- Sep 22, 2013
- 4,956
- 250
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This is a modern-media fantasia-story inspired by the dystopia-vaudevillian films The Hudsucker Proxy and The Matrix.
Cheers,
====
American actress Charlize Theron was excited about her new futurama-dystopia film Aeon Flux, which itself was presented as an adaptation of a dystopia futuristic anime of the same title which aired on MTV in the 1990s. Charlize would portray the titular character, a feminism-oriented 'anti-machinery superheroine' who is effectively the female 'counterpart' to Neo (the fictional male Messianic A.I.-slavery ending protagonist in the Wachowski Brothers' dystopian 'mega-dark city' computer-graphics synthesized film franchise The Matrix). Charlize was excited about what being the feminist-rendition of Neo would mean to new age audiences negotiating populism-politics in the age of media and Internet. Her adopt-a-grandparent 'elder-friend' from junior high school was a kind elderly grandmother who died in bed while watching an NFL game on TV of her favorite (hometown) team the Philadelphia Eagles, and Charlize wanted to dedicate Aeon to her!
American professional sports had seen drama over the years and of course very exciting gameplay --- e.g., Bradshaw's NFL Steelers (Pittsburgh), the NY Yankees (MLB), the U.S. Olympics 'Dream-Team' (men's basketball), and the heart-breaking Buffalo Bills (NFL). There were current allegations across leagues and divisions regarding athletes succumbing to peer-pressure demands for high-thrill successes/victories and taking dangerous/illegal performance-enhancing drugs (steroids). American consumers purchased Eagles (NFL) balaclavas and gloves for the winter, but were still wary about managerial investments in professional sports catering to the serious psychological needs of the athletes themselves. In this 'arena' of high-cynicism, Charlize decided her Aeon film just might offer an interesting 'dose' of populism-catalytic (feminism) optimism for any American concerned about modernism claustrophobia.
One idealistic Internet-blogger named Ajay would wear an Eagles ski-mask (or balaclava) and write about sharing Eagles game joys with his family (wife and kids...and dog!) and feeling generally 'more optimistic' about American culture. Ajay claimed he and many of his male friends were actually excited about Theron's new Aeon Flux film-adaptation and what it might mean for 'chic' pro-feminism movies being made in this new environment of populism-oriented public social dialogue forums. Ajay was a huge Spider-Man (Marvel Comics) fan and wanted to know understand the modern social relevance of the 'Spidey-enemies' Hobgoblin (a pumpkin-bomb throwing terrorist) and Venom (a brutish anti-social nihilist). Ajay believed his love of the Philadelphia Eagles represented a very modern focus on pedestrian idealism addressed in the 'urbanization-paranoia' themes/symbols found in Hobgoblin/Venom storyboards. Ajay wanted to contact Theron and talk to her about her new movie.
What no one realized was that Hobgoblin and Venom were real! They leapt out of the pages of Stan Lee's Marvel Comics paintings and onto the real world and specifically NYC. Hobgoblin and Venom skulked around in the 'shadows' of New York, remaining invisible but possessing the evil telekinetic abilities to affect and harass New Yorkers and commit random elusive acts of terrorism and mayhem --- all in the name of dystopian rebelliousness! Charlize and Ajay were prime targets, given their interest in media-culture entertainment and Internet-forum idealism. Hobgoblin visited Charlize, while Venom visited Ajay. Venom wanted to know why Ajay was interested in Eagles storytelling, and realizing Venom intended to harm him, Ajay convinced the brutish monster to challenge someone in his own 'power-dominion' (and leave meek humanity alone!), so Venom (never being able to back down from a 'dare/challenge') decided to fight Hobgoblin instead of Ajay.
Venom mutated into a more agile and urban-mobile soaring thinner version of himself and called himself 'Venom-Spider' and proceeded to chase Hobgoblin who was now too distracted to make cute 'pillow-talk' with Charlize Theron. Hobgoblin fled Venom's clutches by soaring around on his jet-glider in NYC while throwing pumpkin-bombs behind him, but Venom always kept within reach by using thick webs to zoom around right behind Hobgoblin. Hobgoblin wanted to know why Venom did not attack/fight Ajay, and the evil monster explained that Ajay convinced him to act out on his anti-urbanization dystopian angst by fighting someone more of his 'calibre,' so Venom decided to charge at Hobgoblin (so no one could call him a 'bully'). Hobgoblin wanted nothing to do with Venom's 'vanity-crusade,' so he decided to use this turbulent urban 'fight' by throwing a few pumpkin bombs at the World Trade Center (so journalists would write, "Venom and Hobgoblin fight while fires glow in the World Trade Center, and the NYPD are simply confounded by 'modern traffic hallucinations'!"
Ajay realized Hobgoblin and Venom were simply destroying each other, making it 'safer' for Americans (and New Yorkers!) to go shopping again. Ajay was excited to take his son to the new Charlize Theron film, which was now being praised by Fidel Castro and Steven Spielberg. Ajay even started doodling silly child-like 'stick-figure doodles' of Hobgoblin and Venom for the New Yorker, claiming things like, "Pedestrian curiosity about parallax-universes in this age of urban claustrophobia and consumerism-hypnosis/obsession has sent the devastating 'netherworld spirits' of Hobgoblin and Venom back to a 'region' of safe-distance, where the two evildoers can act out on their anti-American rage on each other (rather than on us New Yorkers!)." Ajay's doodles became the toast of the town, and critics suggested the doodles paired with Ajay's poignant commentary/storytelling served as nouveau 'modernism man-dragon democracy-friendly propaganda.' Charlize was ready to go to a special Aeon Flux showing in San Diego and was relieved Hobgoblin and Venom were simply invisible; and, she became a huge fan of Ajay's funny stick-figure doodles.
