The official description of Season 4 states: “Following the closure of Moordale Secondary, Otis (Butterfield) and Eric (Gatwa) now face a new frontier – their first day at Cavendish Sixth Form.According to a World of Buzz article on June 18, 2019, also shared on Twitter that the group of men worked at a food hall in Langkawi, Malaysia. In the end, Clint Eastwood stood the test of time as a proper evolution of Wayne - one who could be an idealistic image of an American while simultaneously reexamining the kind of violence that the country was founded upon.Monkeys allegedly stole food. Wayne could only help but be baffled by the star's nerve to shape the Western protagonist as anything more nuanced than a propagandized folk superhero. Eastwood represented the change, in conjunction with the emergence of New Hollywood in that decade, that deconstructed the values that America truly stood for. At the time when Wayne penned his critiques of High Plains Drifter, the nation was in the midst of social upheaval. The story of the unexpected animosity carried out by Wayne towards Eastwood is a study of a generational divide. This sentiment could only arise from someone like Wayne, whose politics blinded him from great art. Who would've thought that the man behind Dirty Harry could be characterized as a radical anti-American artist? From John Wayne's point of view, Eastwood was a demoralizing spirit to the integrity of America as a result of artistically contaminating an essential form of American storytelling in the Western. Despite various conceptions surrounding his political beliefs, there is no denying the impact that he made on his specific brand of American exceptionalism. Since Wayne's passing in 1979, Eastwood has taken the mantle as the face of idealistic masculinity and patriotism in the eyes of conservative America. Eastwood pushed the envelope in deglamorizing outlaw vigilantes who ride into town offering justice - to the extent of making the characters he plays hinge on nihilism. Navy during World War II, was graceful in reconsidering the nobility of American icons. The difference between the two lies in their respective manner of storytelling. Eastwood was quite fond of the director's work, and Ford's DNA can be traced in many of his films beyond Westerns. Particularly seen in Ford's films without Wayne's presence, such as The Grapes of Wrath and How Green Was My Valley, his vision of a pastiche America was riddled with deep melancholy and lacking any intended nostalgia. Ford-Wayne films like The Searchers and The Man Who Shot Liberty Valanceare meditatively revisionist of the values of Western heroes, exploring the perverse tendencies of obsessive justice and the outright mythmaking of celebrated folk heroes, respectively. The legendary filmmaker, similar to Wayne, found a comfort zone in telling fabled stories about the historical ramifications of the founding of the country in the context of Westerns. Wayne's animosity toward Eastwood's bleak deconstruction of the new frontier is nothing short of ironic considering his illustrious collaboration with director John Ford. His politics and stardom were one and the same, and the protection of the mythology of the West on screen was a self-appointed duty. He enacted a duty to champion the purity of America and the pioneering of the Old West. For Wayne, however, Westerns were not fables. Eastwood's response to Wayne's critiques of High Plains Drifter seems to be self-evident. Eastwood has never been interested in this shallow characterization and thematic structure, even with his most populous movies. From Wayne's perspective, Westerns are designed to appease the binary mentality of good vs. In essence, the actor's films were used as a vessel to uphold his staunch conservative beliefs. In an additional response to Wayne's criticisms, he further stated that he "realized that there’s two different generations, and he (Wayne) wouldn’t understand what I was doing." This speaks to the personal burden that Wayne carried with the genre he helped mold into what it is today. It wasn’t supposed to be anything about settling the west," in his book Ride, Boldly Ride: The Evolution of the American Western. It wasn’t meant to show the hours of pioneering drudgery. In his defense of the meaning behind his 1973 film, Eastwood wrote " High Plains Drifter was meant to be a fable.
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