I'll be honest, when I use "objective", I'm mostly saying pragmatic, but I use it anyways. Mauler seems to be double-speaking here, and not in the way he thinks he is, but that he's confusing objectivity for pragmatic, to a point where he thinks the definition for objectivity is what being pragmatic is.
This is the meat of the real issue, which is the backlash to post-modernist theory and construction in art. Essentially, the PM theory is that there are an infinite number of interpretations for any work of art. Sure, the Itsy Bitsy Spider may seem like a nursery rhyme about a spider, but with PM theory you can conclude its a scathing indictment of British colonial Hong Kong, or whatever psuedo-intellectual wankery you desire.
The trouble is that this gets taken out of hipster academia and intothe real world or turned around into
construction, where the PM theory states that because there is an infinite number of ways to interpet, there is likewise an infinite number of ways to make or act. Of course, the glaring omission here is that once you go into the real world, there are severe limitations on validity, enforced by failure or death.
You can interpret the growling bear ripping down your door as a deconstruction of ursine imagry in modern gay subcultures percolating into heteronormative society, but that probably means you die. Likewise, if you think that there are an infinite number of valid ways to cook food, you might end up killing your family. Life places limiters on valid or
succesful interpretations of what is seen, experienced, and constructed.
Art is more permissive, obviously, but still has limitations. Showing a black screen with white noise for two hours is one of the infinite number of ways to craft a movie, but it won't be successful in communicating or entertaining to an audience. Human culture has spend millenia refining our understanding of how stories and art interact with the mind, and honing the technical aspects of the craft to work within the very real guidelines and limitations of that reality. There are rules, not because someone decreed it, but because someone discovered and described them.
Mauler has a semblence of the correct idea, that there are rules, but he approaches it in a way that sometimes is just whingy and autistic. His inability to properly articulate what he subconciously seems to understand is continually frustrating. If he were more educated on the technical language and techniques of cinema, he could produce better content.