You supported Obama. How do you think he’s done?From my review of Django:
I think he’s fantastic. He’s my favorite president, hands down, of my lifetime. He’s been awesome this past year. Especially the rapid, one-after-another-after-another-after-another aspect of it. It’s almost like take no prisoners. His he-doesn’t-give-a-shit attitude has just been so cool. Everyone always talks about these lame-duck presidents. I’ve never seen anybody end with this kind of ending. All the people who supported him along the way that questioned this or that and the other? All of their questions are being answered now. …
How did what’s happening in Baltimore and Ferguson find its way into The Hateful Eight?
It was already in the script. It was already in the footage we shot. It just happens to be timely right now. We’re not trying to make it timely. It is timely. I love the fact that people are talking and dealing with the institutional racism that has existed in this country and been ignored. I feel like it’s another ’60s moment, where the people themselves had to expose how ugly they were before things could change. I’m hopeful that that’s happening now.
You might think that this wouldn’t be the best time for a quasi-comic daydream/bloodbath about a deadeye gunman who always fires first and is immune to the thousands of bullets shot at him. But the recent unpleasantness in Sandy Hook has gone almost unmentioned in the critical hosannas greeting Django…because, you see, the invulnerable hero is a black gunman shooting bad (i.e., Southern white) people. …Read the whole thing there.
Just as Tarantino is being praised today for empowering blacks by having them slaughter whites, he was praised for empowering Jews by having them slaughter Nazis in Inglourious Basterds and empowering women by having them slaughter men in Kill Bill.
As you may have noticed, Tarantino isn’t black, Jewish, or female. Nor has he shown much genuine interest in those designated victim groups. Instead, Tarantino’s favorites have always been middle-aged movie tough guys.
A cynic might suggest that what Tarantino really likes is the slaughtering. He’s happy to make the details of who slaughters whom conform to the current prejudices, just as long as he gets to keep up the gore level. All Tarantino has had to do to critic-proof himself is identify the zeitgeist’s sacred cows (so far, women, Jews, and blacks, but not gays) and have them massacre their foes. (Someday we may be treated to a Tarantino ABC Afterschool Special about the plague of bullying in which Franco Nero and CGI versions of David Carradine and Lee Van Cleef show up at school to take out the homophobic trash.) …
All these distractions leave poor Foxx with little to do except shoot white people.
In 2013, is the black gun violence Tarantino espouses really such a fascinating new phenomenon? For generations now, American media have been encouraging blacks to take violent retribution. We’re coming up on close to a half-century of whites in the media egging on black badassery.
How’s Tarantino’s macho minstrel show working out for black males, anyway?
According to a 1967 government report sponsored by the Surgeon General, the black homicide rate began to rise in 1962 after a long decline. Mostly, though, whites just move out of the way and blacks kill each other. The federal Bureau of Justice Statistics reports that for the 30 years from 1976-2005, there were 276,000 African-American homicide victims, 94% of them murdered by other blacks.
But who cares about a quarter of a million murdered black people? What matters is white-on-white moral status striving. And in that eternal war, even Quentin Tarantino is a welcome recruit.