- Joined
- Apr 27, 2015
To Bob and co, only conservatives spread Covid.
Careercow Robert Chipman / Bob / Moviebob / "Movieblob" - Middle-Aged Consoomer, CWC with a Thesaurus, Ardent Male Feminist and Superior Futurist, the Twice-Fired, the Mario-Worshipper, publicly dismantled by Hot Dog Girl, now a diabetic
- Thread starter Enriku
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🔧 At about Midnight EST I am going to completely fuck up the site trying to fix something.
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Emperor Julian
kiwifarms.net
- Joined
- Dec 20, 2015
Well if trump would have run we'd just have had a repeat performance of 2016, Personally I'm actually quite looking forward to seeing how exactly this will pan out in terms of Bobs deluded ramblings. Either total denial of reality that Biden is a bog-standard democratic president or existential despair. I mean he's genuinly deluded if he thinks Trump will be prosecuted-if they didnt prosecute Nixon (which was a horrible mistake) then no president can be touched .
- Joined
- Dec 16, 2017
We've always had SmugBob considering how much of a condescending prick he is.
I've said it many times. Happiness is antithetical to his existence.
- Joined
- Apr 8, 2018
My prediction, which are notorious for always being extremely smart and curiously accurate, is that Bob will not be smug due to his rabid and burning desire for punishment and will be frothing that not enough is done to eradicate those that are holding the superior future back due to said rabid and burning desire for punishment. The real crush, I believe, will be when he comes to cold, hard realization that no one like
- Joined
- Feb 28, 2018
Does Bob have Obamacare (the supposed crown jewel of Obama-Biden) as his health insurance by the way? Because next month the Supreme Court is supposed to decide on it and if they decide against it.
BlueSpark
kiwifarms.net
- Joined
- Jul 20, 2016
MovieBob's replacement at The Escapist, Darren Mooney, is injecting anti colonialism/anti imperialism narratives into a Thor movie review (and somehow didn't notice that he posted the same image twice):
Thor: Ragnarok is three years old this month and remains one of the best movies in the Marvel Cinematic Universe (MCU).
Part of this is simply down to the fact that Ragnarok exemplifies some of the things that the MCU does well. The MCU has a reputation for being “fun” and colorful, particularly when compared to other shared universes like the DC Extended Universe or the X-Men cinematic universe, and Ragnarok is both one of the most fun and the most colorful movies in the MCU. It’s playful, it’s funny, and it’s exuberant. Taika Waititi takes great pleasure in directing a joyful superhero movie.
However, Ragnarok is also one of the smartest and best observed movies in the MCU. At its core, Ragnarok is a postcolonial superhero movie, a meditation on the legacy of empire and horrors on which it is built. Thor (Chris Hemsworth) spends most of Ragnarok grappling with the revelation that he has an older sister named Hela (Cate Blanchett) and that his father Odin (Anthony Hopkins) literally built Asgard atop a tomb of his conquering armies.
To be fair, this idea is seeded in both Thor and The Dark World. In Thor, Odin’s son Loki (Tom Hiddleston) is confronted with the fact that he is not a natural-born Asgardian. Instead, Loki is actually the son of the Frost Giant Laufey (Colm Feore), taken by Oden as a hostage after a long war. Loki is taken as political leverage, a way for Odin to possibly “bring about an alliance.” Loki is just “another stolen relic” locked away in Asgard’s Vault, a tool without a purpose.
Loki’s arc in the original Thor is built around this crisis of identity. Loki becomes king of Asgard and tries to rule as Odin would. He deploys the Bifrost as a weapon against the Frost Giants, “to do what Father never could – to destroy their kind forever.” This is what Loki has learned from Odin, what he has internalized from Asgard. Indeed, The Avengers sees Loki expand on this by trying to conquer Earth. He plans to rule it as “a benevolent god.” “Just like you,” he taunts Odin in The Dark World.
