Existentialist anarchism – Will To Exist http://willtoexist.com/ Tue, 28 Jun 2022 17:36:34 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://willtoexist.com/wp-content/uploads/2021/10/icon-6-120x120.png Existentialist anarchism – Will To Exist http://willtoexist.com/ 32 32 PERSPECTIVE: The Oath Keepers Wanted a Coup https://willtoexist.com/perspective-the-oath-keepers-wanted-a-coup/ Mon, 27 Jun 2022 16:34:28 +0000 https://willtoexist.com/perspective-the-oath-keepers-wanted-a-coup/ “The Oath Keepers were absolutely attempting a coup,” asserted the group’s former national spokesperson (in his own words: propagandist), Jason Van Tatenhove, during a virtual event organized by the International Center for Study of Violent Extremism (ICSVE) on June 24. , just weeks before his appearance before the select committee investigating the January 6 casee […]]]>

“The Oath Keepers were absolutely attempting a coup,” asserted the group’s former national spokesperson (in his own words: propagandist), Jason Van Tatenhove, during a virtual event organized by the International Center for Study of Violent Extremism (ICSVE) on June 24. , just weeks before his appearance before the select committee investigating the January 6 casee Attack on the United States Capitol in Washington, D.C. Not only that, former President Trump – through Roger Stone, Trump’s agent – ​​was actively courting militias like the Oath Keepers in order to keep Trump in power , did he declare.

Indeed, Jason would know, having the unique experience of associating with, sometimes sympathizing with, but never entirely agreeing with the now notorious violent extremist group. In 2014, the then-freelance journalist became interested in covering the standoff at the Bundy Ranch, where sovereign citizens expected a repeat of Waco or Ruby Ridge. Jason, who considered himself a libertarian anarchist, tied himself in with Stewart Rhodes, the Yale-educated lawyer and former U.S. Army paratrooper who founded the Oath Keepers in 2009, claiming the group were “defenders of the Constitution”. When Rhodes offered Jason a job as the group’s national spokesperson, Jason was attracted by the prospect of both reliable employment and adventure. He also relished the sense of importance he gained when he saw how many hundreds of thousands of people read the articles he wrote on behalf of the group. Although he said he never became an official member, Jason viewed his association with the Oath Keepers as something of a rebellion against his “leftist” upbringing among artists in New Jersey and Colorado, even though s associating with the group also meant hiding one’s identity as a member of the LGBTQ+ community. Over the years, however, Jason grew increasingly disappointed and disillusioned with what he saw as the group’s abrupt turn from libertarianism to extremism, saying that when the Oath Keepers “began courting the alt -right, [Richard] Spencer, the real Nazis, Proud Boys, I just couldn’t do it.

Jason left the Oath Keepers in 2018 but kept a close eye on the group, including inadvertently allowing Rhodes to live in his basement for eight months. Both inside and outside the group, Jason noticed much of what we at ICSVE similarly found in our research. First, it recognizes the immense role played by conspiracy theories and misinformation, especially those spread online and by Alex Jones, in recruiting vulnerable individuals and turning them into true believers. Many of those recruited were serving and former members of the military and law enforcement, a statistic the Oathkeepers are proud of. For example, in 2021, an Oath Keepers membership list revealed over 200 people who identified themselves as active or retired law enforcement officers. At the time the list was discovered, 21 were active members of law enforcement and 23 were active when they joined the Oath Keepers but had retired in the years that followed. These people swore to protect the United States and its Constitution from all enemies, foreign and domestic, but nevertheless joined an armed anti-government militia. And on January 6, 2021, many of them violently attacked the Capitol in order to obstruct the legal counting of electoral votes and keep then-President Trump in power – they attempted a coup. In January 2022, Rhodes and 10 other members of the Oath Keepers were arrested and charged with seditious conspiracy that day. In June, Rhodes and eight of his co-defendants faced an amended indictment alleging they “coordinated to use force to combat the authority of the federal government.” This revelation comes shortly after documentary footage revealed during the first select committee hearing showed the oath keepers moving in military-style formations during the riot as well as Rhodes meeting the leader of the Proud Boys. , Enrique Tarrio, before the riot.

Jason was unsurprised by the Oath Keepers’ actions on January 6, confirming that the group fully intends to keep President Trump in power by any means necessary. “We saw them in pile formation marching up the steps of the Capitol on January 6 in a true insurgency coup attempt,” Jason told the ICSVE audience. In fact, he said during the virtual ICSVE panel that if the group was led by a “true believer” rather than a rather disorganized Rhodes, who seems to be mostly focused on making money, they might have be successful. Why would active military and veterans agree to be part of a group so unconstitutional that they are sworn to defend? In ICSVE’s research of 50 current and former members of white supremacist violent extremist groups (not including Jason), we identified four reasons why violent extremist groups recruit the military:

  1. The military can provide weapons and tactical training, as well as access to weapons and possibly military intelligence.
  2. The military brings a sense of discipline and structure to the ranks of a violent extremist group, whose other members may be more interested in drinking and fighting than achieving lofty goals.
  3. Having military men in his party gives him an air of legitimacy and rationality unlike disorganized skinheads or notoriously violent prison gangs.
  4. The military allows violent extremist groups to present themselves as patriots. Rather than openly disavowing the Constitution, groups like the Oath Keepers can portray themselves as protecting America’s “pan-European” heritage from immigrant invaders or Jewish cabals.

Of course, the simple fact of wanting to recruit soldiers is only one side of the coin. Our research also revealed four main reasons veterans, and law enforcement, might be attracted to violent extremist groups:

  1. Veterans often feel a lack of camaraderie after leaving the military and may seek a sense of community and brotherhood, which violent extremist groups can provide.
  2. Some veterans may feel aggrieved that the government does not provide them with the necessary support they need to succeed in civilian life and therefore may be willing to fight the government. Additionally, Jason and an event attendee both noted that the lack of mental health support for veterans in the United States can leave some with unmet existential needs, such as those for significance, meaning, , purpose and dignity, all of which are offered by violence. extremist groups.
  3. Others who are not angry with the government may see far-right violent extremist groups who present themselves as patriots as an opportunity to continue fighting for the noble cause of defending heritage and culture. Americans.
  4. Some veterans with post-traumatic stress may also feel that joining such a group would allow them to continue to have a sense of discipline and structure in their lives, as well as being part of a group in which alcohol and violence are the norm, allowing them to alleviate their post-traumatic stress symptoms and associate with others who also feel stuck in a combat role.

Jason confirmed the same in his own close encounters with military special forces, active duty, and vets who joined and trained members of the Insurgency Band against the Federal Government. For all of the above reasons, far-right violent extremist groups, particularly the Oath Keepers, have engaged and succeeded in recruiting current and former members of law enforcement and the military into their ranks to s lead to and possibly backfire on the government they promised. an oath to protect. As a result, Jason explains, they were horribly close to pulling off a coup on January 6. Jason’s testimony will certainly reveal much more about the mindset of the members of the Oath Keepers, but we can be certain that this is not simply a problem of the past: the Oath Keepers, and all groups that follow, have learned from their mistakes and are likely to try again.

The views expressed here are those of the author and are not necessarily endorsed by Homeland Security Today, which welcomes a wide range of views in support of securing our homeland. To submit an article for review, email Editor@Hstoday.us.

APPLES, deadpan absurd parable, new wave greek style https://willtoexist.com/apples-deadpan-absurd-parable-new-wave-greek-style/ Thu, 23 Jun 2022 16:02:12 +0000 https://willtoexist.com/apples-deadpan-absurd-parable-new-wave-greek-style/ Emerging Greek director Christos Nikou is the latest keeper to keep the flame of New Wave Greek cinematic oddities alive. Nine years after the remarkable achievement of Yorgos Lanthimos Alps hailed on the Lido, Nikou arrives at La Biennale with Apples (original title: Mila), its beginnings, which share hereditary characteristics. The comparison of the two […]]]>

Emerging Greek director Christos Nikou is the latest keeper to keep the flame of New Wave Greek cinematic oddities alive.

Nine years after the remarkable achievement of Yorgos Lanthimos Alps hailed on the Lido, Nikou arrives at La Biennale with Apples (original title: Mila), its beginnings, which share hereditary characteristics. The comparison of the two authors – one established and celebrated, the other rising – will eventually turn into a regularly repeated refrain.

Nikou served as assistant director on the breakthrough and second solo feature Lathimos dog tooth. As if to preventatively move away from too many comparisons to make, Nikou explicitly cites Spike Jonze, Leos Carax and Charlie Kaufman among his influences. However, Apples is a tongue-in-cheek absurd parable full of blood cut from the finest New Wave Greek fabric. And it is undeniable that this influence.

Despite the tragi-comic aesthetic characteristic of surreal realism propelled by Yorgos Lanthimos, Athina Rachel Tsangari and Babis Makridis, among others, Apples goes into a spin. The opening scenes mention the “new identity” program and “the neurological hospital’s disturbed memory ward”. These notions seem drawn from one of Philip K. Dick’s speculative phantasmagoria rather than contemporary Greek cinema.


Nikou merges dystopian history, alternate history setup, and absurdist-biting parable into a tale of a raging pandemic causing severe amnesia. The main protagonist of suffering portrayed in the finest detached and affectionless performance by none other than the lead actor in Babis Makridis’ absurd comedy-drama L and Lanthimos’ AlpsAris Servatalis.

The protagonist Aris (the character’s name) contracts a “new virus” that has been plaguing Athens lately. He ends up in the hospital after being unable to tell a bus driver where he was originally going. Thus Aris becomes the last to arrive at the “Disturbed Memory Department”.

