jtreehorn

Since the colonial powers left Africa, it's a much better place, right? No wars, no exploitation, no slavery, no coups, no genocide, no famine, no disease, no theft... Africa's the same as it was before Europeans arrived because its culture hasn't changed. The only difference is that now you have a scapegoat for all of your own failings. Ask yourself why the likes of Singapore, Hong Kong, the USA, Canada and Australia are rich and developed while Africa is the poorest continent on Earth.

'Oppressive society' my arse. She should have thanked her lucky stars she lived in such a gynocentric, woman-loving country. Women have never been oppressed in the West. On the contrary, they have always been privileged above men. On the Titanic, women had a 74% chance of survival, compared to 20% for men. And in 1927 this privileged woman would have swum over countless unrecovered bodies of men who died in WWI. There's nothing heroic about sating your desire for attention and fame.

Digitalwolf: Literally no one is afraid of women. That's the whole point. They're weaker than men and we're sick of Hollywood pretending otherwise. They're almost as weak as your unoriginal insults.

People who are in favour of movies like this, please state why it's important to have women, especially non-white women, in highly implausible action roles. All we've heard so far is critics of the movie being called incels or cowards, but no actual defence of the ideology behind the movie. Why is it necessary to have these movies and roles, especially when they don't make money, and alienate the target demographic for action movies?

How long will these girlboss movies lose money for before producers finally realise that no one wants to watch them? It's bizarre seeing studios putting ideology before profit. Very few women are believable as action heroes. They did it with Ripley and Sarah Connor but there was no ideology behind it. They were strong DESPITE being women, not BECAUSE they were women. Hollywood's really lost its way.

EVERYONE steals. As Picasso said, “Lesser artists borrow; great artists steal.” Scorsese and Tarantino both happily admit to stealing from other filmmakers. As long as the artist is producing something great with the stolen material and their work is generally original, who cares?