ultimately, analysing Nolan's recent filmography semiotically misses the forest for the trees. the aesthetics of his work, at least since Interstellar, have become means to ends, and whether or not he may wave any particular flag outside his work, progressive readings remain
and, at least as Tenet argues rather explicitly, i think Nolan remains somewhat optimist so long as humanity displays a willingness to dialectically engage with the past in navigating the present with the faith that the future will then follow from here
in fairness, i don't think Nolan thought McCarthyism was a crime per se (although American Prometheus certainly did) so much as a consequence of dropping the bomb, in the sense that all the violence constituting american settler culture becomes a snake eating its own tail
His last film before this one was about how the two greatest crimes of America in the 20th century were firstly: the creation and deployment of nuclear weaponry, and secondly: McCarthyism. I think we can drop the โNolan is fashโ angle, these days.
do chuds think contemporary liberal society is the political/historical inheritor of all of antiquity? truly don't understand their internal logic here
...and remains deeply chauvinistic for the albeit fictionalised american settler project. that being said, the third film in the series is probably appears to be the best if one is to remove their rose-tinted glasses wrt the second
entire batman trilogy is a glaring stain on Nolan's record. people like to lionise the second film out of respect for Heath Ledger, but despite the late actor's performance the film remains a piece of media which relies on orientalist tropes....