I refuse to believe that you are actually engaging with the issues being discussed if you're claiming that needing a license to have children is "objectively more freedom in times of war than any real life society." Your stubbornness has bested my patience, so I'm done here.

Thanks for fighting the good fight in this thread. You had more patience than I would have.

It's not clear to me that the bugs have FTL indeed we don't see them use such in movie or book. Moreover sending a single small rock makes zero sense FTL and knowledge of humanities only major world would have allowed them to wipe out the threat in a stroke.

You could A) warp in a rock of sufficient velocity that a small one destroys life on the planet or B) warp in and move a bigger rock in system.

It only makes sense as a false flag by the humans.

You're ignoring genre conventions. Every soft scifi movie is nonsense if you look at it from the perspective of real-life physics. Sending a single rock via unspecified FTL to attack Earth makes as much sense as the human-piloted fighter spacecraft in Star Wars. The aliens are capable of bombarding Earth across interstellar space because it makes for a good visual spectacle. Watch (or more likely read) hard scifi instead if you need everything to make logical sense.

> the standard narrative conventions of soft sci-fi action movies

What if the real fascist propaganda was implicit in the standard narrative conventions we made along the way?

>What if the real fascist propaganda was implicit in the standard narrative conventions we made along the way?

Ding ding ding. Endemic to fascism, among other things, are heavy State involvement in the curation of, shall we say, "the corpus culturále". Even in the United States, particularly in the earlier half of the 20th Century, there were certain lines you could not cross and still end up on broadcast television. Renditions of the Government, Police/Authorities, or the Courts in an unflattering light was an express lane to non-syndication. Go ahead, look for syndicated media that that highlighted the People's struggle against a corrupt Government where another part of the Government isn't also complicit in "cracking down on the bad apples" (thereby distancing itself from being party to the dysfunction, and reinforcing it's own Supreme legitimacy). No points if it's not in the United States. We're great at syndicating everyone else's problems. Not so much our own. Point is, those network decency standards were, in essence, formulations of what the governing authority considers invalid art. Art, on the other hand, is all encompassing. Ironically, mrob, you're pulling from the fascist art critic's handbook to dismiss the possibility of the work of satire being a fascistly produced piece of media consumption into and unto itself, by doing exactly what a fascist state does. Referencing guidelines and norms that lay out the boundaries of acceptable artistic practice.

In reality, art is as much the characteristics and execution of the workpiece itself, the cinema Starship Troopers, as it is the collective viewer's response to it. In essence, both you and the other poster have equal claims to artistic merit. Though I tend to side with the "this is fascist af" side of the argument given that despite the limitations of the medium, it is very clearly illustrated that what the military junta says goes, period. States are not containers or facilitators of the monopoly on violence. They are incubators for collective action. By trimming down the collective, and setting price of admission to "do our bidding or no representation"; you undeniably tread what in mid-20th century historical experience outlines as "the road to fascism". Disenfranchise the undesirable. Rule according to sensibilities of the desirables. Funnily enough, in it's own way, the U.S. of today is fascistic in that regard, given we absolutely adore the disenfranchisement of the felon, which seems more peppered through legal system than your Grandma's favorite spice.

Ain't Art grand?

I support the freedom to produce unconventional art. I'm just pointing out the empirical fact that if you produce a work of art that follows the conventions of a genre, people are going to judge it according to those genre conventions. That's how communication works, it's entirely normal and expected. If you want to subvert a genre, you have to actually subvert a genre. Just intending to do so is not enough.

How would Starship Troopers look if it managed to actually subvert the genre according to you? My first association is Gilliam's Brazil (or a Dark City that is a planet) - but wait, that's a whole 'nother genre of its own. What do you think?

Yet, we're cool.