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poulin-29 · 25 days
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The leafs never fail me
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samgirard · 2 months
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└ danielle goyette, france st-louis, kim st-pierre, daniele sauvagea, caroline ouellette + tessa and liv chu-ouellette drop the puck for the first pwhl montreal home game
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alexbkrieger13 · 17 days
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Full artcle
I couldn't hold back my tears.
I don't know if it's age, but I seem to get more emotional in these situations.
It's difficult to put into words what I felt when I jumped onto the ice at the Verdun Auditorium on January 13 for our team's home opener.
The crowd was incredible, but it was more than just the ovation that put me in this state. This emotion represented years of effort. I dreamed of this moment for a long time and, finally, we were there.
When I saw great women like Caroline Ouellette, France St-Louis, Kim St-Pierre and Danielle Goyette arrive on the ice, I got chills. I was so happy that people recognized them and gave them the ovation they deserve. Without them, I would not have had the same career.
I'll be honest. At one point, I feared this moment would never come. It took longer than expected. Yes, there were these showcases , weekends where matches were organized in different cities, but it had nothing to do with a real professional league.
JI remember the first time I came to see the installations in Verdun with Danièle Sauvageau. There was almost nothing done. We had our work boots and construction helmets. She had a vision which she explained to me in detail. But I really had a hard time imagining it.
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Marie-Philip Poulin greets the crowd after a Montreal team match.
PHOTO: LPHF MONTREAL/ARIANNE BERGERON
Our fans are the best. Friends who play on other teams told me that. It's not a crowd like any other in Montreal. She is noisy. She is invested. It's important to me to give back to people who are on the move. I am now more comfortable in this role. It’s the experience that comes in, you have to believe.
Before a live interview on Radio-Canada during an intermission at the Verdun Auditorium, a boy called me to offer me a treat. He threw one at me and I caught it in midair with my mouth. I started my interview anyway, with a smile on my face and my mouth full. It's part of my identity, my personality. Interaction with young people is really important to me.
The enthusiasm for our league is very real. I feel it. I hear it too. In Ottawa, I got booed when I went for a penalty shot. Being booed at home, in Canada, I admit that it's a first! It's weird, but it doesn't bother me. After all, that's what we wanted: a competitive league, rivalries and fans who identify with their city.
After a game in Minnesota, we went for a beer. Fathers came to see us to tell us how excited they were to see professional women's hockey. I saw how happy they were for us. It was in Minnesota, we are the team from Montreal and, despite everything, we attract attention.
This anecdote made me realize how our situation has nothing to do with what we experienced in the past. The enthusiasm is there and I have the impression that it is not just the effect of novelty. It will last and it's truly magical.
OHe talks to me a lot about this match last January 20, against Toronto . In fact, I'm mostly told about this goal scored with 17 seconds left in the third period and that we lost by one goal. Honestly, I don't know what happened. I had a blackout . It's rare that I take the puck and try to get to the goal on my own. I saw an opening. It was not premeditated. I was the first surprise when I scored.
Then, I was sent to shootouts four times by my coach. I obviously wasn't ready for that. It took me a little by surprise. It's not my favorite rule, but I'll get used to it.
I was burned out after that match. It's a lot of adaptation. LPHF games, Canada-US Rivalry Series, travel. We're not used to having such a big workload. You have to prepare well, but also make sure you recover well. That's the beauty of this league. It allows me to continue to surpass myself, to learn new things.
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Marie-Philip Poulin
PHOTO: LPHF MONTREAL/ARIANNE BERGERON
I like hockey. I love that. And what I prefer is when the score is close. I like it when you have to give a little more, when you have to empty the tank. When it really counts, that's when I'm at my best. It turns me on.
My parents always told me: You practice like you play. It always stuck in my mind. I don't take anything for granted. I am aware of the pressure, but I have learned to manage it over the years. I don't forget that it's a team sport. I'm lucky to have been able to achieve some of these great moments, but I know I'm not alone in this.
I won Olympic medals, but I also lost world championships. I even wondered if I was capable of winning one. The 2018 Olympics were arguably the most difficult time of my career. I was practically hiding. I didn't want to see anyone. I thought I had disappointed the whole world by failing to bring home the gold medal.
I also learned not to read everything, to leave certain comments aside. Hockey is such a difficult sport. You can do the same thing every game, but the rebound won't go your way, it won't work or the opposing goalie will be on fire. I keep in mind that if you give your maximum in every match, it will happen.
People expect me to score goals, but that's not all I am. I take a lot of pride in blocking shots, in raising sticks in defensive withdrawal. I can still improve my defensive game. To win championships, you have to count, but the little details in the defensive zone will make the difference.
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Marie-Philip Poulin and Laura Stacey celebrate a goal together on January 2, against Ottawa
PHOTO: LPHF MONTREAL/ARIANNE BERGERON
Even though she has been on the national team for a long time and is one of the best players in the world, Laura Stacey is less known to Quebec fans. Why her, they then asked themselves?
I knew full well that Danièle Sauvageau had not chosen her because she is my fiancée. Laura, she's an incredible player. A real power forward who has remarkable discipline.
She chose to move to another province. She is learning the language and doesn't hesitate to try to do bits of interviews in French. It's not easy, but she embraces her new reality.
I'm proud of her. I am proud to see her doing promotions for the media in French. I'm proud that people are discovering her personality, the player she is and that Montrealers are falling in love with her because she really deserves it.
OI often ask myself why I continue.
I don't have to play hockey. I do it because I love it. I feel the best on the ice.
I have the Olympic gold medals, the World Championship gold medals. Now I want to win an LPHF title in Montreal, at home.
Having a positive impact on the next generation has become my priority. To see the little girls in the stands, with stars in their eyes, it's worth more than championships, it's worth more than medals.
Eventually, I want to start a family. It would be in my next projects. We love kids, so this is really important to us.
For the moment, it's still hockey first and foremost.
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Marie-Philip Poulin has fun during off-ice training
PHOTO: LPHF MONTREAL/ARIANNE BERGERONStart of widget. Skip widget?
Comments collected by Christine Roger
Header photo by LPHF Montréal/Arianne Bergeron
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ohpuckthat · 2 years
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Leaf to Leaf... (Auston Matthews)
Pairing: Auston Matthews x Fem!Reader Established Relationship
A/N: I was binge-watching Leaf to Leaf videos and got this idea. I don't know. I'm trying to get back into writing... again. Hope you like it 😊
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When I was told that I was paired up with Auston for the Leaf to Leaf this season, I was a little nervous. We had been dating for almost 5 years but we had kept it fairly private. People knew we were dating but we rarely talked about each other in the media or posted about our relationship. The whole thing with Leaf to Leaf is to know a little more about the players.
I took a deep breath as we both walked into the room, various action shots of the team on the ice on the wall behind a table with two stools. I hopped up on one of the stools as Auston sat across from me. We did a quick mic check and got started.
"You ready?" He asked, playing with the flashcards in his hands.
"Ready as I'll ever be." I smiled, playing with the rings on my fingers.
"Awesome. So, we're starting deep. How does it feel to be the second woman to play in the NHL?"
"Oh wow. Okay, um. We are starting deep." I laughed, clearing my throat. "Well, firstly, it's incredible to be playing in arguably the best hockey league. I honestly didn't think I would be playing in the OHL let alone the NHL. I think we're making steps toward having hockey be for everyone, um, especially with Hayley Wickenheiser and Danielle Goyette running our development department and we had um, Taya Currie drafted by the Sarnia Sting in the OHL so it's really exciting to see what's happening."
