The third installment in the Mad Max franchise, Mad Max Beyond Thunderdome (1985) interestingly discusses the transition of power in Bartertown through the two main political characters The Master (Angelo Rossitto) and Auntie Entity (Tina Turner). In the beginning of the film, The Master is portrayed to be more or less the antagonist (although one never really trusts Auntie Entity). We see him act as a dictator, threatening to take power away from Bartertown unless he always gets what he wants. Yet, the moment Blaster (Paul Larsson) is unmasked, revealing he is developmentally disabled, The Master begs to spare him. Immediately the power dynamic shifts, and as soon as Auntie Entity has control again, she unfairly banishes Max from Bartertown.

I found the encounter to be a description of the greed for power. It didn’t seem to matter who was in control, as they always focused on the same desires of maintaining that power and basking in its glory. The stated reasons for gaining this power back can be often built upon moral ideals, such as taking a cruel dictator out of power. Yet the true motive is always ulterior, usually of a selfish and greedy nature. In a sense it makes the character of Max (Mel Gibson) all the more intriguing. Although his lack of connection to others may make him a loner, his loneliness is in itself a representation of his purity. He is unconnected to the corruption and savagery that accompanies the new settlements of a post-apocalyptic world, and therefore is able to aid those who are subject to its prejudices and horrors. The film in this way demonstrates the capacity for one person to tackle some of the problems of grandiose political machines.