Monthly Archives: December 2017

How To Destroy a Beloved Pop Culture Franchise 

  1. Populate every important creative post with humorless ideologues who can’t tell stories and have nothing but contempt for the core audience.
  2. Make every story about race, gender and sexuality. All heroes will be female or POC and will have no flaws or character arcs. All villains will be white males. 
  3. Dismiss all criticism as the ravings of bigoted, butthurt fanboy trolls who can’t handle #DIVERSITY.  
  4. Sit back and watch the audience disappear while you lap up the plaudits from everyone who has the exact same opinions you do. 
  5. Repeat steps 1 through 4 until said property is universally loathed by everyone.

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Star Wars: The Last Jedi (2017)

I was fully prepared to hate this film. I left The Force Awakens rather underwhelmed and not caring much about the fate of the new generation of heroes. I heard all about the cringey SJW content before I saw it. Friends whose opinions I hold in high regard heaped condemnation upon it. I read spoiler filled reviews and yet, despite all these things, I must confess that I enjoyed it more than I expected. That’s not because it’s a great movie. It’s not. It’s not even a Star Wars film. Perhaps having my expectations at rock bottom lowered my defenses, but somehow I found myself taken in by its absurd energy.

Besides resolving the stories of the legacy characters, The Last Jedi needed above all else a reason to exist. The original trilogy was about Luke’s journey from farm boy to Jedi Knight. The prequels showed us Anakin’s slide to the Dark Side against a backdrop of a republic in decline. What could the new series do that the originals didn’t other than swap in a female protagonist, a more multicultural cast and lots of heavy handed PC feminist preaching? Not much apparently.

For the Disney Corporation, the window dressing of the mythology is all it needs. Despite being nonsensical and utterly unhinged from its predecessor films, TLJ is more entertaining than it deserves to be. It has too much politicized content, too many plot holes, and way too many deus ex machinas even for a would-be Star Wars film. It’s ultimately yet another predictable variation on Disney’s brand of progressive establishment chic packaged as ersatz contrarianism. It’s as though all of the anti-Trump hysteria was hatched inside the Disney executive offices from the start and this film is just the latest adrenaline shot of confirmation bias. They might as well have put a hashtag in front of the word RESISTANCE in the opening crawl.

It’s the longest film in the series, but the plot amounts to little more than a story of an elite squadron of First Order Star Destroyers waiting for a rapidly dwindling Resistance fleet to run out of gas which culminates in a remix of the Hoth sequence from Empire. Characters remain under written or wasted altogether. Basic storytelling and character development has been forsaken. Rian Johnson’s pathological desperation to take the franchise into a “new direction” by rejecting canonical precepts has sapped the film of meaning and reduced it to a mind numbing, albeit somewhat engaging, endorphin rush.

There is a distinctly postmodern relativism at the core of this film. The original films worked because actions and relationships mattered. The storyline proceeded logically from how the world was presented to you. There were identifiable arcs of emotional growth. In the new series, those classical storytelling pillars are either absent or routinely demolished. The net effect manages to hold your attention, but it utterly fails to have any dramatic or emotional impact.

The Good

I agree with George Lucas in that TLJ is a beautifully made film. Everything from the set pieces to the art direction to the location shots is top quality big budget sci-fi.

Despite the lack of meaning, the various battle sequences were well done. The Reylo light saber fight against the Pretorian Guard was indeed pretty rousing. The final sequence on the mineral planet Crait was a visual marvel to behold.

Even with its narrative sprawl and numerous flaws, it hangs together way better than I expected.

