The amazing thing about the era of filmmaking that ended with "Wonder Woman 1984" is that a script that dumb and joyless could get past dozens of people without anyone pumping the brakes before a firehose of funding was sprayed over the project.

The most entertaining thing about WW84 is the press tour where the filmmakers pretend to be creative geniuses who learned *so much* from the failings of the vastly superior original film, especially its climactic showdown.
"The studio forced us to wrap the first movie up with a loud, cartoony CGI smackdown!" they cried... then delivered a sequel that ends with an even more cartoony and pointless CGI smackdown, followed by half an hour of Wonder Woman explaining why cheating and selfishness are bad.
How do you come off a surprisingly popular, breezy, entertaining movie that began the turnaround for a flagging zillion-dollar franchise and decide the sequel should be a first-grade morality lesson with the logic of a Care Bears cartoon that's longer than a Tolkien film?
Presumably it's because everyone involved decided they had something Very Important to say about the hellish 80s Decade of Greed that would be Highly Relevant for modern audiences, even though many people involved in the production are too young to remember the 80s.
They were all too busy congratulating each other for being insightful, stunning, and brave to notice the script they crapped out was dumber than a stump, boring as hell, bloated beyond belief, and nonsensical even by the low standards of comic book movies.
I heard someone say WW84 was meant as a tribute to the Richard Donner Superman movies. No, it's very much in the spirit of Superman IV, right down to giving Wonder Woman nonsensical new powers on par with Superman's rebuilding-the-great-wall-vision.
Superheroes had a renaissance because the films were made by people with genuine affection for the source material and some insight into their cultural impact. Likewise with the boom of 80s nostalgia from people who love and understand the 80s, like Stranger Things.
There could have been all sorts of fun stories to tell about Wonder Woman's life in the shadows from WW1 to the modern day. This is all they could come up with? This silly, preachy, plodding mess that steals subplots like Tim Burton's Catwoman and does them WORSE?
The worst thing is that the writers were clearly determined to "improve" on the first movie's climax by having Wonder Woman save the day through wisdom, empathy, and strength of character instead of muscle - and THIS is the best they could come up with. /end

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I just finished Eric Adler's The Battle of the Classics, and wanted to say something about Joel Christiansen's review linked below. I am not sure what motivates the review (I speculate a bit below), but it gives a very misleading impression of the book. 1/x


The meat of the criticism is that the history Adler gives is insufficiently critical. Adler describes a few figures who had a great influence on how the modern US university was formed. It's certainly critical: it focuses on the social Darwinism of these figures. 2/x

Other insinuations and suggestions in the review seem wildly off the mark, distorted, or inappropriate-- for example, that the book is clickbaity (it is scholarly) or conservative (hardly) or connected to the events at the Capitol (give me a break). 3/x

The core question: in what sense is classics inherently racist? Classics is old. On Adler's account, it begins in ancient Rome and is revived in the Renaissance. Slavery (Christiansen's primary concern) is also very old. Let's say classics is an education for slaveowners. 4/x

It's worth remembering that literacy itself is elite throughout most of this history. Literacy is, then, also the education of slaveowners. We can honor oral and musical traditions without denying that literacy is, generally, good. 5/x
One of the authors of the Policy Exchange report on academic free speech thinks it is "ridiculous" to expect him to accurately portray an incident at Cardiff University in his study, both in the reporting and in a question put to a student sample.


Here is the incident Kaufmann incorporated into his study, as told by a Cardiff professor who was there. As you can see, the incident involved the university intervening to *uphold* free speech principles:


Here is the first mention of the Greer at Cardiff incident in Kaufmann's report. It refers to the "concrete case" of the "no-platforming of Germaine Greer". Any reasonable reader would assume that refers to an incident of no-platforming instead of its opposite.


Here is the next mention of Greer in the report. The text asks whether the University "should have overruled protestors" and "stepped in...and guaranteed Greer the right to speak". Again the strong implication is that this did not happen and Greer was "no platformed".


The authors could easily have added a footnote at this point explaining what actually happened in Cardiff. They did not.
A thread of very good, wonderful, truly Super Bowls.

Translucent agate bowl with ornamental grooves and coffee-and-cream marbling. Found near Qift in southern Egypt. 300 - 1,000 BC. 📷 Getty Museum https://t.co/W1HfQZIG2V


Technicolor dreambowl, found in a grave near Zadar on Croatia's Dalmatian Coast. Made by melding and winding thin bars of glass, each adulterated with different minerals to get different colors. 1st century AD. 📷 Zadar Museum of Ancient Glass
https://t.co/H9VfNrXKQK


100,000-year-old abalone shells used to mix red ocher, marrow, charcoal, and water into a colorful paste. Possibly the oldest artist's palettes ever discovered. Blombos Cave, South Africa. 📷https://t.co/0fMeYlOsXG


Reed basket bowl with shell and feather ornaments. Possibly from the Southern Pomo or Lake Miwok cultures. Found in Santa Barbara, CA, circa 1770. 📷 British Museum https://t.co/F4Ix0mXAu6


Wooden bowl with concentric circles and rounded rim, most likely made of umbrella thorn acacia (Vachellia/Acacia tortilis). Qumran. 1st Century BCE. 📷 https://t.co/XZCw67Ho03

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