The Four Color Media Monitor

With what looks to be the next wokefest from Marvel movies drawing near, Vanity Fair interviewed Nia daCosta, the director of The Marvels, and along the way, this classic bit of tarring comes up:

As she awaits the release of The Marvels in November, DaCosta has decamped from social media. Captain Marvel, which was directed by Anna Boden and Ryan Fleck, may have been an enormous hit, but it was also one of the few female-fronted films in the studio’s universe—and, not coincidentally, the recipient of sexist vitriol from the darkest corners of the fandom. As for The Marvels, it centers on three women, including the first Muslim superhero in one of the studio’s movies. “I’m just girding myself for it,” DaCosta says. “I am a sensitive soul, and I think maybe more of us are than we want to admit.”

Here we go again with the obscuration of any criticism based on merit, as the magazine's writers are clearly uninterested in how pretentious the 2019 movie actually was, shoving "toxic masculinity" down everyone's throats, and making it sound like it's wrong for a man to fall in love with a woman. Why, IIRC, even Gal Gadot's Heart of Stone on Netflix took a vaguely similar approach, where she's "not required to have a love interest", or more specifically, a boyfriend. And then they play both ends against the middle by making it sound like male fandom literally doesn't want a movie starring a woman! The hypocrisy is astounding.

DaCosta is also still grappling with the breakthroughs she’s made, including the fact that The Marvels is the highest-budgeted film ever helmed by a Black woman. (DuVernay’s A Wrinkle in Time previously held that title with $100 million.) On sets, she’s noticed that the way she’s spoken to, or heard, is different than it would be for someone who doesn’t look like her. “Sometimes as a Black woman, you realize that [people think] you take up more space than you actually do, or your voice sounds louder to people than it actually is, or your tone is more stern than it actually is,” she says.

I couldn't tell clearly from the VF article, but according to Comic Book Movie, the budget's supposed to be $130 million. By today's standards, that's probably pretty modest indeed for a blockbuster that could be clogged with special effects regardless. But seeing how woke this movie looks to be, right down to the emphasis on Islam, with no chance at all there'll be any objective view of the Religion of Peace, that's why I'd rather stay far away from it myself. Surely most absurd is how a film that'll likely be touted as feminist would actually present Islam in a normalized manner, despite all the contradictions. If the movie emphasizes LGBT ideology, the same could be said there too. And seriously, is she saying blacks get different reception in every way than whites on a movie set? She followed up on this part talking about an earlier project:

Despite having Peele’s full support on Candyman, DaCosta says that some “ridiculous” things happened on that set, with crew members saying “things that are super inappropriate, that you would just never say to anyone else because they were so specific to my gender, my race, my age.” She had a very different experience on The Marvels, fortunately, in part because she had the power to hire the people she wanted for her team. “I realized it wasn’t ever gonna be about how much power I amassed or how many great movies I made, or if I won awards, it was always just going to be the people that I surrounded myself with,” she says. “The thing that I’ve been most surprised by lately is how much respect I’m getting from these middle-aged white dudes that I work with.”

Is she resorting to victimology, or is she revealing how even in today's Hollywood, crudeness can still prevail in an age of wokeism? I don't know, but it seems silly to suggest the branch in charge of the Marvel adaptations is literally better from a moral perspective than the previous studio's was. Making matters even more troubling:

DaCosta is also attached to direct an adaptation of Ta-Nehisi Coates’s novel The Water Dancer, a surrealist story about an enslaved man who discovers a mysterious power after almost drowning in a river. But she insists that her plan after Hedda is to take a break, having worked constantly for eight years. DaCosta is single—“Know anybody?” she asks me with a laugh—and wouldn’t mind staying in London, which she’s begun to view as home after living there for back-to-back projects. But taking time off may be a challenge for someone who’s never at a loss for inspiration. “She works nonstop and is a fountain of ideas,” says Feige. “She would spend time in between setups pitching me other movies and other ideas and other stories, because that’s the way her mind works.”

How fascinating they emphasize this particular tale by far-left Coates as surreal, considering there's only so many other movies drawing from woke ideology where they don't acknowledge it's unrealistic, and promote them as though they were. The Barbie movie, turned out by the same Warner Brothers studio that's behind many of the DC adaptations and practically owns them, sadly enough, had something like that done by the filmmakers and producers. If men like Coates are the company daCosta wants to keep, that's why it's better to avoid her movies, including this new sequel to one of the most overrated Marvel films of the past decade.

Labels: islam and jihad, marvel comics, msm propaganda, politics