![]() Spider-Verse turns the audiences expectations about going into a Spider-Man origin story into an endless punching bag for jokes, while still selling us it’s own origin story. This idea bleeds into every aspect of their filmmaking. What Emmett has to do is realize the ultimately arbitrary nature of the prophecy itself, but still choose to find meaning in it anyway, despite it all.Īnother tenant of Metamoderism is that irony and sincerity are not mutually exclusive, and can even be used in the same breath. But the thing is, to a hyperaware, metamodern audience, neither outcome would be particularly satisfying. A postmodernist work might reveal the prophecy to be a fraud, and have the hero be crushed by the meaninglessness of it all. In a modernist work, this trope might be played straight, with Emmett actually being the chosen one, who saves the day. This can be seen in how the Lego movie plays with the “The Chosen One” trope, with it’s concept of “The Special”. ![]() Like the thing with Metamodernism, is that it can be understood as a pragmatic idealism, the idea that while the universe is arbitrary and full of contradictions, we choose to make meaning by embracing those contradictions to create a new, more complex understanding of the world. For me, Lord and Miller’s movies, most notably The Lego Movie and Into the Spider-Verse, tend to have very metamodern sensibilities. ![]()
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