…and yet from an opposing perspective it all feels fine. You just have to hang on tight to what you know and are sensing all around, and what you deeply believe.
The EEAAO sweep (I’ve actually just typed those words!) is about cultism and political industry upheaval and a dynamic assertion of Millennial and Zoomer power by the under-45s along with various older lapdogs who want to profit by or otherwise get in on the action.
EEAAO worshippers know that the Daniels film is a peculiar head-trip thing and VERY pulpy, Marvel-esque and Millennial-minded and therefore a huge turn-off for tens of millions of over-40s or over-45s (the loathing for this film is, make no mistake, intense) or anyone, really, who’s acquired a semblance of classical taste.
And they don’t care. They love the fantasy tropes and the hip urban minority identity stuff (queer daughter, Asian family, Jamie Lee Curtis‘s crabby neurotic white woman representing the IRS) and they know it’s a film that has confounded, alienated and/or infuriated the majority (including moderate people like myself as well as your generic flyovers).
The whole woke Oscar brand of the last four or five years (i.e., films that are into apologizing for the venality of Anglo Saxon culture or at the very least are seeking to minimize its presence in films while simultaneously branding those who may object to the venalizing of their identity as the carpings of racists…quite the rhetorical imprisonment mechanism you’ve created there, fellas!) means little or nothing to most Average Joes, hence the plummeting viewership.
If it wasn’t certain before, James Hong locked in Everything Everywhere All At Once’s Best Picture win at the Oscars with this part of his speech pic.twitter.com/qsaSPjEVyk
— Karl Delossantos (@karl_delo) February 27, 2023
EEAAO fans know that the viewing public regards industry voters as curious or eccentric or myopic and to a large extent unconcerned about (or even hostile to) anything except their own cultural power — largely an island unto themselves…a largely anti-straight, anti-white-majority (at least in a rhetorical or social-fashion sense), mostly or at least significantly woke. The in-crowd know this is why the show has no across-the-board cachet, and why there’s no general interest in the Branch Davidian aspects of wokeism, and they absolutely love this state of affairs.
They’ve decided that emphasizing their apartness is a way of emphasizing their moral superiority, which they regard as the only path, the only way. [See “the David Ehrlich bubble”.]
Enough of straight, women-suppressing Anglo-Saxon white male dominance, and up with non-white or multicultural or women-favoring, LGBTQ-trans-embracing identity and stories about same, hence the Best Picture celebrations of Moonlight (anti-“Oscars so white”), Nomadland, Parasite, The Shape of Water, CODA, EEAAO. Six movies that — are you listening? — have ridden on the back of the woke tiger and thereby seized the brass ring.
I latched onto the Ukraine situation yesterday (“Shattered Into Shards”) because from a moralistic perspective it’s a no-brainer. Moral clarity = lacking in moral ambiguity. There is similarly no ambiguity in the essence of what EEAAO is deep down. You either (a) understand what it’s saying and what it represents, or (b) you don’t, or (c) you’ve chosen to ignore the obvious because you don’t want to be seen as an anti-woke contrarian because that might challenge or weaken your political standing and therefore your economic security.
This is what motivates so many out there, including (and I mean no offense in mentioning this) HE’s own Bob Strauss, whom I love like a brother. I feel for him and his situation. I feel for everyone in a sense. Except for the Ehrlich bubble fanatics on Twitter. I really hate those guys.
This isn’t a dream. This isn’t a delusion. This is actually happening. What I’ve described here is as real as the behaviors in Emily The Criminal or the Sicily episodes of The White Lotus.