Sporting a perpetually listless gaze, his only connection to the old life seems to be an insatiable appetite for apples while enrolled in a “new identity” program. The series of tasks or roles that Aris is tasked with piecing together are designed to return him to a condition that would allow him smooth assimilation into a healthy functioning society.

Aris and characters suffering a similar fate inhabit the Athens of an analog age. The alternative version of Greek capital offers simpler tools that the “disturbed memory department” exploits in therapy: riding a bike, visiting a nightclub, dancing at a party, having casual sex in the bathroom. Aris dutifully obeys though dispassionately and, furthermore, records his accomplishments with an old Polaroid camera for proof.

After several exercises, the complete scheme of the program “the new identity” transpires. The Memory Reboot was designed to feel like a crash course in growth through traditional checkpoints from adolescence into fully developed adulthood.

The tasks assigned to Aris create a familiar rhythm of ritualization that largely dominates dog tooth Where L. Nikou uses rituals as a formalistic device to reflect on pressing topics of identity, reminiscence, loss, and grief, heavy topics that have recently shot in world cinema as a symptom of a larger diagnosis that prevails. in society across continents.


It’s not just about Apples which distinguishes it from its predecessors. Despite the film rehashing the deadpan, acerbic and absurd poetics of New Wave’s most recognizable Greek works, it is the appearance of Greek quirkiness that drives Apples off the beaten path of identity crisis and grief-ruled movies.

It’s a win-win for an emerging director who plans to make a name for himself alongside established authors while avoiding a somewhat epigonal approach. Apples brings a pressing topic to the table and gives it an inventive new twist, a good sign for a newcomer’s career launch. (Hollywood talent agency CAA signed Nikou when Apples put up for sale on the Cannes virtual market).

Compared to the auteur style of Lathimos and Makridis, Nikou retains the apparent veneer of dark, offbeat comedy-drama. Although below the surface, Apples fails to achieve the harrowing psychological and existential sadism of its cinematic ancestors.

A little snippet of melancho-sentimentality served up in the final twist casts Aris’ ordeal in a more emphatic light. Apples mature into a less perverted and more reversed version of Babis Makridis’ grieve-com Pity trading meditation on identity for a license to mourn. It is this little spark of humanity that rewrites history in a story that deviates from simple retro farce cabaret.

The quasi-genre twist that repackages the style and formalism characteristic of Greek cinematic eccentricities happens to be the welcome novelty in Apples. Nikou uses the poetics and immediately recognizable marks of the Greek new wave as a ready-made aesthetic. His authorship helps reframe the brand’s style into at least two strands of social commentary, though Apples despite the austere minimalism offers more allegorical interpretations.

The first line follows directly from the plot. While social media served as a platform to reconstruct personal identities to create a completely virtual and fictional one, Aris does not have that privilege. The strange case of his erased personality takes on an analog process, most likely the result of a mental breakdown.

The protagonist’s bout of amnesia feels like a self-defense mechanism, which may be the case for others. The trope of pandemics and unmistakable existentialist undertones spins Apples in a tongue-in-cheek take on a worn-out apocalyptic genre in a retro-nostalgic coating.


The other line of interpretation relates directly to the world-building of the bygone era when time passed slowly, as humanity did not live under a constant barrage of information. As if they possessed the charm of silent cinema, the almost anachronistic character of Apples creates a conflicting pleasure of alienation and nostalgia. While they wield the effect ambiguously at once, the appeasement and abrasion of story and style operate accordingly, alternating with each other.

Apples is more than just a blast from the recent past in terms of the analog era and the New Greek Wave. Nikou naturally proceeds with a generational evolution pushing formalism into new territories while reducing the impact of shock therapy without betraying the dark comedic roots of his cinematic ancestors. The director eats the apple of the Greek new wave and has it too. It’s a fantastic reminder of the admired cinema that seemed out of print and its generational expansion.

The film Apples announces the arrival of new talents. Nikou is already working on his follow-up project, Nailsa feature film in English in preparation with his Apples‘ writing partner Stavros Raptis, working alongside Manchester playwright and screenwriter Sam Steiner.

Originally released in October 2020, as part of its world premiere at the 2020 Venice Biennale. It will be released in US theaters on Friday, June 24 via Cohen Media Group.


  • Christos Nikou
  • Stavros Rapti
  • Aris Servetalis
  • Sofia Georgovassili
  • Anna Kalaitzidou

THE UMBRELLA ACADEMY (S3), Twice the superhero team, twice the superhero problems https://willtoexist.com/the-umbrella-academy-s3-twice-the-superhero-team-twice-the-superhero-problems/ Tue, 21 Jun 2022 22:02:06 +0000 https://willtoexist.com/the-umbrella-academy-s3-twice-the-superhero-team-twice-the-superhero-problems/ Almost two years after the second season of The Umbrella AcademyNetflix’s multi-season adaptation of Gerard Way and Gabriel Bá’s award-winning comic book series for Dark Horse Comics, the third season is coming to the struggling streaming platform not a moment too soon (or too late). This is all the more the case, given that the […]]]>

Almost two years after the second season of The Umbrella AcademyNetflix’s multi-season adaptation of Gerard Way and Gabriel Bá’s award-winning comic book series for Dark Horse Comics, the third season is coming to the struggling streaming platform not a moment too soon (or too late).

This is all the more the case, given that the second season, like the first, ended with an extremely tantalizing cliffhanger featuring the main characters, a dysfunctional superhero family adopted by an eccentric billionaire in the questionable program, Reginald Hargreeves (Colm Feore), against an alternate timeline version of the team filled not with alternate individuals (with one exception), but with an entirely new and different superhero team, the Sparrow Academy , less superficially dysfunctional and far more efficient than their fallen contemporaries.

Given the setup of strangers claiming ownership of their mansion, it’s also quite predictable that the opening scene of the first episode begins with a team of superheroes in a reverse superhero team with our team of a familiarly ill-adjusted superhero who gets his back. It’s hard, if not impossible, to imagine a better start to the third season of The Umbrella Academy.

In a single scene, the third season sets up the premise of displaced and bewildered superheroes, their slightly fascinated replacements, and a season-long conflict between the two teams. Not so fast, of course, because once again, there’s a Big(ger) Bad for the Umbrella Academy and their superhero competition.

And much like seasons one and two, the overarching new problem remains the Umbrella Academy’s repeated failure to come together, to put aside their vast differences and differing worldviews to overcome or overcome the potentially catastrophic latest event. It is no longer the world or a timeline that is at stake, but the entire universe. (Talk about increasing existential threat.)

In a lesson the members of the Umbrella Academy refuse to learn, going back in time to change history can lead to both intended and unintended consequences, the latter often much worse than they (or the audience) could have imagined.

For Allison (Emmy Raver-Lampman), aka “Rumor”, leaving Dallas in 1963 meant leaving the love of her life. Returning to an alternate present also means that the other love of his life, his daughter, no longer exists.

It’s enough to take Allison from flawed, oh-so-likable superhero status to borderline villain status as she tries to manipulate the people around her, including her immediate family, and events to recover what she desperately lost. It’s both a recipe for personal and collective disaster and for the Umbrella Academy itself, on par with the doomsday course after two back-to-back self-fulfilling one-season prophecies the team tried to prevent after to have caused it itself.

Take a comic book page from Amazon Prime The boys, Sparrow Academy represents the commercial and corporate side of the superhero game. Giant advertising banners proclaim “Crime is the problem and Sparrow Academy is the solution”, suggesting that the best, only response to crime in all its vaguely defined manifestations involves violence or the threat of violence (hello, fascism ).

Unsurprisingly, the early episodes paint the Sparrow Academy in clear opposition to the Umbrella Academy, but as the season arc progresses through another 10 episodes, moments of nuance creep into the central plot and the related and interwoven subplots.

This means, unfortunately, that essentially doubling the central cast necessarily means a reduction in time for regular members of the Umbrella Academy itself. Still, they remain a welcome sight, from Klaus (Robert Sheehan), perpetually tripping over himself, to Luther (Tom Hopper), the muscle goon with a heart, to Diego (David Castañeda), the knife-wielding vigilante filled with of rage. who always chooses violence, to Five (Aidan Gallagher), the nominal time-traveling leader, and through Victor (Elliot Page), the seventh and most powerful member of the Umbrella who nearly caused the end of the world to two occasions.

While the third season has its usual share of story-wise tangents, backtracks, and dead ends, it finds its way back into the final two or three episodes and just as, if not more, mostly , handles Victor’s transition (reflecting Page’s actual transition) as a trans man with admirable delicacy, subtlety, and respect. Victor’s transition is handled in a handful of brief, if not less effective or moving scenes, culminating with the ever-serious and well-meaning Luther suggesting they throw a party for Victor (less because Victor needs it than Luther’s desire to organize one).

As a model for handling a character’s serial transition, The Umbrella Academy succeeds perfectly, integrating Victor’s transition into another well-done and memorable season that feels less like an ending and more like a new beginning.

The third season of The Umbrella Academy begins streaming Wednesday, June 22 on Netflix.