The Dark World expands the portrayal of Asgard as an imperial power. It reveals that Odin’s father Bor (Tony Curran) perpetrated a genocidal war against the Dark Elves, to wipe them from existence. The Dark World lacks the awareness of Thor or Ragnarok and seems to embrace the more troubling subtext of this imperialist narrative. The film suggests the biggest problem with Bor’s genocide was simply that he wasn’t thorough enough in exterminating an entire race: some survived.
While Thor understands the trauma and violence of Odin’s rule, as demonstrated in Loki’s arc, The Dark World uncritically embraces the muddy racial politics common to the high fantasy genre. Thor is reintroduced “bringing order” to the Nine Realms, reinforcing Asgard’s dominion. The Dark World presents the Dark Elves as a monstrous uncivilized other that needs to be eradicated, led by Malekith (Christopher Eccleston) and his bestial henchman Kurse (Adewale Akinnuoye-Agbaje).
This is what makes Ragnarok so compelling and so interesting. It tackles the horror of Asgard head on. Like other movies released around this time, Ragnarok is fascinated with the idea of parental failure, the idea that parents have failed to create a world worthy of their children. “I know that we failed you, but we can make this right,” Thor assures Odin as his father dies. Odin replies, “I failed you.” So much of Ragnarok is about grappling with Odin’s failures.
Odin secured the Nine Realms with the assistance of his daughter Hela. “We were once the seat of absolute power in the Cosmos,” Hela explains. “Our supremacy was unchallenged, yet Odin stopped at Nine Realms. Our destiny is to rule over all others.” She is horrified to discover that Odin has erased the reality of that conquest from Asgard’s history, literally painting over it with images of “goblins and garden parties, peace treaties.” Odin was “proud to have it, ashamed of how he got it.”
Odin wrote Hela and her conquests out of Asgard’s history once his power was secure. “Odin and I drowned entire civilizations in blood and tears,” Hela tells Thor. “Where do you think all this gold came from? And then one day he decided to become a benevolent king.” This rather pointedly reflects how countries like the United Kingdom deal with their history of colonial exploitation, as well as how the United States handles subjects like its treatment of indigenous populations or slavery.
Ragnarok opens with Thor vowing to stop the demon Surtur (Clancy Brown) from destroying Asgard as part of the eponymous prophecy. Asgard is too fundamentally broken and corrupt to salvage. Hela draws her power from the world built by her conquest. Asgard cannot be separated from that history of violence. Asgard must be destroyed. In its final moments, Korg (Waititi) monologues about building something new atop the foundations of the once-great empire, only for Ragnarok to underscore its point by completely demolishing those foundations. “Those foundations are gone.”
Ragnarok mirrors Asgard in its portrayal of Sakaar, the planet to which Thor and Loki find themselves exiled. The planet is described as “the collection point for all lost and unloved things,” mirroring the historical treatment of Australia and New Zealand by the colonial powers. The planet is a trash heap run by the despotic Grandmaster (Jeff Goldblum) who exploits the “prisoners with jobs” (or “slaves”) to retain his power. The Grandmaster is himself a colonizer, “the first lost and the first found.” Naturally, Loki plans to usurp him.
Sakaar sits beneath a wormhole named “the Devil’s Anus,” which connects it to Asgard; the power dynamic is literalized with the anomaly opening above Sakaar and below Asgard, implying that Sakaar has long served as a dumping ground for the things that Asgard would rather discard and forget. However, it’s notable that Ragnarok ends with a “revolution” on Sakaar to match the destruction of Asgard. The system comes crashing down. The Grandmaster lives in exile.
This was clearly on Waititi’s mind while making Ragnarok. Shooting in New Zealand, Waititi invited the indigenous community to perform a “welcome to country,” the ceremony welcoming outsiders to their land. He hired indigenous staff to work on the film. The ship in which Thor escapes Sakaar is designed in the colors of the Australian Aboriginal flag. Ragnarok is one of the most pointed films in the MCU, along with Iron Man 3.
