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Notes -
Last year, a new film adaptation of The Three Musketeers came out. (French, Part 1, Part 2)
I watched Part 1 first; the fight scenes are amazing. The scene of the arranged duel between D'Artagnan and the three musketeers that turns into a brawl with the Cardinal's men is particularly fantastic. The style has a flavor of Cinéma vérité in that it's a continuous and somewhat shaky take from a point of view of an unseen witness who keeps turning to catch the action while ducking away from danger, but it deviates from Cinéma vérité in that everyone fighting is super-competent. In this seemingly-continuous shot, one catches glimpse of feats of martial arts moves, all geared towards dispatching the enemy, none are for show. It's very cool and impressive, and worth watching for that scene alone.
Every film adaptation makes decisions about how much of the original material to use, and how closely to stick to the plot. When it does, that's a deliberate choice on the part of those who made the film. Sometimes it's a little change: Porthos is bi; Constance is not married and yet runs a hostel while working in the queen's chambers. It's annoying to have such present-day sensibilities undermine the portrayal of a society very different from mine, but I figured that at least these changes didn't utterly contradict an essential part of the story.
And then I watched Part 2.
Milady from the book is one of my favorite villains. She is smart, adaptable, ruthless, resourceful, flawed, vicious, and above all feminine. She wields femininity as a weapon far more effective then mere swords and muskets. Why dirty your hands, when you can manipulate men to do it for you?
In this adaptation, Milady is a sword-wielding girl-boss.
When an otherwise-good adaptation takes an awesome feminine villain and replaces her with someone who might as well be a man, that's a deliberate choice. That choice dismisses the idea that femininity can be dangerous to one's enemies or efficacious for achieving one's goals. It's therefore ironic that the people who made this choice consider it a feminist move.
Fiction is not associative: strong (female character) != (strong female) character.
There is no good reason to ever watch or read anything made after 2012 and doubly so after 2016. There's enough great material to last you a lifetime from before then.
Also true of music, but arguably not true of videogames. While most AAA games continue to be disappointing, dumbed-down, DEI-addled trash, there have been some spectacular successes in the last few years. BG3, Factorio, Disco Elysium, RDR2, Rimworld, Sekiro, Stellaris, Crusader Kings 2 & 3, Doom 2016 and Eternal, etc.. Nintendo also producing some of their best work on the Switch (Breath of the Wild/Tears of the Kingdom, Mario Odyssey).
There's been very very little of worthwhile music made since the mid to late 90s outside metal, some niche genres (which don't include so-called "indie", anything related to EDM or what most people call "electronic music") and legacy artists who are now at or beyond retirement age.
This is a hill I'm willing to die on.
This is likely the classic case of musical preferences solidifying around age 18. I get plenty of music I like in my Spotify recommendations released post 2000 (although I must admit I do see the 90s as a special period for music).
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