The Umbrella Academy

  • Steve Blackman
  • Jeremy Slater
  • Elliot Page
  • Tom Hopper
  • David Castaneda

Gravity Falls has made the gross, rambunctious weirdness a Disney Channel institution https://willtoexist.com/gravity-falls-has-made-the-gross-rambunctious-weirdness-a-disney-channel-institution/ Tue, 21 Jun 2022 21:24:55 +0000 https://willtoexist.com/gravity-falls-has-made-the-gross-rambunctious-weirdness-a-disney-channel-institution/ The term “Disney cartoon” conjures up many images: a smiling, ginger-haired mouse whistling down the street. A pale, dark-haired princess sleeping in a metaphor-laden glass box. A strangely warm princely lion leaping through a rippling jungle. A pale, whiteprincess with hair girdling her loneliness from the top of a glacier laden with metaphors. Happy forever? […]]]>

The term “Disney cartoon” conjures up many images: a smiling, ginger-haired mouse whistling down the street. A pale, dark-haired princess sleeping in a metaphor-laden glass box. A strangely warm princely lion leaping through a rippling jungle. A pale, whiteprincess with hair girdling her loneliness from the top of a glacier laden with metaphors. Happy forever? It’s a Disney cartoon. Healthy family ties? It’s a Disney cartoon. Harsh but adorably marketable lessons on growing up? This, perhaps more than anything else, is a Disney cartoon!

But the hunt for cryptids? Supernatural plot mapping? Scam geezers? Cosmic (and/or demonic) body horror? If you were to go out and interview a hundred random people you found on the street, you’d be hard pressed to find even one person offering images like this when asked to describe what what she thinks of when she thinks of a “Disney cartoon”. .”

And yet, since Gravity Falls debuted on the Disney Channel a decade ago, delivering twins Dipper and Mabel Pines (Jason Ritter and Kristen Schaal, respectively) to their great-uncle’s (Alex Hirsch) tourist trap in the paranormally active forest just outside Outside of Gravity Falls, Oregon, each of these things has become a Disney cartoon staple. Plus, so does the series’ long-running storytelling, rambunctious and eerie characterization, and cheerful willingness to simply be raw. When you’re queuing up for a Disney Animated Original Series on your Disney+ app these days, you’re also likely to find a chaos demon protagonist making a sorcerer, bone-biting flim-flam artist and anarchist mentor than finding an eccentric, modern, rebellious Disney princess who adventures between made-for-TV musical numbers – and it’s all thanks to these quirky twins who pursue Bigfoot and investigate cosmic mysteries. in the fictional paranormal woods of cartoonist Alex Hirsch’s chaotic imagination.

Before we get to Disney Channel’s self-segmented witches today, let’s backtrack. While many of us have enthusiastically followed Disney’s linear spiral into a deeply unsettling, often occult, existential weirdness since Gravity Falls took its final bow, there’s still an animation-loving segment of the population that has only passing familiarity with Hirsch’s short-lived mystery series, not to mention the huge (and extremely weird) animated swings that are become his Disney Channel legacy. To these people, I say, give this primer of Dough editor Garrett Martin a quick analysis. If you are not swayed by his description of Gravity Falls– which only lasted two seasons (36 episodes) before yielding the chaotic multidimensional ground to battles for good in the face of the monster genocides, amphibian wars and demonic fascism that would soon follow – as a “fleeting beauty [that] conjures up thoughts of BoJack Rider, Bob’s Burgers, adventure timeand rick and mortynot to mention live-action inspirations such as twin peaks, X filesand Lostthen there’s unlikely to be much for you here in the rest of this retrospective.

For everyone else, though, I invite you to take Garrett’s summary of Gravity Falls‘ as resulting from “its focus on family relationships both healthy and broken, its heady blend of sci-fi, horror, humorous pop culture references and deep emotion, even its central and ever-looming truth (summer is ending)” as something like the gospel. I mean, Disney Channel certainly did: where Hirsch laid the groundwork for shaggy animated worlds constructed of ideologically gray complexity and endless paranormal impossibility, creators like Daron Nefcy (star vs the forces of evil), Matt Braly (amphibians) and Dana Terrace (The owl house) have built palaces of skulls, tadpoles, and laser pups. Where Hirsch made room for nuanced storytelling about found family, coded queer and otherwise, Nefcy, Braly and Terrace (among others) filled it in with the kind of relationships kids who grew up on a frustrated diet of Kim Possible versus Shego could hardly have dreamed of. And where Hirsch said, Yeah! Sure! Let’s give these kids a stable of presumably eccentric and/or emotionally damaged adults to sympathize with on extremely adult issues! said his future colleagues, GREAT; HERE IS.

That said, however Gravity Falls opened up a lot of weird ground for linear Disney programming, it wasn’t the first non-Disney oddball on the Disney Channel/Disney XD block, with Fish hooks having launched its short and strange run in 2010 and Phineas and Ferb it’s much longer, even weirder in 2007. But where Fish hooks and Phineas and Ferb set the stage for Disney XD and Disney Channel to break free from the more innocuous “Disney cartoon” image of the big screen, it’s hard to argue with the ostensibly odd legacy Gravity Falls, more precisely, left behind. I mean, where the fun summer adventures Dipper and Mabel had in Gravity Falls eventually transformed into cosmic villain Bill Cipher manifesting the kinds of monsters that are *adult* nightmare fuel, with whom the Pines family (and friends) had to fight for the very existence of the universe, star vs the forces of evil went two steps further, not only with a protagonist it was a nightmarish disembodied My little Pony head, but also send Star and Marco (and, when she had time between parties, the aforementioned Princess Pony Head) to spend their time early in the series tearing down a misogynistic, anti-trans princess prison from the inside. , and at the end of it, waging a war against blood monarchies and xenophobic genocide. The owl housemeanwhile – which has taken the “nightmare fuel” gamble so far that it’s set in a world literally out of the the blood and bones of a giant demon– took as its central battle that of freedom against magical (but again, literal!) fascism.

I mean, the interval! And even where questions as capricious as “how to stop generational trauma” and “shouldn’t we perhaps do genocide/fascism” aren’t such a central conceit for others Gravity Falls successors—your Big City Greensyour take a walk theres, your The Ghost and Molly McGees-the drive to get big and weird and even, often, not so likable.

It’s good! I mean, kids As weird, a fact that Cartoon Network, Nickelodeon, and Kids’ WB (RIP…ish) have known well for ages.

This, of course, makes news like The owl housePremature cancellation all the more frustrating. Of all the Disney Channel original animated series that thrived in fertile soil Gravity Falls broke ten years ago, The owl house was not only the most aesthetically ambitious, but also the most groundbreaking, with its clumsy teenage protagonist, Luz Noceda, a proudly bisexual and neurodivergent Dominican-American girl with whom Mabel and Dipper Pines would die to be best friends. Not to rely too much on the cliché, but the Pines twins walked (or at least stumbled headlong) so that characters like Luz Noceda could run.

Yet the thing about legacy in pop culture is that once you’ve established it, it’s hard to root it. So here are the cranks and the counters and the curses and the cryptids that, thanks to Gravity Falls, have made the “Disney cartoon” designation so much more interesting than it has been canonically. May your righteous anger against classism, fascism, and bigotry of all types linger in cultural memory, may Disney Channel itself keep up the courage to make room for you. It’s been a fun decade.

Gravity Falls (along with all of the other bizarre Disney cartoons listed above) is streaming on Disney+.

Alexis Gunderson is a television critic and audio bibliophile. She can be found @AlexisKG.

Cultural amnesia in war-torn Ukraine https://willtoexist.com/cultural-amnesia-in-war-torn-ukraine/ Sat, 11 Jun 2022 04:01:00 +0000 https://willtoexist.com/cultural-amnesia-in-war-torn-ukraine/ The great divide after the modern world will be between historical and ahistorical regimes. Leo Tolstoy and his wife Sophie in Gaspra, Crimea, where they lived in 1901-1902. Found in the collection of the State Museum of Leo Tolstoy, Moscow. (Photo by Fine Art Images/Heritage Images/Getty Images) Who is the Ukrainian Tolstoy? Don’t you dare […]]]>

The great divide after the modern world will be between historical and ahistorical regimes.

Leo Tolstoy and his wife Sophie in Gaspra, Crimea, where they lived in 1901-1902. Found in the collection of the State Museum of Leo Tolstoy, Moscow. (Photo by Fine Art Images/Heritage Images/Getty Images)

Who is the Ukrainian Tolstoy? Don’t you dare say Tolstoy.

Lest anyone think that America’s racial radicals have a monopoly on historical erasure, Ukraine’s liberal elite has launched its own posthumous cancellation campaign. Leo Tolstoy, the great writer of the 19th century, tops the list.

Born into a family of old nobility in Western Russia in 1828, Tolstoy is known worldwide for his monumental works such as War and peace and Anna Karenina. It is also the namesake of a city square and a metro station in Kyiv, Ukraine, but maybe not for long. The capital’s city council is considering renaming the monuments after Vasyl Stus, a dissident Soviet-era Ukrainian poet whose stature is a tiny fraction of that of the Russian.

The move is part of a larger effort to “decolonize” Ukraine’s public culture, removing all potential ties to the young Slavic country’s much larger neighbor. Seemingly a rejection of Russian imperialism, the push is both senseless and doomed to fail. The choice of Tolstoy as a target illustrates a major reason.

In his early twenties, Tolstoy served as an artillery officer in the Imperial Russian Army during the Crimean War of 1853-1856, in which Ukraine was merely a battleground between Russia and an alliance of Western powers (and the Ottomans). During his relatively brief service, Tolstoy endured the long siege of Sevastopol and took part in some of the campaign’s bloodiest battles. The bloodshed he experienced in the Crimea made Tolstoy a staunch enemy of violence, inspiring Christian anarchist thought which earned him the mistrust of the spiritual and temporal authorities of Moscow. In his later years, Tolstoy spent time peacefully on the Black Sea in Gaspra, a town in Crimean territory now claimed by Ukraine. If this is truly outrage at the wartime brutality against the people of this region, then few better figureheads could be found for the cause than the pacifist Leo Tolstoy.

