The world of ‘Mad Max: Fury Road’ a chaotic desert wasteland. Image Source: Warner Bros, Co. via the Official Main Trailer.
In the extreme desert wastelands of a post-nuclear Earth, Max Rockatansky and Imperator Furiosa fight for survival in a world riddled with decay. At first, life and death seem to be the only truths by which men and women abide. Warlords rule over entire populations through their hold over simple resources: water, gasoline, bullets. Reproduction, the essence of life and birth, is warped. Pregnant women are milked like cows in a dairy factory to nourish an ongoing war machine, while the most beautiful women are trapped in bank vaults as precious breeding commodities. Even our protagonist-hero, Max, states simply: “My world is reduced to a single instinct: Survive.”
Yet, even as Mad Max’s humankind tangles in a dance with death, the omnipresence of death fuels a new religion and aesthetic. Amidst adrenaline-fueled, literal blood-pumping car chase scenes, and rocker flame-fueled explosions that put Michael Bay to shame, Mad Max: Fury Road is still able to explore the rituals that men and women adopt at the extremes of survival. In Mad Max: Fury Road, humankind will even worship cancer, death, and war, if it means that there is a chance of rebirth.
(Caution – Spoiler Alert!)
Movie poster for Terminator: The Sarah Connor Chronicles. Image Source: entertainmentwallpaper.com
‘Born to run’, aired April 10 (2009), was the last episode of the two-season robot and time-travel series, Terminator: The Sarah Connor Chronicles. This TV series focused on the relationship between Sarah and John Connor, following the events of Terminator 2: Judgment Day. Amidst rising tensions caused by nascent AIs, time-traveling freedom fighters, and the growing capabilities of John Connor – Sarah Connor must learn to accept her son as the potential savior (and destroyer) of humanity, while still fiercely protecting him as her only child.
What I love about this series is the chaotic time-travel madness, which plays out as a backdrop to the main narrative between Sarah and John Connor. As each successive freedom fighter or AI travels backwards in time, the future is inexplicably altered – such that each time traveler carries the social baggage of a different world. Yet, even in all these branching visions of the future, John Connor’s actions have a pivotal effect on the lives of so many others – making him a pawn in everyone’s schemes. Like Kiera in Continuum or Bruce Willis in Twelve Monkeys, the main characters must grapple with the notion that they can never return home to ‘their time’ (physically or psychologically) and yet grapple with the opposing fear that elements of the future are predestined.