Somebody who just saw BLADE RUNNER for the first time discovered, as no one ever has before, that the escaped replicants are slaves and that Deckard is a bad guy serving an evil cause for a corrupt society.
And it honestly makes no difference to me that she was seeing the film for the first time and making these critical judgments for the first time, but I grimace uncomfortably at the position that this subtext is hers to find as an indictment of the original Baby Boomer audience that didn't know any better.
As if the movie itself didn't happen to wear its attitudes toward this situation on its sleeve.
Look, folks, those of you encountering these iconic works for the first time: some of them were very smart. They were nuanced and they were sometimes deliberately self-contradictory. They were made by people who could keep two ideas in their head at the same time and thought you were bright enough to keep two ideas in your head at the same time.
And so, these are not startling discoveries, though I have read posts and essays where various feti took the position that these were things that no one recognized at the time.
Yes, BLADE RUNNER knew Deckard was shooting slaves in the back, and wanted you to shift your empathy to the Rutger Hauer character. It was inherent in the material. They were aware of it. It wasn't the product of old people who were so blind they didn't know.
Similarly, comma, the people who made THE FRENCH CONNECTION knew that Popeye Doyle was a foul-mouthed racist and not a paragon human being. They were aware of it. They expected you to be aware of it. It wasn't the product of old people who were so blind they didn't know better.
Further, the guys who made THE SEARCHERS knew that John Wayne's character was a brutal and racist uncivilized lug with no place in civilization. John Wayne was playing unsympathetic protagonists as far back as RED RIVER. You were supposed to get this.
The people who made THE APARTMENT were well aware that Shirley MacLaine's character was being cruelly exploited and that Jack Lemmon's ambitious young exec was betraying his better nature by helping to support it; and that is the engine of his entire arc, and hers, and that it why the makers of that film did not "hate women," as you claimed. You were supposed to get it.
(And yes, this applies to 3 BILLBOARDS too. The makers of the movie knew that Sam Rockwell's character was a terrible cop and they did not give him a full redemption arc, only a change in direction.)
This was always more than binary. Honestly.