Ragnarok mirrors Captain America: The Winter Soldier. Both are stories of broken systems built by one-eyed guardians that run amok. However, The Winter Soldier pulls its punches. Nick Fury’s (Samuel L. Jackson) surveillance state is not inherently evil, but only when it falls into the hands of “Nazi-esque villains that aren’t quite Nazis.” As such, the actual system itself is “exonerated” by “the cinematic equivalent of Godwin’s Law.” It’s all “bad apples.”
The Winter Soldier is wishy-washy political commentary, designed to look like it is saying something profound while refusing to follow its ideas to their boldest conclusions. The Winter Soldier cannot and will not bring the surveillance state crashing down. All it can do is blow up some helicarriers and dismantle an organization that exists outside of the United States military infrastructure. The film is too close to reality to make a radical argument and too far from reality to make a meaningful point.
In contrast, Ragnarok exists within a world that is suitably abstract and so can make bold arguments about the status quo couched in a story about dragons and rock monsters. It’s notable that Ragnarok arrived as a part of a wave of similarly revolutionary mainstream fantasy and science fiction. The Girl with all the Gifts was released in the United States earlier that year and made a similarly bold argument for children to dismantle the broken world built by their parents.
Genre television lent itself to these bold ideas. Over its four seasons, Mr. Robot played out a chaotic and violent revolution against a broken system, exploring the murky morality of it all. In its final season, Game of Thrones reminded audiences that “(t)here are no good kings and queens.” Westworld reimagined the old west by asking its audience to sympathize with the oppressed rather than the oppressors and seeming to push towards revolution.
Most interestingly, the basic premise of Ragnarok was recently mirrored in Frozen II of all places, in which Anna (Kristen Bell) and Elsa (Idina Menzel) confront the reality that the prosperity of the Kingdom of Arendelle has been built on a hidden history of colonialism and imperialism. It’s a heady subject for a family film, although the movie ultimately comes to the same conclusion as Ragnarok: Confronted with a system built on such exploitation, the only thing to do is to tear it down.
It’s easy to see why these themes might simmer through the collective subconscious in recent years, as the nostalgia of “Make America Great Again” brushes up against the reality of the country’s complicated history. These pieces of pop art just play out their own meditations on raging debates around statues erected to honor those who fought to preserve slavery, arguments around how history is taught in schools, and debates about how and why the nation was built as it was.
Thor: Ragnarok is a film about confronting a world built on violence and oppression, on a history that has been obscured and distorted to suit narratives of exceptionalism. It’s a story about how the only sane response when confronted with these broken systems is to tear them down and start anew. Ragnarok ends with the Kingdom of Asgard collapsing into itself, but the people of Asgard (including aliens, refugees, and outcasts) set sail as part of a convoy looking for a fresh start and a new — and better — world.
Link to the article:
hor: Ragnarok Is a Totally Radical Postcolonial Superhero Movie
By DARREN MOONEY 1 day ago
Thor: Ragnarok is three years old this month and remains one of the best movies in the Marvel Cinematic Universe (MCU).
Part of this is simply down to the fact that Ragnarok exemplifies some of the things that the MCU does well. The MCU has a reputation for being “fun” and colorful, particularly when compared to other shared universes like the DC Extended Universe or the X-Men cinematic universe, and Ragnarok is both one of the most fun and the most colorful movies in the MCU. It’s playful, it’s funny, and it’s exuberant. Taika Waititi takes great pleasure in directing a joyful superhero movie.
However, Ragnarok is also one of the smartest and best observed movies in the MCU. At its core, Ragnarok is a postcolonial superhero movie, a meditation on the legacy of empire and horrors on which it is built. Thor (Chris Hemsworth) spends most of Ragnarok grappling with the revelation that he has an older sister named Hela (Cate Blanchett) and that his father Odin (Anthony Hopkins) literally built Asgard atop a tomb of his conquering armies.