The Cringe

The cringe abounds in The Last Jedi and the feminist preaching plays a pretty significant role. This film could easily be subtitled The Estrogen Strikes Back or The Feminism Awakens. All the female characters are uniformly portrayed as wise, capable and powerful. Laura Dern is utterly grating as Vice Admiral Tumblrina and literally looks like purple haired feminist activist dressed up in an evening gown. She comes across more like a bitchy college gender studies professor than a seasoned military leader of an armed resistance. Michelle Forbes’ Admiral Cain in Battlestar Galactica was the most convincing female portrait of a military commander I’ve yet witnessed and neither the character or Dern was even remotely close to that benchmark. Kelly Marie Tran makes her debut as the infinitely annoying and pointless Rose Tico. Besides delivering one of the dumbest lines in the canon, her character’s sole existence seems calculated to provide fodder for breathless commentaries from feminist media about how Refreshing it is to Finally See a Strong Womyn POC in a Star Wars film.

None of these features are mitigated by this film’s treatment of Rey. I thought Rey was a Mary Sue the first time around and this film has only reinforced that belief. There’s absolutely nothing underpinning her character arc nor anything that justifies her prodigious expertise in everything. Like the recent Wonder Woman film, I was never fearful for her life nor did I sense any real weakness or vulnerability. Her backstory was set up to be an important mystery, but this film essentially nullified that possibility. She seems to have no residual feelings of abandonment, sadness or resentment and this only compounds her lack of believability as a fully rendered character.

Leia’s appearance in this film is barely more consequential than it was in TFA. In a way, making her the general of an ad hoc resistance only reinforces the idea that her attempt at restoring the Republic was an abject failure. More on that later.

And let’s just say the less said about the Forcebook Messenger scenes the better. But hey. This Force is whatever the fuck you want it to be so whatevs man.

The Annoying

Closely related to the cringey parts are heaps of annoying preaching, misplaced attempts at humor and bad character decisions. The men are all hot headed, impetuous buffoons who are not only deprived of opportunities to be heroic, but are routinely required to genuflect to their feminist superiors.

Rose and Finn’s side mission to the resort city of Canto Bight was merely a platform for Rose to bitch about evil, rich arms dealers and animal cruelty. Never mind that the Resistance required armaments and military vehicles themselves. Somehow that stigma doesn’t apply to them. How convenient.

The Marvelesque humor completely undermines the dramatic tension. This is technically a grim portrait of a band of rebel militants suffering great losses at the hands of a brutal dictatorship, but the wisecracking jokes never allow you to feel the weight of any of it. Star Wars had lots of humorous moments, but it was always very earnest when it wanted to pull at the heart strings. Either Rian Johnson doesn’t grasp this concept or he is simply too willing to bend Star Wars into a corporate mold.

The Stupid

There was a reason Lucas cast Peter Cushing to play Grand Moff Tarkin. He wanted the Imperial leader of the Death Star to have gravitas. The Imperial villains are morally corrupt totalitarians, but these are also supposed to be men who can command Stormtrooper armies, TIE fighter squadrons, and Star Destroyer crews. They’re meant to be men who simultaneously elicit fear and command respect. Gareth Edwards understood this, and that’s why Orson Krennic worked. Johnson made General Hux and other First Order officers cartoonish jackasses and bumbling progressive caricatures of the Alt Right.

The battle sequences look great, but there are plenty of head scratching moments. Not to get all Neil deGrasse Tyson, but bombs will not drop downward without gravity. You can’t tell me that a First Order Dreadnought has no shields and no defenses against single pilot fighters. Force sensitivity or not, humans cannot withstand exposure to the vacuum of space. I’m not expecting scientific realism from Star Wars, but these liberties were a bit much.

Making BB-8 a deus ex machina droid who manages to get our heroes out of every conceivable jam just doesn’t work. The Porgs were stupid and served no purpose in the story other than to turn Chewbacca into an unwitting vessel for vegan propaganda.

The Pointless

Why build up characters like Snoke and Phasma if they just end up getting killed off without a character arc? Snoke was presented as a Dark Side Badass comparable or perhaps greater than Palpatine himself and he was eliminated in the stupidest and most anticlimactic way imaginable. Phasma was wasted in TFA and she was wasted in this film. At least Darth Maul got to go out with a spectacular lightsaber fight.

