This article contains spoilers For “weapons”.
The third episode of the fourth season of “Seinfeld”, entitled “The Pitch”, fell into history as one of the most beautiful and most incisive of examples of the work of the writer Larry David. In this document, the protagonists of “Seinfeld” – of which Jerry Seinfeld, naturally – Pitch the fictitious NBC leaders on “A Show on Nothing”, which seems to be to be to be signed on the way in which David and Seinfeld launched “Seinfeld” with real NBC frames. Of course, the concept of the series “About nothing” is a competition and self-depreciating and was not intended to be taken literally. However, unfortunately, too many people took it to heart, and not only did they joyfully perceived the idea that “Seinfeld” was a program on nothing (when, in fact, it was a program on many things), but they did not consider a validation that art could not be on anything – that all books, songs, television shows or films are not so deep.
It is, of course, wrong. In the same way in which all art is political, all art concerns something, and it is only the degrees of the depth of a work that is in question, not its presence. If there is a genre that has been continuously rejected as “not so serious” over the decades, it is the horror film, because people have gotten into the habit of believing that the genre is any surface, no feeling. Fortunately, this reputation has recently revolved, because horror has regularly become more common and that fans of the genre have made sure to underline its credibility as strong and as often as possible. The independent horror movement in the early 00 years, finally transferred to the “high” horror films “which have only increased in popularity, films in which the existence of its own subtext is so pronounced that it is practically an argument of sale.
It is tempting to say that these films have formed viewers to be in depth of spoon in a way similar to the way in which the series of streaming services have been modified to allow people of several tasks while looking, but that is not true. There is a media literacy problem at the heart of the biggest complaint concerning the new horror film of Zach Cregger, “weapons”. The complaint – that the film does not concern anything – is an invalid criticism, that people level the film because they cannot articulate what really disturbs them. “Weapons”, like “Seinfeld” and all other arts, concerns something, but its structure is so deliberately unusual that it has made it unsatisfactory experience for certain people, which forces them to make specious affirmations on its content.