To be fair, this idea is seeded in both Thor and The Dark World. In Thor, Odin’s son Loki (Tom Hiddleston) is confronted with the fact that he is not a natural-born Asgardian. Instead, Loki is actually the son of the Frost Giant Laufey (Colm Feore), taken by Oden as a hostage after a long war. Loki is taken as political leverage, a way for Odin to possibly “bring about an alliance.” Loki is just “another stolen relic” locked away in Asgard’s Vault, a tool without a purpose.
Loki’s arc in the original Thor is built around this crisis of identity. Loki becomes king of Asgard and tries to rule as Odin would. He deploys the Bifrost as a weapon against the Frost Giants, “to do what Father never could – to destroy their kind forever.” This is what Loki has learned from Odin, what he has internalized from Asgard. Indeed, The Avengers sees Loki expand on this by trying to conquer Earth. He plans to rule it as “a benevolent god.” “Just like you,” he taunts Odin in The Dark World.
The Dark World expands the portrayal of Asgard as an imperial power. It reveals that Odin’s father Bor (Tony Curran) perpetrated a genocidal war against the Dark Elves, to wipe them from existence. The Dark World lacks the awareness of Thor or Ragnarok and seems to embrace the more troubling subtext of this imperialist narrative. The film suggests the biggest problem with Bor’s genocide was simply that he wasn’t thorough enough in exterminating an entire race: some survived.
While Thor understands the trauma and violence of Odin’s rule, as demonstrated in Loki’s arc, The Dark World uncritically embraces the muddy racial politics common to the high fantasy genre. Thor is reintroduced “bringing order” to the Nine Realms, reinforcing Asgard’s dominion. The Dark World presents the Dark Elves as a monstrous uncivilized other that needs to be eradicated, led by Malekith (Christopher Eccleston) and his bestial henchman Kurse (Adewale Akinnuoye-Agbaje).
This is what makes Ragnarok so compelling and so interesting. It tackles the horror of Asgard head on. Like other movies released around this time, Ragnarok is fascinated with the idea of parental failure, the idea that parents have failed to create a world worthy of their children. “I know that we failed you, but we can make this right,” Thor assures Odin as his father dies. Odin replies, “I failed you.” So much of Ragnarok is about grappling with Odin’s failures.
Odin secured the Nine Realms with the assistance of his daughter Hela. “We were once the seat of absolute power in the Cosmos,” Hela explains. “Our supremacy was unchallenged, yet Odin stopped at Nine Realms. Our destiny is to rule over all others.” She is horrified to discover that Odin has erased the reality of that conquest from Asgard’s history, literally painting over it with images of “goblins and garden parties, peace treaties.” Odin was “proud to have it, ashamed of how he got it.”
Odin wrote Hela and her conquests out of Asgard’s history once his power was secure. “Odin and I drowned entire civilizations in blood and tears,” Hela tells Thor. “Where do you think all this gold came from? And then one day he decided to become a benevolent king.” This rather pointedly reflects how countries like the United Kingdom deal with their history of colonial exploitation, as well as how the United States handles subjects like its treatment of indigenous populations or slavery.
Ragnarok opens with Thor vowing to stop the demon Surtur (Clancy Brown) from destroying Asgard as part of the eponymous prophecy. Asgard is too fundamentally broken and corrupt to salvage. Hela draws her power from the world built by her conquest. Asgard cannot be separated from that history of violence. Asgard must be destroyed. In its final moments, Korg (Waititi) monologues about building something new atop the foundations of the once-great empire, only for Ragnarok to underscore its point by completely demolishing those foundations. “Those foundations are gone.”
