Meanwhile With Trevor
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Knock At The Cabin Trailer and the New Normal
September 27, 2022
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Yesterday we talked about how going to the movies has been made into a pseudo-spiritual ritual. As you’ll recall, rituals help us learn social norms and give us a sense of control in the midst of chaotic events. 

Once we’ve taken the popcorn and our seats in the silver screen temple, the liturgy begins. And if we’ve arrived on time, it starts not with the main event but with the movie trailers. Everyone has their favorite part of the movie-going experience, and the trailers are that for many people.

A good trailer is often better than the movie itself. We’ve all experienced that. 

Let’s keep in mind that the trailers aren’t their own separate thing, but part of the experience, and that those who run Hollywood want us to have as many experiences with them as possible. They’re the pickup artist building an emotional connection to bring the target back for more, and the trailer is the opening line. The trailer is flashy, concentrated dopamine, more than we’d want for two hours, but enough to grab our attention and intrigue us. Pickup artists call this peacocking, by the way.

Trailers get us thinking about the world of the story and how we’ll fit into it.

The main purpose of my writing is to encourage audiences to engage with their media. I’m not going to say that a movie shouldn’t be watched or is forbidden. I just want people to see how things operate so that no one is deceived. If the ritual presents a social norm that shouldn’t be normal, it’s only by active participation that we can recognize the lie.

So what’s going on with M. Night Shyamalan's new movie trailer?

The trailer for Knock At The Cabin Door is his most viewed trailer yet, and as an advertisement it’s very well done. Will the movie be any good? Of course not. The man lost his artistic vision years ago and the only reason he still has a career is because now he makes movies like this: Movies that support the current agenda.

Storytelling is itself a ritual. A trailer is an incomplete story in miniature.

Every story starts in the Ordinary World, where everything is pretty much perfect. Here we see just another gay couple and their minority little girl singing happily on their way to a remote cabin. Because of its placement and our familiarity with story we’re programed to say, “Okay, this is normal.” Not too long ago you would have gotten punched in the face for saying that, but whatever. 

Don’t question the narrative! Shut up! This is the new normal!

The next step in a story is the Call to Adventure with the arrival of The Herald, and here it’s Dave Bautista coming out of the woods. There’s a threat to the status quo with which our heroes must contend. The way Bautista introduces himself to the little girl is reminiscent of Boris Karlof in the old Frankenstein movie, which may be a hint about the movie’s theme. 

Reason vs Fanaticism, anyone?

As the trailer progresses, we’re given the central conflict. Bautista and his racially diverse group of fanatics think they have to stop the apocalypse. Those crazy religious people, always persecuting the gays and worrying about the end of the world by supernatural means and not climate change. Why racially diverse? Because it could be anyone. ANYONE! 

It would be funny if it wasn’t so insidious. 

What is being presented as good and normal? Who is being demonized? Again, I’m not saying we should boycott the movie. I am saying that we should endlessly laugh at and mock this absurd presentation of normal and all the pandering that went into making it. Step back and question, is this reality? How many lovely gay couples with minority little girls have been persecuted by tatted up Ultra MAGA dudes in your neighborhood this week? 

We can’t let ourselves get caught up in the ritual this time, because as Andrew Klavan said, what we imagine today becomes reality tomorrow. 

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Leo and Britt come face to face with a prehistoric god a new cult on Saturn. Can they save the children doomed to sacrifice and escape?

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Leo and Brittany have arrived on Saturn, but not in the way they'd hoped. Captured by a pagan cult, they don't have time to stop the unthinkable from happening. But they'll try anyway.

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Star Wars is dead and the more apathy you show the faster it will be allowed to rest in peace.

Instead of griping about what Disney has done, why don't you listen to my space adventure story? He Who Rides on the Clouds is supernatural noir that spans space and time. When children on Mars go missing, Alexis Leonard and his ex-wife Brittany go looking. Their search leads them to a pagan temple and an ancient religion.

If you'd like to buy the story and read ahead, it's available in the Fall 2020 issue of Cirsova, available here: https://amzn.to/3yRRywY

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Girl-Power Isn't the Problem: Stop Treating Movies Like TV Pilots

Last weekend I was able to sneak off the theater for a screening of From the World of John Wick: Ballerina. Did I feel silly, telling the high school girl at the ticket counter, “One for Ballerina, and a small drink”? Well, not in the moment. 

I probably drank a liter of cherry vanilla Coke Zero, and that didn’t feel so great.

Plenty of box office analysts and Hollywood types are wracking their brains, trying to figure out why movies like Furiosa and Ballerina aren’t drawing huge crowds. Mad Max and John Wick are popular franchises, but apparently telling the stories of the women in those worlds isn’t working. Even if the movies are pretty good.

I’ve seen both, and they’re pretty good.

Some are arguing that no one will go near a movie that looks like it’s feminist girl-bossing. Others counter that movies like Alien and Kill Bill are female-led action films that were successful. Now, I’m not going to say that Ballerina is on par with those modern day classics. But I will say that, as a man watching the movie, it didn’t offend me. The movie never challenged me to confront any internalized misogyny. The small girl doesn’t take down John Wick in hand-to-hand combat.

Honestly, if you like franchise, whether you’re male or female, you should watch Ballerina.

