ZattMurdock

I love Martin Scorsese. I fucking love Silence, I think that Departed is a fun crime flick that introduced me to Infernal Affairs, Wolf of Wallstreet introduced me to Margot Robbie and from his older films, I love Taxi Driver. This is my usual stance with several ‘based on a true story" films, I usually avoid them if they don’t have the marginalized voices front and center. It’s a personal stance. I will watch KOTFM, this was just me echoing the voice of someone that clearly should have a say on this film and have their opinion respected and not chastised.

That’s a cute way of trying to dismiss what I say, and that’s why I rarely talk serious on this message board and why I avoid saying what I think. Shaming me to point out something that is been talked about won’t make a hard subject any less more complicated. But anyway, back to never talking about this ever again and keep my thoughts to myself. Escapism is far less hurtful and I’ll stick to my lane.

You got what I meant, I’m only taking a problem with the way you reacted towards Cotes and Carpenter’s comments. And no one here is saying that every single native person or Osage think the same as them. But they do have the right to say what they think of the film, more than any of us that aren’t Osage.

So don’t speak for them. Listen to them and echo their voices. Whatever you do, just don’t do a disservice of asking how dare they.

Escapism shit can be empowering without being harmful. We don’t really know how well or how badly native people are represented on Echo, and yet, it’s just superhero escapism non-sense. Make believe. It’s important to Native people to see themselves at all spaces. And if it’s bad, she is already part of a legendary tv show and definitely has a say on the matter, since that is a positive representation of native people. If anything, don’t watch Echo: watch Reservation Dogs: https://www.pbs.org/newshour/arts/how-reservation-dogs-became-a-breakthrough-hit-for-indigenous-representation It’s amazing, reminds me of Atlanta.

Spielberg is Jewish. He made one of the most revered films about the Holocaust. I’m not sure what Holocaust films you are talking about, but yeah Jewish people are entitled to correct films that misrepresent them and dehumanize them, same for Palestinians, Natives or every single targeted minority. Not sure what you mean here, neither how could anyone help you understand that. It’s a very simple concept.

So Cotes and Carpenter weren’t courteous with the way an white legendary director depicted their people. How savage and rude of them. They should keep to themselves and just take it and only be complimentary and thankful for the film. If this isn’t proof that there is a lot of white savior shit going on with this film with whites patting themselves on the back and wanting the people that are actually subject to this story where they were brutally murdered to just keep quiet and not be "unpolite", then I don’t know what to tell you. And it’s quite ironic that Devery Jacobs posted this 50 minutes ago, I’m just going to post this part in order to avoid spoilers where she goes in detail, but this is the last thing I’m going to say on this matter:

Well, I love Reservation Dogs. I want D’Pharaoh in the running for MCU’s Logan.

Neither I’m saying to not watch the film. What I said is that situations like this is why I’d rather watch documentaries and personal accounts of true events of marginalized people than the film itself, but I will watch the film eventually anyway. This isn’t a story close to me other than it’s familiar to what the colonizers did with the natives here in Brazil. I’d likely never hear of this story without this film. Also I think it’s crass to say that Cotes "trashed" the film he has worked hard on. He was very polite and didn’t trash it, he was just courageous enough to not pass a blank endorsement, something that would betray his own values as an Osage. It’s a great interview and I think he been outspoken about it is a good thing. It’s my understanding that he isn’t the only one talking about his conflicting feelings in the same interview there as well. It’s a tad more delicate than that. And I’m also one to criticize when the pendulum goes too far to the left. That’s not the impression that I tried to convey and I actually think if you read what I said with good faith, you’d understand that Cotes - and other Osage that has been outspoken with their feelings in the film, like the other Osage language consultant that was with Cotes at that interview, Jennifer Carpenter - isn’t disavowing the film. He is saying that he has conflicting feelings and strong opinions on it, which isn’t neither black or white. And they have all the right. It’s the story of their people.

There is a romanticized version of what the Osage endured already made. I feel like the Osage should not just be angry, like the tweet that @ThomasNicole posted said. They should be incredibly outspoken about what Scorsese got it wrong. It takes a lot of courage to literally be at the premiere of the film you worked on and criticize it so openly, I’ve been thinking about this interview since I watched this morning. Scorsese - or us - doesn’t need the validation or the endorsement of the Osage tribes, and I’m not sure how it would help anyone but Scorsese to have Osage people next to him at eventual awards. They should say what they think, while been respectful to Scorsese and bringing light to the plight of their people, at same time openly talk about what he got it right and wrong.

