Home » Buddy’s Notes – Hobbs and Shaw is ‘frostier’ than you think ((Spoilers))

Buddy’s Notes – Hobbs and Shaw is ‘frostier’ than you think ((Spoilers))

by Buddy Lord

At first glance,

Hobbs and Shaw starring Dwayne ‘The Rock” Johnson and Jason Statham seems like a call-back to action movies of the 80’s and 90’s. It’s absolute adrenaline infused action meant to keep you on the edge of your seat. The fighting scenes make you question what a human body is capable of, and the special effects border on being unintentionally comical. It’s a ‘Superhero movie’, and unlike the rest of the ‘Fast and the Furious’  franchise, these guys don’t need cars to show how super they are.

But is that it?

There are both subtle and unsubtle undertones drafted throughout the movie, that I haven’t seen brought to light, and me being who I am, want to wax poetic about them. To do that, let’s first talk about conflict.

No, not that kind of conflict.

Conflict is a dramatic or literary term meaning the engine that drives the story forward. Protagonists all have a ‘want’, and antagonists oppose that ‘want’; within this basic structure we create the forces that oppose our heroes in any given story. So what are the forces that oppose Hobbs and Shaw? Well, it’s more than just a wannabe Illuminati.

In literature there are 7 basic conflicts.

  • Person vs. Person
  • Person vs. Self
  • Person vs. Fate/God(s)
  • Person vs. Nature
  • Person vs. Society
  • Person vs. the Unknown/Extraterrestrial
  • Person vs. Technology/Machinery

Of the seven: Hobbs and Shaw face each other, themselves, nature, society, and machine.

Why do I care?

Because you’re smart, or you want to be, so pay attention and get a lesson in Frosty film-making.

Most of these conflicts are external and easy to see, but Hobbs and Shaw imposes by its nature an external conflict to the audience, not only themselves. That being Person vs society.

Let’s see how the movie sets that up.

Unlike some other franchises that try to hide their female heroines in masculine-looking malaise, Hobbs and Shaw shows the beauty and grace in their titular new female character right away.

Hattie Shaw, portrayed by Vanessa Kirby, bursts onto the scene as a graceful and powerful combatant. She doesn’t need a narrator to tell us how much of a hero she is, the story does that for her. In a moment of loss, she sacrifices her own body for the good and service of everyone. Because that’s what a hero does, right?

She’s beautiful, agile, and cunning, but she’s also soft and emotional. When her physical ability isn’t enough, she often uses her guile and charm. More than that, she’s not afraid to love or be affectionate with those she calls family.

Hobbs and Shaw are the epitome of masculine mythos and some would call them examples of ‘toxic male’ behavior’. They’re both strong, capable combatants whose abilities go far beyond how well they can fight.

Hobbs is an excellent tracker, and despite his huge stature, also a bit of a creme-puff. No, not in the way that he would let someone sleep with his wife, but in the fashion of having a high emotional understanding of those around him. That’s part of what makes him a great tracker, he can get into people’s heads.

He has a daughter which grounds him, and because of his job and selfless obligation to everyone else’s family, has lost his own family.

 

 

Shaw is logical, methodical, and surgical. His means of dealing with any given situation is to have a plan in place and a contingency for that plan. He doesn’t think one move ahead, he’s thinking an entire game ahead, but despite his pride, he still holds a special place in his heart for humankind and their capacity to both love and evolve.

Shaw’s character has seemingly always been for himself, but has shown himself to have heart, and to never go too far. In this installment of the franchise we see just how deep his love goes, and to what depths he was willing to be forgotten, even in the eyes of his family, to do the right thing.

That’s a character trait too many heroes go without, now a days.

The villain of the movie is Brixton, played by Idris Elba. He single handedly takes out six MI-6 operatives without breaking a sweat, and puts a dent in the back of a steel door. He’s ridiculously powerful and incredibly driven, but he also has a flaw that becomes the keystone for his demise.

Brixton once worked with Shaw as an operative for the government, both of them were recruited by the wannabe Illuminati. Shaw refused and Brixton caved. In exchange for capitulation, Brixton was given a body that is more machine than man, turned into, in his own words, a ‘Black Superman’. The wannabe Illuminati believe that technology and not people are the way to move forward. That manipulation and control, not love or understanding is the only way to speak to people. They want to control all the media and the mankind in the world, to feed them whatever message they want. Beginning to sound familiar now?

So Hobbs and both Shaws are examples of the iconic female and masculine form in both physicality and spirituality. This paradigm rails against what Hollywood has been pushing for the past decade, and especially recently.

While Brixton is someone who didn’t want to be alone, sacrificed everything he was including being human, and in the end paid the price because he couldn’t do what his masters wanted of him. Kind of like how certain factions of people often ‘eat’ their own.

The main mcguffin of the movie is the ‘Snowflake’ virus, which is the biggest key to understanding the societal conflict. Snowflake is a fairly common colloquial phrase for an over emotional person who can’t handle life, who is so unique and thus like a snowflake, that living in every day regular existence is vexing. So what does the snowflake virus do in the movie? It kills the ‘weak’ and leaves the strong to survive, the strong being those who the wannabe Illuminati chooses. So what does this sound like? Well they say it without pointing to it, the Snowflake Virus is viral media, and it’s specifically designed to kill anyone who opposes wannabe Illuminati. By suffocating or strangling their market exposure, and leaving them to linger in the anguish of being forgotten.

Capitulate or die. Sounds like some Social media platforms I’ve seen around lately.

 

Diagnosis?

As cool as the other side of the pillow – Check out this movie.

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