Why is Finn in this series other than to score PC virtue points? His character had potential to be interesting, but after vanquishing his former superior, what remains for him to accomplish? Why is Rose in this film other than to give the writers at The Mary Sue something to praise and to set up a love triangle in the final installment?

And I still don’t get Kylo Ren at all. His character isn’t intimidating or interesting. His journey to the Dark Side doesn’t make sense to me. I can understand that he would harbor resentment towards Han Solo for being an absentee father. If I accept that Luke tried to take him out, he makes a little more sense. Beyond the fact that his mother was a politician, I don’t understand why he wants to rule the galaxy.

The WTF

I know it’s useless to expect this level of nuance from Disney, but this new series essentially renders the predecessor films null and void. The Original Trilogy ends with two decisive military victories against the Empire accompanied by visible fanfare from every corner of the galaxy. The Force Awakens ends with yet another decisive military victory against the First Order, but somehow, that was inconsequential and the Resistance remain an embattled underdog hanging by a thread.

How did the First Order amass such military might in the thirty year span between the end of Return of the Jedi and the beginning of The Force Awakens? Why did the New Republic fail at governance so badly after being ushered back into power on the heels of galaxy wide popular support? Why wasn’t the entire galaxy united against the First Order after the Starkiller Base wiped out all those planets? Star Wars remains a film about war. Wars are fought in service of ideological agendas and to advance political goals. The Resistance were supposedly a faction of the New Republic, and presumably, they wish to reclaim political power. This reveals the film’s fundamental nihilism. There are no ideals it is willing to uphold beyond its shallow PC sermonizing. It’s just presenting a perpetual posture of rebellion accompanied by some candy ass Hope and Change platitudes as virtues unto themselves. And in case it wasn’t clear from the film, womyn are wonderful, powerful and wise. M*n are stupid, brash and reckless. Don’t eat meat. Be kind to animals and always remember that capitalism is evil. Except for the Disney Corporation.

The same goes for Johnson’s arbitrary demolition of the entire canonical tradition of the Force. Becoming a Jedi Knight and mastering the Force was consistently portrayed as a pursuit that required training, discipline and self-sacrifice. It also required mastery of your emotions. You can’t just have Leia do a Force enabled Mary Poppins in the vacuum of space when she’s undergone no training whatsoever. The path to the Dark Side was always portrayed as succumbing to hatred and fear. It’s what gave the Jedi quest dramatic weight. But now, none of that matters. Rey is a Force prodigy, and she already possesses more knowledge than the generations of Jedi who preceded her. Cuz vagina or something.

Luke Skywalker

I consider myself among those who see this film as an unsatisfying, undignified kick in the testicles to the legacy of Luke Skywalker. The final resolution of the greatest mythological figure of the modern era should have reduced the audience to a weeping mess, but it amounts to little more than a Force enabled Snapchat moment. I don’t buy that Luke Skywalker would despair so badly that he would go into self-imposed exile. I don’t buy that Luke Skywalker would spit on the legacy of the Jedi Order by allowing it to die with him. I don’t buy that Luke Skywalker would attempt to execute his nephew just because he sensed Ben Solo’s temptation towards the Dark Side. Mark Hamill’s instincts about Rian Johnson’s script were correct from the outset.

Johnson is basically saying that Luke Skywalker’s final stand against evil is a Force enabled Skype session in which he trolls Kylo Ren and the First Order. He’s saying that just because the Jedi Order betrayed their code, that in and of itself is sufficient grounds for burning the legacy of the Jedi to the ground. And somehow, this is sufficient to reignite Hope throughout the galaxy.

Nope. Fuck you, Rian Johnson.

James Cameron’s Avatar: Cinematic Sci-fi Classic or SJW Cringefest Supreme?

