All posts by Sadie the Goat

The Lamb Will Slaughter the Lion

by Margaret Killjoy


Recommended? Yes

Disclaimer: Margaret Killjoy is a dear friend of mine, and someone I care about very much. This may bias me in favor of her absolutely great fiction. She is also the founder of the AGR, the website that is hosting this review. She did not, however, write any part of this review, ask me to write any part of this review, or otherwise influence it in any way, besides having written a fucking great book that got me excited enough to write this.

Margaret Killjoy is an astounding writer, and her latest, The Lamb Will Slaughter the Lion, is an astounding book. Her work is intriguing, thought provoking, and enjoyable as hell to read. Killjoy is absolutely amazing in her ability to combine realism, imagination, idealism, and storytelling. In that way, her stories are perfectly anarchist. She seamlessly combines an understanding of, frustration with, and love of the forms of anarchism expressed by academic theory essays, crust punks, black blocs, punk shows, endless meetings, and squatted homes to show a thoroughly realistic, thoroughly idealistic enactment of her politics, perfect primarily in that she refuses to portray perfection. What makes her stories work so well, narratively and politically, is that her anarchist societies are messy, and the people are fully human. This forms the basis for some beautifully creative, dark, and ultimately hopeful speculative fiction.
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So A Nazi Walks Into An Iron Bar: the Meyer Lansky Story

I’m starting a series here where I talk about history, because geeks love history. I’m going to focus on stories I think anarchists will like. Here’s one:

“The Nazi scumbags were meeting one night on the second floor. Nat Arno and I went upstairs and threw stink bombs into the room where the creeps were. As they came out of the room, running from the horrible odor of the stink bombs and running down the steps to go into the street to escape, our boys were waiting with bats and iron bars. It was like running a gauntlet. Our boys were lined up on both sides and we started hitting, aiming for their heads or any other part of their bodies, with our bats and irons. The Nazis were screaming blue murder. This was one of the most happy moments of my life.”

That was Max “Puddy” Hinkes, of Newark, New Jersey, and today we’re going to be talking about Jewish gangsters who fucked up Nazis.
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MRA Pissbabies Should Be Even Madder About Ghostbusters Than They Are


Director: Paul Feig

Screenplay: Katie Dippold, Paul Feig

Recommended? Yes.

We don’t really do hot takes here at AGR, apparently. Now that you’re all done talking about Ghostbusters and probably never want to hear about it again, here are some thoughts.

MRA pissbabies should be even madder about Ghostbusters than they are. Though that would probably kill them. Which, I mean, ok, if they have to go, literally burning up in a column of incandescent rage over a movie that has girls in it is probably how they’d want to go.
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Don’t Make People Nazis Just Because You’re a Lazy Writer: A Response to this Steve Rogers Hydra Nonsense

It’s like Marvel reads my posts. One minute I publish an article claiming that Steve Rogers as Captain America exemplifies anarchist principles, the next minute he’s being clumsily outed in the comic books as a fascist this whole time. Under deep cover. Under such deep cover that he has been fighting Red Skull, and also was able to pick up Mjolnir, and has done so many other things directly counter to being an undercover Hydra agent this whole time (since BEFORE HE WAS PICKED OUT FOR THE SUPERSOLDIER PROGRAM????) that it’s just not worth getting into. It doesn’t work, and we all know it. This is bad, bad writing. It’s gimmicky crap in the worst tradition of gimmicky crap comic book plot twists.
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Captain America is a Big Screen Anarchist Superhero, How Fucking Weird is That?


Directors: Joe Russo, Anthony Russo

Screenplay: Christopher Markus, Stephen McFeely

Recommended? Yes.

Is it weird to call Captain America an anarchist? Yes, yes it is. Of course, there’s a ton of different versions of the character throughout the canon, from the hyperpatriotic and jingoistic to the I-hereby-renounce-my-US-citizenship-because-I-am-so-disgusted-with-this-government. “Captain America” is not so much an embodiment of America as he is an embodiment of whatever version of America the creators who are working on him at whatever moment think would be the ideal. So even though yeah, we’re talking about a guy called Captain America who wears a red white and blue costume, we’re not talking about AMERICA.
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Are You My Comrade? part 1

Welcome to “Are You My Comrade?” where I will evaluate fictional revolutionaries on the basis of whether or not I would personally like to hang out and/or revolt with them. This will be an ongoing, multipart series, and is theoretically infinite, since I don’t see us running out of fictional revolutionaries any time soon. Suggestions for future entries are welcome; leave us a comment with a fictional revolutionary you’d like to see judged in a highly subjective way!

