Barbie and Oppenheimer are actually the same movie

foreign

Oppenheimer for a quick second I'm going

to talk about Barbie and Oppenheimer for

a quick second the Barbie and

Oppenheimer movies everyone's been

trying to relate them and they can't

relate them because they're fucking

Haas is the smart guy who's gonna relate

Barbie and Oppenheimer without having

seen either movie they're not even out

yet right I'm going to talk about Barbie

and Oppenheimer and how they're

interrelated on ironically this is not a

joke I'm going to tell you how these

movies are related you're going to go

into the theaters and watch these movies

you're going to realize hazaldine was so

correct let's begin we're going to talk

about Barbie Okay Twin Peaks Stranger

Things Fall Out The Fallout games

Fallout 3 Fallout 4 what's that movie

from the 1990s about where everything's

in black and white and they start seeing

it in color there's a very recurring

theme in American Cinema and I think it

goes to the 1990s was the first time

this started happening could be wrong

about that but I'm pretty sure it

started in the 90s but there's a very

recurrent theme in American culture

popular culture Cinema video games and

TV about this kind of uh American

gnosticism what is American gnosticism

American gnosticism begins with the

portrayal of an idyllic and idealized

1950s everything is uh hunky-dory so to

speak as they used to say it

everything's clean everything's white

because it's a parable for white

supremacy also it's very patriarchal

um it's a traditional nuclear family mom

is you know making food and dad is

grilling and their Avalon white picket

fence and a nice Green Lawn everything

seems like it's great the idyllic and

idealized 1950s so that's the 1950s

honey I'm home yeah and then since the

1990s they've portrayed this kind of

idealization of the 1950s that it

becomes uncanny everyone is too

one-dimensional it's kind of like

Herbert Marcus's that piece of shit

Herbert Marcus his one-dimensional man

everything's one-dimensional right

nobody has any real depth of Personality

or individuality or character everyone's

always smiling and the other colors of

the human personality are all repressed

and then as the story progresses you

begin with this idyllic kind of

communities idyllic kind of American

small town it goes things are not what

they seem right behind the surface of

the idyllic good perfect Community where

everyone is so stupid and naive because

they're happy uh they're real depth

subjectivity reveals itself is a grand

conspiracy of some kind going on where

people are being trapped within this

world and you know maybe there's very

there's variations to how things go

wrong that ruin the that ruin the

fantasy so in the Fallout games what

happens is that you have a very uncanny

juxtaposition between the idealized 50s

culture right and the aftermath of a

devastating nuclear war where there's

mutants and all these uh destroyed

Society with all these monsters and all

this kind of Decay and crime where all

these remnants from the old Society are

still there the The Smiling cap what is

it hip boy and he's smiling with a

thumbs up but the juxtaposition is with

uh kind of you know yeah Bioshock is a

great example of it as well right this

is a very cheap theme in American uh

very overused it's American gnosticism

and behind find the background of these

idyllic communities as some kind of like

maniacal scientists or aliens or there's

a cult of some kind there's some deep

kind of horror in the background that's

being covered up so it's it's like the

50s idealized idyllic American small

town community and things are not what

they seem and things go terribly wrong

which show a deep kind of horror behind

this appearance of a Utopia that is a

very very strong theme in American

contemporary since the night post-modern

fictions the 1990s we'd call it right

but other series do reveal this The

Fallout series which is one of the most

famous examples of this kind of ironical

juxtaposition well that one is the

connection to Oppenheimer is very clear

it's just nuclear war nuclear bombs

there's radiation from nukes there's

something about that that's very direct

stranger things on the other hand was

extremely interesting uh for such a

disgusting show that it is there's also

a Soviet Dimension to it so in stranger

things they repeat and in one of its

Seasons I forget which one I think was

season three they do repeat the um the

Trope of the uh American gnosticism but

instead of the 50s they make it the

1980s specifically in the form of a

1980s American Mall an idyllic nice

American Mall the 1980s but it turns out

that behind this mall it's a Soviet spy

program to collect data and conduct

experiments on Americans so that was a

pretty direct thing more interestingly

in stranger things what you had is a

nuclear plant it's key word nuclear

right nuclear plants behind the idyllic

stranger things small town community

