But film is not a literary genre -- or, at least, it doesn't need to be. It is instead, in many cases, the manufacturing of visual spectacle. And increasingly it has become a machine of visual spectacle in which plotting is a minor partner -- which can be perplexing for audiences, because we come out of several decades of very carefully plotted films, and we often privilege that sort of film when we discuss film excellence. But I find it useful to consider a lot of big budget films to be multimillion dollar versions of the old Flash Gordon movies, where the structure wasn't about cautious plotting, but, instead, setting up visual spectacle, crisis, and cliffhanger. And that's a valid structure, but it's a different structure that "events necessarily and logically lead to other events that necessarily and logically lead to certain conclusions," and demands different criticism than what is being offered here.
I wish I liked the woman-murdering parts more, but Plinkett's misogyny is neither interesting nor well-written. It would be neat to explore the sorts of Internet woman-hating fallacies through a character like this, but there's nothing inquisitive or deep or remotely necessary to it. It's just an increasingly uncomfortable gag and it's entirely insensitive to boot.
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