"Well said." He smiled, placing his hand on mine.
"I hope that answer wasn't too long," I said, turning my attention to the crew.
"It's perfect." We heard from behind the camera.
"Thank you."
"Alright, next question. This one's a lot lighter and I honestly want to know your answer to this too. Thoughts on the moustache?"
"Your moustache?" He nodded. "I like it. I will say, and I've told you this before, I prefer it with the stubble but I like it. I like the clean-shaven too though. I just like your face."
"I like your face too."
"Thanks." I smiled, my confidence skyrocketing.
"Anytime." He smirked. "How did it feel scoring your first NHL hat trick?"
"Oh god. I was so hyped. To have done it in Toronto and my family was at that game just made it ten times better. I remember hopping over the boards thinking Spezz and Simmer were right behind me but it was you and Mitch and it didn't click until the puck went in the net and you literally picked me up."
"I was just so proud."
"Well, and it made it a little bit more special have you two on the ice. I'm probably the closest with you guys on the team so, yeah."
"You're so sweet. Alright, last question. Favourite trip?"
"Oh, I'm between two. My mom's dream vacation destination has always been Australia and New Zealand so we went just the two of us and had a blast. Spent most of the trip at the beach but I think it was just what we needed and I have a lot of good memories of that trip."
"What was the other one?"
"You invited me on your family vacation to Cabo."
"Oh yeah." He laughed, playing with the flashcards before setting them down. "That was a good trip."
"It was. I spent a lot of time with your sisters and your mom. But yeah."
"Okay, so we'll do the speed round and then a game. Then we'll switch to Y/N asking Auston questions." The producer said,
"Sounds good," I said, readjusting myself on the stool.
"You ready?" Aus asked, focusing on the cards in his hands.
"Mhmm."
"Go to Tim's order?"
"Um, medium peppermint tea and a pack of Timbits."
"Winter of summer?"
"Winter."
"Blue Jays or Raptors."
"Oh, uhh. That's hard. Um, Blue Jays."
"Favourite show?"
"Uh, The Office."
"Good answer. Me or Mitch?"
"Steph." I quickly shot out without even thinking. "Is that really one of the questions?" I asked, turning to the crew.
"No that was mine. I wanted to know who you'd choose." Auston laughed, sliding over the questions.
"Yeah. I'm gonna stick with Steph."
"I'd choose you." He said under his breath. "And finally, waffles or pancakes?"
"Pancakes, with Canadian maple syrup."
"Nice. You do make really good pancakes." He smiled, swinging his legs under the table slightly.
"Pancakes were one of the first things I learned how to make."
"Really?" He asked as the crew was getting the game ready for us.
"Yeah. I started with breakfast foods cause it's my favourite and it's a lot of easy and good basics."
"I did not know that."
"We're all learning things today!" I laughed placing both hands on top of his. The producer walked in front of the camera and passed me a pair of headphones and Auston another stack of flashcards.
"So, Y/N, you're going to put those headphones on and you're going to try and guess what Auston's saying and then you'll swap when the music runs out. Pretty simple."
"Awesome. Sounds fun." I said, placing the headphones on.
I could not hear a thing. Auston had his face turned to the camera. I tried my best to guess what he was saying but I couldn't make it out. He finally turned to me and nodded before saying something.
"I have no clue what you just said." He tried again, speaking even slower. "One more time," I asked, leaning forward even more. He spoke once more, even slower this time. "Scotiabank arena?"
"Yes!" He yelled, nodding frantically. "Next one."
He turned to the camera again and said something really quick. When he turned back to me, he had a huge smile on his face. He nodded again and said the next clue. I shook my head, missing the whole thing. He said it again, much slower and in parts.
"June..." He nodded. "Okay, June... Ele... eleventh?"
"Yes!"
"Our anniversary?" I laughed, setting my elbows on the table. He nodded, looking back down at the clues. I shook my head and turned my attention back to his lips. Learning from the last two times, he took it slow. "I?" He nodded. "La... la. Love?" Another nod. "Okay? You? I love you."
"I love you too." He smiled, moving one hand below the table. I furrowed my brows in confusion but couldn't think too much about it before he had started again.
"Will, Willy? No, sorry. Okay, it's will. Y... you. Okay. Mmmm... mmm... Maa... Oh God, this is hard. Maa... Marry?" And just like that, my heart dropped.
The music stopped and it felt like the only people in the world were me and him. He stood up and took the headphones off my ears, and pulled me to my feet. He lowered down onto one knee and opened a small box to reveal a beautiful ring.
"So? Y/N M/N L/N, will you marry me?"
I lost all my words. Through tears, I nodded, hoping he would understand. He grabbed my left hand and slid the ring over my finger. He stood up and pulled me into his arms.
"I love you," I whispered, planting small kisses just below his ear.
"I love you too."
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letabbyfight · 10 months
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HILARY KNIGHT ON TRIUMPHS, ESPN, RED BULL AND THE FUTURE OF WOMEN'S HOCKEY
Hilary Knight has had a year to remember with leading a determined team to World Championship glory, developing a role on ESPN's NHL coverage and excelling in the PWHPA. She spoke with Carol Schram about what life is like right now and what's to come.
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As the inaugural winner of the IIHF's new female player of the year award, Hilary Knight is unsure whether she needs to clear a space in her already-crowded trophy case.
"I'm wondering — is there, like, actual hardware affiliated with it?" Knight mused, not long after she received word of the honor from IIHF president Luc Tardif on the phone on June 1. "Hopefully I'll get some package randomly and be like, 'Oh, this is the award.' "
As decorated as she is, the accolade is meaningful to the 33-year-old winger, whose 101 career points accumulated since her World Championship debut in 2007 are the most in tournament history.
"Just having an award now for women's ice hockey is huge and instrumental," she said. "Then, also, the individual excitement of 'Wow, it's always nice to grab some awards.'
"It's a team sport, so there is that weird, uncomfortable awkwardness — because I do play with amazing people, and I would not be winning that award without those amazing people. But it shows how far the sport has come and where it needs to go, and it's an exciting step for the future."
Wearing the 'C' for Team USA for the first time this year, Knight's hat-trick performance in the final game at April's women's World Championship in Brampton, Ont., helped the Americans beat Team Canada 6-3 and claim their first gold medal since 2019.
"I think there's a handful of U.S. veterans that were extremely determined to really turn the tide for ourselves," she said.
"We have a really, really strong leadership group in that room. And that's why I keep signing back up — because it's so intoxicating, in the best way. You just want to be part of that room."
Knight led all skaters with eight goals in seven games, including the tournament-winner as part of a four-goal third period where Team USA erased a 3-2 deficit to return to the top of the podium.
With that goal, Knight became the first woman in tournament history to record three clinching goals (also 2011 and 2017). She also tied the record of Canada's Danielle Goyette, with nine world championship golds, and Hayley Wickenheiser's record of 13 total world championship medals.
Knight is already sitting among the greatest female hockey players of all time. After settling for silver in Beijing in 2022, would she consider sticking around all the way through her fifth Winter Olympics in Italy in 2026?
"I don't know," she said. "I love it. And as long as I love it and I can make an impact, both on and off the ice, I will continue to sign up.
"The big thing around any Olympic year, when you sign up for a quadrennial, you have to stay healthy, and there's all these other variables. I've also really enjoyed my time with ESPN and doing their NHL coverage and learning what that analyst role looks like and all these other projects. But it's a fun sport. I don't see myself going anywhere in the meantime."