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If James Cameron’s 2009 sci-fi epic weren’t so masterfully made and deeply entertaining, it would be very easy to hate for its obnoxious political editorial. Admittedly, there are people who already do, but I’m a sucker for a well crafted story and epic world building and Avatar has both in spades. Sadly, few films rival the heavy handed political messaging of Avatar. In fact, the sheer quantity of SJW subtext is equaled only by its towering achievements as pure cinema. It pains me to admit it because I actually still really like this film. Even if I completely disengage from what the movie is saying, there’s nothing I’d criticize. It’s about as well made a sci-fi blockbuster as you could hope for. It has an inventive sci-fi premise, relatable characters, a high stakes dramatic conflict, a love story, breathtaking action sequences, and of course, outrageously cool visuals. In contrast to the never-ending conveyor belt of cookie cutter superheroes and franchise properties, Avatar is also the rarest of breeds in cinematic sci-fi: an original story. As historians look back on this period of ideological division and examine the degree to which Hollywood shaped the culture war, I’m willing to wager that Avatar will be regarded as a landmark film not just for its cinematic bravura, but for its near fanatical commitment to every article of faith in contemporary PC orthodoxy.

Environmentalism

There are many reasons that Hollywood is using sci-fi, fantasy and superhero stories as the primary delivery systems for reinforcing PC orthodoxy. Not the least of which is that these genres lend themselves to the construction of mythic archetypes and imparting of moral lessons divorced from any religious framework. Sci-fi in particular has the added benefit of extrapolating from some kind of scientific premise which has the subsequent effect of reinforcing the belief in unbounded human progress driven by science itself. Or in Avatar’s case, the twin belief that the pursuit of science in and of itself is intrinsically good and the power of science must be trained toward some utopian dream of an earthly eco-paradise.

Pandora is an idyllic and verdant jungle paradise which also happens to be the richest supply of the universe’s most coveted resource, Unobtainium. The Na’vi live harmoniously with their environment and all of the biodiversity on Pandora. Meanwhile, the dirty, evil, soulless capitalists of the RDA just want to bulldoze the planet and strip mine its resources. The only thing standing between them and their ruinous objective are the scientists on their own payroll overseeing the Avatar project.

Sigourney Weaver’s Dr. Grace Augustine and her #WOKE, multicultural team are not only experts at Na’vi and human genetic engineering, neuroscience, biology, and botany, but cultural anthropology as well. There’s nothing inherently wrong with making scientists the film’s superheroes since that’s a longstanding feature of the sci-fi genre, but it’s an awful lot of scientific expertise in one team. Just sayin’.

As the film reaches its conclusion, Augustine tries to persuade the morally ambiguous corporate director, Parker Selfridge, that destroying the Tree of Souls will be devastating to the entire Na’vi race. Through her research, she discovered that the entire species communicates with their ancestors and the planet’s biodiversity through a vast quasi-neural network that’s barely understood by our brutish and greedy human minds.

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This is one of Avatar’s cleverest sleights of hand. The Na’vi have a spiritual tradition centered around an entity called Eywa; an amalgamation of genetic ancestral memory and a supposedly quasi-mystical spirit of life. Rather than writing a completely atheist scientist who is hostile towards the very idea of spirituality, Cameron has Augustine arguing against the destruction of the sacred Tree on PURELY SCIENTIFIC grounds. He didn’t just make Eywa some flying spaghetti monster, he grounded their spirituality in a specific feature of Pandoran biology and botany. This way, Cameron has his environmentalist cake and eats it, too. The harmonious communion with nature that is the centrepiece of Na’vi morality and spirituality is just PURE SCIENCE, MAN! And if it wasn’t for Grace Augustine’s tireless scientific research, the monsters of the RDA would not have had an opportunity for a moral awakening.

