u/SunRevolutionary8741

I've seen this sentiment on reddit and Facebook. Where does this come from??? It's usually in response to people saying the present post-Sequels content apocalypse is the worst Star Wars has ever been.

I can believe that there was a lull in that decade, sure. But in like 1993 (?), Heir to the Empire and Dark Empire launched. I think X-wing and TIE fighter pc games next. In 1996, the Star Wars: Shadows of the Empire multimedia project launched partially to hype up the Special Editions and Prequels. Rogue Squadron for the N64 was very successful and led to two more sequels (and had the Naboo Starfighter as a secret ship, a full year before the movie was out!).

This is Star Wars at it's lowest????

Edit: some great comments have provided good context. I think it's fair to say this time period wasn't so much a low point as just being dormant (till ~93 onwards, where things slowly but steadily picked up). That's not what these comments I've mentioned were saying. It was "the worst time to be a Star Wars fan." Maybe in terms of some bland show not coming every ~2 years, sure, it was bad. But I much would have preferred presocial media internet Star Wars than present Sequels-pocalypse (excluding Andor)

https://preview.redd.it/jan0zl4bkseh1.png?width=1920&format=png&auto=webp&s=7a5a76ccecaa77b306cfdd2e66b7df3467ea0d60

So serious question, I grew up on the 89 Batman and Reeves Superman, watched Batman & Superman animated series, and frankly I never really realized that both Batman & Superman's mom's had the same first name.

As much of a joke this scene in Batman v Superman is, it really did make me realize that both their mom's are called Martha.

PREFACE: I haven't seen the movie because I am boycotting it on a matter of principle, which is the first time I'm skipping a Nolan film, so I'm not commenting on its filmmaking quality but rather the cultural moment it represents.

I've always been a fan of Christopher Nolan's work. His films consistently demonstrate technical mastery coupled with intellectual storytelling complexity, albeit often at the expense of emotion. But, let's be real: he was never in the league of the all-time greats—e.g., Kubrick, Hitchcock, Scorsese, Spielberg, Coppola, Kurosawa, Tarkovsky, etc.—nor does he need to be, especially since it's a tall order.

However, with his latest movie, The ODDEIyssey he has irreparably tarnished his legacy. I don't even recognize what he has become. People say it's just a fictional work, so it doesn't matter if there is race and gender swapping, but then why isn't that same hypocritical standard applied outside of the context of blatant Anti-Whiteism? What would the reaction be if an African myth was adapted with white actors? There would riots in the streets, as half the country would be in flames.

As an ardent Cinephile who loves and majored in History, particularly ancient Greece, Nolan's betrayal hits doubly hard for me. In a cinematic climate experiencing a dearth of originality with the Hollywood conveyor belt churning out an endless series of unimaginative sequels, prequels, remakes, reboots, and spin-offs, Nolan showed us that blockbuster films can be original, complex, intelligent, entertaining, and successful while still having a broad appeal, an impressive feat that inspired other directors to also intellectually elevate their filmmaking.

So, let me get this straight: Nolan respected other aspects of historical accuracy but not the actual characters themselves? That is absolutely ludicrous. How does a director who worked with mostly white actors on stories about masculine men for his entire career decide, all of a sudden, to adapt a feminist interpretation of an ancient Greek epic with DEI actors? It doesn't make any sense and seems sketchy. What's worse is that the DEI characters apparently have such limited screen time that they unnecessarily undermine the film's immersion, success, and impact, thus reinforcing the suspicion that it was done only to meet the DEI criteria that is now mandatory for winning Oscar awards.

On the one hand, I've read comments saying that he has always been woke, but his filmography has been devoid of political posturing until now. Conversely, for example, he deftly interwove a nuanced post-9/11 Patriot Act critique into The Dark Night that didn't involve taking sides but rather let us decide for ourselves how to interpret Batman's use of surveillance technology in his efforts to fight the Joker, which obviously mirrored Bush era policies.

Perhaps his career trajectory peaked with Oppenheimer, and now we are just witnessing his descent, the downward slope of a parabola. In any case, it's a mind-bogglingly stark juxtaposition: his best film immediately followed by a complete travesty. It's a tale as old as time: maybe the fame, success, and wealth got to his head, so hubris made him believe he can do no wrong. Maybe he sold his soul to win an Oscar; I don't know.

On the other hand, the only other way I can make sense of this is that it must be a Humiliation Ritual. Someone must've pressured or maybe even blackmailed him to desecrate one of the sacred texts of the Western Literary Canon as part of the ongoing demoralization and emasculation of Western man. Similarly, other cultural abominations like The Last Jedi and Joker: Folie à Deux essentially represent the same phenomenon, turning what were initially inspirational iconic male heroes into losers.

In other words, The West has been hijacked and cucked, a culture that actually enjoys humiliating itself, destroying its own greatness because it is ashamed of itself and is now is engaging in Self-Cannibalization after decades of brainwashing from corrosive anti-West/white propaganda that stems from infiltration of its institutions by its enemies to promote Cultural Marxism. Hence, we live in a time of rampant degeneration on multiple levels: moral, social, cultural, spiritual, intellectual, physiological, etc.

The irony, of course, is that we have come full circle because ancient Greece established the foundation for Western civilization, for it has even been said that all Philosophy is merely a footnote to Plato, but now an adaptation of one of its seminal texts has become a symbol for the coordinated destruction of that very foundation. I'm not even white, but it is tragic to witness the decline of a civilization that has vastly enriched my life.

Ultimately, The West has produced, by far, the most prominent thinkers and inventions of all time; but just as the extinction of dinosaurs precipitated the rise of humanity, and just as the fall of Mesopotamia gave rise to Western empires, perhaps it's time for The West to pass on the torch to whatever comes next, probably the Multipolar World. How fitting, a movie about the collapse of the Bronze Age has become a symbol for the collapse of Western civilization altogether.

In conclusion, we had a collective opportunity to send a powerful message to Hollywood and failed miserably. Instead of punishing mediocrity, we rewarded it with record-breaking Box Office returns. Since humanity couldn't even make a stand at the Box Office by boycotting this woke DEI trash, then it has failed a test of integrity because it sure as hell won't make a stand for far more important matters, like stopping the invasion of Barbarians at the Gates, although there is only so long we can keep kicking the can down the road until the chickens eventually come home to roost.

All of this to say that Nolan has, ironically, now lived long enough to see himself become the villain.

So I’m rewatching the 4-hour behemoth that is Zack Snyder's Justice League, and man, it really hits different now. We actually traded mythic, operatic gods for whatever quirky, neon-colored dance-off James Gunn is cooking up next. Truly a masterclass in downgrading.

Look, I know Snyder isn't everyone's cup of tea. The constant slow-mo and aggressive sepia filters are a lot. But at least the guy treated these characters like literal legends. The Snyder Cut actually gives Cyborg and Flash actual emotional weight instead of just turning them into walking punchlines.

Now we're heading into an era where every single superhero has to be a lovable, sarcastic underdog who talks to weasels. Because nothing says "epic cinematic universe" quite like sacrificing genuine scale for a playlist of 80s dad rock and meta-humor.

I’m sure the comments will be perfectly civil, but let’s hear it.

Zack Snyder said the quiet part out loud Saturday night.

On stage with Frank Miller at a packed Wilshire Ebell Theatre in Los Angeles, Snyder was asked when they are going to make The Dark Knight Returns. The comic is already done, Snyder noted, before delivering the line of the night: “when they let us.”