With ESPN over the last two seasons, Knight has been applying the same meticulous work ethic that has brought her success on the ice, being a sponge and learning all she can about how to perform at her best — and also how to prepare well, whether she's working in the studio or as a game analyst between NHL benches.
"I'm getting more comfortable, more familiar with my preparation," she said. "So when the light bulb does shine, I'm ready to perform and make sure that I'm getting the information that I want out to the viewers.
"It's been fun because I think it's so important to have more women on the broadcasts from a visibility standpoint. And also, I think we bring a different lens. It's been awesome to learn but also to have a little imprint on the sport of hockey at that level, and we're hoping that we can have something similar on the women's side pretty soon."
As a Red Bull athlete since 2015, Knight has realized the energy drink is an effective tool in helping with her broadcast preparation.
"Especially when I'm doing notes and stuff, it's sitting on my desk as I'm going through with the different colored markers and highlighting on my yellow pad," she said.
Knight also finds the drink useful for recovery after a workout or a morning skate.
"I'll drink some Red Bull, and then I'll nap," she said. "Then I'll wake up, and I get this awesome boost that I'm like, 'All right! I got my nap in, so that's great and now I'm recovered and I have energy.' I'm not coming out of the nap like, 'Uhhh. I just napped.'
"There's different ways to use it, but for me, my brain is just 'go go go' all the time. So it's really helpful to have something that helps me continue to be able to 'go go go.' "
This is one of the longstanding athlete partnerships that has helped Knight stay true to her dream of playing hockey full-time — something that was even more challenging earlier in her career than it is today.
When the possibility of the partnership was first presented to her, "I was really shy and sort of nervous," she said. "I understood what Red Bull is, and the whole ethos of the company, and the action sports and all the activations around these fun sports. And I heard rumors about how they support athletes and how awesome it would be to tap into those resources.
"When you combine that with the whole visibility piece and where women's hockey was at the time, it was like, 'OK, I need to get our messaging out, and I need to get this story out so people have more eyes on the sport and want to be involved with it,' " she said. "It was a perfect storm, and I just knew, from a partnership standpoint, it made so much sense."
The pandemic and the demise of the CWHL in 2019 stalled some of the momentum that the women's game amassed after the United States won gold at the 2018 Olympics in Pyeongchang. Knight said she believes the steady evolution of the PWHPA has the sport on the right track in terms of visibility and future growth.
"Every year for the last — what? — three or four years, has been outstanding," she said. "We came into this not knowing how much to sell tickets for, where we were going to play, how we were going to support our athletes, but knowing that we needed to provide programming and support."
This past season, the Dream Gap Tour bent the sport's traditional boundaries, turning rival U.S. and Canadian players into teammates.
With rumors swirling that a new PWHPA league could debut this fall, "I can't say much other than I'm really excited about it," Knight said.
"Talk about a group that will disrupt any industry? We've got that group, and we're really fortified in the right way that we're willing to change the game and establish a better future," she said.
"That's something that we've all been about since our first association meeting, so hats off to all the players that are involved. It's been a grind, but I think we're going to find women's hockey in the best place possible.
"That's just women in sport, right? We just figure it out."
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tzarina-alexandra · 8 months
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Mixed messages in Paul Haggins` Crash
             `Crash` is a movie based on contradictions: the characters are more often than not hypocritical, the people who seem villains at first become heroes and vice versa, and stereotypes are consecutively disproved and confirmed. Nuance is crucial in any serious discussion about discrimination and prejudice, however, this movie fails to be subtle or realistic, instead juxtaposing contradicting traits onto almost every character, creating confusion instead. In this essay, I will analyze the way in which the inconsistent characterization employed in the narrative influences and even negates the main idea that was intended to be transmitted, approaching key scenes and their ramifications both within the plot and applied to the overall themes of the film. I will also attempt to find the indirect message present in the implications caused by said scenes, and offer a few possible alternatives to the screenwriting choices made.
The intended message about prejudice vs the confusing result
           The premise of the movie is dismantling stereotypes and promoting tolerance, by portraying complex characters. However, from the beginning, after characters discuss said stereotypes explicitly, immediately confirm them: the two African-American men, Anthony and Peter really are carjackers, and perform the robbery right after Anthony complains about racism and stereotypes. Soon after, the white characters, Jean and Rick discuss the same situation, with Rick wanting to cover up the story so as not to appear racist, and Jean letting her frustrations out on everybody, not neglecting to mention how hard she tried not to suspect those two men of ill intent. Right from one of the first scenes, we are left with the following idea: African-Americans are discriminated against, but maybe justifiably, and white Americans merely try not to seem, not necessarily not to be racist. Of course, Anthony and Peter are the only criminals among the African-American characters, but it is still disturbing that the clear implication is that Jean`s prejudice against them is justified. In the words of Tori Goyette:
The first white characters we meet are Jean and Rick Cabot, an L.A. District Attorney and his wife, played by Brendan Fraser and Sandra Bullock. These are beautiful, confident, welloff characters whose social status is evident at first sight. Jean grabs her husband’s arm upon seeing two young black men in the street and Anthony, played by Ludacris, notes she is a typical racist white woman for expressing her fear in such a safe place. Anthony goes on to steal her car.
In a sense, Haggis demonstrates Jean’s racism by having her clutch her husband for security, but goes on to right her decision when the black men actualize her fears. We do not leave the scene feeling her actions were reprehensible. This is not the first time, even within the same character, that Haggis conveys approval of the white character’s racist action. (Tori Goyette, White Power: An Analysis of Racial Tensions in Crash, p. 2)
This overall mentality continues throughout the movie: Farhad, the Iranian shopkeeper, first gets denied the purchase of a gun (implied that it was on the assumption that he is a terrorist) and later in the movie has his shop ransacked and various insults written all over the walls. However, he is an increasingly unreasonable character, at the end deciding that the best course of action in `revenge` against Daniel, the locksmith whose only fault was not magically fixing a door which needed replacing, is to kill him. He almost shoots Daniel`s 5-year-old daughter by accident, but luckily, his own daughter, Dorri, had put blanks inside preemptively. In the aftermath, Farhad shows no remorse at all to almost having shot two people, one of which was a child, but even thanks an angel for having protected him from going to prison by preventing the gun from firing. This is absolutely outrageous, and what is more, it does nothing to prove that Farhad is not the dangerous person everybody already thought he was.
There are other, less dramatic examples of `justified prejudice` in this film, such as the normally calm and dignified Shaniqua Johnson suddenly turning into an angry racist as a driver, yelling “Don`t talk to me unless you speak American!” to the Asian driver who rear-ended her car, and even the simple fact that all Asian characters have very little screen time, most of which relates to their bad driving. All in all, the message the movie is extremely unclear: the intention is clearly anti-racist, but the poor execution and screenwriting deliver quite the opposite message.
