The Worlds End as cry for intersectional analysis
From our ReadingTooMuchIntoThingsAndMassiveFilmSpoiler correspondent.
Squeezed between the laddish banter, knockabout violence and Baggy tunes there’s parts of Edgar Wright’s new film The Worlds’ End that nod towards a critique of capitalism, at least in its homogenising neoliberal globalisation form as experienced in this country.
Stepford-esque banality is revealed as the work of The Network, a sort of intergalactic IMF structurally adjusting planets to make them behave as rational actors in universal congress. You can’t reasonably be against them because they give you want you want, everyone can be young and attractive again and it’s just common sense. There Is No Alternative.