Asteroid City gives us a new color palette from filmmaker Wes Anderson: the Wild West. But it also goes far beyond that.
boasts quite a hodgepodge of 20th-century frontier tropes: roadside diners, old-timey 1950s gas stations with one pump, you name it. The universe the playwright creates also takes on quite a frontier spirit. The city’s motel has a vending machine that sells deeds to a half-acre of land in the desert town for just 10 coins.
From the “Wild West” physical and spiritual manifestations to the unprecedented frontier that is outer space, American frontiersmanship is a central theme to. The setting pays homage to tropes of the desert embodied in 20th-century fiction, whether it be a Sergio Leone spaghetti Western or even a Looney Tunes cartoon .
’s veins and bone marrow, but it seems less like a love letter to these stereotypes and more like a respectful subversion of it. The message that being human is greater than being a frontiersman is rather obvious, too. After all, Woodrow projected the U.S. flag onto the moon to send a message to extraterrestrial life. But that message changed in the end to the tune of what we as humans want more than we want to explore a new frontier: companionship.
The American spirit may pride itself for its rugged individualism, but the human spirit knows that companionship makes us stronger. The exploration of a new frontier may define what it means to be an American, but sharing this cosmic fluke of an existence with the people we love and soldiering through life’s hardships with them defines what it means to be human.
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