Officer Ryan`s poorly executed redemption arc
           Although the movie features an ensemble cast, the main hero, so to say, would be officer Ryan, who coincidentally is the most racist and immoral character. Indeed, he has many scenes in which the audience can sympathize with him, most of which relate to his terminally ill father, however, the evil done by him outweighs the good. It could be said that some of his racist actions and only a way to vent his frustrations onto others, such as his insults towards Shaniqua and by extension all African-American employees, which is sad, considering that his father, By Ryan`s own admittance, was very involved in helping minorities. What is inexcusable, though, is how he treated Christine, whom he sexually molested. This time it cannot possibly be said that he was just taking his troubles onto someone else, but rather, he was actively enjoying being in power and making this woman feel powerless. It is with this in mind that the climax of the movie, in which he suddenly becomes a hero, does not feel victorious, but sinister. In the words of Derik Smith:
           It just so happens that the black woman he will save from certain death is the same black woman he assaulted earlier. There is something perverse about the structures of this strained coincidence. For one, the black woman − played by Thandie Newton − is again powerless and must be acted upon by the figure of white male authority. While she is terrified when she first recognizes her liberator, the mortal circumstances dictate that she accept his help. However, as Officer Ryan calms her hysteria and nestles close in order to cut her free, it seems that something more than acceptance has developed in Newton's character. Because of its intimacy (their lips nearly brush), the rescue becomes their second, forced, quasi−sexual encounter and by the time it is over the black woman is grateful for it. (Derik Smith, Investigating the Crash Scene, p. 2)
 The movie wrongfully portrays Christine’s reluctance to let him touch her again as the wrong stance; she was traumatized by the molestation from their last encounter, and there were many other available policemen who could have helped her out of the car. Ryan`s insistence, despite said officers even coming close to help, comes off as yet another power trip, only this time he likes feeling like a hero. At the end of the day, there is no evidence that he ever regretted his racism or violence towards women, much less that he would ever change his ways. He never apologized to Christine, the movie itself implying that his doing his duty by saving her life was more than enough for reconciliation. The only time Ryan did apologize, it was immediately followed by scorn towards the same person, Shaniqua, who rightly stood her ground. This is hardly a redemption arc, yet the movie certainly treats it as such.
Officer Hansen, the activist turned villain
           `Crash`, for all of its claims to progressivism, portrays its most progressive characters in an ultimately negative light. The first would be Anthony, who is very politically conscious and vocal about his opinions regarding the mistreatment of African-Americans, and he makes interesting, although sometimes extreme arguments. However, in his first scene, he is already portrayed as a hypocrite, performing exactly the stereotype he was complaining of being accused. For what it`s worth, he sincerely believes in his ideals, as opposed to Rick, Flanagan or Fred, who merely pretend to be progressive to look good. Even so, the first `revolutionary` of this movie is a morally dubious man.
           This problem intensifies with officer Hansen`s character arc, which comes in exact opposition to officer Ryan`s arc. Whereas Ryan starts out as a racist and power abusing cop, and ends up a hero, Hansen is a convinced anti-racist at the beginning, only to become a criminal at the end. Ryan is even subtly portrayed as being in the right all along, as, being scolded by Hansen, he tells him he would eventually understand and become like him, which, by the end of the movie, he does. Robert Jensen and Robert Wosnitzer highlight this paradox accurately:
Though he's the white character most committed to racial justice, at the end of the film Hanson's fear overcomes judgment in a tense moment, and he shoots and kills a black man. It's certainly true that well-intentioned white people can harbor such fears rooted in racist training. But in the world "Crash" creates, Hanson's deeper awareness of the nature of racism and attempts to combat it are irrelevant, while Ryan somehow magically overcomes his racism. (Robert Jensen, Robert Wosnitzer, ‘Crash' and the Self-indulgence of White America)
Hansen`s character is very shocking: he is the only one who actively fights against racism and corruption, and not even once appears to be putting on a front, but at the very end, at the slightest provocation, he not only shoots Peter, but he burns his whole van to hide the evidence, and watches the fire remorselessly, later leaving into the dark. How did the character who believed in his values the most sincerely suddenly turn into a psychopath after an encounter which was not traumatizing or even threatening in any way, but merely a misunderstanding with a young man he himself agreed to hitchhike with? More importantly, what message does this transmit? Presumably, what the writers intended was to show you cannot judge by first impressions, but, the way it was actually executed, the underlying message is that it does not matter how much of an ally one is, they cannot overcome racism. But even this message is confusing, as Officer Ryan did become `heroic` in this narrative, without doing much, while Hansen did everything and, for nothing more than a shocking plot twist, was turned into a horrible villain.
The real heroes of the story
           There are some characters, however, who are truly virtuous, such as Daniel and his family, and also Dorri, who saves all of their lives with her insight to put blanks into her father`s pistol, but she is an unsung hero. Shaniqua Johnson is also remarkable in that she is dignified and firm in the face of outright mockery from Ryan, knowing when to be patient and when to stand up for herself. These characters are a ray of hope in this bleak movie, staying true to their values and caring for their loved ones despite the hardships they face. Another example would be detective Waters, who, despite some rude remarks he made to his girlfriend and his mother, is overall a man of integrity, who seeks justice instead of good press, as opposed to Flanagan. What is more, he was the only one who took care of his mother, even though he argues with her often throughout the movie. An interesting contrast could be made here between detective Waters and Officer Ryan, both of which have ill parents to take care of, but the former does the right thing at the end of the day, while the latter justifies corrupt behavior as natural to any policeman with experience.
           It is a loss that the focus is not on these characters, but rather on ones which send confusing and even negative messages. The majority of screen time is covered by the characters which would make the audience feel justified in their initial prejudices of them, victims who are blamed for their reactions, highly prejudiced people who are quickly excused for their rude behavior because they suffer certain hardships in life and characters who strive towards noble goals but are ultimately immoral. In this case, stereotypes are not undermined, but enforced, as people acting differently than society expects of them and living their life peacefully despite enduring discrimination are the minority. Not to say that characters from a disadvantaged background can only be portrayed as noble, but the characters from the movie are not complex. Instead of well rounded, flawed people, the minorities in this movie are mostly stereotypical, with a touch of hypocrisy, and the white people are all racists, but with sad backstories. It is my opinion that somebody like Daniel would have made a better hero of the story: he had occasions to be angry and prejudiced against Farhad, for example, but he faced the situation with dignity, and taught his daughter to have hope, not resentment or fear.
The relevance of choosing a certain genre
           This movie has an all-encompassing bleak atmosphere, except for the scene when Daniel gives his daughter the cape. It is obvious that racism is a very grim reality, but the movie is much more dramatic than is necessary, and the characters are too one-dimensional to make for a compelling tragedy. Everybody suffers throughout the movie, but the open ending, which implies nothing is solved, makes their suffering seem purposeless. No cause root of racism is identified, neither is any semblance of a solution given, and nor does anybody learn from the mistakes made. It is concerning that a movie which focuses so much on sending a message ends on a note which suggests nothing can be done about the problem presented and the loop will continue endlessly. The main message is defeatism, yet the movie is not satisfying even as a tragedy.
           On my first viewing, I expected the genre to be comedy, because of the scene in which Anthony and Peter carjack Rick and Jean. This sort of immediate show of a character`s hypocrisy, combined with the timing is more typical to comedies than dramas. Afterwards, the mood shifts quickly to drama, which grows in intensity until the very end, when the tone is suddenly more comedic. The last scene mirrors the first, and they both feel inappropriately funny, considering every other scene in the movie. Perhaps this movie would have done better as a satire: the characters are already one dimensional and stereotypical, and the ending shows that they are doomed to repeat their mistakes forever, and that society cannot change. It would serve the message better as well, because too much darkness can become overwhelming in any story, but comedy can sometimes provoke people to self-reflection.
Closing thoughts
           On the surface, the movie is not poorly made: aspects such as the visuals, the editing, the music, the acting, and certain scenes were very well executed. Its main flaw is its poorly written script, making the other elements, good as they may be, irrelevant, especially since the main purpose was sending a strong message about a controversial subject. However, taking into account my previous arguments, I would dare say the true intention was never to transmit a real message, as much as to shock the audiences, even if it meant ruining entire character arcs and making use of emotional manipulation, in a way being no different than Rick or Flanagan, who merely pretended to be progressive to keep a good impression. Whatever the true intentions may be, a message was sent to the audience, thoughr: ending prejudice will never be possible, and the ones who try their best to be a change in the world do the most harm – a cynical view which says more about the people who made the film than the society it was supposed to illustrate.
