his brawns or guns - to stay alive and eventually defeat the Predator.

Others might point to its related take down of machismo. The opening scene is rife with characters testing each other's physical strength against each other such as with Dillon and Dutch, Ventura and Dutch have a small face-off in the helicopter as they try to make a pecking order, Ventura makes a whole speech about being a "sexual tyrannosaurus" and then mocked about sticking a gun up his "sore-ass", Hawkins repeatedly tries to make pussy and sex jokes, and they end up with a single woman in the group who is treated more like an object and baggage than a person for much of the movie. All of these men are emasculated by the Predator, some of them not even lasting a single second to its predations (both in tech and physicality), all of them losing any sense of quips and confidence, and the sole woman of the group survives because she didn't fit the movie's (and Predator's) mold of "tough as nails". When Arnold/Dutch is rescued by helicopter, it's not a cheerful one; he's haunted by what he endured and remains silent as the film pans into his thousand-yard stare.

All of this applies to Predator 2 as well, amping up the violence, dick measuring, and rules of the Predator targeting anyone who thinks they are tough shit for carrying a gun or knife. Even Danny Glover's victory is bittersweet, because he is now left in the middle of dozens of officer deaths, and entire subway car filled with corpses, and an antique flintlock pistol that promises the return of the Predators to Earth.

In a much broader sense, the Predator films are about the oversaturation of violence and lack of care for human life. Predator 1's main plot before he arrives is the CIA using Green Berets and then Dutch's special ops team to clean up their dirty work, giving them false information and not even reporting the Berets being MIA in furtherance of their Cold War goals (slaughtering guerrillas who were working with Soviet Russia). In Predator 2, the police are seen as being ineffective because they trample on each other's jurisdiction, with the Federal task force being willing to kill their own cops to keep the Predator existence a secret and letting it hunt people down for a better chance at capture and experimentation.

The Predator creatures are the epitome of such greed and arrogance. They are the General Zaroffs of The Most Dangerous Game, taken to a new height by showing that human lives literally mean nothing to them beyond a trophy hunt. They care nothing about our social lives, our politics, our loved ones, because for them this is nothing more than the equivalent of posh British Elite going on a Fox Hunt: cruel and sadistic, just to placate their egos. They will violate the corpses of the dead and taunt those in mourning, for the thrill of the game. And in that sense, the Predators are very human antagonists: they are not unfathomable nor are their goals beyond our understanding. The horror of the Predators is that they are creatures we can understand, communicate with, and even see similarities in their culture to ours... and that culture is putting us on a trophy rack alongside other skulls of creatures they felt a thrill to hunt.

So, did the Alien vs Predator films cover even half of these topics?

Well... kinda? Just... not well.

Not well at all.

The Build Up

Alien and Predator have a connected history dating back to the creation of the Predator itself. Stan Winston was on a flight with James Cameron some time after the famous director had finished with Aliens, and the director made a comment about wanting to see a monster with mandibles, which eventually led to the creature we know and love today.

Predator's debut on screen was also often compared to Aliens due to the superficially similar premise of a team of commandos going on a mission and fighting an unknown alien threat.

Despite what some people think, the AvP series wasn't started by the films.

Yes, there was a particularly memorable scene in Predator 2, where the City Hunter is admiring his trophy room and a xenomorph skull can be seen mounted on the wall (though, fun fact, it's actually an inaccurate depiction as xenomorph skulls look more humanoid facing), but that wasn't the first time the duo met in media.

And I'm not referring to the 1993 Arcade Game either (since that only came out a year after Predator 2).

The Alien vs Predator comic first appeared in 1989. And there were publications continuing ever since.

Think about that going forward. There was 25 years of content to choose from, storylines they could adapt, interesting forays into the cosmology and interactions between Yaujta, Xenomorphs, and Humanity.

The movies used exactly none of it (barring 1 thing: the Predalien).

Alien vs Predator (2004)

The plot of this movie is that Weyland-Yutani corporation detects a heat bloom under the ice in Antartica that reveals an underground pyramid, and in a race against his competitors, Weyland rounds up a team of elite experts led by Lex Woods to investigate the ruins (and find that the Predators have left them a convenient tunnel to enter the deep ice). Only to find out that this was a trap, as the pyramid comes to life activates a Xenomorph Queen, unleashing a brood of facehuggers on the helpless crew, all the while the Predators hunt them down. After a spectacular shitshow and release of the Xenomorph Queen, Lex and the last Predator (Scar) have to reluctantly team up to escape the pyramid and blow up the xenomorphs, ending in a final battle with the Xenomorph Queen. Scar perishes in the fight, but Lex manages to send the Queen into the depth of the artic ocean, and is rewarded by the watching Eldar Predator with a spear for her troubles. A post-credit scene reveals that Scar had a chest-burster inside of him, birthing the Predalien!