====
{Hobgoblin & Venom}
Cheers,
====
American actress Charlize Theron was excited about her new futurama-dystopia film Aeon Flux, which itself was presented as an adaptation of a dystopia futuristic anime of the same title which aired on MTV in the 1990s. Charlize would portray the titular character, a feminism-oriented 'anti-machinery superheroine' who is effectively the female 'counterpart' to Neo (the fictional male Messianic A.I.-slavery ending protagonist in the Wachowski Brothers' dystopian 'mega-dark city' computer-graphics synthesized film franchise The Matrix). Charlize was excited about what being the feminist-rendition of Neo would mean to new age audiences negotiating populism-politics in the age of media and Internet. Her adopt-a-grandparent 'elder-friend' from junior high school was a kind elderly grandmother who died in bed while watching an NFL game on TV of her favorite (hometown) team the Philadelphia Eagles, and Charlize wanted to dedicate Aeon to her!
American professional sports had seen drama over the years and of course very exciting gameplay --- e.g., Bradshaw's NFL Steelers (Pittsburgh), the NY Yankees (MLB), the U.S. Olympics 'Dream-Team' (men's basketball), and the heart-breaking Buffalo Bills (NFL). There were current allegations across leagues and divisions regarding athletes succumbing to peer-pressure demands for high-thrill successes/victories and taking dangerous/illegal performance-enhancing drugs (steroids). American consumers purchased Eagles (NFL) balaclavas and gloves for the winter, but were still wary about managerial investments in professional sports catering to the serious psychological needs of the athletes themselves. In this 'arena' of high-cynicism, Charlize decided her Aeon film just might offer an interesting 'dose' of populism-catalytic (feminism) optimism for any American concerned about modernism claustrophobia.
One idealistic Internet-blogger named Ajay would wear an Eagles ski-mask (or balaclava) and write about sharing Eagles game joys with his family (wife and kids...and dog!) and feeling generally 'more optimistic' about American culture. Ajay claimed he and many of his male friends were actually excited about Theron's new Aeon Flux film-adaptation and what it might mean for 'chic' pro-feminism movies being made in this new environment of populism-oriented public social dialogue forums. Ajay was a huge Spider-Man (Marvel Comics) fan and wanted to know understand the modern social relevance of the 'Spidey-enemies' Hobgoblin (a pumpkin-bomb throwing terrorist) and Venom (a brutish anti-social nihilist). Ajay believed his love of the Philadelphia Eagles represented a very modern focus on pedestrian idealism addressed in the 'urbanization-paranoia' themes/symbols found in Hobgoblin/Venom storyboards. Ajay wanted to contact Theron and talk to her about her new movie.
What no one realized was that Hobgoblin and Venom were real! They leapt out of the pages of Stan Lee's Marvel Comics paintings and onto the real world and specifically NYC. Hobgoblin and Venom skulked around in the 'shadows' of New York, remaining invisible but possessing the evil telekinetic abilities to affect and harass New Yorkers and commit random elusive acts of terrorism and mayhem --- all in the name of dystopian rebelliousness! Charlize and Ajay were prime targets, given their interest in media-culture entertainment and Internet-forum idealism. Hobgoblin visited Charlize, while Venom visited Ajay. Venom wanted to know why Ajay was interested in Eagles storytelling, and realizing Venom intended to harm him, Ajay convinced the brutish monster to challenge someone in his own 'power-dominion' (and leave meek humanity alone!), so Venom (never being able to back down from a 'dare/challenge') decided to fight Hobgoblin instead of Ajay.
Venom mutated into a more agile and urban-mobile soaring thinner version of himself and called himself 'Venom-Spider' and proceeded to chase Hobgoblin who was now too distracted to make cute 'pillow-talk' with Charlize Theron. Hobgoblin fled Venom's clutches by soaring around on his jet-glider in NYC while throwing pumpkin-bombs behind him, but Venom always kept within reach by using thick webs to zoom around right behind Hobgoblin. Hobgoblin wanted to know why Venom did not attack/fight Ajay, and the evil monster explained that Ajay convinced him to act out on his anti-urbanization dystopian angst by fighting someone more of his 'calibre,' so Venom decided to charge at Hobgoblin (so no one could call him a 'bully'). Hobgoblin wanted nothing to do with Venom's 'vanity-crusade,' so he decided to use this turbulent urban 'fight' by throwing a few pumpkin bombs at the World Trade Center (so journalists would write, "Venom and Hobgoblin fight while fires glow in the World Trade Center, and the NYPD are simply confounded by 'modern traffic hallucinations'!"
Ajay realized Hobgoblin and Venom were simply destroying each other, making it 'safer' for Americans (and New Yorkers!) to go shopping again. Ajay was excited to take his son to the new Charlize Theron film, which was now being praised by Fidel Castro and Steven Spielberg. Ajay even started doodling silly child-like 'stick-figure doodles' of Hobgoblin and Venom for the New Yorker, claiming things like, "Pedestrian curiosity about parallax-universes in this age of urban claustrophobia and consumerism-hypnosis/obsession has sent the devastating 'netherworld spirits' of Hobgoblin and Venom back to a 'region' of safe-distance, where the two evildoers can act out on their anti-American rage on each other (rather than on us New Yorkers!)." Ajay's doodles became the toast of the town, and critics suggested the doodles paired with Ajay's poignant commentary/storytelling served as nouveau 'modernism man-dragon democracy-friendly propaganda.' Charlize was ready to go to a special Aeon Flux showing in San Diego and was relieved Hobgoblin and Venom were simply invisible; and, she became a huge fan of Ajay's funny stick-figure doodles.
====
{Hobgoblin & Venom}