Other targets suggest more mundane issues with the “de-Russification” of Ukraine. Pyotr Ilyich Tchaikovsky, the great patriotic Russian composer, was born in Votkinsk on the Russian side of the modern Ukrainian border. But his great-grandfather was a Cossack warrior who distinguished himself in battle against the Swedes in the Battle of Poltava in 1709, and his family’s roots in present-day Ukraine were deep and remarkable. The kyiv Conservatory is named in his honor, although this, along with a number of streets and other honorary titles, is being reconsidered. Leading figures from the Ukrainian music scene even insist that works by Tchaikovsky and other Russian artists should not be performed in the country in the future.

Mikhail Bulgakov may not have been quite Tolstoy, but The Master and Margarita is one of the great works of 20th century literature. Bulgakov was born in kyiv in 1891 into a family full of Orthodox clerics. He was educated there until medical school, his first long-term departure from the city being a front-line deployment as a medic during World War I. He crossed today’s borders a bit to finally settle in Moscow at the age of thirty. Having previously worked as a journalist, Bulgakov became a renowned writer and satirist, and a number of his works were banned by Joseph Stalin.

Was Tchaikovsky Ukrainian? Was Bulgakov Russian? I would answer yes to both, even if I would say the same in reverse just as quickly. History is not black and white, and a black line cannot be drawn between two nations whose ties are so close and so ancient.

Vladimir Putin certainly knows this. But his interpretation of the fact is tinged with fanatical nationalism and panic at the encroachment of hostile foreign powers. Yes, Ukraine is a fake country. There are perhaps half a dozen on the surface of the planet that are not. But the complexities of history, civilization and empire cannot be treated as absolutes in the face of modern nationalism, nation states and war.

Ukrainian and Western authorities are doing a huge disservice when they respond to Putin’s twisted truth with outright fabrication. At the start of the current conflict, the US Embassy in Kyiv tweeted an embarrassing meme that someone must have thought undermined Putin’s imperial claims:

This feeds directly into Putin’s view, of course. kyiv’s history goes back more than a millennium is the history of Russia, just as much as the history of Ukraine. The actual political conclusions to be drawn from this can be debated, but the fact itself cannot simply be denied. By trying to separate one culture and history from the other, these people only show that it cannot and should not be done.

It is becoming increasingly clear that the great divide after the modern world will be between historical and ahistorical regimes: those who recognize the power of history and the reality of embodied order, and those who only admit detached abstractions. men and centuries who laid their foundations.

Ukraine, as it attempts to merge hypernationalism with a new liberal identity, finds itself torn between the two. It’s a familiar dilemma for many in the West, as existential for the Ukrainian people as it is for each of us.

LIGHTYEAR, B-level storytelling wrapped in A-Plus animation https://willtoexist.com/lightyear-b-level-storytelling-wrapped-in-a-plus-animation/ Fri, 10 Jun 2022 21:00:00 +0000 https://willtoexist.com/lightyear-b-level-storytelling-wrapped-in-a-plus-animation/ Light yeara pulpy, family-friendly sci-fi action epic, is coming to multiplex at an inflection point for Disney-owned and operated Pixar Animation Studios. Once synonymous with a unique blend of all-ages storytelling with cutting-edge animation that pushes the boundaries, Pixar, like every division and/or imprint under the Disney brand, has evolved (some might say evolved) into […]]]>

Light yeara pulpy, family-friendly sci-fi action epic, is coming to multiplex at an inflection point for Disney-owned and operated Pixar Animation Studios.

Once synonymous with a unique blend of all-ages storytelling with cutting-edge animation that pushes the boundaries, Pixar, like every division and/or imprint under the Disney brand, has evolved (some might say evolved) into a virtual content farm, Pixar-branded IP (intellectual property), including, of course, sequels, prequels, spinoffs and, most important of all for Disney coffers, unprecedented merchandising opportunities.

As a meta, in-film spin-off of the much-loved original toy story series, Light year unsurprisingly reflects all of the above limitations, right down to including its status as the quintessential example in corporate decision-making (the more familiar the better).

And even, Light year is no better than a meta-spin-off, in film has every right to be (in or out of Pixar’s Disney-owned and operated IP catalog). At worst, it’s a qualified triumph for Pixar’s collaborative storytelling team, constrained by having to work backwards from a relatively sketchy origin story, and their ultra-talented animators, delivering some of the strongest and deepest world-building action sequences/settings. dynamic parts and on-screen characters fully realized in the Disney/Pixar canon. To borrow a snapshot, Light year it really is a lot of fun for the whole family.

When we first meet the main character, Buzz Lightyear (Chris Evans, who admirably replaces Tim Allen), a space pilot and Space Ranger, he helps transport 1,200 colonists to a new, uninhabited planet and a fresh start. for everyone involved. A computer alert, however, alerts a sleeping Buzz and his commander, Alisha Hawthorne (Uzo Aduba), to a nearby planet that may or may not be habitable.

It’s Buzz’s call to investigate, becoming the first of several decisions that lead to a deep sense of regret for Buzz. Almost immediately, the planet’s overly aggressive flora convinces Buzz and Hawthorne to make an immediate retreat off the planet, taking the sleeping colonists with them. Buzz’s confidence bordering on arrogance leads to the second most important decision in Buzz’s life: his racing skills fail him at the most inopportune moment.

In short, in broad strokes, Light year sets up Buzz’s internal/external conflict: Driven by a desire to undo the past and save the colonists, Buzz volunteers for a series of test firings in outer space that leave him literally unchanged, frozen and fixed in his obsessive quest to fix what he broke. , as life on the colony planet progresses in four-year increments.

Buzz doesn’t get old with his super light jumps, but everyone does. As Hawthorne ages, living as full a life as possible, Buzz doesn’t.

Eventually, Buzz finds himself on a drastically changed colonial planet with Hawthorne’s granddaughter Izzy (Keke Palmer), weekend warrior Mo Morrison (Taika Waititi), and ex-convict Darby Steel. (Dale Soule), as they are forced to face an existential threat to the colony with no backup.

Light year gives Buzz an easily identifiable and easily digestible character arc, with some self-realizations and at least one self-realization along the way, suggesting that coming to terms with the past and past decisions is equally, if not more, important than to follow your dreams and turn them into reality. It’s a bit more powerful than expected, aimed at adults (with or without kids) watching Light year unfold over its running time of nearly two hours.

That said, however, Light year certainly doesn’t get bogged down in scenes of extended therapy as Buzz tries to work through and work through his issues. In place, Light year weaves Buzz’s arc with the larger plot involving Buzz’s continued absence and upon his final return, requiring him to adjust his expectations of himself and others to overcome an existential threat to the colony.

As almost always, Pixar made no budget cuts, leaving free rein to its animation team to bring Light year to a virtually living life. From the recognizable spacesuit to the distinctly realized multi-ethnic supporting characters, and at least for some, to the world-building (e.g. multiple ships, facilities, and detailed sci-fi interiors), Light year really excels.

Add to that some rousing settings in space and on the colony planet (both mandatory, but also welcome), and the result, aside from the occasional spin-off story elements, is a totally engaging, spellbinding, and ultimately exciting for Buzz, Izzy, the Others, and delighting audiences on the other side of the screen.

Light year opens in theaters Friday, June 17, via Walt Disney Pictures.

FESTIVAL: CHANGE OF AIR IN CANNES – Newspaper https://willtoexist.com/festival-change-of-air-in-cannes-newspaper/ Sun, 05 Jun 2022 06:11:26 +0000 https://willtoexist.com/festival-change-of-air-in-cannes-newspaper/ Back to normal in Cannes? Maybe. Yet the new normal, if there is one, will not appear until next year. Unlike the bumpy 2021 edition, this one wasn’t weighed down by any Covid-19 regulations; however, changes of quite a different kind await us. After the curtain falls, the Cannes Film Festival will have a new […]]]>

Back to normal in Cannes? Maybe. Yet the new normal, if there is one, will not appear until next year.

Unlike the bumpy 2021 edition, this one wasn’t weighed down by any Covid-19 regulations; however, changes of quite a different kind await us. After the curtain falls, the Cannes Film Festival will have a new president, and it is likely that the identity of the event, and in particular its relationship with the industry, will not be spared by the replacement of someone like Pierre Lescure, the embodiment of the French media establishment, famous for its idiosyncrasies, by Iris Knobloch, former CEO of Warner Media. Globalization is dead, long live globalization? Maybe.

There are already signs of what the new direction of the festival will be. TikTok is now one of the main sponsors. Moreover, the singularly aggressive policy of support for local industry seen in last year’s edition continues. Sophomore efforts by Lukas Dhont (Close, Grand Prix) and Léonor Serraille (Mother and Son) – the latter decidedly more inspired and imaginative than the former – stand out as fashionable, formulaic and daring works presented in the competition principal just because news French-speaking authors need to be regularly propelled by the Cannes machine, whatever their value.

On the other hand, Cannes always manages to launch genuine new talent. 32-year-old Saeed Roustayi stunned everyone with The Brothers of Leila, 165 minutes of pure drama and not a single empty moment, thanks to Roustayi’s ultra-skillful pacing and old-school alternation of captivating dialogue and complexes and “respite” scenes. making a thoughtful assessment of what has just taken place.