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Trans-identitarianism

I realize it might seem a stretch to argue that Avatar is tacitly pro-trans identity, but in the near decade that has elapsed since the film’s release, what seems like a really cool sci-fi premise is starting to seem a lot like a metaphor for the anything goes trans-identitarianism that’s now a staple on the Left. As a genre, science fiction earned its name because the authors were taking a scientific idea or premise and building a human drama by spinning out its ramifications in a possible far future or alien civilization. Avatar is a classic example since the core conceit builds off a premise that’s already a partially realized real world phenomenon through the VR imaging technology. In the film, Grace Augustine’s team had developed a way to merge a human consciousness with a Na’vi body. It’s a leap of imagination for sure, but not so far a leap that you had to completely check your skepticism at the door.

Sam Worthington plays the paraplegic veteran, Jake Sully, who is given an opportunity to replace his twin brother in the Avatar project due to his brother’s untimely demise. His job is to infiltrate the Na’vi and relay intelligence back to RDA while Grace and team simply hope to restore the broken trust between the two societies. As Jake is pulled deeper into the world of the Na’vi, he begins to have a moral and identity crisis. He begins to think his life inside his Na’vi avatar is real life while his life as a soulless grunt for a bunch of predatory humans is the fake. You could say it’s Pandoran body dysphoria. Because progressive orthodoxy accords inherent moral superiority to immutable characteristics belonging to people on the bottom of the oppression hierarchy, Jake’s Na’vi manifestation is on the side of #SocialJustice. So what does Jake do? He comes out as trans-Na’vi, that’s what.

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You don’t have to look very far to find that this is increasingly commonplace here on earth. Whether it’s Rachel Dolezal, Shaun King, Martina Big, or Elizabeth Warren, identifying as transracial has been accorded the progressive seal of #WOKENESS.

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Of course, trans-identitarianism doesn’t stop there. Maybe you feel that you’re a different age that doesn’t correspond to the number of years you’ve actually been alive on this planet. No problem. Just follow the example of Stefonknee Wolscht. Or perhaps you feel that you too were born the wrong species. You can be trans-species, too. Everything is a social construct, you #BIGOT.

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Feminism

James Cameron has a well established track record of writing strong female leads which, in contrast to the numerous cartoonish feminist power fantasies to which we’re routinely subjected, are actually pretty believable by comparison. Besides being one of the best sequels in modern cinematic history, his contribution to the saga of Ellen Ripley should have been lauded as a feminist classic. The same could be said of Sarah Connor in the first two Terminator films. The three lead female characters in Avatar follow the precedent of his earlier films in that they embody his unique spin on the Tough, Smart Yet Tender Hearted Badass archetype. Most importantly, just as the Holy Church of Feminism mandates, each character is a paragon of virtue. Taken together, they form the moral conscience of the film.

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As Dr. Grace Augustine, Sigourney Weaver’s character is modeled very closely on Frances Sternhagen’s lovably grumpy performance of Dr. Lazarus from the 1981 classic, Outland. Augustine is an appealing mixture of passionate dedication, steely resolve, no nonsense bluntness and bleeding heart compassion. Whether acting as a mentor to Jake Sully or upbraiding the villainous Colonel Quaritch, Augustine risks everything to prevent the extinction of the Na’vi.

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Even though Jennette Goldstein’s Private Vasquez in Aliens was more entertaining, Michelle Rodriguez’ Trudy Chacón is the Latina Badass of Avatar. When the RDA goons launch an aerial bombardment of the Na’vi Hometree, Chacón has a crisis of conscience and goes AWOL just as the missiles start launching. After that mission, Chacón goes completely rogue and devotes herself exclusively to helping Augustine, Sully and the Na’vi.