 Works cited
Goyette, Tori (2011). “White Power An Analysis of Racial Tensions in “Crash””. Fresh Ink Essays From Boston College’s First-Year Writing Seminar, 13
Smith, Derik. “Investigating the Crash Scene”, The Black Commentator, Issue 175, March 16th, 2006
Jensen, Robert and Wosnitzer, Robert. „Think Piece: „Crash“and the Self-Indulgence of White America“, The Black Commentator, Issue 176, March 23rd, 2006
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Antoine Goyette competing in the Junior free program at the 2019 Canadian Nationals.
(Source: Danielle Earl Photography)
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newmusicweekly · 1 year
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Out Now: Singer-Songwriter Adam Warner Releases Critically Acclaimed Country & Southern Rock Album, 'What We’re Known For'
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Country and southern rock singer-songwriter, U.S. Marine veteran and patriot, Adam Warner releases his new album What We're Known For, available everywhere now (orcd.co/qqloabe) by Sunday Supper Records and The Orchard. Warner co-wrote most of the songs on the album on his family’s farm just outside of Lawrenceville, Illinois with songwriting buddies Mark Addison Chandler, Josh Gallagher and Taylor Goyette.  What We're Known For is Warner’s deep dive into exploring southern rock and more modern country sounds than his previous releases. From rowdy southern rock honky tonk anthems like “One Drunk,” to the graceful tugging at his listener’s heartstrings on “Split A Beer,” to Adam showing his unrelenting love for his wife on “Lost In Country Song,” or the Marine veteran honoring the legacy of Charlie Daniels and fundraising for the Journey Home Project on his rocked out version of “Long Haired Country Boy,” What We're Known For is one of 2022’s most appropriately and authentically named album releases coming out of Nashville.   “To say I’m excited is an understatement,” said Warner. “My team, the songs, the production, everything is evolving. I can’t wait to see what the future holds!” Album name: What We’re Known For Audio release date: Dec. 16, 2022 Record label: Sunday Supper Records / The Orchard Audio produced by: Daniel Dennis Videos produced by: Karl Weidmann, Josh Mendez What We’re Known For Track Listing & Songwriters:  What We’re Known For (Mark Read the full article
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Adam Warner Flexes His Classic Country Muscle On Rousing & Rockin’ Remake Of Charlie Daniels
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Country singer-songwriter and U.S. Marine veteran Adam Warner grew up on his family’s farm in Southern Illinois near Lawrenceville listening to a lot of Charlie Daniels. So much so that he credits the late country legend as one of his biggest musical inspirations for growing into the experienced Nashville-based country recording artist he is today. To commemorate the life and musical legacy of Daniels, Warner has released his own upbeat and fresh-take rockin’ and rousing rendition of Daniels’ iconic song, “Long Haired Country Boy,” available everywhere July 5 on Sunday Supper Records and The Orchard , and the 11th track on his forthcoming new album, What We’re Known For. The song’s accompanying music video was exclusively premiered in a recent feature at People.com by renowned country music journalist Tricia Despres. Warner and his team shot the video at Capricorn Studios in Macon, Georgia, the original studio where Daniels cut “Long Haired Country Boy” on his 1974 album Fire On The Mountain. “Charlie has always been a hero of mine,” Adam explained. “And one of the coolest things about music is it’s timeless, and lives on long after we’re gone. So I wanted to do my part to keep Charlie’s musical legacy living forever!”  Adam will also donate a portion of the proceeds raised from the track to The Charlie Daniels Journey Home Project, a not for-profit organization that assists other not-for-profits in securing funds to help causes that benefit veterans of the United States Armed Forces. “I’m blessed and honored to support the Charlie Daniels Journey Home Project through this recording of Charlie’s classic song,” Adam said. “So take a listen, and help support a veteran!”  What We’re Known For is the follow-up album to Big Storm (2021), which contained fan favorites “4 Square Miles,” “That’s How You Know You’re Livin’” and “SemperFi” featuring Trace Adkins. The album was exclusively premiered by American Songwriter Magazine. Single name: “Long Haired Country Boy” Release date: July 5, 2022 Stream/Buy/Listen: orcd.co/yeogrvk Songwriters: Charlie Daniels ISRC#: QM4TX2231783 Album name: What We’re Known For Record label: Sunday Supper Records / The Orchard Audio produced by: Daniel Dennis Video director: Karl Weidmann, Josh Mendez with Southern Cabin Films Official video: youtu.be/4PryzKygIH4 What We’re Known For Track Listing & Songwriters:  - What We’re Known For (Mark Addison Chandler, Matt Williams) - Catchin’ Hell (Adam Warner, Mark Addison Chandler, Davis Corley, Josh Gallagher) - Lost In A Country Song (Barrett Baber, John Caldwell, Mark Addison Chandler, Taylor Goyette) - Split A Beer (Adam Warner, Mark Addison Chandler, Josh Gallagher, Taylor Goyette) - One Drunk (John Caldwell, Mark Addison Chandler, Davis Corley) - Reason To Redneck (John Caldwell, Mark Addison Chandler, Davis Corley, Dawson Edwards)  - Got Started (Adam Warner, Mark Addison Chandler, Lewis Brice, Josh Gallagher) - Like Daddy Did (Adam Warner, Smith Curry, Steven Nix) - First Face (Adam Warner, Mark Addison Chandler, Lewis Brice, Josh Gallagher) - Granny’s Lincoln (Adam Warner, Mark Addison Chandler, Davis Corley, Josh Gallagher) - Long Haired Country Boy (Charlie Daniels) - Goodbye Hometown (Trafton Harvey, Quinn Loggins, Joe Doyle) 2022 Show Dates: JUL 22 – Lori’s Roadhouse / West Chester, Oh. JULY 23 – Spillway Bar & Grill / Bowling Green, Ky. JUL 29 – Bristol Republic / Columbus, Oh. JUL 30 – Bristol Republic / Columbus, Oh. AUG 19 – Stoney’s Rockin’ Country / Las Vegas, Nev. *For Adam’s most up-to-date tour schedule, follow on BandsInTown or visit AdamWarnerIsCountry.com About Adam Warner: Adam Warner brings a big sound from a small town swagger to the country scene; fusing his timeless drawl with the infectious ‘take it or leave it’ energy of rock n roll, Warner has mastered the art of a good time. After proudly serving in the United States Marines, Adam Warner crafted his country rock catalog in Nashville, Tennessee–with singles like “Catchin’ Hell” and “Reason to Redneck” in the pipeline for 2022, every aspect of his brand bleeds red, white and blue. A self-proclaimed bad influence, Warner has learned not to take himself too seriously, and his music offers his audience a chance to do the same. Despite his rowdy bravado, Adam Warner still honors the best of country’s time honored traditions with songs like “Someone God Can Use,” which he humbly performed at the legendary Grand Ole Opry House. With influences extending across decades of musical icons, Warner has shared the stage with some of his biggest heroes, including Lee Brice, Jamey Johnson, Jerrod Niemann, American Young, Midland, Trace Adkins, Neil McCoy, Rhonda Vincent and Darrell Singletary. Having already celebrated a multitude of career highs, Warner has become ingrained in the country music community with releases like “Semper Fi” featuring Trace Adkins, which pays homage to active and former military, along with the 2018 Tennessee Titans anthem “Welcome to the South”–played at every home game at Nissan Stadium. Adam Warner’s music mimics the philosophy in which he lives his life by. “Do what you love and love what you do,” he asserts, “there’s no restart button. One of the greatest things about music is that it lives forever, my songs will be around long after I’m gone. But while I’m here, I want to help people live in the moment. At the end of the day, if I can play a part in one person’s good day, if I can make some laugh, cry or feel something, I know I’ve done my job as an artist.”  The best of Adam Warner is yet to come–stay tuned for upcoming tour dates and high-octane releases that’ll set the soundtrack for 2022. About The Charlie Daniels Journey Home Project: The Charlie Daniels Journey Home Project (TCDJHP) is a not-for profit organization that assists other not-for-profits in securing funds to help causes that benefit veterans of the United States Armed Forces. The organization was co-founded in 2014 by the late country music legend Charlie Daniels and his manager, David Corlew. Board members include Corlew, Major General Terry “Max” Haston (retired) and most recently in 2020, Hazel Daniels. Conscious of the need to assist our nation’s veterans, TCDJHP partners with organizations that do the most good, with the least overhead. Working in tandem with these organizations, TCDJHP is making a difference in the lives of American patriots. TCDJHP’s daily operations rely solely on public donations. Adam Warner Contacts: Media & PR: Jason W. Ashcraft | [email protected] |  (615) 991-1125 Booking & Management: Bill Vandiver | [email protected] | (615) 504-0781 Radio Promotions: Renee McClure | [email protected] | (615) 646-3912 Record Label: Trey Allen | [email protected] Charlie Daniels Journey Home Project Contact: Media & PR: Don Murry Grubbs | [email protected] | (615) 275-8380 Read the full article
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craters-of-joy · 3 years
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Gold Medal picture (20 February 2006) at the 2006 Winter Olympics.