The most exciting parts of the world’s most prestigious film festival, the Cannes Film Festival, this year were not so much in the official competition for the Palme d’Or as in the equally respected independent sidebars

Leila’s Brothers didn’t need dummy gender frames, like in Swedish-Iranian Ali Abbasi’s Holy Spider (a somewhat silly attempt to investigate gender relations through the form of a thriller) or Boy from Heaven by Swedish-Egyptian Tarik Saleh (best screenplay award; a predictable outcome film about the power struggles at Cairo’s Al-Azhar University between the Muslim Brotherhood and the Al-Sisi regime, told in the usual form A-manipulating-B-manipulating-C, reminiscent of any Netflix series).

Rather, it was simply a touching story of sibling relationships, amid an endless series of daily economic transactions, projects, dreams, and scams. Leila is intelligent, proactive, self-aware; her brother realizes that she could finally lift their Tehran family out of poverty, but she is too weak and too attached to her other useless brothers and her old, pitiful aspiring patriarch of a father (an extraordinary character straight out of of 19th-century Russian literature) to actually stand by his side.

The global appeal of the Leila Brothers is not far from that of Asghar Farhadi but, unlike the latter, Roustayi is not a crook: his craft as a filmmaker is authentic and truly unassailable.

While waiting for the new Cannes with a new president, the 2022 competition has indulged in quite a few pleasant eccentricities. Little to no dialogue in Jury Prize-winning EO from Polish veteran Jerzy Skolimowski, who many remember as Georgi Luchkov from The Avengers. The film is nothing but the mute adventures of a stranded donkey in various parts of Europe and functions as a metaphor for resilience with spiritual, even biblical overtones.

With incredibly lavish visuals, editing, framing, color and camera movement, it all works together to deliver an experience that’s less mystical and more downright psychedelic. An orgy of movement is a sensual, ecstatic, gross, endless and restless flow that illustrates what our planet looks like when we look at it with the immaculate and pure gaze of an animal. Skolimowski considers it the most appropriate look at a world now more bestial than human.

Another old master, David Cronenberg, offered an elegant, sophisticated and comprehensive summary of his entire career with Crimes of the Future, a dystopian fantasy in which the organic and the inorganic, art and the human body become indistinguishable, because they both seek to incorporate otherness. on their own to survive.

Such themes have been explored by Cronenberg for more than 40 years, but now he adds another question: what are the political enigmas of this post-humanity that we are blindly rushing towards? To whom do bodily organs belong if bodies become subject to indefinite mutations? Who is authorized to handle them?

On the same ground but with more carelessness, the cine-anthropologists Lucien Castaing-Taylor and Verena Paravel (De Humanis Corporis Fabrica, in the Quinzaine des Réalisateurs [Directors’ Fortnight] sidebar), which bring together images of real operating tables, showing the interior of human bodies as an infinite source of aesthetic wonder; the textures of their skins, fluids and organs serving as an incomparable, even sometimes unbearable spectacle.

The ultimate eccentricity is Albert Serra’s Pacifiction, which takes place in French Polynesia, no longer a colony but an “overseas collectivity”. De Roller is a high commissioner of the French state and a real political animal, because he only lives in gray areas: neither active nor passive, neither pro-colonialism nor pro-resistance, neither powerless nor powerful. It is however not the film of a storyteller, but that of a visual artist, plunged into a Beckettian aphasia, with a story reduced to a few scattered, opaque, incoherent fragments.

The rebellion is brewing, nuclear tests may be carried out by the French authorities, but nothing in the film is specified. All the emphasis is on dark blue nights, pink skies, green forests: rarefied, skilfully composed tableaux that follow one another to suggest not time flowing, but rather time going nowhere, decentered man, paralysis à la Godot. A feast for the eyes for sure, but also a rather mundane worldview, a cheap anarchist trope of the “all power is evil” variety. Postcoloniality is here simply a pleasant background to look at, not really the subject.

The same goes for the winner of the Stars at Noon Grand Prix. Amid the searing tensions of 1980s Nicaragua, director Claire Denis chooses to deliberately ignore them and focus exclusively on the sensuality of bodies and tropical vegetation, echoing her heroine’s choice to navigate her relationships with the essential CIA agent and a handsome and mysterious British militant. simply trusting his intuition.

Literally sticking to the trees to overlook the forest, Denis’ style, both dreamy and too physical, could have been a fruitful aesthetic bias, but turns out to be only too easy an exit from complexity.

Where Stars at Noon fails, 1976 (Quinzaine) by Manuela Martelli succeeds. Subtly embracing the painfully narrow perspective of an upper-class woman in the wake of Pinochet’s coup in Chile, who wants to help the rebels but is too comfortably trapped in her gilded cage to be able to do so, Martelli conveys a sentiment which is now too familiar everywhere.

Historical trauma need not directly involve us to shatter our perception of the world, turning our everyday experience into a jumble of incoherent details, each of them at some point potentially indicating how “big picture” ” is messed up. , even if the totality escapes our radars.

Other works, however, take postcoloniality much more seriously than those of Serra and Denis. No matter how much it changes on the surface, Naples will never be more than a Third World metropolis. Thus, by telling the story of an immigrant entrepreneur who has returned to his hometown after decades to come to terms with his troubled past, Mario Martone (Nostalgia) paints not only a splendid portrait of his city, but also a convincing meditation on the third world identity – advocating a conscious and positive appropriation of its impermeability to modernity and well-intentioned reform.

In a European context, modernity has always been inextricably linked to theatricality, and so Naples is filmed by Martone as an eternally unfulfilled promise of theatricality. Every street corner, every courtyard seems about to become a stage, but never. A city teeming with sensory excess, it constantly gives the impression that something is happening. Yet nothing helps, a city without a future. But Martone clings to his conviction that if there is ever a way out through modernity, it is in this absence of future that it must be sought.

Another filmmaker convinced that cinema can capture the secret soul of society that hides in plain sight in the enigmas of urban space, is the young and very promising Youssef Chebbi. The elliptical police narrative of his Ashkal (Quinzaine) is less important than its background: the monumental, spooky, unfinished buildings of the Jardins de Carthage, an affluent neighborhood north of Tunis whose construction was halted after the Arab Spring of 2011 ‘ rebellions. The setting encapsulates a sense of political/existential uncertainty, aptly reinforced by Chebbi through his remarkable talent for visual orchestration.

No need to try to identify a logic behind the rewards: as always, there is none. Triangle of Sadness, Ruben Ostlund’s incomprehensible second consecutive Palme d’or (after The Square) is an ideologically conformist satire crudely disguised as radicalism, embarrassingly passing off a few clichés about rich and poor as a sort of Marxist critique .

A much better choice was the best director award for Korean Park Chan-Wook. His best in at least a dozen years, Decision to Leave is an exciting post-post-Hitchcockian neo-noir, delightfully surprising, dizzyingly Mannerist, playing cat and mouse with the viewer every moment. It drifts away from its main narrative thread with each new edit cut, only to find itself right in the middle of it; fooling the audience into thinking it’s yet another kind of thing between an honest detective and a deadly dangerous femme fatale, but of course that goes elsewhere, even when it comes to outright romantic comedy.

It then returns to noir territory, but isn’t film noir always a kind of romantic comedy in disguise? Isn’t black always about that inextricability between cold manipulation and warm passion, which Decision to Leave exhibits so brilliantly and unpredictably?

Of course, the most appreciated Cannes prize was not in the main competition, but in the “Un Certain Regard” [In Perspective] framed, where the jury prize went to Joyland by Saim Sadiq. The award had been in the air since the exceptionally emotional May 23 premiere, ending in tears from the cast as well as the audience.

Within ‘Un Certain Regard’, no other film before and after could stand the comparison. Cannes has long given up on its traditional vocation to broaden the geographical horizons of cinema, but it cannot be said that in 2022 at least, it has not looked in the right direction, at the right time. Hopefully this is just the start.

Posted in Dawn, ICON, June 5, 2022

10 Villains From ’90s Movies Who Haven’t Aged Badly https://willtoexist.com/10-villains-from-90s-movies-who-havent-aged-badly/ Sun, 29 May 2022 13:30:17 +0000 https://willtoexist.com/10-villains-from-90s-movies-who-havent-aged-badly/ In many ways, the 90s could be considered a renewed golden age for cinematic creativity. This renewed drive for ingenuity showed in the villains of the era, who were noticeably bolder and more defiant than their ’80s predecessors. RELATED: 10 Most Bankable Movie Stars Of The 1990s As expected, some of these villains have unfortunately […]]]>

In many ways, the 90s could be considered a renewed golden age for cinematic creativity. This renewed drive for ingenuity showed in the villains of the era, who were noticeably bolder and more defiant than their ’80s predecessors.

RELATED: 10 Most Bankable Movie Stars Of The 1990s

As expected, some of these villains have unfortunately aged poorly. That doesn’t mean their movies are suddenly bad, but it does replace their rose-tinted nostalgic heritage with much-needed (and often long-delayed) critical analysis.

ten Star Wars: The Phantom Menace—Darth Maul was just an action figure

Today, Darth Maul is considered by star wars fans as one of space opera’s coolest villains who borders on being a complex anti-hero. The problem here is that this design only came about through the Sith Fighter’s enhanced characterization and development in the canon spin-offs and Expanded Universe, not his first movie.

First star wars prequel, Maul barely spoke and only had six minutes of screen time. Maul’s only goal in Episode I was to look cool and give actor Ray Park a chance to show off his amazing lightsaber skills, nothing more. Maul’s rationale in later tie-in materials only makes his actual live introduction weaker in retrospect.

