Well, I was gonna take longer on this post, but I went to reblog something today and came to the frankly startling realization that some of you clowns already have me blocked? Babes, I haven’t done anything yet. At least let me do something first.
Anyways, here’s why there isn’t any moral greyness in the Avatar franchise villains, you guys are just horny:
I know I said it a bajillion times on this blog, but the point of Avatar is to make a direct statement on colonialism, genocide, and ecological harm. It touches all these interconnected themes; militarism, imperialism, racism, colorism, and it comes at them in a way that is supposed to give you an unbiased view of this. We are not watching a movie about Earth and about the genocide of our indigenous peoples because a lot of people already have preconceived notions about these topics. Please see my lovely studious deracination post for more detail, but essentially; Sometimes it’s easier to approach these issues when you (white people) don’t feel like they are targeting you (white people).
You are supposed to sympathize with the Na’vi. You are supposed to see things from their perspective, and maybe gain the ability to understand the complexity and harm that caused by all these big themes I mentioned above. A prevalent theme in The Way of Water is this long lasting trauma felt in these communities, especially displayed in Neytiri and her subsequent treatment of Spider. You are supposed to See, understand? That is moral greyness, something you the viewer knows that is wrong in a protagonist character, but you understand why and how they ended up there. You are torn.
And sometimes, the way you read or view a narrative that employs studious deracination allows you to look at yourself and your own biases more. Basically what I’m saying is sympathizing more with the recoms and Quaritch is more of a you thing, guys.
I’ll say this again, there is nothing wrong with finding them hot, villains are fun. I am a huge fan of Quaritch in the first movie, especially the scenes where he holds his breath to shoot at Trudy’s Sampson. He’s a great villain! But he is not redeemable. Quaritch not only is our main representation for all the genocide, colonialism, imperialism, and racism present in the themes and inspiration behind the script, but he also doesn’t do anything to deserve redemption?
For real world issues such as the ones Quaritch represents, there should be direct addresses and attempts to unlearn behaviors and make amends in order to redeem that character without presenting those issues as non-issues. Think Zuko in A:TLA. Direct amends, directly addressed, and no one has ever excuses his actions because he is the first to condemn them. What people think makes Quartich redeemable is being (questionably) nice to his son. That is entirely unrelated to what he needs to be redeemed for, and is therefore not relevant. Not to mention the mountains of Stockholm Syndrome, trauma, damage, and harm he actually did to that kid, but oh well. Don’t get me started on Quartich’s Lima Syndrome.
He still kidnaps and tries to kill many innocent children (even unrelated children, he didn’t know who the Sully’s were at first just random Na’vi kids and a human that he also kidnaps before knowing him, and he takes Tsireya captive at the end too) just to get to their dad, kidnaps Spider and takes him to be tortured (yes that’s his fault), manipulates Spider into helping the recoms (telling him he can stay and be tortured or come with them is not a choice, that is a manipulation tactic), kills the ilu to torture the Ta’unui, has the tulkun killed and displayed specifically to bait Jake and the Metkayina into a war, burns down the Ta’unui village, and tries to kill the Tsahík of the Ta’unui (important to note he had to have learned what a Tsahík was likely from Spider to have used to term, knew what she was to the clan and how important she was and choose her to target) and only didn’t because Spider begged for her life. I feel like I shouldn’t have to say this, but guys. If he doesn’t kill a defenseless and random unrelated woman just because his own kid asks him not to, thats actually not good! It’s not a good reason! That’s not developing a moral compass actually! We can say all we want that old human Quaritch wouldn’t have stopped because of Spider: you don’t fucking know! Dude could have loved his kid so much and that was his whole driving reason to burn Hometree to the ground, so he could make it all nice for his kid. It actually just doesn’t make it okay or redeemable. It’s not morally grey, his morals are clear. He does not feel bad for what he’s done, that’s clear. Bad people can also like their kids, and also have slutty waists.
For the other recoms, I hope I do not have to explain that not a single one of them does a single thing to even suggest they could be redeemed. The fact that they were brought back does not bode well for their records. Lyle Wainfleet has now killed two named Avatar characters, he killed Seze in Avatar as well as Neteyam. Dude was pissed when Trudy didn’t let him help shoot at Hometree lol. The military industrial complex doesn’t need ur help with their image lol.
