The Hunt: A Review

The movie The Hunt takes cancel culture to the extreme, y’all — for realz!

Warning: this film is extremely violent and disturbing. You might want to check out the parent guide at IMDB before you watch the shit. Oh, yeah, I swear a lot, too.

So, this kind of a movie review, but ain’t the point. The movie star Betty Gilpin, who y’all might reco’nize from Glow on Netflix (or Nurse Jackie). Truth she badass and you might not reco’nize her ‘cause diva transform the fuck out herself every role. She bringing to a film could o’ easily got phoned in, a knock out performance make the movie worth a watch just to see. A scene where she talk about working in a car rental, made the shit clear AF in a flipping breath.

Really got me how the film captures the spirit o’ current cancel culture. This kind of a spoiler, but the movie basically about a bunch of rich white folks thinking it’s cool hunt down and murder people whose politics they think “deplorable.” It’s black comedy so it’s ridiculous and makes no bones about pettiness of the characters. Pretty much everybody in the piece is “trash.” I feel okay saying that, ‘cause they characters, not real people.

Brilliant about the shit is the arrogance that makes it okay kidnap people and murder them ain’t that different than the violence o’ cancel culture in general. There’s bloodthirstiness in virtually deleting people from the world that’s holdover from angry mobs with torches and pitchforks, or the mo’ fo’s screamed the “witch” or that “coon” be hung, lynched, drowned or whatever horror people done through the ages to get they jollies watching other people suffer.

I don’t give a fuck who you are, or what your politics is, if you get a thrill from seeing people suffer in any way, shape or form, you a sick person and you need to get yourself some help. Hiding behind “liberal” politics while you delight in going after people you don’t even know for reasons you don’t really even understand, is worse than just being an ignorant bigot. An ignorant bigot have an excuse. An educated, privileged, “woke” ass mo’ fo’ “cancelling” people is just a fucking sadist.

I’m not here condemn folks. I do the shit sometimes. That’s why my ass is in recovery. That shit is poison. It’s been slowly killing me, causing high blood pressure, coming out as self-destructive behaviors that hurt me and other people. I been an unsafe person to be around. I know that. I also know I don’t want to be that way no more and don’t want to encourage or tolerate that in the people around me. Shit gets waaaay too much traction for me.

So, yeah, check out the movie The Hunt if you can stomach it. If you can’t stomach it, think about the violence you might be doing people you might also refusing to look at.

Pink Flowers

Pink Flowers is a Black trans artist, peacemaker, educator, and pleasure activist whose work lives at the intersection of embodiment, governance, and cultural transformation. Trained in Theater of the Oppressed, Art of Hosting, and Navajo-informed Peacemaking practices, Pink designs spaces where conflict can be addressed, power can be examined, and joy can be reclaimed.

Her artistic and pedagogical practice draws from African trickster cosmology, Brazilian Joker traditions, shamanic ritual, and cooperative economics. She is the founder of the award-winning Falconworks Theater Company (2005–2021), which used popular theater to build civic capacity and participatory leadership in historically marginalized communities.

Pink served for over five years as a trained Peacemaker in the Red Hook Community Justice Center in Brooklyn, facilitating restorative processes within the New York City court system. From 2015–2018, she worked in cooperative business development with the Center for Family Life, supporting worker-owned enterprises in immigrant communities.

She currently serves as Director of Education and Training for the Inter-Cooperative Council in Ann Arbor, where she leads leadership development and conflict engagement initiatives. Her work has been presented nationally and internationally, including at the Stretch Festival in Berlin and the Pedagogy and Theatre of the Oppressed Conference.

Across ritual, performance, mediation, and institutional design, Pink’s work asks a central question:

What becomes possible when we refuse shame and choose conscious power instead?

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