9 Independence Day – The Alien Threat Was Ruined Afterwards

As big and explosive as independence day that is, his alien villains argue for less to be more. The less one knew about extraterrestrials, their motivations and origins, the better off they were as an existential threat to humanity. But thanks to the late sequel Independence Day: Resurgence and its retcons, the aliens have become a joke.

Even ignoring how the technologically advanced aliens lost to a simple computer virus (which is a tribute to HG Wells War of the Worlds), Recurrence revealing that they raided Earth for its resources robbed them of their terror. The sequel also showed the aliens in their entirety, demoting them more from nondescript enemies to the generic galactic force of evil.

8 Jason Goes To Hell: The Last Friday – Jason Voorhees’ Slug Form Was Jason’s Worst Yet

All Friday 13 The film attempted to reinvent the formula for the long-running slasher franchise in its own way, and the ninth film decided to give Jason a demonic twist. Here it is revealed that Jason is actually a parasitic demon worm that transforms his host body into the next Jason. The “Hellbaby” is also considered by fans to be one of the series’ worst ideas.

RELATED: 10 Video Games Where You Can Kill Everyone

While the Hellbaby at least explained Jason’s immortality, it robbed him of his mystique and demoted him to a generic horror movie demon. Worse still, the Hellbaby only gave Jason less than ten minutes of screen time. There’s a reason why Friday 13 fans embrace most of the franchise’s nonsense, but disown the Hellbaby.

seven Bio-Dome – Dr. Noah Faulkner’s anger was perfectly justified

One of the most poorly aged tropes in comedies is the fun-hating villain. Usually, they are strict authority figures who try to stop star comedians from having fun. The problem is that the comedians are insufferable and out of control, and the designated villain is their victim. Bio-Dome is a good example of this, and perhaps the worst offender of the trope.

Here, slackers Bud and Doyle break into the Bio-Dome and ruin Dr. Faulkner’s year-long experiment with their “wacky” hijinks. In the end, Dr. Faulkner snapped and tried to kill Bud and Doyle, but the audience is supposed to support the duo. Bio-Dome is often considered one of the worst comedies of the 90s, and the defamation of Dr. Faulkner is cited as a reason.

6 The Usual Suspects – Keyser Soze is a walking plot hole

Even momentarily ignoring his controversial director and star, The usual suspects’ the surprise villain Keyser Soze is paradoxically its best and its weakest link. The big twist in the movie is that the nervous Verbal was actually ruthless crime lord Keyser Soze the entire time, and all we see in flashbacks were lies he used to defend his secret.

Right now, Verbal’s true identity is a stunning and unexpected revelation. In hindsight, Keyser hiding in plain sight is all too practical a charade. There were simply too many uncontrollable variables that lined up perfectly in Keyser’s favor, making his escape at the end hard to buy even with a willful suspension of disbelief.

5 Starship Troopers – The Federation Inspired The Bad Reaction From Viewers

In his heart, Starship Troopers is a dark parody of war propaganda and zealous nationalism. The Federation’s war on Klendathu’s bugs is a thinly veiled parallel to the dehumanization fascist regimes use to demonize enemies, and the Mobile Infantry enforced this hateful mindset. Thing is, viewers thought the Federation were the heroes.

Starship Troopers failed in 1997, but it still inspired countless imitators who took its fanatical militarism at face value. The Federation’s base on Nazi Germany was anything but subtle, and yet fans believe the Mobile Infantry’s arrogance and indiscriminate genocide was justified simply because Starship Troopers was too much fun for its own good.

4 Falling Down – D-Fens deconstruction fell on deaf ears

Since its release in 1993, To fall became one of the most famous urban vigilante films ever made. Fans identified with D-Fens’ frustration with society, especially when it came to mundane annoyances like smug golfers and rude construction workers. However, what everyone misses (or doesn’t know) is that D-Fens was the bad guy.

To fall was a deconstruction of the vigilante power fantasy, and he never shied away from portraying D-Fens’ seemingly cool rampage as selfish and dangerous. The problem is that crucial scenes have been taken out of context and uploaded online. It cemented D-Fens as everyone’s rage boiled over, even though the purpose of the film was to prove him wrong.

3 Fight Club – Project Mayhem Cause Wasn’t Fair

When it comes to fighting club, Tyler Durden is always singled out as one of the most misrepresented characters in satirical film. While it’s true that Tyler’s satire is lost on his biggest fans, the same can be said of Project Mayhem: the anarchist movement he inspired. In short, Project Mayhem is a collection of spoiled brats.

RELATED: 10 Books You Should Still Read Even After Watching The Movie Adaptation

Tyler believes modern society has emasculated men, so it’s up to him and Project Mayhem to burn the world down so men can reclaim their denied heritage amid the ashes. Project Mayhem is obviously fake and delusional, but there’s fight club fans who fell in love with Tyler’s tempting charisma and now embrace the band’s mindset.

2 The Silence of the Lambs – Buffalo Bill Perpetuates Dangerous Stereotypes

Thesilenceofthelambs is undeniably one of the best horror movies ever made, but that doesn’t mean it didn’t inspire some problematic trends. Besides spawning too many Hannibal Lecter clones who confused long-winded talk with creepy verbosity, central serial killer Buffalo Bill embodied many of the worst stereotypes of transgender people.

Here, Buffalo Bill murdered women and wore their skins to become a “real woman”. On top of that, Buffalo Bill is effeminate and flamboyant in the parodic extreme. Thesilenceofthelambs tried to separate Buffalo Bill from the real trans community, but the fact that he played into the worst transphobic misconceptions cast doubt on the film’s lasting legacy.

1 Ace Ventura: Pet Detective – Lt. Lois Einhorn is a truly offensive punchline

Ace Ventura: Pet Detective The big problem was that the prime suspect and Ace’s love interest were one and the same. It turns out that disgraced athlete Ray Finkle killed Lois Einhorn and then stole her identity in revenge against his malevolent sports team. This was then played out as a rude gag that ended with Ace publicly humiliating Lois.

Even though Lois was the bad guy, the homophobia and misogyny she endured was excessive and petty, even by the very loose standards of the 90s. Not helping was how by As Ventura The overriding punchline was that transgender people are inherently disgusting. Jim Carrey revealed that it was done to elicit the most extreme (even offended) reactions, and it’s a joke that didn’t go down well in 1994, let alone today.

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Atatürk leaves Ankara for the last time https://willtoexist.com/ataturk-leaves-ankara-for-the-last-time/ Wed, 25 May 2022 21:04:32 +0000 https://willtoexist.com/ataturk-leaves-ankara-for-the-last-time/ Ataturk leaves Ankara for the last time May 26 is the 146th day of the year (147th in leap years) according to the Gregorian calendar. The number of days left before the end of the year is 219. Railways May 26, 1934 date and 2443 Power of Attorney Organization under the law on the construction […]]]>
Ataturk leaves Ankara for the last time

May 26 is the 146th day of the year (147th in leap years) according to the Gregorian calendar. The number of days left before the end of the year is 219.


  • May 26, 1934 date and 2443 Power of Attorney Organization under the law on the construction of railway construction works was combined.
  • May 26, 2005 signed a protocol to develop cooperation in the development of the Izmir suburban system, which will reduce the number of 86 minutes between Aliaga-Menderes and 300 million passengers per year.


  • 961-II. Otto ascended the throne of the German kingdom.
  • 1538 – John Calvin and his followers are exiled from Geneva. The French clergyman, founder of Calvinism, established strict theocratic rule upon his return to Geneva in 1541. He died as the “dictator of Geneva” on May 18, 1564.
  • 1647 – A woman named Alse Young became the first person in the American colonies to be executed for witchcraft. Young was hanged in Hartford.
  • 1832 – Asian cholera epidemic in Quebec: About 6,000 people die.
  • 1889 – The first elevator in the Eiffel Tower is opened to the public.
  • 1894 – The last Tsar of Russia, II. Nicolas was crowned.
  • 1897 – Bram Stoker’s World Famous Dracula The novel has been published.
  • 1926 – The law on the dismissal of officials who did not participate in the national struggle is accepted.
  • 1938 – Ataturk leaves Ankara for the last time.
  • 1938 – The Un-American Activities Committee (HUAC) holds its first session.
  • 1946 – Municipal elections are hectic as they are in the form of “Open Vote and Secret Ranking”. The CHP became the first party. The Democratic Second Party, on the other hand, took the matter to court on the grounds that the government was biased in the election and there was no election security, but could not achieve any results.
  • 1957 – 7.1 people died in the magnitude 52 earthquake that occurred in Abant.
  • 1963 – The Iskenderun Journalists Association is founded.
  • 1966 – Denizlispor professional football club is established at the General Assembly meeting held in Denizli with the participation of Çelik Yeşilspor and Pamukkale youth clubs.
  • 1968 – Prime Minister Süleyman Demirel said: “Those who want to change the order are madmen, anarchists”.
  • 1970 – The Tupolev Tu-144 supersonic aircraft built by the Soviet Union becomes the first commercial aircraft to exceed the speed of Mach 2.
  • 1971 – Poet Fazıl Hüsnü Dağlarca is arrested.
  • 1971 – Cinematographer Yılmaz Güney is arrested.
  • 1972 – The Ballistic Missile Limitation Treaty is signed between the United States and the USSR.
  • 1973 – Çetin Altan receives the Orhan Kemal Novel Award for his novel “The Great Eye”.
  • 1982 – Written by Yılmaz Güney and directed by Şerif Gören yol Costa Gavras won the Palme d’Or at the Cannes Film Festival. Lost (Faded away) shared with the movie.
  • 1983 – 12th execution of September 46 coup: Abdülaziz Kılıç, who killed worker Nusret Ateş by hitting his head with a cut in the head and wounding three other workers, was executed on December 12, 1978 in order to steal their money.
  • 1983 – Foundation of the Social Democratic Party (SODEP); Erdal İnönü was elected President General.
  • 1992 – Talip Apaydın receives the Orhan Kemal Novel Prize for his novel “The Villagers”.
  • 1993 – Salman Rushdie satanic verses started publishing his book Bright log was collected.
  • 1997 – During the Susurluk accident hearing, truck driver Hasan Gökçe was ordered to pay a fine of 6 million 420,000 liras and to pay 100 million liras to the family of DYP deputy Şanlıurfa Sedat Edip Bucak .
  • 1999 – The eighth chamber of the Council of State decides to dismiss veiled civil servants who refuse to serve without a headscarf, without warning.
  • 2003 – A plane belonging to Ukraine Airlines crashes near the Maçka district of Trabzon. In the plane carrying Spanish Peace Corps soldiers, 62 soldiers and 13 crew members were killed.
  • 2006 – The May 6.3 Java earthquake with a magnitude of 2006 occurred. At least 5,749 people were killed, 38,568 injured and 600,000 people left homeless in the earthquake.[1]
  • 2008 – Floods began in China, killing 148.


