@jimmy_dore has made his ultimate intention clear. Check out this video from an interview he did with Niko House yesterday. This should be extremely concerning from anyone serious about the progressive movement. It’s clear that Dore is trying to tear down the squad. (1/11)

I'm going to attempt to chronologically list all of the Marvel characters Stan Lee had a hand in creating. Working with his genius collaborators, Stan and his team produced an insane amount of iconic characters in a roughy ten year period. (Thread)

With his younger brother, writer Larry Lieber, and Jack "the King" Kirby:

Groot

Tales to Astonish #13 (November, 1960)

With writer Lieber, and artist Kirby:

Fin Fang Foom

Strange Tales #89 (October, 1961)

With the King, Stan gives birth to the Marvel Universe:

The Fantastic Four

Fantastic Four #1 (November, 1961)

With Jack Kirby:

Mister Fantastic

Fantastic Four #1 (November, 1961)

[thread]

Folks at Marvel were trying to figure out how to launch phase 4 of the MCU, incorporate the addition of the X-Men, the relaunch of the Fantastic Four, and help the MCU on Disney+ get off the ground, and Feige was like:

The meta goes deep on WandaVision. This bit might be unintentional, but there's poetry in Marvel Studios launching its first foray into TV shows with a show about TV shows. Some history:

The previous Marvel TV properties were (mostly) run by Marvel Television and Jeph Loeb. They did some brilliant work, but the MCU films largely ignored the goings-on over there.

Now everything is in one house. It has the potential to be a huge freaking mess.

Part of the problem is how to insert the "first family" of Marvel comics into the MCU timeline. The Fantastic Four are old-school. The MCU heroes we know looked up to them and went to them for advice. Now they are going to get an MCU origin story. That's a conundrum.

Kevin Feige is a big comic nerd with a whole team of comic nerds, and one of them was probably like:

"Hey, did you know the witch who mentored Wanda was a nanny for the Fantastic Four? Maybe she could be in this."

Inequality requires narrative stabilizers. When you have too little and someone else has more than they can possibly use, simple logic dictates that you should take what they have.

1/

The forbearance exercised by the many when it comes to the wealth of the few isn't down to guards or laws - rather, the laws and the guards are effective because of the STORY, the story of why this is fair, even inevitable.

2/

Think of the story of monarchy and its relationship to the Church: the Church affirms that the monarch (and the aristocracy) was chosen by God ("dieu et mon droit") and the monarchy reciprocates by giving the Church moral and economic power within the kingdom.

3/

Capitalism replaced the story of divine will with a story of a self-correcting complex system: humans are born and raised with a variety of aptitudes and tastes, and at any moment, historical exigencies dictate that some individuals are better suited than others to do well.

4/

When it's railroad time, there are people who were born to oversee the laying of track and the coordination of rail networks: markets find those people, allocate capital to them, and allow them to mobilize that capital to produce shared prosperity for all of us.

5/

The more I think about the Bruce Springsteen Jeep ad, the more disgusted I get. It's allegedly a call for unity, but it is drenched in a very particular culture's iconography: a Christian church (that superimposes the cross on the US flag), farms, rural living, "the middle" ...

... it's all so white. This is the "America" of nationalist fairy tales: rural land, settled by self-reliant white farmers & good Christians. It's all trucks & dust & manual labor & squinting at the horizon while wiping sweat from your brow. This is the kind of "unity" ...

... designed to comfort (or at least not threaten) white people. It says, "let's unify by joining together to reaffirm America's mythical self-conception, despite the real-world violence & repression it has always entailed."

If I'm, I dunno, a latino housekeeper in Vegas or black Uber driver in Sacramento, what's in the commercial for me? What does this kind of "unity" promise me? What can I find in "the (mythical) middle"? Nothing. It's not for me.

If America ever does come together in some kind of social solidarity again (which looks pretty doubtful), it's not going to be around the myths & iconography of 20th century hegemonic white culture in the US. It's going to be around something NEW -- new stories, new icons.

The Fast and the Furious is a 2001 action film directed by Rob Cohen and starring Vin Diesel, Michelle Rodriguez, Jordana Brewster, and Paul Walker. The Fast and the Furious is first film in the The Fast and the Furious franchise, distributed by Universal Pictures.

The film was released June 22, 2001 and grossed $207.3 million. In 2003, The Fast and the Furious was followed by the sequel 2 Fast 2 Furious.

Brian O'Conner is an undercover Los Angeles copwho aspires to become a detective.

When he is tasked to stop hijackers led by Dominic Torettofrom stealing expensive electronics equipment off of trucks, Brian must choose between his obligation to the LAP and his friendship with Toretto after he becomes good friends with his family.

The film opens at a dockyard where a container is loaded onto the trailer of a semi-truck. The truck then departs the dockyard and one of the dock workers makes a phone call to an anonymous party on the other end, informing them on how to identify the truck.