Rewatching this movie, I'm surprised at how good it looks. The opening scene of the satellite in space, several shots of the ship (and spaceship), the frozen tundra, the set pieces like the Xenomorph Queen Prison, and the CGI!

The CGI! Of 2004! I was shocked that they looked so good for something that is 20 years old now, but they did really well for themselves.

But it was the practical effects that blew me away the most. The shifting Pyramid is absolutely iconic and the abandoned whaling station is suitably creepy. The face-huggers look amazing and the xenomorphs are just *chefs kiss*. It's so funny seeing these Xenomorph effects compared to that of Alien:Covenant, and seeing how much work bodysuit and puppetry can do to make a monster look so much more terrifying than a CGI creature.

I know a lot of people didn't like the Predator's bulky appearance in this movie, but honestly... I dig it? It makes sense that not all Predators are literally built the same, and that the ones who would choose to go hunting in the artic would be the bigger ones who could hold more body heat. And the movie does a really great fucking job of making these Predators look badass and distinct from each other, with Celtic having the coolest mask of the whole group.

And the way the movie is shot is really fantastic! There are a lot of wide and tracking shots where the movie lets the atmosphere do the work instead of badgering us with words, taking its time to build up tension and soak up the visuals. One of my favorites shots they did was slow roam through the Predator ship as the systems come to life and we get to see holograms come on-line, feeding information directly into their masks. Equally good was when the Xenomorph Queen is awakened to cackling electricity and ominous lighting, showing us how vast this chamber is and how huge this Queen is in comparison to the one Ripley faces.

The same goes for most of the actions scenes, with a decent amount of cool slow-mo shots for things like Face-huggles launching themselves, Predators leaping across chasms, and showing Scar's impressive athleticism when he leaps 10 meters into the air and stabs a spear through the Queens skull.

And I can always rewatch the first time Alien Meets Predator Fight. God, that score! The music is just so damn good!!! You really feel like you are watching two massive horrors from space finally finding themselves sharing a space together.

Honestly, the Predators using the Xenomorphs as some kind of fucked up exotic pet for hunting trials and training fits the lore PERFECTLY. It’s actually a literal fox hunt not just metaphorical (and of course, in typical Alien fashion, it all went to shit).

Aliens vs Predator: Requiem (2007)

"Wait, Ridtom/VictoriaDallonFan, are you about to say something nice about AvP:R?!"

Well, after turning up the brightness and hanging blankets over my windows and then watching the movie underneath more blankets... yes!

For one thing, the Alien and Predator effects are spectacular! Some of the best work I've seen in the franchises! The fight scenes are creative and use really cool set-pieces like the sewer and power plant, where we get to see Wolf (the name of the Predator of this movie) absolutely kick ass and slaughter his way through hordes of Xenomorphs. Not that the xenos are left in the dust, as they get plenty of murders on screen and even outsmart Wolf on occasion.

I actually like the Predalien design and the idea that it’s more intelligent than the average Xeno, including holding personal grudges and understanding Predator behavior.

And the Predator tech is really cool too! We got laser grids, land mines, power fists, converting the plasma caster into a plasma pistol And I love the moment where Wolf kidnaps one of the human protags to use as live bait. Such a dick thing to do but so in-character.

Even the bits we get of Wolf mourning his fellow dead hunters was a neat addition.

And to be honest, I didn’t mind the idea of seeing an actual xenomorph infestation in real time, in a small town. I think that sort of setting would be really fun for a one-shot story.

And… that’s it. That’s all the good stuff.

What Went Wrong?

I compiled a list of sources where I got a lot of information on the AvP production: Source 1, Source 2, Source 3, Source 4

Note that a lot of these are 20 years old so I apologize for the outdated and honestly abhorrent word use that some articles and videos may use. And another apology for using the Xenopedia wiki, it was just a good shorthand for other information.

In short: Fox fucking sucks. They will absolutely self-sabotage themselves in order to make a (perceived) profit. Tom Rothman is the most well known (and he’s gone to Sony as of now), but Fox has had a looong history of being stingy and terrified of any risks for their films.

