They're not entirely responsible, but take a look around at the rising stars of the alt-right… young people.

That's not entirely true. In the '90s, "political correctness" was often an idea fought against by liberals against other factions of their ideology (Tipper Gore, campus politics). Maybe that doesn't count as "modern context." What's changed since then is that transgression, which was once a leftwing tactic, is now…

It's not even that fresh of a take. People have been throwing around (usually in semi-jest) the term "South Park conservatives" for a while.

This is correct. The problem the Orwellian extremes of both the left and right have with each other is that they're both fucking assholes to people. I don't really concern myself with the right's psychology, because they're too far-gone, but, yes, this part of the left is too incapable of looking at itself critically…

Yeah, but if you're a satirist rather than a propagandist, it's your job to stand outside looking in. It's even been argued that South Park is occasionally TOO preachy, but ultimately what you're describing isn't different from what Mike Judge does either. Exposing human folly on both sides isn't an amoral standpoint.

I don't know, I found this really enjoyable (on the Malcolm D. Lee scale it's better than WELCOME HOME, ROSCOE JENKINS but beneath ROLL BOUNCE), even if it basically shares the same weird message as ROUGH NIGHT that the most important thing in the world is female friendships.

I actually thought the same comparison. However, When the Pawn really was shockingly smart, and this just feels, very self-conscious…

It's quite terrible.

Thank you, Robert McKee.

Yeah. As someone else mentioned, this seems like material Rob Zombie is always going after. He's a less talented writer than Tarantino (and frankly his movies aren't as good), but his movies often seem legitimately disturbed by their material. And I'm not one for celebrity gossip, but I read on some insider blog years…

Django is definitely a revenge film. There's a revenge "element" to Hateful 8. IB… c'mon, dude. It's irrelevant if Death Proof is a horror movie; it's still about revenge. It's the primary thematic concern of Tarantino's movies now that he isn't working with a co-writer or someone else's material.

This is the correct opinion.

I saw it once, felt it was made in bad faith, and didn't feel the need to see it again. So I'm not TOO familiar with it.

Well, he has been to war.

Hey. Sorry, I did edit that almost immediately after posting—but you hadn't replied yet.

I would disagree with you on the intent. Wes Craven and Oliver Stone both had the same complaint about Tarantino—that he only understands violence as a cool movie "effect." There's a place for this to be sure, and I like the stretch from Pulp Fiction to Kill Bill Vol 1 quite a bit (plus half of Death Proof and half of…

The exact problem with Django Unchained is that it wants to be fun. If people are skeptical of Tarantino, it's because he's only demonstrated that he's capable of framing scenes of violence as a romp.

Yeah, I didn't feel like this episode was really that unusual of an information dump. It felt like a regular episode of the show, where mysteries deepen and some layers are getting peeled away.

The character is portrayed as the epitome of cool, and part of that is he's oblivious to how cool the movie thinks he is.

It's obnoxious from the first scene, which is well choreographed, but the whole message is "look at how cool this dork is!" And then you realize the whole movie is a dork trying to be cool.