which was actually a cover for the

government conducting experiments to

unleash monsters from another dimension

and this is what the Soviets did as well

the Soviets had these Labs where Soviet

military authorities and leaders would

force its Atomic scientists to use their

atomic technology to kind of rip open

the fabric of reality and unleash the

monsters from stranger things uh if we

can kind of psychoanalyze it and this is

too heavy of a word if we could just

kind of vaguely

penetrate beneath the surface we kind of

see something about the atomic age of

splitting the atom we associate for some

reason with the splitting of America's

Golden Age America is good America's

sense of uh you know idealized self what

is responsible for these associations

well I'll I'll put it this way the 1950s

were marked by an era in the eyes of

American popular Consciousness today an

era of naivety Blissful naivety and

happiness

where people did not realize the horror

that they had Unleashed which destroyed

classical modernity itself this was a

severe severe break with classical we

call classical modernity upon whose

Foundation things like Newtonian physics

rested and also a view of the natural

world according to which there the the

world was comprised of particles right

um atoms like billiard balls suspended

into space clashing with each other and

interacting with each with each other in

ways that are logically consistent and

quantum mechanics the whole possibility

of logical consistency completely

disappears in the midst of both

theoretical and experimental data okay

so the data conflicts with what our

limited sense of logic at least within

the frame of classical modernity can

afford and can handle right and ever

since we have never recovered from that

when you think about it we never recover

from splitting the atom we never

recovered from uh einsteinian relativity

we're still coping about that to this

day what political event have we not

recovered from it's the October

revolution of course leninism or what we

just call the October Revolution just

like how the world didn't recover from

the French Revolution for like a century

we did not recover from the Russian

Revolution we are haunted by the ghosts

of the Russian Revolution in the form of

mass politics pseudo-populisms

um this kind of bizarre transformation

of politics from something that's the

result of uh gentleman's disagreement of

opinion into this kind of irreducible

partisanship which is de-individualized

you know the October Revolution which

introduces this kind of strange and

paradoxical relationship between

Consciousness and the object between

subject and object between the party

political representative and the

political subject it's supposed to

represent how many cares about the

legitimate formal procedures of American

democracy we care about the hyper

partisan uh information Warfare we we

care about who Beyonce tells us to vote

for we don't actually care about the

people we vote for or we care about

Trump and his great grand personality I

think the atomic age is a proxy the

splitting of the atom in particular with

nuclear weapons that's a proxy for some

fundamental split at the level of

classical modernity itself and therefore

at the level of American society as we

know of modern America as we know it

right some extreme

um paradoxical antagonism some kind of

historical rupture happens at this point

where nothing is ever the same again

it's almost like modernity itself but

it's not quite modernity American

post-modern literature everyone was on

drugs everyone was uh sexual pervert

behind the scenes people were getting

raped and people are getting murdered

and it's you know it's actually a

nightmare beneath the the beneath the

surface and uh that was that was

actually defining for post-modern genre

of literature itself right that's a

defining theme now another thing is that

this is often very much applied to the

Soviet experience as much as it's

applied to the 1950s it's applied to

20th century communism most of all and

the Soviets kind of uh ideals with this

very Grim gray reality where everyone

had British accents

and it's covering up of the truth the

politicization of science

that was HBO's Chernobyl but if you just

kind of think a little more abstractly

it is copy and paste a few things and

it's the same post-modern genre of

subverting a society's idealization of

itself or it thinks it's doing this at

least right it doesn't have to be the

Soviet Union it could be the American

1950s it could be any kind of idealized

representation of the 20th century that

they will show and try to subvert and

this opens and people who watch this

feel subjectively engaged when a midwit

watches HBO Chernobyl or watches

stranger things or watches uh these

feminist movies that the new Stepford

wise movie they're like oh I know that

things are not what they seem and then

once things

um kind of go wrong then they're like

I knew that

[Music]