  • 1564 – Imam-i Rabbani, Indian Islamic scholar and Sufi leader (died 1624)
  • 1566-III. Mehmet, 13th Sultan of the Ottoman Empire (died 1603)
  • 1623 – William Petty, English economist, scientist and philosopher (died 1687)
  • 1650 – John Churchill, English general[2] (died 1722)
  • 1689 – Lady Mary Wortley Montagu, English writer (known for her detailed observations of Ottoman society) (died 1762)
  • 1867 – Mary Teck, Queen of the United Kingdom (died 1953)
  • 1874 – Henri Farman, Anglo-French pilot and engineer (died 1958)
  • 1895 – Dorothea Lange, American document photographer (died 1965)
  • 1904 – Necip Fazıl Kısakürek, Turkish poet, writer and thinker (died 1983)
  • 1907 – John Wayne, American actor and Academy Award winner for Best Actor (died 1979)
  • 1912 – Jay Silverheels, American actor (died 1980)
  • 1913 – Peter Cushing, English actor (died 1994)
  • 1919 – Rubén González, Cuban pianist (member of the Buena Vista Social Club) (died 2003)
  • 1926 – Miles Davis, American jazz trumpeter and composer (died 1991)
  • 1931 – Tarık Dursun K., Turkish writer and publisher (died 2015)
  • 1940 – Levon Helm, American rock musician (died 2012)
  • 1944 – Can Gürzap, Turkish film, theater and TV series actor, writer and trainer
  • 1946 – Mick Ronson, English guitarist, composer and producer (died 1993)
  • 1948 – Stevie Nicks, American singer-songwriter
  • 1949 – Ward Cunningham, American computer programmer
  • 1949 – Jeremy Corbyn, British politician
  • 1951 – Sally Ride, American astronaut and astrophysicist (died 2012)
  • 1954 – Alan Hollinghurst, English writer
  • 1954 – Wolfgang Sidka, former German footballer and coach
  • 1954 – Lisbeth Zwerger, Austrian children’s book illustrator
  • 1957 – Uğur Yücel, Turkish actor, director and screenwriter
  • 1962 – English singer under the stage name Black (died 2016)
  • 1964 – Ilkay Akkaya, Turkish musician
  • 1964 – Lenny Kravitz, American singer, songwriter, producer and arranger
  • 1964 – Nazlı Tosunoğlu, Turkish theater, film and TV series actress
  • 1966 – Helena Bonham Carter, English actress
  • 1967 – Kristen Pfaff, American bassist (died 1994)
  • 1968 – Frederik, heir to the Danish throne
  • 1971 – Matt Stone, Jewish American actor
  • 1973 – Magdalena Kožená, Czech mezzo-soprano
  • 1975 – Suat Suna, Turkish singer
  • 1977 – Luca Toni, Italian footballer
  • 1979 – Mehmet Okur, Turkish basketball player
  • 1981 – Anthony Ervin, American swimmer
  • 1981 – Eda-Ines Etti, Estonian singer
  • 1982 – Monique Alexander, American porn star and nude model
  • 1982 – Hasan Kabze, Turkish footballer[3]
  • 1982 – Maya Petrova Russian handball player
  • 1983 – Demy de Zeeuw, former Dutch footballer
  • 1986 – Àstrid Bergès-Frisbey, Spanish-French actress
  • 1988 – Juan Cuadrado, Colombian national footballer
  • 1989 – Tomáš Pekhart, Czech international footballer
  • 1991 Julianna Rose Mauriello, American actress
  • 1992 – Jenni Vähämaa, Finnish figure skater


  • 946 – Edmund I, King of England from 939 until his death (b. 921)
  • 1421 – Çelebi Mehmet, 5th Sultan of the Ottoman Empire (b. 1389)
  • 1512-II. Bayezid, 8th Sultan of the Ottoman Empire (b. 1447)
  • 1703 – Samuel Pepys, English writer (b. 1633)
  • 1864 – Charles Sealsfield, American journalist (b. 1793)
  • 1877 – Richard Hawes, American politician (b. 1797)
  • 1883 – Abdulkadir Algeria, leader of the Algerian people, clergyman and soldier (b. 1808)
  • 1895 – Ahmed Cevdet Pasha, Turkish statesman and scientist, historian, lawyer and poet (b. 1822)
  • 1908 – Mirza Ghulam Ahmed, founder of the Ahmadi religious movement (b. 1835)
  • 1917 – Boris Drangov, Bulgarian colonel and war pedagogue (b. 1872)
  • 1933 – Jimmie Rodgers, American country, blues and folk singer (b. 1897)
  • 1943 – Edsel Ford was president of Ford Motor Company from 1919 until his death in 1943 (b. 1893)
  • 1944 – Christian Wirth, senior German police officer and SS officer (b. 1885)
  • 1948 – Theodor Morell, German physician (b. 1886)
  • 1952 – Emilie Flöge, Austrian fashion designer and businesswoman (b. 1874)
  • 1955 – Alberto Ascari, Italian Formula One driver born in Milan (born 1918)
  • 1969 – Allan Lockheed, American aircraft designer (b. 1889)
  • 1976 – Martin Heidegger, German existentialist philosopher (b. 1889)
  • 1982 – Semra Ertan, Turkish immigrant worker and writer against xenophobia (b. 1956)
  • 1990 – Emil Konopinski, American nuclear scientist (b. 1911)
  • 1991 – İzzettin Ökte, Turkish composer and tanbur player (b. 1910)
  • 1995 – Doğan Kasaroğlu, Turkish journalist, politician and general manager of TRT (b. 1933)
  • 1997 – Manfred von Ardenne, German research and application physicist and inventor (b. 1907)
  • 2001 – Alberto Korda, Cuban photographer (born in 1928)
  • 2005 – Eddie Albert, American actor (born in 1906)
  • 2005 – Sangoulé Lamizana, soldier and politician from Upper Volta (now Burkina Faso) (born in 1916)
  • 2005 – Ruth Laredo, American classical pianist (b. 1937)
  • 2008 – Sydney Pollack, director, producer, actress and winner of the Academy Award for Best Director (born 1934)
  • 2012 – Orhan Boran, Turkish radio and television presenter and actor (born 1928)
  • 2013 – Jack Vance, American author (born in 1916)
  • 2015 – Vicente Aranda, Spanish director, producer and screenwriter (born in 1926)
  • 2016 – Dumitru Teoderescu, Romanian football manager (born in 1939)
  • 2017 – Toni Bertorelli, Italian actress (born in 1948)
  • 2017 – Laura Biagiotti, Italian fashion designer and cosmetologist (born in 1943)
  • 2017 – Zbigniew Brzezinski, American politician (born in 1928)
  • 2018 – Alan Bean, retired American naval officer and aviator, aeronautical engineer, test pilot and NASA astronaut (born 1932)
  • 2018 – Pierre Bellemere, French writer, novelist, radio host, television host, television producer, director and actor (born in 1929)
  • 2018 – Ted Dabney, American electronics engineer (born 1937)
  • 2019 – Abdullatif ez Zein, Lebanese politician (born in 1932)
  • 2019 – Eşref Kolçak, Turkish television and film actor and theater actor (born 1927)
  • 2019 – Stephen Thorne, English actor (born in 1935)
  • 2019 – Prem Tinsulanonda, retired Thai military officer (born 1920)
  • 2020 – Michael Athans, Greek-American teacher (born 1937)
  • 2020 – Samvel Gasparov, Russian director and novelist (born in 1938)
  • 2020 – Richard Herd, American actor (born in 1932)
  • 2020 – Irmgard Hermann, German actress and assistant director (born in 1942)
  • 2020 – İsmail Hakkı Karadayı, Turkish general and 22nd Chief of the General Staff (b. 1932)
  • 2020 – Vladimir Lopuhin, Russian economist and politician (born in 1952)
  • 2020 – Christian Mbulu, English footballer (born in 1996)
  • 2021 – Abdul Wahab Al-Dailami, Yemeni politician (born 1938)
  • 2021 – Tarcisio Burgnich, former Italian international footballer (born 1939)
  • 2021 – Arturor de Jesús Correa Toro, Colombian Catholic Bishop (b. 1941)
  • 2021 – Heidi Ferrer, American screenwriter and actress (born in 1970)
  • 2021 – Ben Kruger, South African actor and writer (born in 1957)
  • 2021 – Kay Lahusen, American photojournalist (born in 1930)
  • 2021 – Sureni Senarath, Sri Lankan theatre, film and television actress (born 1959)

Holidays and special occasions

10 Best ‘Rick and Morty’ Episodes of All Time https://willtoexist.com/10-best-rick-and-morty-episodes-of-all-time/ Wed, 25 May 2022 03:02:06 +0000 https://willtoexist.com/10-best-rick-and-morty-episodes-of-all-time/ Picture via IMDb rick and morty is an animated television series for adults. The sitcom was created for Cartoon Network’s late-night lineup and is in its sixth season. It follows the misadventures of mad scientist and anarchist Rick Sanchez and his lovable grandson, Morty, as they travel the universe at Rick’s will. They get into […]]]>

Picture via IMDb

rick and morty is an animated television series for adults. The sitcom was created for Cartoon Network’s late-night lineup and is in its sixth season. It follows the misadventures of mad scientist and anarchist Rick Sanchez and his lovable grandson, Morty, as they travel the universe at Rick’s will. They get into all sorts of trouble, often at Morty’s expense.