The sheer amount of drama involving Alien 3 and Alien Resurrection is an insane rollercoaster.

AvP removed pretty much any sense of horror and purposely had the design of the Predators to be more “human” and “heroic” (hence the weird human eyes and bulky physique), with a PG-13 rating for more audience numbers. While the human characters aren’t bad, they are not unique or even memorable (barring the fandom romantic tension between Lexi and the final Predator). Also, it was very weird that the Predators couldn’t kill a single Xenomorph, meanwhile the Colonial Marines couldn’t trip without blasting apart swarms of them. It felt like they really wanted to save money on the film in that regard.

AvP:R was even worse, with it being filmed with such a lack of lighting that people could not actually see any of the movie, and even modern advancements in color grading make it a strain. The human characters are awful, just absolutely boring and unremarkable beyond being veiled callbacks to characters from Alien, and we get a bunch of stupid Dawson’s Creek drama involving teenagers who look like they are 30 years old fighting over a girl who has no personality because she was written to just be “hot girl”.

If the story had focused entirely on the wife coming home from the war and dealing with the fact that her own daughter doesn’t feel close or comfortable with her after years of being gone, there could have been focus and themes and yadda yadda yadda.

Also, while this movie at least has horror aspects, did we REALLY need to see the Xenomorphs eating the fetuses and belly bursting out of still screaming mothers? Like, there is horror and then there is just being gross.

Final Thoughts

I often wonder if AvP took the wind out of the sails of Prometheus. Both play with the idea of humans worshiping aliens as gods, because Ancient Aliens is fucking everywhere, but it’s really hard to take Prometheus seriously when you remember AvP did basically the same setup (with arguably smarter characters).

And these movies have really soiled the idea of the AvP franchise barring the video games and comics. There’s apparently an AvP anime locked up in Disney Vaults and so far, both franchises have kept their respectful distances from each other.

However, with the recent successes of Alien: Romulus and Prey, there’s been a bit of a stir with some comments hinting at a potential AvP future.

Who knows. It’s been 17 years, perhaps 3rd time is the charm.

[privatejoker]

IRT uncertainty regarding the student protests.

being open and loud about your opposition is not a small thing. it is effective and it is important, even on an individual level. this is historical fact admitted to in the fucking pentagon papers! the state drafted history of the vietnam war that was leaked by whistleblowers! it is a direct admittance to that fact, that it does work, straight from the mouths of the warmongers. who is leading you to believe otherwise and why?

(from People's History of the United States)

[ahaura]

excerpts from How the 🇻🇳 Vietnam War Explains Hamas' Strategy 🇵🇸 (extremely brief overview of the Vietnamese utilization of guerrilla warfare & how it relates to the Resistance's tactics)

Guerrilla warfare is usually when there's an asymmetry of power between one side and the other. Often fought between insurgents and a conventional army, and the conventional army loses if it does not win and the guerilla wins if he does not lose. In this type of warfare, the main objective of the guerrilla is to survive protracted fighting with the adversary, and avoid big decisive confrontation that play into the strength of a conventional army. The guerrilla keeps doing that until they overpower or wear down the enemy by consistently extracting a cost from them.

Most famously, the Vietcong used an extensive tunnel system that extended for tens of thousands of miles and served as their base to engage in effective guerrilla tactics. [...] For the Americans and South Vietnamese, it was like they were fighting ghosts, and the Vietcong was able to inflict heavy costs on them. In the face of this, U.S. deployed the longest and heaviest aerial bombardment in history by dropping over 7 million tons of explosives and killing over 3 million people. Their strategy was to cause so much death and destruction that people in the guerrillas would abandon their cause. But they never did. The U.S. government constantly lied to the American public about the war and justified it by framing this as a fight against "an immoral enemy." But as this became the world's first televised war, the horrific images from American massacres and the use of weapons like Agent Orange and napalm sparked outrage. This led to mass opposition to the war around the world and one of the largest protest movements in U.S. history. After 20 years of fighting, the Vietnamese were able to liberate and unify their country, and defeated the global superpower by maintaining the principles of guerrilla warfare: the conventional army couldn't win, and the guerrillas didn't lose. Does this sound familiar?

