Characters or Composites?

The Mary Sue goes off on Tarantino after interview with Bret Easton Ellis. Its a classic, ‘We like him, but…’ article.

And I’m not in the camp that says that able-bodied, straight, cisgender white men can never write characters of color, or women, or disabled characters, or trans characters. But when they do, they should do so thoughtfully. They should be smart about it and get input from the community they’re writing about. And since no community is a monolith and thinks the same things are not offensive, be prepared to have those conversations in a non-defensive way.

Got that Mr. Filmmaker? You aren’t allowed to just write a character. You need to get your character vetted by a committee of people from the same liberal identity box. You aren’t allowed to just write a character, you are supposed to create an unoffensive liberal identity composite. It doesn’t matter how you actually want your individual characters to act – if they aren’t glowing examples of brilliance by the standards of their liberal identity, then you are gonna get attacked.

Oh, and Jezebel still hates Tarantino.

Bret Easton Ellis Interviews Tarantino

Bret Easton Ellis write up an interview with Quentin Tarantino for the NY Times Magazine.

As hugely influential as his earlier movies were, it’s impossible now to imagine an earnest 20-something millennial dreaming up a film as perverse and lurid as “Pulp Fiction” or “Reservoir Dogs” or anything else he’s made. In an era obsessed with “triggering” and “micro-aggressions” and the policing of language, the Tarantino oeuvre is relentlessly un-PC: His movies are impolite, rude, irresponsible and somewhat cold.