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"Similar to other postmodern explorations of superhero-dom such as Watchmen and The Boys, Peacemaker as a character echoes how the inherent ties between power and abuse apply to beloved caped crusaders. Watchmen's The Comedian was based on Peacemaker, writer Alan Moore contending that centralized powers like the Justice League are fascistic regardless of rhetoric and fanfare. Where older superhero portrayals in media labeled the greater American purpose as triumphant, heroic, and even wholesome — such as Christopher Reeve's Superman or Adam West's Batman — newer shows like Peacemaker have reinterpreted American "heroes" as grittier, nonsensically self-righteous, and hereditarily genocidal. As Cena describes it, it's 'f**ked.'"
"Some directors find their Hobbit hole and nest in it, churning out incredible works that deserve collective praise, but Lee’s films demand it individually. He's missed, like the remake of Park Chan-wook’s Oldboy or the extremely questionable Girl 6, but for a renowned artist to fail demands that they neglect what once made them successful. Lee isn’t a Hollywood employee who totes his reels like a Fuller Brush Man does vacuums, he doesn’t seek to trace, he’s a 21st century explorer whose unmapped and enigmatic terrain fits in a 16:9 aspect ratio, if that. A director should be so curious to have failures; the idea that quality should be consistent is the pillar of a salesman, not an artist."
"While you’re at it, go ahead and confront the very nature of stories. Salt the earth. Time isn’t real so fuck it. You can be sweet about it like Eurydice, retelling the myth of Orpheus through the loving perspective of his wife, or as let’s-skullfuck-the-basic-construct-of-fiction like Pillowman, exploring a police-state in which a writer has been arrested due to his violent stories being reenacted by a serial child murderer. Both are writers having fun writing about writing, with Ruhl commandeering a fabled myth into her own comfort food and McDonagh declaring fiction is fascist. Both are breaths of fresh air to read and for that reason vital lesson plans for you: you can literally write a play about any fucking premise you want (except a Raisin white history month special)—you can create, you can steal what others created, you can steal what you yourself created, you can fuck the sun. You don’t have to worry about how it’ll happen onstage. The director’ll figure it out. Be free."
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