The longer Israel fights, the bigger impact it will have on its economy, given the size of its army in proportion to the country's population. That is a high cost to live with over a long period of time. Secondly, Israel's unrelenting bombardment of Gaza to establish deterrence by retribution and to have people turn on Hamas has caused mass death, destruction, and glaring war crimes, and is failing to crush people's appetite for liberation. And because of social media, these images have been broadcasted all over the world in a way that Israeli propaganda can no longer contain, sparking mass protests, solidarity, and pressure globally, which is starting to have an impact on domestic politics in the U.S. and the rest of the West. Within this context, and after weeks of bombardment and a ground invasion, Israel has yet to achieve its military objectives or release prisoners held by Hamas through force. This is why they accepted a temporary ceasefire deal now even though it was on the table weeks ago. Because remember: in guerrilla warfare, the conventional army loses if it does not win, and the guerrilla wins if he does not lose. And at this point, Israel is not winning and Hamas has not lost.

[almacambiondaughterofsaleos]

Stolas Has Nothing On Mr. Hyunch When It Comes To Being A Good Father

Seriously, Mr. Hyunch and Stolas couldn't anymore the opposite of each other if they had to be. Stolas is a privileged asshole who always whines how hard life is for him, while Mr. Hyunch is a immigrant working class man who kept the sadness of his past to himself until he opened up to Arnold about it. They do have one similarity is they both have a daughter but how they handled being a father is different.

Stolas for most of her life was a good father, until he decided to wreck his home life by cheating on his wife which has caused all sorts of tension between him and Octavia. Despite the narrative trying to say how much of a loving father he is, after the affair begins he focuses more and more on Blitzo rather than her to the point it feels like empty words. It gets to the point that in the second to last episode of the season we see him say he can't live without Blitzo to the point he was willing to be executed for his sake which on paper looks selfless but he essentially broke his promise as a father he would always be there for his daughter and this just shows how much he's discarded Octavia in the forethought of his mind.

Despite Mai only getting prominence in the Christmas episode, this really demonstrated what type of father he was. The guy not only before he gave up Mai was raising her in Vietnam as a single working class father but during the Vietnam War. He even tried to get a plane out of their so they wouldn't be caught up in the fall of Saigon and when he couldn't get both of them out he decided to do the hardest thing a parent could do which is give her up so she can have a better life. Even though he knew this meant he wouldn't know how long they would be apart, he was just thinking of her safety. And again this man probably had endure the worst that Communist Vietnam had to offer during those 20 years of separation before finally getting out. But I can imagine the hope one day he could see his daughter in America would get him through.

Although both lose contact with their daughter due to circumstances, Stolas loses Octavia because of his own self-destructive actions that are never condemned by the narrative and ultimately he's a selfish person whose always putting his wants before her needs. This is in contrast with Mr. Huynh who did what he did because he loved his daughter so much and put her future in his mind. Although she was only seen two times in the city, we do see of her that she has grown up in a good environment because of the great sacrifice her father did. And that's why I don't see Stolas' thing as a big sacrifice because at the root of selfishness that has plagued his character and he only thought about Octavia once he was banished. He wasn't fully putting her as a priority until after he had to deal with the consequences of defending Blitzo. If he was executed then he really didn't need to think about anything, which again shows how much he didn't think of her in that instance. Ultimately, Mr. Hyunch shows what an example of a selfless father is in contrast with a selfish one like Stolas.

[probablyasocialecologist]

“Last summer, anti-drought actions multiplied. This summer, activists will act with even more fearlessness and creativity: cutting off hoarders’ water supplies, putting golf courses out of action, dismantling megabasins, squatting the swimming pools of the ultra-rich and the air-conditioned offices of their insurers, banging saucepans outside pool manufacturers offices, building beaver dams to revive our rivers and their banks. Our inventiveness must have no limits.” This kind of activist communique follows two years of unseasonable drought across France. As of 30 June, 42 of France’s 96 mainland départements (administrative divisions) contain at least one area with water restrictions. 15 of these 42 are officially in crisis, meaning water usage is restricted to priority functions: health, civil security, drinking water and sanitation. It’s no surprise, then, that French climate groups are escalating their tactics in the fight over water. In August last year during water restrictions in Vosges in eastern France, activists drilled holes in jacuzzis at a holiday resort. Over the winter, others sabotaged artificial snow canons at Clusaz, south-eastern France, while others set up a ZAD (autonomous zone) in the area, citing the winter drought as their motivation.  The most contentious of these groups is Les Soulèvements de La Terre, or ‘Earth Uprising’, which is currently waging 100 days of action against “water hoarders” across the country. In response, the French state is cracking down on so-called eco-terrorism – and hard.

[...]

