|Titan A.E.: A Whitopia is basically a 'drifter colony' for those with no home|
Titan A.E. primarily deals with the idea of human existence after the destruction of Earth. The movie opens with the destruction of Earth and primarily takes place 15 years after this event. Since that time, humans’ numbers have dwindled and there is a general prejudice against them from other species. Many humans, even ones who once fought to save humanity, have given up on the species and concluded that extinction is only a matter of time. Cale is initially cynical in this way but begins to believe in saving his species more after spending time on a “drifter colony” full of humans and relics from Earth.
There’s a reason the entire non-European world wishes to live in the European-created world; they’d rather live in a world created and sustained by what Disingenuous White Liberals (DWLs) call ‘white privilege’ then their native land. The only ‘white privilege’ that white people have left in Europe, America, Australia, New Zealand, and South Africa is the privilege of watching their nations become submerged by people who have no vested interest in maintaining the culture (an extension of race) that created it.
Detroit lost 25 percent of its population between 2000 and 2010, and now, broke, finds itself on the verge of a possible state takeover. Yet visual reminders of a better time both haunt and anoint the residents here. The past is achingly present in Detroit, and the way its citizens interact with the hulking, physical remnants of yesterday is striking.
A few years ago, there was a rash of power outages in Detroit, caused by people illegally cutting down live telephone wires to get to the valuable copper coils inside. The Detroit police created a copper theft task force to deter the so-called “scrappers,” young men who case old buildings for valuable metals, troll cemeteries to steal copper grave plates and risk their lives to squeeze any last dollar out of the industrial detritus.
One freezing evening we happened upon the young men in this film, who were illegally dismantling a former Cadillac repair shop. They worked recklessly to tear down the steel beams and copper fasteners. They were in a hurry to make it to the scrap yard before it closed at 10 p.m., sell their spoils and head to the bar.
Surprisingly, these guys, who all lacked high school diplomas, seemed to have a better understanding of their place in the global food chain than many educated American 20-somethings. The young men regularly checked the fluctuating price of metals before they determined their next scrap hunt, and they had a clear view of where these resources were going and why. They were the cleanup crew in a shaky empire.
Somebody’s got to do it.
The city's struggles have had no lack of attention recently. There have been other documentaries, as well as national TV reports, photo books, art exhibits and references in pop songs.
But "Detropia" seems different, for a couple of reasons. One, it's made by Oscar-nominated documentary filmmakers Heidi Ewing, who grew up in Farmington Hills, and Rachel Grady. They are best known for the controversial 2006 documentary "Jesus Camp," which focused on an evangelical Christian summer camp. Two, it frames the story from the perspective of the decline and collapse of America's manufacturing base, with Detroit being at the epicenter.
"Our intention is not that somebody point the finger and say, 'Man, Detroit's really got problems.' If that's what happens, then we've failed at our job," Ewing said this week.
"We want people to say, 'Man, that's happening in my city, too. How did we let it go this far? What is our American identity when we've allowed a city to come to this point? And what are our priorities?'
"Really, we want the story of Detroit to boomerang back to the viewer and reflect upon what's going on around them and their part of the country."
With evocative music and hauntingly lovely cinematography, "Detropia" conveys some of the emptiness and beauty of the city while delving deeply into the economic battering it has taken.
The villain of the piece could be the shift of manufacturing power from the U.S., where making things fueled the rise of the middle class, to countries such as Mexico and China, where the costs of producing goods can be much cheaper.
The movie, which took two years to plan and complete, doesn't shrink from harsh realities. There are familiar scenes of an abandoned house being torn down, people scavenging for scrap metal amid ruined buildings and community meetings filled with pain and resentment.