Again, go crazy go stupid for them all. But let’s remember the point of this whole thing here. The military genocide boys are not getting redeemed in Avatar, guys, and they are certainly not raising that kid.
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tagged by @herbaklava @timrothencrantz and @wutheringdyke to post my top nine new-to-me watches of the year—thank you all!
in no particular order (l-r, top row to bottom row):
skinamarink (kyle edward ball, 2023)
great freedom (sebastian meise, 2021)
earth mama (savanah leaf, 2023)
nineteen eighty-four (michael radford, 1984)
enys men (mark jenkin, 2022)
marina abramović & ulay: no predicted end (kasper bech dyg, 2022)
paris 5:59: théo & hugo (olivier ducastel and jacques martineau, 2016)
nationtime (william greaves, 1972)
giants and toys (yasuzo masumura, 1958)
while i hit my continual goal of half of the films by women and nonbinary filmmakers, i still definitely need to keep up with deliberately seeking out films by directors of color! tell me your faves if you’ve seen any of these; do we think i can hit 150 titles in 2024? 👀🎬🍿🎥
i'll tag @sightofsea / @lesbiancolumbo / @nelson-riddle-me-this / @draftdodgerag / @edwardalbee / @majorbaby / @radioprune / @glennmillerorchestra / @deadpanwalking and anyone else who'd like to do this!
my full watchlist is included under the cut, favorites of the year are bolded in red:
The Final Exit of the Disciples of Ascensia (Jonni Phillips, 2019)
Nothing Bad Can Happen (Katrin Gebbe, 2013)
Dive (Lucía Puenzo, 2022)
The Menu (Mark Mylod, 2022)
The Wonder (Sebastián Lelio, 2022)
The Whale (Darren Aronofsky, 2022)
Shapeless (Samantha Aldana, 2021)
Skinamarink (Kyle Edward Ball, 2023)
Avatar: The Way of Water (James Cameron, 2022)
Actual People (Kit Zauhar, 2021)
Honeycomb (Avalon Fast 2022)
Warrendale (Allan King, 1967)
Women Talking (Sarah Polley, 2022)
This Place Rules (Andrew Callaghan, 2022)
Nationtime (William Greaves, 1972)
Deep End (Jerzy Skolimowski, 1970)
Incident in a Ghostland (Pascal Laugier, 2018)
Keane (Lodge Kerrigan, 2004)
I Start Counting (David Greene, 1970)
Bones and All (Luca Guadagnino, 2022)
Tár (Todd Field, 2022)
The Most Dangerous Game (Ernest B. Schoedsack and Irving Pichel, 1932)
These Three (William Wyler, 1936)
Dead End (William Wyler, 1937)
The Sport Parade (Dudley Murphy, 1932)
We're All Going to the World's Fair (Jane Schoenbrun, 2021)
Ratcatcher (Lynne Ramsay, 1995)
Smile (Parker Finn, 2022)
Holiday (Isabella Eklöf, 2018)
When Women Kill (Lee Grant, 1983)
Softie (Samuel Theis, 2021)
My Old School (Jono McLeod, 2022)
Beyond The Black Rainbow (Panos Cosmatos, 2010)
The Diary of a Teenage Girl (Marielle Heller, 2015)
Infinity Pool (Brandon Cronenberg, 2023)
Murina (Antoneta Alamat Kusijanovic, 2021)
The Banshees of Inisherin (Martin McDonagh, 2022)
Doubt (John Patrick Shanley, 2007)
Enys Men (Mark Jenkin, 2022)
Bully (Larry Clark, 2001)
My King (Maïwenn, 2015)
Festen (Thomas Vinterberg, 1998)
Marina Abramovic & Ulay: No Predicted End (Kasper Bech Dyg, 2022)
Elles (Małgośka Szumowska, 2011)
Poison Ivy (Katt Shea, 1992)
ear for eye (debbie tucker green, 2021)
Spring Blossom (Suzanne Lindon, 2020)