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And of course, rounding out this trifecta of feminine moral purity is Zoe Saldana’s Neytiri. Neytiri combines the virtues of both Augustine and Chacón in that she is proficient in combat, physically strong, fully attuned to her natural environment, and willing to defy the tribal elders. Between the three of them, we are presented with a fully rendered portrait of Divine Feminist Perfection. Smart, tough, capable, defiant, sexy and maternal. Cameron gets away with it because the characters are appealing and he doesn’t completely jettison heterosexual romance or female biological reality. Needless to say, actual feminists spend more time wearing pussy hats and blogging on Tumblr than learning the kinds of skills these characters possess, but the Church of Feminism commands its subjects to write female characters which portray women as morally pure, infinitely capable saviors, redeemers and didacts. Though I’m sure there are plenty of women in the police, military and athletics who can handle firearms, engage in hand to hand combat and pilot advanced military vehicles, these abilities are still primarily male skill sets. Giving them to the women is just a way to appease the male audience.

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The Church of Feminism also mandates that male characters follow Feminist Law and be cursed with the Original Sin of Toxic Masculinity. Naturally, no one embodies it more than the film’s unequivocally wicked Colonel Miles Quaritch. In another era, Quaritch would be a hero. He’s tough as nails and lives by a soldier’s code of honor. He’s so badass, he can forego a respirator in Pandoran atmosphere and unload two weapons’ worth of rounds and won’t even feel a thing. Since this is the Age of #SocialJustice, Cameron has taken a classically heroic male archetype and made him a cold blooded mercenary who lives only to kill for the highest bidder. Even The Magnificent Seven had a moral code, but Cameron won’t even grant him that much.

Jake is simply the wounded and crippled version of Quaritch. He wanted to serve a heroic ideal by being in the service, but only ended up losing his ability to walk by fighting a pointless imperialist war. Jake’s longing for a courageous ideal and sense of purpose also serves as a metaphor for the yearning experienced by vast number of young men growing up in the West who’ve largely been stripped of their historical roles as protectors and guardians.

Jake Sully: I became a Marine for the hardship. Told myself that I can pass any test a man can pass. All I ever wanted was a single thing worth fighting for.

Despite finding the ideal and sense of purpose he originally sought by becoming his Na’vi avatar, he still required salvation from his female guardian. Male ideals and archetypes are just toxic delusions which lead to dangerous consequences. Take that, manhood!

Scientism

Like Interstellar, Gravity, The Martian and Europa Report, Avatar is part of a newer tradition of sci-fi films that are attempting to bring some semblance of scientific realism to the story. While I reject pedantic cunts like Neil DeGrasse Tyson who think that fact checking art somehow instills a deeper appreciation of science or improves art, films like Avatar which inject just enough scientific realism to make you think about real world possibilities are doing it right. Besides the few grains of scientific plausibility in Avatar, Cameron is presenting something a bit less appealing: Scientism.

The RDA just want to harvest Unobtainium, but the scientists just want to learn and understand the Na’vi, brah. Avatar canonizes a secular article of faith that goes back to Thomas Paine and finds modern expression in figures ranging from Roddenberry to Sagan to Hawking to Dawkins. The pursuit of science all by itself is inherently Good. #SCYENCE will guide humanity back to a primeval state of brotherly harmony and Oneness with Gaia.

Anti-capitalism

There are few things in the world quite as galling as multimillionaire entrepreneurial elites in the creative class selling a Marxist, anti-capitalist narrative, and this is among Cameron’s greatest sins in the messaging of Avatar. It’s understandably self-serving, but it’s more about anesthetizing people with a cynical and simplistic narrative of how the world works rather than provoking new thought. There is literally nothing controversial about presenting a fictitious intergalactic corporate conglomerate as amoral, predatory, and greedy.