In short, from a purely cinematic experience perspective, neither Furiosa nor Ballerina would be any better or worse with a male lead. Maybe that’s a hot take. But that’s mine, for whatever it’s worth. Well, okay, I wouldn’t watch a movie called Ballerina if it stared a dude. Nevertheless, I think you get my point. Petite women warriors aside, the plots and action are exactly as expected.

So what’s the deal?

Well, what no one seems to have noticed is that Ripley and The Bride weren’t replacing anyone. As we were watching their movies for the first time, we weren’t thinking about other characters for whom we already had a preference. Movies are more like TV than TV right now, and replacement characters have always been a hard sell, regardless of gender. We all remember Sam and Diane. Who still talks about Sam and Rebecca (even though Kirstie Alley won an Emmy and a Golden Globe for the part)? I had to look up her name. 

No, they aren’t technically replacing them. It’s a spin-off, set in the same world.

Spin-offs tend to succeed when the characters are already well established (eg: Frasier). Furiosa and Ballerina are more like backdoor pilots, where new characters are dropped in for a single episode to sell us on the idea of a new show. This technique is very hit and miss on TV, and I can’t think of a single example of this working in a movie franchise. Film and television are very different mediums, and should be treated as such.

Still, if it doesn’t work on TV, it’s probably not gonna work at the movies. Not where new characters and spin-offs are concerned. 

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Going Back to 1995

Maybe I’m just getting old, but it doesn’t feel like we had the thriving and distinct pop culture of past generations. Has there been a look or stye, or feeling, that defines this moment? Everything seems to have stagnated for the last twenty years. And it’s not as if I don’t pay attention. 

It’s making me nostalgic. 

Consequently, for the rest of the year, I’m prioritizing movies from 1995, the year I was twelve. At that time, my family didn’t really go to the theater, and when we did rent VHS tapes, more often than it is was older Disney movies or entirely forgettable Christian titles. Now that I’ve grown tired of trying to keep up with new releases, not there’s much worth watching anyway, it feels like a good time to catch up on those 30 year old movies that have become ingrained in what’s left of our pop culture.

So over on Criticless, I made a list.

Some of these are movies I’ve seen before, but not in a long time. Others will be first time watches for me. There’s really no rhyme or reason to what I put on my list. It’s just movies that either interest me, or are currently in my collection, sadly unwatched. As things become available on streaming, I may add to the list. And if I don’t get to everything before the end of the year, no big deal.

Hopefully, they aren’t going anywhere. 

I’ll be posting some reviews and analysis as I go, so be sure to follow me here. 

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Ironheart and Superman: A Failure to Launch

Yesterday two trailers were released for upcoming superhero projects. First, we had Marvel's Ironheart, which Disney has been sitting on for years at this point. Apparently it follows Riri Williams (Dominique Thorne), a young black woman at MIT who is (was?) intended to take over for Tony Stark as Ironwhathaveyou. If you haven't seen the trailer yet, take a look.

I stopped paying too much attention to the MCU a long time ago, but apparently Riri was introduced in Wakanda Forever, and her fans have been clamoring for a standalone show ever since (/sarcasm). Watching the trailer, I can't help but notice how many times we're told she's smart and capable. Any suggestion that she can't do something is shot down immediately. We're supposed to believe that The System is against is her because she's poor, I guess, and doesn't have Tony Stark's advantages.

Remember Tony Stark? Sure, he was rich. But he was also a self-absorbed man-child who found himself in a cave in Afghanistan who had to engineer his own escape with scrap parts. Tony Stark, who had to learn about self-sacrifice and the consequences of his actions. Robert Downey Jr. make us like the guy, with his easy charm, even though we wanted to see him grow up. There was room for a character arc. No offence to Dominique, but she doesn't have the charm, and her character clearly has nowhere to go.

A few hours later, Warner Bros./DC released the trailer for James Gunn's Superman, the latest reboot of the iconic superhero. We've been waiting for a good Superman for a long time. Something to reunite the fans, the casually interested, and possibly the entire country. And to be honest, I don't think this is gonna do it. Take a look.

Before I go any further, I want to spin my theory on the interview scene, which is a little different from what I'm hearing from most anyone else. Notice how David Corenswet pitches his voice really high when he says, "Sure!" At this point in the movie, I don't think Lois (Rachel Brasnahan) knows that Clark is Superman, and thinks he's just playacting. But when Clark drops his voice, he's showing his cards a little bit. Then, when he completely loses his cool, he's just acting how Lois thinks Superman would respond. In context (the scene is reportedly ten minutes long!), it might be interesting. Out of context, in a trailer, it's a stupid decision.

Throughout the entire trailer we see Superman smacked around, knocked out, screaming out in self-defense, and made fun of for having a dog. There are some super-heroics, to be sure, but they're mitigated by the overwhelming amount of thrashing he takes. Unlike Riri, I guess he's got some room for growth. But it doesn't inspire me to see the movie. Some are defending this approach, suggesting that someone with such a clear cut understanding of right and wrong would be frustrated and confused by our complex, political climate. And I agree. But his moral compass and grace towards an unfair world should have been set before leaving Smallville and going out into the world.

So on the one hand, we've got a flawless female character. And on the other, we've got an immature Superman. Neither character is attractive, warts and all. Neither character is relatable or inspiring in the ways the filmmakers intended, as presented. Maybe the show and movie will be good. But someone else will have to let me know. Because right now, I'm not inspired to see either one.

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