It would be different because of the founder wouldn’t exist at the time when the POD is set in but I do think a person like that would come about in that time or later in the 20th century
How different would this film be like in 191, a dark tragedy? a story of a fallen hero? or used to mock a former president?
Fallen president who tries his best to contain this mistake of a country known as the CSA, but fail to the point that everyone else blame Lincoln for failure to kill the CSA in its infancy and now die as a failure to his nation
How different would this film be like in 191, a dark tragedy? a story of a fallen hero? or used to mock a former president?
kernel
Gone Fishin'
It would most probably be about his transformation from a failed and tragic president to a socialist thinker and revolutionary. I can imagine a scene in which Lincoln is despondent in his post presidency and perhaps becomes an alcoholic, but gets a purpose in life after seeing the horrible conditions that workers have to deal with.
How different would this film be like in 191, a dark tragedy? a story of a fallen hero? or used to mock a former president?
Also if the movie is made by a Socialist, it could rehabilitate Lincoln by blaming the war on fuedal elites in the South and capitalist elites in the North, with both wanting a war between north and south to enrich their own pockets. Lincoln would be the tragic figure caught in between all of this, only to realize in his post-Presidential life that "only socialism can end all wars" or something of the sort.
with a special cameo from a young Blackford, with the movie also making him out to be a tragic hero in the making
kernel
Gone Fishin'
So I was thinking about the different eras and styles of film that would exist in the US post-GWII, which could be similar to Europe OTL.
The first era would be known as Neo-Remembrance or the "Golden Age of American Cinema", which would come just after the war and serve as a form of escapism to the horrors of it. It would be focused on a simple, linear narratives and would be mostly conservative in its outlook. I'm imagining high adventure, historical dramas, patriotic war movies, and stories that portray the "traditional American family". However, due to the socialistic influence on the United States many movies would portray working class characters as the heroes of the story that are able to stand up to the "big interests". This era would be from the mid 40s to the early/mid 60s.
The second era would be known as "American Neo-realism", that would more explicitly be focused on the working class and be more political and class concious overall. These would focus on the lives of the working poor, but instead of an idealized version of the working class these stories would be more gritty, and depict more sex and violence and the seedier aspects of American society. Also, there would be more stories about minorities such as Mormons or Hispanics. We may also see a few films from the Southern perspective for the first time hit the big screens in the North. I believe that this era would run from the mid 60s to the late 70s or early 80s.
The third era would be the American New Age, which would be more experimental and non-linear, and more existential. There wouldn't be any clear plot to these films and would basically be philosophical and existential vignettes. New genres such as science fiction would also become popular on the big screen, and realism would fade into the background. This movement would start from the 80s and end sometime in the early 2000s.
Post 2000s may see a comeback of Golden Age classical movie genres, maybe a "Neoclassical" reniassance.
The first era would be known as Neo-Remembrance or the "Golden Age of American Cinema", which would come just after the war and serve as a form of escapism to the horrors of it. It would be focused on a simple, linear narratives and would be mostly conservative in its outlook. I'm imagining high adventure, historical dramas, patriotic war movies, and stories that portray the "traditional American family". However, due to the socialistic influence on the United States many movies would portray working class characters as the heroes of the story that are able to stand up to the "big interests". This era would be from the mid 40s to the early/mid 60s.
The second era would be known as "American Neo-realism", that would more explicitly be focused on the working class and be more political and class concious overall. These would focus on the lives of the working poor, but instead of an idealized version of the working class these stories would be more gritty, and depict more sex and violence and the seedier aspects of American society. Also, there would be more stories about minorities such as Mormons or Hispanics. We may also see a few films from the Southern perspective for the first time hit the big screens in the North. I believe that this era would run from the mid 60s to the late 70s or early 80s.
The third era would be the American New Age, which would be more experimental and non-linear, and more existential. There wouldn't be any clear plot to these films and would basically be philosophical and existential vignettes. New genres such as science fiction would also become popular on the big screen, and realism would fade into the background. This movement would start from the 80s and end sometime in the early 2000s.
Post 2000s may see a comeback of Golden Age classical movie genres, maybe a "Neoclassical" reniassance.
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While, I think like the idea of minorities going to have a lot more voice in the future because of the population reduction and people are going to want to know about the southern perspective. I don’t think the Mormons and especially in the south where they won’t have any sympathetic voices in the South any time later up until the 80s to 90s at best.
Even if the North did make something about the south, it’s going to be less about Stalingrad and more Come and See type of film about the Confederates
The Mormons are still likely going to be ostracize even if they abandon their terrorist roots in the 1940s because of how deep rooted anti-Mormonism is in US.
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kernel
Gone Fishin'
I think if there's a large scale counterculture movement around the 60s, then we might see people try to re-evaluate popular attitudes of Mormonism in cinema around the 70s or so. Especially if there are large scale deportations of Mormons post-war out of Utah, then I think that some liberals/left wingers will see them as victims of the US government rather than solely terrorists and extemists. But it's not going to be a very huge perspective change. We might see a story about a Mormon US soldier in the SGW who is ostracized by his comrades because of his religion and has his loyalty constantly questioned. But we are probably never going to have a story from the viewpoint of Mormon rebels until the late 2000s or 2010s.