There will always be Nolan. New auteurs will come up. But we just can’t live in 2023 making believe it’s still the 80s. The streaming platforms exist and they aren’t alone, the movie theater experience competition is fierce and it’s everywhere. As long as film theaters are a popular experience, they won’t be prestige, and that’s a good thing. I don’t care if I have to thank Feige, Nolan, Gerwig, Myamoto or Swift.

History is told by those who win, like they say. It’s appropriation, and it’s made for white people to feel good about how they aren’t as shitty as other shitty white people. Now we pat on our collective backs and make our memes about absolute cinema. Hence why I find fiction and escapism in a lot of ways a more powerful tool to tell a story that don’t belong to them. It’s a typical and old white entitlement to think that you can tell a story about someone else’s people and do it justice, and it frankly it never goes well. I’m old enough to remember how ‘progressive’ Dance with the Wolves and even Mel Gibson’s joints one day were. It’d be much better if Scorsese empowered a Osage director to tell that story, even if it was via a documentary, but it is what it is.

Look, I understand how passionate you are about this film and Scorsese. I’m sure that Scorsese means well, I can even imagine that he is donating to Osage ran orgs part of his profits without even looking it up. I know he is an incredibly special director, a brilliant filmmaker. But when I get around watching KOTFM, I can’t really say that I won’t have the conflicted feelings that this Osage language consultant expressed on the interview I posted earlier in mind. There is a reason why I very much so prefer escapism and blockbusters than actually watching films ‘based on true events’. They rarely do a good job of not romanticizing the situation, and when it is about such a delicate subject, I’d much rather see the film that Cote described there than Scorcese’s, regardless how brilliant it might be. I think that’s their story, and it’s kinda sad how they were brutalized for oil and I feel like once again they don’t have a say on telling their story. Raise awareness? Sure, that’s good. But there is a reason why I’m picky with this kind of content. Escapism is fun, art sometimes even if beautiful and well made, might be harmful. I’d watch it and watch it on its own merits, but I’d much rather watch an Osage reviewing this film than the film itself, if that makes sense.

Wrong projects, wrong timing. People find excuses for their darlings all the time. Case in point we don’t even need to go that far: KOTFM. The age that a film star could carry a film by their name alone hasn’t been a thing since the 20th century, I’m not sure why Margot Robbie is targeted so much with these when Will Smith, Leo DiCaprio or literally any of her male counterparts clearly can’t carry films by their names alone either.

I truly don’t think people understand how insanely popular Margot Robbie is. And this was true long before Barbie.

About that… I don’t know, I will watch KOTFM eventually at home, but just like I wouldn’t call "film activism" to watch Barbie, The Marvels and etc, there is a certain pompous way that people talk about Scorsese and how important this film is that definitely rubs me the wrong way. This is the best review that this film could ever have, and while I’m sure that Scorsese poured his soul into this, it’s very much still told through the lens of an white man. A legend, one of the best of all time, but I do think it’s okay for people have conflicted feelings about the film, even when you look through a progressive lens:

It doesn’t matter if you’d make a lengthy speech on conspiracy theories and absolute non sense when it comes to the reception of Marvel Studios. The studio incapable of touching people’s hearts released a critically and public acclaimed juggernaut less than two years ago that made almost $2 billion dollars without China and several blockbusters since then. People never loved all the MCU films. And there were always peaks and valleys since the very beginning: As for RT scores: the critic and public reception of the MCU films speak for themselves. Good luck trying to prove that Marvel is dead for the next decades. I don’t envy you.

It’s clearly because Marvel pays films critics, what are you talking about

Who is calling it? Where did this even came from lol? Film will get reviews soon, kinda lost on what you ‘can’t believe’ here. Anyway:

I was joking lmao. It just coincided the announcement with the timing of your post.

And Super Mario Wonder. One of the busiest gaming weekends ever when it comes to behemoth releases. Seriously though, ShowEast has begun:

Trust me, it’s not just be rich. That helps, sure, but also good genes. There isn’t really a lot of Ryan Reynolds and Paul Rudds in Hollywood either.