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Danielle Goyette makes Hall of Fame after growing game
Danielle Goyette won a gold medal nine times for Canada in her distinguished international hockey career, twice at the Olympics and seven times at the IIHF Women's World Championship.
But her biggest honor came Monday, when she was elected to the Hockey Hall of Fame. It is safe to say it was news she was not expecting.
"Honestly, I even considered not answering the phone because I saw a Toronto number and I was in the middle of doing something," said Goyette, 51. "So I was hesitant to take the call, and even when I saw it was Mr. Lanny McDonald calling, I still didn't think of this right away."
It's a good thing Goyette answered that call Monday afternoon from McDonald, the Hockey Hall of Fame chairman, who delivers the news to those elected.
Goyette played her first world championship for Canada in 1992 at age 26 and her final one in 2007 at 41. Over that time, Goyette saw women's hockey grow, and she was a big reason why with how she helped inspire a generation of young girls to play.
"When I started to play hockey, first of all women's hockey wasn't that popular," Goyette said. "When I grew up people would ask me why I was playing hockey because it was a man's sport. But when you love something that much, it doesn't matter what people say, you just do what you love.
"I started playing in the late 1980s and growing the game, year by year it was getting bigger and bigger. But since the 1998 Olympics, the first Olympics [with women's hockey] in Nagano, we've seen the sport growing so fast. I would say it's the sport that's growing the fastest right now. It's not just because of me, but it's because of all the players I played with and the teams I played with. When you have success, now the young kids have role models as a hockey player. Now they're starting to play the game at such a young age, which is a chance that I didn't have. It's pretty amazing to see the evolution of the game.
"To be part of the pioneers, opening the door to young girls, I could not be more proud of that." (x)
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sassoffrass · 7 years
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Congratulations Danielle!
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letabbyfight · 10 months
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Hilary Knight wins the inaugural IIHF Female Player of the Year Award
by Andrew Podniek 01 JUN 2023
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USA’s Hilary Knight #21 hoisting the championship trophy while teammates look on after a 6-3 Gold Medal Game win against Canada at the 2023 IIHF Ice Hockey Women’s World Championship at CAA Centre on April 16, 2023 in Brampton, Ontario.
Team USA forward Hilary Knight has been voted the IIHF Female Player of the Year for the 2022-23 season. She received 40.9% of the total votes and was the clear and favored winner. Second in the voting was teammate Caroline Harvey, with 18.2%, followed by teen sensation Nela Lopusanova of Slovakia, with 13.6%. Fourth was Finnish captain Jenni Hiirikoski with 11.3%, followed by Sarah Filler (CAN, 9.1%), Emma Soderberg (SWE, 4.5%), and Marie-Philip Poulin (CAN, 2.3%).
“I am honored to be the first recipient of such a prestigious award,” Knight said last night when informed of the results by IIHF President Luc Tardif. “There are many talented women at this level, and it is a privilege to be recognized as the IIHF Female Player of the Year.”
The voting was conducted by members of the media representing 16 countries as well as the appropriate IIHF Family. This is the inaugural year for the trophy. The IIHF Male Player of the Year will be revealed later in the month.
Knight, 33, had an exceptional year, culminating with a gold medal at the 2023 IIHF Women’s World Championship in Brampton in April. In that tournament, she led all players with eight goals, three of which came in the game for Gold against Canada. The second of those three was the game winner, marking the third time she has scored the game-winning goal at an IIHF Women’s Worlds gold game (2011, 2017), an unprecedented achievement. It was also the fifth time she has led an IIHF Women’s Worlds in goals, another feat unmatched in the history of the tournament.
Knight continues: “Reflecting on this year it’s hard to pinpoint one highlight, rather a collection of memories shared with my teammates. I am grateful to be a part of such an incredible group and share these special moments with my friends.”
Knight finished the 2023 IIHF Women’s World Championship with 12 points, which gives her 101 points for her career at the IIHF WW. She is the only woman to reach the 100-point plateau, and her gold medal also brought her into an elite company. She now has nine career golds, tying her with Danielle Goyette (CAN) for most in a career, and 13 total IIHF WW medals, tied now with Hayley Wickenheiser (CAN) for most. In addition, Knight extended her records for most career goals (now 61) and points (101).
A native of California, Knight has now played in 13 IIHF Women’s Worlds tournaments, the first coming in 2007 when she was the youngest player on the team, as well as four Olympic Winter Games (one gold, three silver). She has been named tournament MVP twice, in 2015 and again the next year, and to the All-Star Team four times (2011, 2015, 2016, 2019).
The IIHF Female Player of the Year award will be given annually to a player who “best exemplifies exceptional skill, determination, team success, and sporting character on and off the ice during the preceding season.” According to the IIHF criteria for the award, candidates must have competed in at least one IIHF tournament (Olympics, Women’s World Championship, Women’s U18 World Championship) as well as in a domestic league of the highest caliber for that country, the combined performances of which were deemed superior to all other players.”
“The sport and the women who play it deserve the largest stage and biggest spotlight,” Knight adds. “My hope is that the sport continues to grow and reach greater heights. Although hockey is a team sport, having awards and accolades that acknowledge accomplishments help drive more visibility. Thank you, IIHF, for creating this award, as it is important to recognize outstanding athletic performances.”
In addition to the IIHF Women’s Worlds, Knight played for the PWHPA on Team Sonnet, recording 10 points in 18 games during the season-long Dream Gap Tour. Sonnet lost in the semi-finals of the PWHPA’s playoff weekend in FivePoint Arena, training center of the Anaheim Ducks. Over her career, however, Knight has won both the Clarkson Cup (twice) and Isobel Cup. The former victories came with the Boston Blades in 2013 and 2015, and the latter with the Boston Pride in 2016.