Also for the South I was thinking it would be Northern directors making movies about Southern characters, especially those under US occupation. The movies would be anti-Freedomite and perhaps very anti-Southern as well (and play into many stereotypes), but it would have the perspective of "not all Southerners are bad" or "there are some good Southerners out there". It would also be a reaction to the classical era movies where Southerners are usually the villains of the story.
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kernel
Gone Fishin'
How would Tintin look in a Tl-191 world? I'm thinking that Herge's family flees to France post GW1. Herge creates Tintin and publishes it in a French Catholic and Royalist newspaper, with the first Tintin comic being "Tintin in America" where he visits the USA and CSA in the 1920s. Once Accion Francais takes over Tintin comics become anti-Semetic [1] and ramp up the Anti-German and pro-Entente messaging. When France falls to Germany after GW2, Herge is investigated by German authorities but exonerated and released, and Tintin comics become more Pro-German and start to become a Pan-European and eventually an international phenomenon.
[1] Like Tintin otl when the Nazis took over Belgium.
[1] Like Tintin otl when the Nazis took over Belgium.
Given that the population reductions happened to a group with less media savvy/less of a visible diaspora than jews expect much less rejection of genocide/racism/bigotry than the west saw after OTL post-1945/1968(when boomers internalized it more). Yes, even in the US in ttl.
Given probable confederate sloppiness in recordkeeping expect denial of the population reduction to be more common and less fringe viewpoint in this tl. Yeah, confederates would have Gotten The Hint about no longer being independent/learning not to express pro-secessionist stuff but expect them to more like say OTL postwar japan in terms of acknowledgement of war guilt than OTL germans.
Given probable confederate sloppiness in recordkeeping expect denial of the population reduction to be more common and less fringe viewpoint in this tl. Yeah, confederates would have Gotten The Hint about no longer being independent/learning not to express pro-secessionist stuff but expect them to more like say OTL postwar japan in terms of acknowledgement of war guilt than OTL germans.
Given that the population reductions happened to a group with less media savvy/less of a visible diaspora than jews expect much less rejection of genocide/racism/bigotry than the west saw after OTL post-1945/1968(when boomers internalized it more). Yes, even in the US in ttl.
Given probable confederate sloppiness in recordkeeping expect denial of the population reduction to be more common and less fringe viewpoint in this tl. Yeah, confederates would have Gotten The Hint about no longer being independent/learning not to express pro-secessionist stuff but expect them to more like say OTL postwar japan in terms of acknowledgement of war guilt than OTL germans.
Given probable confederate sloppiness in recordkeeping expect denial of the population reduction to be more common and less fringe viewpoint in this tl. Yeah, confederates would have Gotten The Hint about no longer being independent/learning not to express pro-secessionist stuff but expect them to more like say OTL postwar japan in terms of acknowledgement of war guilt than OTL germans.
The US still held war crime tribunals against Featherston's Freedomites though. Surely that will impact race relations, at least in terms of government policy.
I would actually say yes. His father escaped from slavery in North Carolina to Philadelphia in 1860, before the POD. His mom's ancestors had been free since the mid-1700s and were among the founders of the Free African Society in Philadelphia in 1787.
Thank god. What would he be like in this timeline then? Similar to our version, or?
Based on what I’ve read about him I wouldn’t say exactly the same due to the different political backdrop but fairly similar otherwise
Obviously he will be a Civil Rights Activist that's for sure. I wonder if he would be one of the few to bring awareness to the Black Death (yes I'm calling it that) genocide?
A big change to his life though would be that due to there not being a Red Scare, he would not be blacklisted or targeted by the government for "communism". Hell, the US will most likely be ruthlessly pro-Civil Rights once the war trials are over and Reintegration begins. I'd say Robeson will live a fine life and be a symbol of fighting oppression.
Movie poster for the German-made film, Napoléon.
Produced by Hermann Pictures, Napoléon is a film that tells the rise and fall of Napoleon Bonaparte, Emperor of France, during early 19th century Europe.
Starring Québecois actor Joachim Phénix as the titular Napoleon, the film has received mixed-to-positive reviews. While praising the cinematography and sound design of the historical battles fought, the pacing has been subjected to negative critique. Even among those who love the film admit that it failed to provide full context to Napoleon's rise to power. Many have said that the film should have either been a television series or an anthology of films that would have felt less rushed and more enjoyable.
Others have accused and condemned the film for trying to portray Napoleon as a type of European proto-Featherston, especially when it was noticed how the American marketing was done by Hermann Pictures's sister company, Remembrance Productions. The director has denied such claims and insisted that he has tried to portray the man as he was, but also admitted that there was some creative license to connect the French Emperor to the French King of the Orléanist Restoration.
Notes
1) Hermann Pictures is basically a TL-191 version of this combined with that. Remembrance Productions, on the other hand...
2) I didn't get Hitler vibes when I saw the movie, but I decided to incorporate this weird comment into TL-191.
3) The Orléanist Restoration is my own fan-made phrase when France became a monarchy again before SGW. Fanons and head canons galore.
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