God's Creatures (Saela Davis and Anna Rose Holmer, 2023)
I Blame Society (Gillian Wallace Horvat, 2020)
Bama Rush (Rachel Fleit, 2023)
Is This Fate? (Helga Reidemeister, 1979)
Paris 5:59: Théo & Hugo (Olivier Ducastel and Jacques Martineau, 2016)
Madeline's Madeline (Josephine Decker, 2018)
The Strays (Nathaniel Martello-White, 2023)
Here Is Always Somewhere Else (René Daalder, 2007)
The Weather Underground (Sam Green and Bill Siegel, 2002)
American Revolution 2 (Mike Gray, 1969)
Judas and the Black Messiah (Shaka King, 2021)
Underground (Emile de Antonio, Mary Lampson, and Haskell Wexler, 1976)
Saint Omer (Alice Diop, 2022)
Baby Ruby (Bess Wohl, 2022)
Welcome to Me (Shira Piven, 2014)
Clock (Alexis Jacknow, 2023)
Knock at the Cabin (M. Night Shyamalan, 2023)
Blue Jean (Georgia Oakley, 2022)
Soft & Quiet (Beth de Araújo, 2022)
Jesus' Son (Alison Maclean, 1999)
The Rehearsal (Alison Maclean, 2016)
Violent Playground (Basil Dearden, 1958)
Grizzly Man (Werner Herzog, 2005)
A Banquet (Ruth Paxton, 2021)
Jagged Mind (Kelley Kali, 2023)
The Night Porter (Liliana Cavani, 1974)
Good Boy (Viljar Bøe, 2023)
Sanctuary (Zachary Wigon, 2022)
Little Girl (Sébastien Lifshitz, 2020)
Séance on a Wet Afternoon (Bryan Forbes, 1964)
Massacre at Central High (Rene Daalder, 1976)
Summer of Soul (Amir "Questlove" Thompson, 2021)
Bad Things (Stewart Thorndike, 2023)
Still (Takashi Doscher , 2018)
Lake Mungo (Joel Anderson, 2008)
The Vanishing (George Sluizer, 1988)
The Ringleader: The Case of the Bling Ring (Erin Lee Carr, 2023)
Giants and Toys (Yasuzo Masumura, 1958)
Spoonful of Sugar (Mercedes Bryce Morgan, 2022)
Double Lover (François Ozon , 2017)
Hereditary (Ari Aster, 2018)
Bodies Bodies Bodies (Halina Reijn, 2022)
Don't Call Me Son (Anna Muylaert, 2016)
Great Freedom (Sebastian Meise, 2021)
Mother! (Darren Aronofsky, 2017)
The Mind of Mr. Soames (Alan Cooke, 1970)
The Bloody Child (Nina Menkes, 1996)
Bunker (Jenny Perlin, 2021)
Polytechnique (Denis Villeneuve, 2009)
Scouts Honor: The Secret Files of the Boy Scouts of America (Brian Knappenberger, 2023)
The Woodsman (Nicole Kassell, 2004)
Giant Little Ones (Keith Behrman, 2018)
The Killing of a Sacred Deer(Yorgos Lanthimos, 2017)
Nineteen Eighty-Four (Michael Radford, 1984)
Saltburn (Emerald Fennell, 2023)
Renaissance: A Film by Beyoncé (Beyoncé Knowles-Carter, 2023)
May December (Todd Haynes, 2023)
Free Chol Soo Lee (Julie Ha and Eugene Yi, 2022)
Girl (Lukas Dhont, 2018)
Queen of Hearts (May el-Toukhy, 2019)
Streetwise (Martin Bell, 1984)
System Crasher (Nora Fingscheidt, 2019)
Burden (Richard Dewey and Timothy Marrinan, 2016)
As Above, So Below (Larry Clark, 1973)
The Captive (Chantal Akerman, 2000)
Run Rabbit Run (Daina Reid, 2023)
Subject (Jennifer Tiexiera and Camilla Hall, 2022)
Earth Mama (Savanah Leaf, 2023)
Woodshock (Kate Mulleavy and Laura Mulleavy, 2017)
Swept Away (Lina Wertmüller, 1974)
Meadowland (Reed Morano, 2015)
Brainwashed: Sex-Camera-Power (Nina Menkes, 2022)
La Ciénaga (Lucrecia Martel, 2001)
Zola (Janicza Bravo, 2021)
The Starling Girl (Laurel Parmet, 2023)
Night Comes On (Jordana Spiro, 2018)
Dance, Girl, Dance (Dorothy Arzner, 1940)
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