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tzarina-alexandra · 1 year
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Mixed messages in Paul Haggins` Crash
`Crash` is a movie based on contradictions: the characters are more often than not hypocritical, the people who seem villains at first become heroes and vice versa, and stereotypes are consecutively disproved and confirmed. Nuance is crucial in any serious discussion about discrimination and prejudice, however, this movie fails to be subtle or realistic, instead juxtaposing contradicting traits onto almost every character, creating confusion instead. In this essay, I will analyze the way in which the inconsistent characterization employed in the narrative influences and even negates the main idea that was intended to be transmitted, approaching key scenes and their ramifications both within the plot and applied to the overall themes of the film. I will also attempt to find the indirect message present in the implications caused by said scenes, and offer a few possible alternatives to the screenwriting choices made.
The intended message about prejudice vs the confusing result
The premise of the movie is dismantling stereotypes and promoting tolerance, by portraying complex characters. However, from the beginning, after characters discuss said stereotypes explicitly, immediately confirm them: the two African-American men, Anthony and Peter really are carjackers, and perform the robbery right after Anthony complains about racism and stereotypes. Soon after, the white characters, Jean and Rick discuss the same situation, with Rick wanting to cover up the story so as not to appear racist, and Jean letting her frustrations out on everybody, not neglecting to mention how hard she tried not to suspect those two men of ill intent. Right from one of the first scenes, we are left with the following idea: African-Americans are discriminated against, but maybe justifiably, and white Americans merely try not to seem, not necessarily not to be racist. Of course, Anthony and Peter are the only criminals among the African-American characters, but it is still disturbing that the clear implication is that Jean`s prejudice against them is justified. In the words of Tori Goyette:
The first white characters we meet are Jean and Rick Cabot, an L.A. District Attorney and his wife, played by Brendan Fraser and Sandra Bullock. These are beautiful, confident, welloff characters whose social status is evident at first sight. Jean grabs her husband’s arm upon seeing two young black men in the street and Anthony, played by Ludacris, notes she is a typical racist white woman for expressing her fear in such a safe place. Anthony goes on to steal her car.
In a sense, Haggis demonstrates Jean’s racism by having her clutch her husband for security, but goes on to right her decision when the black men actualize her fears. We do not leave the scene feeling her actions were reprehensible. This is not the first time, even within the same character, that Haggis conveys approval of the white character’s racist action. (Tori Goyette, White Power: An Analysis of Racial Tensions in Crash, p. 2)
This overall mentality continues throughout the movie: Farhad, the Iranian shopkeeper, first gets denied the purchase of a gun (implied that it was on the assumption that he is a terrorist) and later in the movie has his shop ransacked and various insults written all over the walls. However, he is an increasingly unreasonable character, at the end deciding that the best course of action in `revenge` against Daniel, the locksmith whose only fault was not magically fixing a door which needed replacing, is to kill him. He almost shoots Daniel`s 5-year-old daughter by accident, but luckily, his own daughter, Dorri, had put blanks inside preemptively. In the aftermath, Farhad shows no remorse at all to almost having shot two people, one of which was a child, but even thanks an angel for having protected him from going to prison by preventing the gun from firing. This is absolutely outrageous, and what is more, it does nothing to prove that Farhad is not the dangerous person everybody already thought he was.
There are other, less dramatic examples of `justified prejudice` in this film, such as the normally calm and dignified Shaniqua Johnson suddenly turning into an angry racist as a driver, yelling “Don`t talk to me unless you speak American!” to the Asian driver who rear-ended her car, and even the simple fact that all Asian characters have very little screen time, most of which relates to their bad driving. All in all, the message the movie is extremely unclear: the intention is clearly anti-racist, but the poor execution and screenwriting deliver quite the opposite message.
Officer Ryan`s poorly executed redemption arc
Although the movie features an ensemble cast, the main hero, so to say, would be officer Ryan, who coincidentally is the most racist and immoral character. Indeed, he has many scenes in which the audience can sympathize with him, most of which relate to his terminally ill father, however, the evil done by him outweighs the good. It could be said that some of his racist actions and only a way to vent his frustrations onto others, such as his insults towards Shaniqua and by extension all African-American employees, which is sad, considering that his father, By Ryan`s own admittance, was very involved in helping minorities. What is inexcusable, though, is how he treated Christine, whom he sexually molested. This time it cannot possibly be said that he was just taking his troubles onto someone else, but rather, he was actively enjoying being in power and making this woman feel powerless. It is with this in mind that the climax of the movie, in which he suddenly becomes a hero, does not feel victorious, but sinister. In the words of Derik Smith:
It just so happens that the black woman he will save from certain death is the same black woman he assaulted earlier. There is something perverse about the structures of this strained coincidence. For one, the black woman − played by Thandie Newton − is again powerless and must be acted upon by the figure of white male authority. While she is terrified when she first recognizes her liberator, the mortal circumstances dictate that she accept his help. However, as Officer Ryan calms her hysteria and nestles close in order to cut her free, it seems that something more than acceptance has developed in Newton's character. Because of its intimacy (their lips nearly brush), the rescue becomes their second, forced, quasi−sexual encounter and by the time it is over the black woman is grateful for it. (Derik Smith, Investigating the Crash Scene, p. 2)
The movie wrongfully portrays Christine’s reluctance to let him touch her again as the wrong stance; she was traumatized by the molestation from their last encounter, and there were many other available policemen who could have helped her out of the car. Ryan`s insistence, despite said officers even coming close to help, comes off as yet another power trip, only this time he likes feeling like a hero. At the end of the day, there is no evidence that he ever regretted his racism or violence towards women, much less that he would ever change his ways. He never apologized to Christine, the movie itself implying that his doing his duty by saving her life was more than enough for reconciliation. The only time Ryan did apologize, it was immediately followed by scorn towards the same person, Shaniqua, who rightly stood her ground. This is hardly a redemption arc, yet the movie certainly treats it as such.
Officer Hansen, the activist turned villain
`Crash`, for all of its claims to progressivism, portrays its most progressive characters in an ultimately negative light. The first would be Anthony, who is very politically conscious and vocal about his opinions regarding the mistreatment of African-Americans, and he makes interesting, although sometimes extreme arguments. However, in his first scene, he is already portrayed as a hypocrite, performing exactly the stereotype he was complaining of being accused. For what it`s worth, he sincerely believes in his ideals, as opposed to Rick, Flanagan or Fred, who merely pretend to be progressive to look good. Even so, the first `revolutionary` of this movie is a morally dubious man.
This problem intensifies with officer Hansen`s character arc, which comes in exact opposition to officer Ryan`s arc. Whereas Ryan starts out as a racist and power abusing cop, and ends up a hero, Hansen is a convinced anti-racist at the beginning, only to become a criminal at the end. Ryan is even subtly portrayed as being in the right all along, as, being scolded by Hansen, he tells him he would eventually understand and become like him, which, by the end of the movie, he does. Robert Jensen and Robert Wosnitzer highlight this paradox accurately:
Though he's the white character most committed to racial justice, at the end of the film Hanson's fear overcomes judgment in a tense moment, and he shoots and kills a black man. It's certainly true that well-intentioned white people can harbor such fears rooted in racist training. But in the world "Crash" creates, Hanson's deeper awareness of the nature of racism and attempts to combat it are irrelevant, while Ryan somehow magically overcomes his racism. (Robert Jensen, Robert Wosnitzer, ‘Crash' and the Self-indulgence of White America)
Hansen`s character is very shocking: he is the only one who actively fights against racism and corruption, and not even once appears to be putting on a front, but at the very end, at the slightest provocation, he not only shoots Peter, but he burns his whole van to hide the evidence, and watches the fire remorselessly, later leaving into the dark. How did the character who believed in his values the most sincerely suddenly turn into a psychopath after an encounter which was not traumatizing or even threatening in any way, but merely a misunderstanding with a young man he himself agreed to hitchhike with? More importantly, what message does this transmit? Presumably, what the writers intended was to show you cannot judge by first impressions, but, the way it was actually executed, the underlying message is that it does not matter how much of an ally one is, they cannot overcome racism. But even this message is confusing, as Officer Ryan did become `heroic` in this narrative, without doing much, while Hansen did everything and, for nothing more than a shocking plot twist, was turned into a horrible villain.