Ragnarok mirrors Asgard in its portrayal of Sakaar, the planet to which Thor and Loki find themselves exiled. The planet is described as “the collection point for all lost and unloved things,” mirroring the historical treatment of Australia and New Zealand by the colonial powers. The planet is a trash heap run by the despotic Grandmaster (Jeff Goldblum) who exploits the “prisoners with jobs” (or “slaves”) to retain his power. The Grandmaster is himself a colonizer, “the first lost and the first found.” Naturally, Loki plans to usurp him.
Sakaar sits beneath a wormhole named “the Devil’s Anus,” which connects it to Asgard; the power dynamic is literalized with the anomaly opening above Sakaar and below Asgard, implying that Sakaar has long served as a dumping ground for the things that Asgard would rather discard and forget. However, it’s notable that Ragnarok ends with a “revolution” on Sakaar to match the destruction of Asgard. The system comes crashing down. The Grandmaster lives in exile.
This was clearly on Waititi’s mind while making Ragnarok. Shooting in New Zealand, Waititi invited the indigenous community to perform a “welcome to country,” the ceremony welcoming outsiders to their land. He hired indigenous staff to work on the film. The ship in which Thor escapes Sakaar is designed in the colors of the Australian Aboriginal flag. Ragnarok is one of the most pointed films in the MCU, along with Iron Man 3.
Ragnarok mirrors Captain America: The Winter Soldier. Both are stories of broken systems built by one-eyed guardians that run amok. However, The Winter Soldier pulls its punches. Nick Fury’s (Samuel L. Jackson) surveillance state is not inherently evil, but only when it falls into the hands of “Nazi-esque villains that aren’t quite Nazis.” As such, the actual system itself is “exonerated” by “the cinematic equivalent of Godwin’s Law.” It’s all “bad apples.”
The Winter Soldier is wishy-washy political commentary, designed to look like it is saying something profound while refusing to follow its ideas to their boldest conclusions. The Winter Soldier cannot and will not bring the surveillance state crashing down. All it can do is blow up some helicarriers and dismantle an organization that exists outside of the United States military infrastructure. The film is too close to reality to make a radical argument and too far from reality to make a meaningful point.
In contrast, Ragnarok exists within a world that is suitably abstract and so can make bold arguments about the status quo couched in a story about dragons and rock monsters. It’s notable that Ragnarok arrived as a part of a wave of similarly revolutionary mainstream fantasy and science fiction. The Girl with all the Gifts was released in the United States earlier that year and made a similarly bold argument for children to dismantle the broken world built by their parents.
Genre television lent itself to these bold ideas. Over its four seasons, Mr. Robot played out a chaotic and violent revolution against a broken system, exploring the murky morality of it all. In its final season, Game of Thrones reminded audiences that “(t)here are no good kings and queens.” Westworld reimagined the old west by asking its audience to sympathize with the oppressed rather than the oppressors and seeming to push towards revolution.
Most interestingly, the basic premise of Ragnarok was recently mirrored in Frozen II of all places, in which Anna (Kristen Bell) and Elsa (Idina Menzel) confront the reality that the prosperity of the Kingdom of Arendelle has been built on a hidden history of colonialism and imperialism. It’s a heady subject for a family film, although the movie ultimately comes to the same conclusion as Ragnarok: Confronted with a system built on such exploitation, the only thing to do is to tear it down.
It’s easy to see why these themes might simmer through the collective subconscious in recent years, as the nostalgia of “Make America Great Again” brushes up against the reality of the country’s complicated history. These pieces of pop art just play out their own meditations on raging debates around statues erected to honor those who fought to preserve slavery, arguments around how history is taught in schools, and debates about how and why the nation was built as it was.
Thor: Ragnarok is a film about confronting a world built on violence and oppression, on a history that has been obscured and distorted to suit narratives of exceptionalism. It’s a story about how the only sane response when confronted with these broken systems is to tear them down and start anew. Ragnarok ends with the Kingdom of Asgard collapsing into itself, but the people of Asgard (including aliens, refugees, and outcasts) set sail as part of a convoy looking for a fresh start and a new — and better — world.
https://www.escapistmagazine.com/v2/thor-ragnarok-is-a-totally-radical-postcolonial-superhero-movie/
Oy vey!
