The Critical Drinker Is Laundering Yet Another Diversity Inc. Project
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The Fast series has never been a Diversity Inc project. It's not anti-white or anti-male. The minority casting has been a part of the series from the beginning anyway.
Someone observed that Fast makes libs squirm because the movies are the simple and dumb blockbusters they hate, but they can't say anything because of all the black, Asian, Latino etc actors involved
Fast series is slowly going woke. The ladies roles have become more prominent and it has 0 eye candy.
It was a Diversity Inc. project from day one. The first movies tapped into the urban street culture that was so popular at the time. Hip hop was the dominant music force and the movie industry was all too eager to tap into this craze, having worked towards popularizing it for the last decade.
The theme of the first movie was also predictable. He was sent to infiltrate this gang of criminal street racers, falling in love with the sister. Eventually he's torn between his duty as an officer and his love interests, plus his loyalty/friendship to the rest. But this time around, the 'lovable street urchins' were portrayed a little bit too favorable. Compare that to 'Point Break' (1991), which Fast and Furious was aping. They weren't portrayed as favorable here, certainly not to the extent in this one.
Fast and Furious also Michelle Rodriguez, the ethnic go-to-girl for 'women acting like men', the template for much what would follow in shitty Hollywoke.
None of the movies are about hip hop. They're a supercharged version of the import tuner scene from that time period.
The movie tropes have nothing to do with the casting. Anyway Dom's crew was 90% white and the actual villains were Vietnamese.
Tuff girl characters are one thing, girlbosses are another. They're completely different.
Michelle Rodriguez was 'the girl that could beat you up' actress, even though she didn't have the physical strength, stature, weight or training, just the attitude.
Dom's crew wasn't exactly '90% white'. They had 'Hispanic sounding names' and they soon expanded it with 'rappers turned actors' to better appeal to the street audience.
And the movies were about street life. Urban street life, with an emphasis on illegal street racing.
Yes, exactly, it's the attitude. Tomboys can be hot. Michelle never beat anyone up in F&F.
Dom's crew from the first movie since that's what you mentioned:
No, just the illegal street racing and a souped up version of the car show scene. Sorry but on this subject, you clearly don't know what you're talking about.
Car culture has always been a fusion of Japanese, Hispanic and inner city culture. It comes from a time when the concept of "racism" barley existed.
Also Tyrese Gibson and Vin Diesel are friends IRL.
Tell me you aren't a car guy without telling me you aren't a car guy.
Go to any car show that isn't a pop up meet and it is going to be an army of Corvettes and Porsche 911s, the rest being classic American muscle, old British roadsters, some ancient Studebakers, maybe some Italian exotics, and then a few quirky cars/trucks that don't fit in with the rest.
There are almost never any Japanese cars or riced out low riders with 60 degree camber. If there are any Japanese cars they are almost always going to be an NSX, an RX7, or a Supra, and they won't be in large numbers like the pop up meets where all the tuners show up.
The movies can be accused of being tweaked to hold the attention of superstitious room temperature IQ folk (not that that's all the franchise is or only appeals to) as part of mass appeal, but that includes toning down agendas (not that this production rationality can be taken for granted). Broader, apolitical culture has decayed over the past decade, which could have had an inadvertent effect on the final product. I've only seen the first or second, so I can't confirm.
Not sure if this is what you mean but blockbusters have definitely gotten dumber to appeal to the global audience, and that's definitely affected the franchise.
That's a factor, but I'm talking across-the-board decay, emblemized by Corporate Memphis, which is much lamer than the iPod silhouette. Or even passable examples of modern urban aesthetic, as in The Finals or Xdefiant, just don't appeal as much as Viewtiful Joe / Gurren Lagann, or whatever the 1991-2011 Western equivalent was called.
Of course gradual decay extends beyond movies and urban aesthetic, but I can't be rambling on all day. My point that aside from sequel churn and international blunting, I expect a systemic drop in product palatability because the average creator, consumer, support staffer, etc being less sophisticated. This same phenomenon enables wokism/pc, but is discrete from it. Do we have the capacity for another Disco Demolition Night?
Absolutely, the vital forces in art have been diluted several times at this point and it doesn't help when younger generations only know the ripoffs instead of the inspirations