The real heroes of the story
There are some characters, however, who are truly virtuous, such as Daniel and his family, and also Dorri, who saves all of their lives with her insight to put blanks into her father`s pistol, but she is an unsung hero. Shaniqua Johnson is also remarkable in that she is dignified and firm in the face of outright mockery from Ryan, knowing when to be patient and when to stand up for herself. These characters are a ray of hope in this bleak movie, staying true to their values and caring for their loved ones despite the hardships they face. Another example would be detective Waters, who, despite some rude remarks he made to his girlfriend and his mother, is overall a man of integrity, who seeks justice instead of good press, as opposed to Flanagan. What is more, he was the only one who took care of his mother, even though he argues with her often throughout the movie. An interesting contrast could be made here between detective Waters and Officer Ryan, both of which have ill parents to take care of, but the former does the right thing at the end of the day, while the latter justifies corrupt behavior as natural to any policeman with experience.
It is a loss that the focus is not on these characters, but rather on ones which send confusing and even negative messages. The majority of screen time is covered by the characters which would make the audience feel justified in their initial prejudices of them, victims who are blamed for their reactions, highly prejudiced people who are quickly excused for their rude behavior because they suffer certain hardships in life and characters who strive towards noble goals but are ultimately immoral. In this case, stereotypes are not undermined, but enforced, as people acting differently than society expects of them and living their life peacefully despite enduring discrimination are the minority. Not to say that characters from a disadvantaged background can only be portrayed as noble, but the characters from the movie are not complex. Instead of well rounded, flawed people, the minorities in this movie are mostly stereotypical, with a touch of hypocrisy, and the white people are all racists, but with sad backstories. It is my opinion that somebody like Daniel would have made a better hero of the story: he had occasions to be angry and prejudiced against Farhad, for example, but he faced the situation with dignity, and taught his daughter to have hope, not resentment or fear.
The relevance of choosing a certain genre
This movie has an all-encompassing bleak atmosphere, except for the scene when Daniel gives his daughter the cape. It is obvious that racism is a very grim reality, but the movie is much more dramatic than is necessary, and the characters are too one-dimensional to make for a compelling tragedy. Everybody suffers throughout the movie, but the open ending, which implies nothing is solved, makes their suffering seem purposeless. No cause root of racism is identified, neither is any semblance of a solution given, and nor does anybody learn from the mistakes made. It is concerning that a movie which focuses so much on sending a message ends on a note which suggests nothing can be done about the problem presented and the loop will continue endlessly. The main message is defeatism, yet the movie is not satisfying even as a tragedy.
On my first viewing, I expected the genre to be comedy, because of the scene in which Anthony and Peter carjack Rick and Jean. This sort of immediate show of a character`s hypocrisy, combined with the timing is more typical to comedies than dramas. Afterwards, the mood shifts quickly to drama, which grows in intensity until the very end, when the tone is suddenly more comedic. The last scene mirrors the first, and they both feel inappropriately funny, considering every other scene in the movie. Perhaps this movie would have done better as a satire: the characters are already one dimensional and stereotypical, and the ending shows that they are doomed to repeat their mistakes forever, and that society cannot change. It would serve the message better as well, because too much darkness can become overwhelming in any story, but comedy can sometimes provoke people to self-reflection.
Closing thoughts
On the surface, the movie is not poorly made: aspects such as the visuals, the editing, the music, the acting, and certain scenes were very well executed. Its main flaw is its poorly written script, making the other elements, good as they may be, irrelevant, especially since the main purpose was sending a strong message about a controversial subject. However, taking into account my previous arguments, I would dare say the true intention was never to transmit a real message, as much as to shock the audiences, even if it meant ruining entire character arcs and making use of emotional manipulation, in a way being no different than Rick or Flanagan, who merely pretended to be progressive to keep a good impression. Whatever the true intentions may be, a message was sent to the audience, thoughr: ending prejudice will never be possible, and the ones who try their best to be a change in the world do the most harm – a cynical view which says more about the people who made the film than the society it was supposed to illustrate.
Works cited
Goyette, Tori (2011). “White Power An Analysis of Racial Tensions in “Crash””. Fresh Ink Essays From Boston College’s First-Year Writing Seminar, 13
Smith, Derik. “Investigating the Crash Scene”, The Black Commentator, Issue 175, March 16th, 2006
Jensen, Robert and Wosnitzer, Robert. „Think Piece: „Crash“and the Self-Indulgence of White America“, The Black Commentator, Issue 176, March 23rd, 2006
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virtchandmoir · 2 years
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Scott Moir, PyeongChang 2018 Tessa Virtue and Scott Moir had to come to grips with the flag pole, because it was an honour to carry it into the opening ceremony at the 2018 Olympics in PyeongChang, not a curse.
And as soon as the ice dancers wrapped their heads around that idea, they happily wrapped themselves in the Maple Leaf and led the Canadian contingent into the stadium almost exactly four years ago, just as Marie-Philip Poulin and Charles Hamelin will do here today.
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Tessa Virtue and Scott Moir, Feb. 20, 2018. PHOTO BY EZRA SHAW /Getty Images
“I’m so proud of the Canadians, having them march side by side like Tessa and I did,” Moir said from his home in Ontario on Thursday. “There isn’t a day that I don’t thank our lucky stars or whatever power it may be, the voice that told us to forget about the curse of carrying the flag and to do it.
“I think it is one of our fondest memories. It kind of stands alone from our performance memories. Just looking back and seeing Mik Kingsbury and Patrick Chan and M-P on the front line there, marching in together with them, that’s a memory we won’t ever forget. It took us a couple days to come down from that.”
The curse of the flag bearer emerged as a narrative after some athletes struggled in the aftermath of leading the charge into various opening ceremonies. Figure skater Kurt Browning finished fifth at Lillehammer 1994 after carrying the flag, moguls skier Jean-Luc Brassard was fourth at Nagano 1998 after fulfilling his duties. But there was a string of more recent success stories too, as Catriona Le May Doan in 2002, Danielle Goyette in 2006 and Hayley Wickenheiser in 2014 all came away with gold medals after carrying the Maple Leaf.
And the fact is, Virtue and Moir had assembled an impressive integrated support team of coaches and medical professionals in Montreal, and they ensured every detail was fine-tuned. So, when they were announced as flag bearers in Ottawa in January 2018, well in advance of their duties in Korea, they used the time wisely.
“We had the (Canadian Olympic Committee) send us the boots and the gloves so we could practice and see what the weight of the boot would be,” said Moir. “We were always a little over-prepared for these Olympics, especially because we knew it would be our last. We were a little bit older and with Tessa’s leg injury, we wanted to make sure it wasn’t going to bring on anything unexpected.
“But at the same time we knew it was something we couldn’t say no to.”
It was the right decision, obviously, and they went on to win gold medals in both ice dancing and the team event at PyeongChang 2018, a fitting way to end an amazing competitive career together.
—National Post
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linwoolf · 6 years
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Kathryn Goyette by Kasheem Daniels
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