Earth Uprising doesn’t use the word sabotage to describe its militant action. In French jurisprudence, sabotage denotes an attack on infrastructure that’s vital to the “fundamental interests of the nation”, Basile explains. “A cement production site or a megabasin is the opposite – it’s private infrastructure which puts the possibility of a living future on the earth in peril.” Instead, activists prefer the term “disarmament”. Victor Cachard, author of A History of Sabotage, adds that this term is also a reference to the actions of the ecological movement in the US against the industries building weapons for the Vietnam War and later the Gulf War. “There was the idea among ecological activists to join their environmental struggle with their anti-war struggle, as they recognised that war pollutes,” he says.

[cipheramnesia]

There's a brand of criticism that looks at Night of the Living Dead (1968), and suggests people consider the interpretation that Harry Cooper, the racist and misogynistic antagonist of the movie, was right the whole time. After all, if everyone listened to Harry, they would have stayed safely locker in the cellar and survived. He was a bad person, but if you think rationally about, his plan would have worked.

This has nagged at me awhile, because it felt off, and now I can tell you unambiguously that interpretation is not just thematically inconsistent, but factually wrong. Here's why.

First, consider what each character symbolizes. Ben, the protagonist, is revolutionary thinking. He represents taking action, problem solving, creativity and opposition of authority. Barbara is the iconic public in the face of sudden, overwhelming horror. Think the shock and horror in response to the Vietnam War, fresh at the time, the first real widespread use of television exposing USAmericans to the graphic atrocities committed by their own soldiers. Harry, the antagonist represents isolationism, conservativism, and the idea that everything is fine as it is. There is no need for change for Harry, let the government fix it.

Secondarily! Harry's wife Helen and daughter Karen. Helen is also a symbol of traditional values, but in what you might call a centrist way. She too thinks, at first, that Harry is right and it's all going to work out, but as the movie progresses she comes to realize too late that she is not being kept safe but rather held as property and Harry intends to let everyone die if it means what he has stays his. Karen, meanwhile, represents the idea that the external problem (zombies) cannot be ignored and just locked away. The problem is already inside the house, it will affect everyone regardless.

Lastly! Judy and Tom, what else could they be but the innocent hope of youth (Tom) and love (Judy). They die first because their naivete and blind optimism put them in each other's way. They are the proud soldiers of the US military going of to an idealistic war only to die, burning and alone, for nothing.

So, factually speaking, first and foremost, the "Harry was right" position always glosses over that Karen is infected. They believe that as a large group it would be easy to avoid further infection by Karen. This is incorrect, as the movie shows several times. First, Helen stays at Karen's side so extensively that she is ultimately killed when Karen turns. We can from this also recognize the same thing would happen if everyone stayed in the basement. Helen will be infected. Second! Harry repeatedly shows his belief that his wife and daughter are property, and he will act irrationally in his own self interest. It is safe to say that Harry will insist on protecting his wife and daughter even after they become zombies. This means the group will be isolated in a small space with two fresh zombies. What happens from this point is immaterial the group is now at best 3vs4 on the side of zombies, and they have NOT successfully made it through the night unscathed.

But wait! This is already giving the idea that Harry is right too much credit because Harry does not want to leave the basement at all. This means that if Harry was listened to, there would only be Tom and Judy in the basement versus Harry and his zombie family. They would all die if they did not take action. Furthermore! Only by leaving the basement does anyone other than Ben and Barbara find out how to stop zombies, and Ben is the only one who has genuinely figured out one solid antizombie tactic on his own.

Not only this, but Harry has no way to predict that people like Barbara and Ben will show up. His basement plan hinges on a stable situation, which they are not in. He has not planned against a horde of zombies until Ben arrives, and after Ben arrives, he works almost exclusively against the group goals. Harry is not just isolationist but selfish. His plan does not work because at no point does he show any ability to cope with the direct problem, and every version of "sitting it out in the basement" just gets more people killed. Harry is wrong and his plan is bad and critics who suggest his plan was good ought to feel bad.