Last edited:
- Joined
- Mar 11, 2016
If he isn't now he will be soon enough. If he got insurance through Escapist there is a law called COBRA (this is not a joke, our Congress loves terrible acronyms) that lets him stay on their policy for a couple of months but only if he covers however much they were paying on top of his regular premiums (before people get mad, this arrangement is normal and means Escapist is not still paying for his healthcare) . This number won't be on his paystub or even on emails from HR but it's pretty large and probably more than his premium.
If he never had insurance through them because he was an independent contractor, then he was probably on Obamacare all along because the other health insurance options for self employed people are all worse - Massachusetts got subsidies for its Obamacare exchange so those plans are probably on the affordable side of things.
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- Joined
- Aug 31, 2020
Nixon was pardoned by Ford. That's why he wasn't prosecuted. Biden (assuming he actually becomes president, Trump didn't concede) isn't going to pardon Trump even if Trump didn't actually commit any crimes.
- Joined
- Aug 31, 2020
I hope the Republicans go Hannibal and swear to never be a friend to the Democrats. As I see in California, one party rule is a very slow death defined by byzantine regulations, higher taxes, and high speed rails to nowhere.
Lensherr
kiwifarms.net
- Joined
- May 15, 2016
See, that’s what’s always bugged me about these people: they think that they’re so virtuous and correct in their beliefs that it prevents them from contracting an amoral pathogen like the WuFlu. It’s why they condemn conservative and apolitical gatherings due to “increasing the chances of the disease spreading” but have no problem with mass left-wing protesting. I used to think that it was mere cognitive dissonance/a double standard, but the more I think of it, the more I see it as akin to blind faith/pure religious dogmatism. You know how people always make fun of those who, in times of crisis, simply believe that if they pray to God/Allah/Kali Ma/The Flying Spaghetti Monster, it will protect them and keep them safe? Well, basically the secular equivalent is what’s happening with the left and the China virus: “We believe in all these progressive platitudes, unlike those filthy unwashed conservatives/apolitical people, so it doesn’t matter if we violate the very social distancing dictates that we demand that they follow in the name of our cause. Our faith in progressivism/BLM/whatever will protect us from the virus, and if you dare question us, you’re a
Ideally, when future historians look back on this period in history, they’ll view Bob and his ilk as zealots in the thralls of a mass religious hysteria.
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- Joined
- Sep 10, 2019
"Having 12 people inside to eat mashed potatoes one day is evil, a few thousand tightly packed outside is patriotic"
Can people like Bob have consistent thoughts for a least an hour?
Can people like Bob have consistent thoughts for a least an hour?
- Joined
- Sep 10, 2019
if he did he would quickly realize how astoundingly retarded every single thought he ever had is.
- Joined
- Apr 2, 2020
Except the totally not biased educators of today will be writing the history books
- Joined
- Apr 27, 2015
I think it's as simple as Bob thinking that Biden supporters will all wear masks and socially distance (as if that 100% makes everyone immune) and Trump supporters won't.
- Joined
- Feb 28, 2018
Remember, this is the guy who confuses science with magic, and has a ton of grammatical errors in his writing. This guy has the IQ of a retard.
- Joined
- Dec 27, 2015
and that's assuming anyone in the future will have enough literacy to read any books
- Joined
- Jan 15, 2018
You know I was watching Billy Madison today. This Adam Sandler classic has a scene that reminds me of Bob.
If he did he wouldn't be a poltical tool but a functioning adult who'd take responsibility for his life.
Laughingjoke2
kiwifarms.net
- Joined
- Jun 19, 2019
How? That fat guy was at least sympathetic.
- Joined
- Aug 23, 2018
Four days at best.
- Status