This isn’t to say that corporations and entrepreneurs are above reproach or have no moral failures. This isn’t to say that a strictly scientific and materialistic view of the world hasn’t produced some adverse social problems, but Avatar is presenting capitalism in the same Manichean binary that’s the defining feature of Marxism. The lesson of Avatar is that capitalism by definition is exploitative and compels people to dominate and pillage. It’s also very loudly proclaiming that private military armies won’t have any moral compass. There’s no attempt to distinguish between crony capitalist wards of the State versus the entrepreneur who has no protection or special dispensation from the government. We don’t really know anything about the RDA’s connections to the State, but if we’re to treat them as a far future Halliburton, then it follows that they’re being awarded very handsome government contracts. If one wanted to be pedantic, one would question the economic feasibility of colonizing a distant planet, transporting military grade aircraft and armaments over interstellar distances, deploying and maintaining state of the art technology while employing scientists, technical staff, and private security. The market demand and market price for Unobtainium must be pretty high. Just sayin’.

Once again, Cameron wants to have his anti-capitalist cake and eat it too. He’s denigrating the very system which allowed him to become a world renowned filmmaker. He profits from the very resource intensive technology which allows him to make his art.

Anti-colonialism/Marxist historicism

Sci-fi, fantasy and superhero franchises have the critically important feature of being completely unmoored from actual history while very subtly affecting the way you perceive history. Avatar is a work of science fiction, but it serves as a proxy for the colonization of America and the West in general.

By today’s standards of #WOKE progressivism, all the dirty, evil white man has ever done is rape, pillage and conquer. This is essentially an article of faith for anyone on the progressive Left. Beginning with the works of Howard Zinn and Gore Vidal, the progressive Left increasingly views the advancement of the West as nothing more than a series of horrific oppressions while consistently downplaying or ignoring the ideas that differentiate it from other cultures.

Noble savage/Anti-white racism

Avatar rehashes the so called “noble savage” myth that was arguably made into an article of faith by Rousseau. In his famous “Discourse on Inequality“, Rousseau romanticizes premodern man before the instantiation of property rights. In this state of primeval and harmonious bliss, we were untainted by greed, violence and envy.

The first man who, having enclosed a piece of ground, bethought himself of saying This is mine, and found people simple enough to believe him, was the real founder of civil society. From how many crimes, wars and murders, from how many horrors and misfortunes might not any one have saved mankind, by pulling up the stakes, or filling up the ditch, and crying to his fellows, “Beware of listening to this impostor; you are undone if you once forget that the fruits of the earth belong to us all, and the earth itself to nobody.

This is, in effect, the entire subtext of Avatar and the ideal of premodern moral purity that the Na’vi represent. He isn’t even trying to hide the message either. You too can learn how to live like the selfless, spiritually #WOKE Na’vi simply by using the home computing device that you bought in the marketplace and accessing the Avatar homepage using software developed by a tech company over networks built and maintained by a telecommunications corporation. Because you know you should and capitalism is totes evil, brah. Bernie said so.

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But it’s even worse than that. Cameron portrays Jake’s defection as a betrayal of his race. By extension, we’re to view Quaritch’s final dig at Jake as a wickedness that’s intrinsic to his white racial consciousness. Whereas Jake’s willingness to relinquish his broken and morally compromised Caucasian body in order to live as Na’vi is evidence of his Christlike resurrection.

Col. Quaritch: Hey Sully… how does it feel to betray your own race? You think you’re one of them? Time to wake up!

In this Age of #SocialJustice, it is increasingly taken as an article of faith that the White M*n and everything produced by him is inherently evil and corrupt. In the materialist mindset of the progressive Left, morality is attributed to material phenomena by default. If it’s not physical privation resulting from inequality, it’s the sin of white racial consciousness. And what better way to reinforce that lesson by making the heroes of your sci-fi epic a fictional race of aliens who live in an ethnically homogeneous premodern, hereditary tribal order with no technology, democratic institutions, or even written language. Just face it, proles. Your civilization sucks. And it’s because you’re WHITE.

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Conclusion

Despite the very dubious and heavy handed preaching in Avatar, I still believe it retains its place as a supremely entertaining 21st century sci-fi classic. I also believe it helped canonize several articles of faith in the contemporary #SocialJustice bible. And that’s too bad. Because when art limits itself to the confines of political ideology, it stops being good art and it turns into propaganda.

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