Apparently, The Office’s John Krasinski has created a covert alt-right manifesto …
There was a time when The New Yorker, like the city itself, was more than just a pedestal for pretentious elites to look down upon the unwashed masses with an air of intellectual and cultural superiority. But that time was well over before I was even born. Since the 2016 election, they have sought to profit from the narrative of the Trumpenreich — the idea that the election of Donald Trump has brought about a covert white nationalist takeover of the United States and truth and democracy are under threat so please buy our magazine.
As most of us in the real world can plainly see, mainstream media had been making a fool of itself since well before Donald Trump was on the scene. With the adoption by media elites of the Trumpenreich narrative and subsequent inability to accept Hillary Clinton was the worst candidate to ever be nominated for President of the United States has come an acute Baader-Meinhof phenomenon. Everything at all levels of culture is either a friendly or hostile political statement to their niche and fragile world-view. Things that aren’t actively reinforcing the ideas that they like are seen by them as scary and threatening, even when they very clearly aren’t. This movie review from The New Yorker is a case in point:
A Quiet Place is an atmospheric and unique horror thriller directed by and starring John Krasinski alongside his wife Emily Blunt. The story revolves around the family trying to survive in silence as humanity is driven to extinction by a race of sightless monsters that hunt using their acute hearing.
The New Yorker’s Richard Brody sees this as “regressive politics” because he thinks it is a metaphor for white people seeing black people as dangerous predators, and also, the characters use guns to defend themselves.
In their enforced silence, these characters are a metaphorical silent — white — majority, one that doesn’t dare to speak freely for fear of being heard by the super-sensitive ears of the dark others.
I sense there may be some projection going on there.
One would expect a movie that centralises a deaf child and utilises sign language to be hailed by the left — but apparently featuring white people defending themselves with guns against “the dark others” cancels those victimhood points out.
The farmhouse, however, has been the site of relentless labors — both the daily domestic work on which physical subsistence depends (the action suggests that Evelyn does most of that)
(Scenes of Lee at work with wire and solder suggest that the electronics workshop is solely his domain.)
Yes, I’m sure that post-apocalypse we are all going to be very concerned with not enforcing our ‘harmful gender roles’. That’s a reasonable expectation. If only Krasinski’s character would just do the damn dishes so his deaf daughter could be the leader of the household! This damn heteronormative patriarchy.
The movie’s survivalist horror-fantasy offers the argument for turning a rustic farmhouse into a virtual fortress, for the video surveillance and the emergency lighting and, above all, the stash of firearms that … is the ultimate game changer, the ultimate and decisive defense against home intruders.
Yeah, how ridiculous must people be to think that you could use guns to defend yourself or your family from intruders? Presumably if Brody were in this situation he’d instead fight the monsters with “progressive politics” like tying himself to a tree and shrieking or giving all the monsters abortions.
In effect, “A Quiet Place” is an oblivious, unself-conscious version of Clint Eastwood’s recent movies, such as “The 15:17 to Paris,” which bring to the fore the idealistic elements of gun culture while dramatizing the tragic implications that inevitably shadow that idealism.
Okay, so the problem is the movie involves guns without a counterweight of showing a psychopath shoot up a school or something? Brody wrote a review in November for Call Me By Your Name, that movie about a sexual relationship between a college professor in his 30s and a 17 year old boy. His greatest complaint about this movie — which he praised for being “progressive” — was that “the intimacy of Elio and Oliver is matched by very little cinematic intimacy.” That is, there wasn’t enough on-screen sex between the man and boy. I wonder what kind of “idealistic elements” of this type of relationship are being pushed while dramatising the “tragic implications” that would accompany it in reality?
The only other people in the film, who are more vulnerable to the marauding creatures, are white as well.
Whether the Abbotts’ insular, armed way of life might put them into conflict with other American families of other identities is the unacknowledged question hanging over “A Quiet Place,” the silent horror to which the movie doesn’t give voice.
Yes Richard, you’re right. The monster movie about an apocalyptic future didn’t involve the white family coming across some Native Americans thriving off the land and coexisting peacefully with the monsters. How awful.
Brody’s review of A Quiet Place doesn’t involve addressing any of the technical aspects of the film in any detail whatsoever. Instead he opts to set up a straw man, pretending the movie is somehow normalising confederate-style white supremacy, because he is either seriously bored with his profession or a complete ideological hack of a writer.
I will be watching A Quiet Place tomorrow and rest assured I will update this article if I have become radicalised into white ethno-nationalist fascism.
UPDATE: I was wrong. This movie is indeed deeply problematic. At no point does Krasinski blame his own race or gender for the apocalypse and the family do not drink soy milk. In fact, soy milk does not even exist in the movie at all, which explains why Krasinski’s character is physically capable of the use of violent force for self defense. All of this has made me believe that we must secure a future for our white children and now I can’t stop sieg heiling and posting frog memes all over the internet.
Pop and Locke is a libertarian-traditionalist popular culture and politics blog bringing you news, opinions, analysis and reviews that cut through the mainstream mould. It was inspired by an appreciation for Western political and philosophical tradition and a fascination with our increasingly wacky popular culture.