Les Amis de l’ABC, Les Miserables

Friends of the ABC

Oh you guys. You’re so passionate, and sincere and sincerely passionate. I think my favorite moment in any musical ever is when Marius comes into the revolutionary plotting meeting singing the “I just saw a girl for like three seconds and now everything has changed oh my god you guys” song and gets told “dude shut up, we’re trying to plan an insurrection over here. You can chime in with whatever you want when we sing Red and Black if you must but tbh no one cares about your feelings right now and don’t you dare try to bring your heterosexuality into Do You Hear the People Sing.” It’s pretty satisfying.

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Fictional Cops I Love, Ranked By How Guilty I, As An Anarchist, Feel For Loving Them

Detective Jack Robinson

Miss Fisher’s Murder Mysteries


So, so guilty. Maximum guilt. This guy is just a standard stereotype of what people who say “most cops are good, it’s the bad ones who ruin things” believe a “good cop” to be, and I am an absolute ass for accepting and loving this character just because he wears sharp 1920s suits and because I want him to make out with Phryne Fisher. You do not get a pass on being part of an oppressive colonialist law enforcement agency just because I think it’s cute when you get flustered by a flapper’s free-spiritedness. So much agonizing guilt here.

Should you suffer from the same guilt, I highly recommend constructing a parallel narrative to the show in your head, where Bert and Cess never gave up on being communists and are quietly plotting a 1920s Australian revolution in the background of literally every scene in which they are not actively helping Phryne stop murders. If you like, you can also pretend that Jack knows about this, and is turning a blind eye or even helping them, but I honestly don’t know if my imagination can stretch his character that far; he is a cop, and I feel bad for liking him. I feel bad for liking Phryne too, if it comes down to that, but Free-Spirited Flappers Who Are Also Imperialist Aristocrats I Guiltily Love is a much shorter list so it doesn’t get its own article, I just thought I’d mention it.

Guilt levels: so high.
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U Mad (Max) Bro?

MM-Main-PosterLook, I know this isn’t a surprise to anyone by this point, but MRAs really are the whiniest little pissbabies this side of a playpen full of over-tired toddlers.

I’ll keep my review of Mad Max: Fury Road short: the screenplay of Mad Max: Fury Road was clearly created by someone eating Slayer liner notes and then drinking tequila until they threw up, while drag racing, and I mean that in the best possible way. It had maybe a cumulative 10 minutes worth of spoken dialogue, not counting wordless yelling, and at least 45 minutes of cumulative explosions, and one dude whose whole job was to dangle from bungee cords on the front of a tricked out post-apoc truck playing an electric guitar that shot fire and it was SO FUCKING RAD I SWEAR.
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Top Ten Most Common MFA-MRA Short Story Titles

The cover of the most recent issue of our prestigious journal
The cover of the most recent issue of our prestigious journal

Inspired by the recent publication of the Ten Most Common Short Story Titles, we at the literary journal MFA-MRA decided to apply similar analysis to our own submissions pile. MFA-MRA sits at the apex of the Men’s Rights Movement, presenting fiction written by those with a critical understanding of men’s oppression, written by those who aim to be the very Masters of Fine Arts. Granted, with their superior intellects and razor-sharp insight, our own unique writers are far less likely to fall into patterns of emotionally-driven conformity and *shudder* cliche, but a pattern did start to emerge.

As it turns out, great minds do, indeed, think alike. We offer these, our ten most common short story titles, to highlight the intellectual courage of our red-pill-popping contributors. Read on.

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The Hunger Games: Catching Fire (2013)

The Hunger Games: Catching Fire

The Hunger Games: Catching Fire

146 minutes

Director: Francis Lawrence

Recommended? Yes

Problems: Racial, mostly to do with casting white actors to play roles that were written as POC

Bechdel Test: Pass

So, firstly, this is good movie. It’s got great acting, great writing, works as a YA film without condescending to kids OR adults, and it’s a damn good adaptation of a really good book. Incidentally, this review will contain no major direct spoilers, but it will kind of assume you’ve seen the first movie, or read the first book. If you haven’t, you might want to get on that.

Just to get it out of the way, fuck the whitewashing of characters in this whole series. Jennifer Lawrence is terrific as Katniss, but the fact that the casting call was limited to white actors is egregious, and the fact that the cast in the movie is, overall, whiter than the cast in the book, just sucks.

Apart from that, though, this is a really solid movie, and is consistent with the book (by Suzanne Collins) in terms of putting forward a revolutionary storyline. It picks up a short time after the first one left off, with Katniss Everdeen tentatively safe after having won the Hunger Games. She learns of how she embarrassed the Capitol of Panem in the process, thus unintentionally becoming a symbol of resistance for the already discontented people of what is usually described in summaries and reviews as a “futuristic dystopia” but might better be referred to as a “fascist state,” since there’s nothing particularly unrealistic or speculative about the levels or means of oppression it employs. More on that in a moment. In an effort to destroy her and her fellow victor, Peeta, as revolutionary symbols, President Snow arranges a Hunger Games in which Peeta and Katniss will fight again, this time against an assortment of hardened killers and experts, and hopefully be killed.
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