[hotvintagepoll]

Propaganda

Veronica Lake (I Married a Witch, Sullivan's Travels)—her look is so iconic they used her as a visual model for jessica rabbit in who framed roger rabbit and a bunch of other femme fatale types in cartoons and live action alike. i didnt think i liked women and then i saw her in sullivans travels and said gee i hope this doesnt awaken anything in me! every role ive seen her in she absolutely oozes an aura of "i know people would ask me to step on them" and her EYES bro every photo ive looked at for this submission its like shes piercing thru time and space to judge me <3

Eartha Kitt (Anna Lucasta, St. Louis Blues)—My friend and I have a saying: NOBODY is Eartha Kitt. A thousand have tried, and they've all come up empty and will continue to do so. Everyone knows her for something: from "Santa Baby" to Yzma in Emperor's New Groove to Catwoman to making Lady Bird Johnson cry for the Vietnam War. She was a master of comedy and sex, an extremely vocal activist, and she aged like fine wine... I honestly don't know what I can say about her that hasn't already been said, so I'll stick to linking all my propaganda. Like what else do you want from me. She was iconic at everything she ever did. Literally name another. How can anyone even think of her and not want to absolutely drown?

This is round 5 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Veronica Lake:

Her HAIR, her FIGURE, her VOICE, the way she wore LEATHER AND SANG SONGS FOR NO REASON.

I don't believe there's a person on earth who can watch Veronica Lake in I Married A Witch and not be struck by how gorgeous she is. She had that youthful wonder about her that almost every Hollywood starlet was trying to achieve. Her hairstyle (peekaboo bangs) became an iconic Hollywood style after she popularized it, and made her signature look all the more suggestive. Also, witches are tumblrs favorite!

ICONIC hair sweep

The US government literally begged her to change her hairstyle because it was TOO HOT to handle and women who copied it were getting their hair caught in machinery

Her hairstyle was so iconic and popular that the war department had to come out with a PSA instructing lady ironworkers with ways they could pin their hair up to avoid it getting bound in machinery. [https://veteranlife.com/military-history/veronica-lake/]

She played a lot of femme fatale roles but my favorite is Sullivan’s Travels opposite Joel McRea, which is a comedy. She became famous for her hair style at the time—she wore it long and parted on one side so it would fall over half her face in a very sexy way. They called it a peek-a-boo I think. You’ve definitely seen Bugs Bunny dressed up like her, so I think if she’s being honored in such a way she’s very cool.

look at her

she's GORGEOUS in her little witch outfits that she wore for promos and also in the oversized coats and pajamas she wore throughout the movie...she's got RANGE

My Grandpa supposedly dated her in high school, he drove her to school in his car every day. This is legend in the family.

She has gorgeous hair, has got the smouldering look over the shoulder down PAT, and is just drop-dead gorgeous too!

Schizophrenic icon, popularized the peekaboo hairdo long before Jessica Rabbit

She’s just so prettyyyyy

So much hot in such a tiny package. She was no more than 5 feet tall, and some reports claim as small as 4'9"

If you picture a femme fatale in your head, almost certainly Veronica Lake had a hand in shaping the image you think of. She came to embody the look of the noir leading lady as well as the sound and the performance. Certified Noir Baddie.

Eartha Kitt:

"A hot vintage woman who was not just known for her voice, beauty, poise, and presence, but also her unapologetic ways of speaking about how she was mistreated in the show business as a girl who grew up on cotton fields in South Carolina in the 1930s through the 1940s coming to Broadway first and then Hollywood."

"Have you watched her sing?? Have you seen her face?? Have you heard her talk?? How could you not fall instantly in love. She makes me incoherent with how hot she is."

"She can ACT she can SING she can speak FOUR LANGUAGES she is a GODDESS!!! Although she is (rightfully) remembered for her singing, TV appearances (Catwoman my beloved), and later film roles, her early appearances in film are no less impressive or noteworthy!! She’s an amazing actress with so much charisma in every role. She was also blacklisted from Hollywood for 10 years for criticizing the Johnson administration/Vietnam War, so. Iconic. Also Orson Welles apparently called her “the most exciting woman in the world.”

"She had such a stunning, remarkable appearance, like she could tear you to shreds with just a glance- but the most undeniable part of her hotness was her voice, and it makes sense that it's what most people nowadays know her for. Nothing encapsulates the sheer magnetism of her singing better than this clip of her and Nat King Cole in St. Louis Blues, she pops in at 2:49. Also I know it's post-1970 but her song that was cut from Emperor's New Groove is likely to make you feel Feelings."

Even with as racist as Hollywood was in the 1950s and 60s, Eartha Kitt STILL managed to have a thriving career. She also once had a threesome with Paul Newman and James Dean, and called out LBJ over the Vietnam War so hard that it made First Lady Johnson cry. Eartha Kitt was talented, sexy, and a total badass activist.