that's some real shit Welcome to the

Real World the real world is when I go

to New York and I get jumped by a

crackhead welcome to the grimy dirty

truth of the real world all your ideals

don't hold up this is the real world

okay so once we get an enter into the

real world so to speak forget about all

these like heroism morality uh goodness

Justice all kind of become reduced to

the intensity to extremes on the one

hand it's like a love couple social or

political ideals become the background

of a story about personalities right or

it becomes the opposite extreme where

it's about a kind of deep connection to

Nature classical modernity the artifice

of classical modernity inauthentic

basically the 50s are inauthentic Soviet

Union is inoffensive can they make a

Fallout game which doesn't have these

references these ironical references to

the idealizations of the 1950s like can

we just have a Fallout game that's just

like like all shit you can just have a

Fallout game just full of those monsters

you need to juxtapose it to this Fallen

ideal right you can't have Stepford

Wives that just begins with robots

killing everyone you're right there is

something very adolescent about it

children do love it but so do American

adults and that's the problem but uh

Five Nights at Freddy's oh Freddy looks

like he's like a nice Freddy Fazbear

he's like looks nice but he's really bad

you know it's a perfect example this is

what is actually

targeted here the era of classical

modernity the era of trains go to point

a go to point B there's no room for the

complexity of the cars right

um this is classical modernity right so

on a few levels on one level the atomic

age the nuclear bomb symbolizes the

splitting of the atom of classical

modernity right on the other hand it

literally is this we have not developed

a philosophy we have not developed a

culture we have not developed an Outlook

or an ideology or an understanding of

politics even fit for the atomic agent

we don't understand Atomic Technologies

we don't understand the implications of

them at a sociological cultural level

the relations of production have not

caught up to the forces of production

Atomic Technologies is something that

um represents a a revolution in the

productive forces which all of human

society is catching up toward we haven't

caught up with the implication of the

nuclear technology we will do this

eventually through Marxism leninism

because guess what ideology is fit for

the age of uh the atomic age Marxism

leninism what does this have to do with

Barbie oh it has everything to do with

Barbie the Barbie movie is about Barbie

who's living in her you know idealized

Barbie world her universe and Barbie is

not satisfied by this world things are

not what they seem so Barbie wants to

escape and go to the real world and the

corporate wants to keep her in so it's

that same kind of gnosticism that I've

referred to before so Barbie and

Oppenheimer are coming out on the same

day because they're about the same thing

a split

the split of classical modernity in

relation to which American existential

turmoil has formed in relation to Barbie

in particular Barbie is a film that's

going to be a kind of another yet

another commentary on America's gold in

1950s and how things really aren't what

they seem in the 1950s Barbie takes

place it's thematized to be in the 50s

or the 60s when you watch it right it's

look at their sets look at the costumes

look at what they're wearing it's all

from the 50s and 60s or whatever right

so Barbie and Oppenheimer are about the

same thing now here's why I'm not going

to watch Oppenheimer but I may watch

Barbie a spoiler I'm being forced to

watch Barbie girlfriend's literally

holding me at gunpoint forcing me to

fucking watch it do I want to watch it I

don't but I'm being forced I don't have

a fucking choice but anyway I will be

watching Barbie and while I'm watching

Barbie I'm gonna literally be in the

movie theater I'm a Barbie girl in a

Barbie world laugh and play I'm gonna be

doing that whole thing you know that

whole dance routine everything re the

reason I will not watch Oppenheimer

though is because it's British

propaganda I'm going full larouche right

now we should not be trusting the

British Christopher Nolan is a premier

esthetician of the British Empire he's a

the Aesthetics of the British Empire

what Christopher Nolan is going to do in

Oppenheimer is he's gonna try and fit

this nuclear event into the mold of the

British aesthetic of uh classical

British metaphysics uh which are

reductionistic which are backwards

looking looking back into the past isn't

a movie literally in black and white

he's going to basically try and wrap up

the splitting of the atom I

categorically reject the possibility of

Oppenheimer it's a falsehood if you want

to see the effects of the atomic age

don't watch Oppenheimer why fucking

Transformers watch any cheap example of

mass culture that's meant to appeal to

stupid audiences don't fucking watch

this gay movie where they put it in

Black oh my God the nuclear the form of

subjectivity that Christopher Nolan is

trying to imply with his Oppenheimer

movie is itself a form of subjectivity

rendered Impossible by the very event

the movie is attempting to document

and record so everyone who's watching

Oppenheimer with their nose in the air

thinking it's really D but oh the bomb

you are false you are falsehood you're a

fucking pseudo-intellectual

you're not an intellectual and I'm gonna

personally beat the shit out of you you

fucking idiot you cannot give expression

to the splitting of the atom without

fiction if there's no element of fiction

it's fake the splitting of the atom is

an ontological event that is about the

splitting of the modern Cartesian

subject itself without an element of

fiction it's completely impossible

Teenage Mutant Ninja Turtles does it

better than oppenheim Teenage Mutant

Ninja Turtles records and gives artistic

significance to the creation of nuclear

weapons better than Oppenheimer or any

other gay black and white film

Christopher Nolan can ever make so I an

artistic level I categorically reject

the possibility of Oppenheimer I

completely reject it and I will not be

seeing it for that reason I will not be

seeing it for that reason I'm sick of

the British and they're gay propaganda

people finding it so profound no it's

not black and white but it's filmed in

this stupid old style of film that

Christopher Nolan that old what is that

old style of film Christopher Nolan's

coping he you cannot give expression to

that event in the way he's trying to

you're he's like he's he's giving

expression to it yet the thing he's

giving Express to made that impossible

already that form of posturing it's just

a see Christopher Nolan is a bluffer

he's just a pretentious bluffer he just

Bluffs his whole aesthetic is Bluff he

never pays for it it's just Bluff it