Oh, no. I'm not going "OMG! SEX! DIRTY". At the same time, it felt really... out of place? Like it dragged longer than it should have? I'm not sure, but I know that I wasn't looking for it to be gentle and sweet. You are correct, though, that it was meant to show that Dan and Laurie were just as messed in the head as everyone else.
I'm thinking more about the side comment about Hooded Justice in the attempted rape scene, although the bit with Silhouette in the opening was a bit strange. I thought she kept her sexuality a guarded secret and there she was making a public display.
I felt the squid also worked because it gave everyone a threat that they saw as being outside of Earth, so Earth HAD to unite against what appeared to be an evil alien. I also liked that Veidt didn't just work only scientists into the plot, but also artists and the like because he knew that it wouldn't work on just a blunt display of power. It needed to be truly horrific on an aesthetic level and there in lies Veidt's genius. The whole plan was so over the top, but it worked perfectly.
The movie ending twists that meaning somewhat and I felt that it was pretty much kicking Manhattan when he was already down, although it also raises the question of why Veidt bothered with the cancer plot on Manhattan's end in the movie. It's like Vedit won on accident. On the public's end, it was clearly meant to raise fear, but I'm curious if Veidt understood the full extend of the emotional impact that would have on the Manhattan after the plan was carried through. I was under the imppression that Veidt only planned for the plot to get Manhattan off the planet so he couldn't stop the attacks. Veidt was also setting Manhattan up to be a phantom threat, much like the squid, but it also seems that he was planning to kill off Manhattan to carry that through. Maybe to keep Earth forever searching for something that doesn't exist? That plan backfires, but Manhattan leaves Earth anyway after all that emotional trama. It seems to fit way too nicely.
And then there's that whole issue with Dan and Laurie fighting crime after the fact, which didn't dawn on me. You're right - that's going to be REALLY AWKWARD.
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I'm thinking more about the side comment about Hooded Justice in the attempted rape scene, although the bit with Silhouette in the opening was a bit strange. I thought she kept her sexuality a guarded secret and there she was making a public display.
I felt the squid also worked because it gave everyone a threat that they saw as being outside of Earth, so Earth HAD to unite against what appeared to be an evil alien. I also liked that Veidt didn't just work only scientists into the plot, but also artists and the like because he knew that it wouldn't work on just a blunt display of power. It needed to be truly horrific on an aesthetic level and there in lies Veidt's genius. The whole plan was so over the top, but it worked perfectly.
The movie ending twists that meaning somewhat and I felt that it was pretty much kicking Manhattan when he was already down, although it also raises the question of why Veidt bothered with the cancer plot on Manhattan's end in the movie. It's like Vedit won on accident. On the public's end, it was clearly meant to raise fear, but I'm curious if Veidt understood the full extend of the emotional impact that would have on the Manhattan after the plan was carried through. I was under the imppression that Veidt only planned for the plot to get Manhattan off the planet so he couldn't stop the attacks. Veidt was also setting Manhattan up to be a phantom threat, much like the squid, but it also seems that he was planning to kill off Manhattan to carry that through. Maybe to keep Earth forever searching for something that doesn't exist? That plan backfires, but Manhattan leaves Earth anyway after all that emotional trama. It seems to fit way too nicely.
And then there's that whole issue with Dan and Laurie fighting crime after the fact, which didn't dawn on me. You're right - that's going to be REALLY AWKWARD.