It’s a crude, offensive, and utterly hilarious show that’s well worth watching, especially if you’re the existential type who likes to enjoy a late-night show that will make you think about existence and the metaphysics of the universe. So, without further ado, here are the 10 best episodes of Rick and Morty.

10. “Look Who’s Purging Now” (S2:E9)

Image via Adult Swim

Rick and Morty and fly their ship through space when Rick decides to stop on an alien planet for windshield washer fluid. They soon discover that this planet is a purge planet, which means that once a year they have “The Festival”, during which crime is tolerated. Citizens engage in open warfare, murder and anarchy.

Unfortunately, Rick’s morbid curiosity gets the better of him, and he offers that he and Morty stay to watch. Although Morty refuses, Rick ignores his pleas and stays. These careless actions result in their downfall as they are stranded on the planet and must survive until they return home or the festival ends.

9. “Anatomy Park” (S1:E3)

Image via Adult Swim

It’s Christmas at the Smith house, and the regular shenanigans continue. Jerry has to deal with the fact that his parents have brought a third person, James, into their relationship.

As Jerry tries to figure out his parents’ unorthodox new love life, Rick shows up with a homeless man in Santa Claus gear, whom he briefly introduces as Ruben, then takes him to the garage. Rick then shrinks Morty and sends him on a boat into Ruben’s body. Morty finds a Jurassic Park-style amusement park where the attractions are the various parts of Ruben’s body.

However, after Ruben’s death, Morty and a team of those building the park must escape before his death causes their deaths.

8. “Lawn Mower Dog” (S1:E2)

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Jerry complains that the family dog, Snuffle, is stupid, so Rick creates a device that will increase Snuffle’s intelligence. However, Jerry didn’t get what he bargained for as the dog’s sentience causes him to rise up against the family and overthrow the humans.

Simultaneously, in a Creation-like fashion, Rick and Morty enter the dreams of Morty’s math teacher, Mr. Goldenfold, to convince him to give Morty an A in math. They dream and encounter bizarre characters such as Mrs. Pancakes, a strong black woman who is a television character, and Scary Terry, a parody of Freddy Krueger. But when they’re stuck in Mr. Goldenfold’s deviant dreams, they must go to great lengths to get out alive with their lives, and Morty’s “A”, intact.

7. “Meeseeks and Destroy” (S1:E5)

Image via Adult Swim

After a particularly perilous adventure, Morty tries to forgo all future excursions with Rick until Rick agrees to embark on a fun, lighthearted adventure. However, before Rick and Morty can set off on their whimsical getaway to a fantasy land, the Smith family begins pestering Rick to help with mundane tasks he considers inferior to him. To offload his responsibilities, Rick gifts the family with a Meeseeks Box, which can produce in form of Meeseeks whose primary purpose is to solve the user’s problem. It goes awry when Jerry asks the Meeseeks to help him take two strokes off his golf game. When the Meeseeks cannot help Jerry with his sub-par golf skills, mayhem and mayhem ensue as more and more Meeseeks are brought up and grow increasingly disillusioned with their situation.

Meanwhile, Rick and Morty embark on their “fun” adventure where Morty fantasizes about a pleasurable experience that didn’t end in pandemonium. As usual, things don’t go as planned, and Rick and Morty find themselves in much hotter water than expected.

6. “Interdimensional Cable 2: Temptation of Fate” (S2:E8)

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Jerry eats a pint of Cherry Garcia from Rick’s freezer drawer, discovers it contained dangerous bacteria, and is rushed to an alien hospital for treatment. While waiting for Jerry to be treated, Rick breaks the decoder in the waiting room and plugs in the interdimensional cable. The following are ridiculous scenarios such as Man against cara TV show in which a man fights a car and a “Lil’ Bits” commercial advertising a restaurant that specializes in serving small dishes to people with small mouths.

Meanwhile, Jerry makes the mistake of agreeing to help a man named Shrimply Pibble by donating his penis, which suits Shrimply Pibble’s failing heart perfectly. Once he realizes his blunder, he tries to get out of the situation by imploring his wife Beth for her interference and using medical information from Shrimply Pibble to try to turn the mob against him.

The absurd nature and the fact that this episode was improvised makes it worthy of being one of the top 10 episodes.

5. “Total Rickall” (S2:E4)

Image via Adult Swim

Rick follows a villainous infestation of aliens capable of implanting memories in people’s minds. As a result, the Smith house is locked down until they can eliminate them. What follows is violence and the Smith family wonders if any of it is real. But the ones that aren’t real are humorous characters like Sleepy Gary (Beth’s fake husband who’s engaged in an affair with her real husband, Jerry), an interesting take on Frankenstein’s monster, and Mr. Beauregard, the “butler ” of the family. ”

The concept was based on adding the character of Dawn in buffy the vampire slayer. One of the writers found the idea of ​​implanting memories disturbing, and so this episode was created.

4. “Big Trouble in Little Sanchez” (S2:E7)

Image via Adult Swim

One morning over breakfast, Morty reveals that one of the school lunch ladies was found dead, her body drained of blood and her neck showing bite marks, indicating a vampire attack. After Summer asks Rick to transport her spirit into a teenager to come to school and apprehend the vampire, Rick derisively rejects the call. However, after careful consideration, Rick complies with Summer’s pleas and transports his mind to a younger version of himself whom he gave the nickname “Little Rick”. Rick, Morty and Summer then go in search of the vampire, throw parties and attend a school dance as Rick grapples with the consequences of being an anxious teenager.

Simultaneously, Beth and Jerry go “off-planet” for marriage counseling where they don a helmet that makes their perception of each other real. The results are hilarious with Jerry’s perception of Beth looking like the xenomorph queen of the Extraterrestrial candor, and Beth’s perception that Jerry is a spineless worm who cowers at the slightest provocation.

3. “The Ricks Must Be Crazy” (S2:E6)

Image via Adult Swim

Rick, Morty and Summer are on an alien planet for a movie showing when Rick discovers a problem with his car battery. As a result, he and Morty enter the battery and visit its inhabitants who create energy by stomping on Gooble Boxes. Meanwhile, Summer stays in the car after Rick orders the vehicle to “keep Summer safe”. This turns out to be more complicated than expected, as the car takes its mission very seriously and kills and maims people in the process.

Back in the microverse, Morty is reluctant to tolerate the practices Rick employs to keep the occupants powering his car battery. Morty describes the practice as “slavery with extra steps”, which Rick denies even after finding the individual who created technology similar to Gooble Boxes that renders them obsolete.

This is an existential episode that invites us to reflect on the question “what if we were in a simulation”. Indeed, the entire show wrestles with many hypothetical questions related to human existence. That alone makes this episode one of the best.

2. “Get Schwifty” (S2:E5)

Image via Adult Swim

After giant heads named Cromulons appear in the sky asking Earth to “show me what you got”, Rick and Morty go to the Pentagon to help. They must team up with Ice-T to produce a hit single that will win the Cromulon game show Earth has been unwittingly selected to participate in. The pressure is palpable since an earthquake struck the Grammy Awards, killing all of Earth’s most prominent musicians. . Rick, Morty, and Ice-T are Earth’s only possible contestants for the song contest. And the stakes are high, with the fate of the world resting on their shoulders.

They’re not exactly a dream team, but they must make it work to save the world despite Rick’s flippant attitude to the situation, Ice-T’s apathy, and Morty’s lack of trust in Rick.

1. “Pickle Rick” (S3:E3)

Image via Adult Swim

In this episode, Morty’s desk bedwetting and Summer’s pottery glaze prompted the Smith family to seek school-advised family therapy. To Morty’s amazement, he discovers that Rick turned into a pickle to get out of the therapy session. The family sets off to teach Rick a lesson before he’s tossed into the sewers after an unexpected storm. On his journey, he must create an exo-suit from the body parts of various vermin he encounters, battle enraged rodents, and engage in a helicopter fight-and-escape scene that looks suspiciously like die hard. Simultaneously, Morty, Summer and Beth are cross-examined by the insightful Dr. Wong, who suggests that the family’s problems stem from Rick. Who would have guessed?

The episode encapsulates the family dynamic perfectly: Summer and Morty’s engaging behaviors typical of troubled minors, Rick’s blatant disregard for the responsibility he has to his family, Beth’s denial of her father’s indifference, and even the absence of Jerry who is stereotypical of an absent parent.