Category Archives: comics

Black Panther (2018)

Similar to the prejudices I harbored going into The Last Jedi, I went into Black Panther fully expecting to hate the film simply because it was being pushed so hard by the progressive establishment. While it is certainly filled to the brim with all of the requisite SJW talking points and orthodoxies, it is also another surprisingly entertaining addition to the MCU franchise. As is the case with every other Marvel installment, there are a lot of esoteric symbols, religious archetypes and geopolitical themes which warrant a deeper look.

We Wuz Kangz!

The fact that Stan Lee, Marvel and Disney are in the business of manufacturing myths that are designed to subvert and supplant any conventional real world religious or cultural history should be self-evident to everyone. When examining the significance of Black Panther from the perspective of symbolism, one must not forget that Black Panther was aimed primarily at black Americans and white progressives who desperately want to virtue signal their solidarity with blacks.

Since the black community has been so mercilessly politicized and exploited by the progressive establishment, a black superhero archetype fills a spiritual void that has been eclipsed by a neverending mantra of oppression and subjugation at the hands of the evil white man. So what kind of archetype do Stan Lee and company serve up? A genetically engineered KANG, muthafuckas!

That’s right! When the mythmakers of Hollywood want to conjure a fantasy of black technological might, cultural solidarity and national unity, they go all Old Testament and give us T’Challa, King of Wakanda. Long live the king! In the age of democratic triumphalism, Black Panther presents a fantastical, isolationist, racially homogeneous hereditary monarchy as the ideal socio-political order. Given the prevalence of illegitimacy and fatherlessness in the black community, I suspect this myth taps into a primal psychological and spiritual yearning. It’s a society in which competition for the throne is settled by male on male combat rituals. It is, in essence, a patriarchal monarchy. Since the film has a politically correct vision of black empowerment which includes an elite all female praetorian guard, a female scientific genius and a cat goddess, you won’t hear a peep of dissent from feminists about this portrait of a patriarchy. Besides, it was enough that they “leaked” about the deleted lesbian love affair between two members of the Dora Milaje. We’ll have our black, non-binary, differently abled Disney princess yet! More on this later.

Needless to say, you don’t have to look very far to find people who are convinced that Black Panther reveals some actual hidden history that’s been suppressed by the white man.

Wakanda Forever!

Besides being an Afrofuturist spin on the Masonic myth of El Dorado and the latest black power meme, Wakanda represents something even deeper. Home. Since the black American identity is so tightly wound up with slavery, the Civil War and the Civil Rights movement and Africa remains a country rife with corruption, poverty and political instability, the search for a historical narrative which elicits pride might seem elusive. So let Marvel create one for you! Blacks have always asserted a collective cultural identity, but Wakanda is probably the first large scale pan-African mythological homeland. It has different tribal factions, but everyone swears allegiance to Wakanda and calls it home.

W’Kabi: You would kill me my love?

Okoye: For Wakanda? Without Question.

Herein lies one of the numerous absurdities in the ever changing Catechism of progressive racial pieties. Blacks are always permitted to express different visions of leftist black nationalism. With the release of this film, it can now include sci-fi black nationalism for a country that doesn’t even exist. Cuz Institutional Racism and Historical Oppression and shit. Or something. Who can keep up with the latest #WOKE protocols anyway? Whereas a white, middle class person wearing a MAGA hat is basically worse than a KKK Grand Wizard and a dude in a SS uniform combined.

But what a grand vision of fantasy nationalism it is! When we’re introduced to Wakanda, we see it from the cockpit of T’Challa’s hovercraft as it swoops through the idyllic plains. As the ship penetrates the cloaking system and careens through the neo-Babylonian spires of the utopian futurescape, the music ratchets up the drama and you can easily imagine fists being pumped in IMAX theaters all over the world. “This never gets old,” proclaims T’Challa as he beams with pride. It’s a scene that tugs at the heartstrings in a manner that’s reminiscent of the scene in Star Trek: The Motion Picture when Kirk is reunited with the Enterprise.

Also like Star Trek, the Wakandan origin story is a very clever and daft mixture of sci-fi esotericism and bonkers economics that’s common of both the Trek and Marvel universes. 2.5 million years ago, a vibranium asteroid crashed to earth somewhere in East Africa where Wakanda is located and remains hidden from the surrounding world. The vibranium infected the flora and fauna and imbued certain plants with mutagenic properties. Guided by a vision from the panther goddess, Bast, a warrior named Bashenga was guided to a special herb which gave him supernatural strength when ingested. Transformed into the first Black Panther/King David, Bashenga proceeds to unite four out of five tribes of Wakanda. Sitting atop the most valuable resource known to man, the Wakandans proceed to build a society of unimaginable technological innovation and economic prosperity.

It’s easy enough to suspend disbelief when being presented with the origins of superhero powers, but the ascendancy of Wakanda as an economic and technological superpower just beggars belief. We’re to believe that Wakanda developed itself into a technological behemoth by maintaining a completely homogeneous population and an isolationist economic policy while simultaneously maintaining ancient tribal rituals and traditions. With no visibly adverse effects on the environment and not a trace of economic inequality. Right. Besides withholding this technological might from the world, they don’t even make an effort to improve the lot of the remainder of the African continent! What a bunch of bigots.

The fact that Wakanda Forever has become a cultural meme shouldn’t surprise anyone. Every Avengers film henceforth which features Black Panther is going to have some rousing scene in which the phrase is uttered. It’s the new May the Force Be With You. The larger question is over the true provenance of the Wakandan salute and what it may represent.

Glory to Aiwass!

Black Panther is rife with pagan, occultic and esoteric religious overtones. The majority of the Wakandan population swear allegiance to the panther goddess, Bast, while the dissident Jabari tribe worship an ape god, Hanuman. Bast is a twist on the Egyptian goddess Bastet, but was portrayed as a male god in the original Marvel canon. Since we live in the Aeon of #SocialJustice, Bast is made into a goddess. This inversion and connection to Egyptian mythology casts the overall theology in close proximity to all of the expected associations with Masonry, Thelema, Theosophy and all other related occult traditions.

Aside from the Wakandan ceremonial combat, there is also ritual magick. The victor ingests the mutagenic vibranium herb as he is buried in red soil. He enters a supernatural realm called Djalia and communes with ancestral spirits. It’s roughly similar to Aleister Crowley’s communion with the entity Aiwass which allegedly inspired The Book of the Law.

Speaking of Crowley, I think the true origin of the Wakandan/Wonder Woman/Wolverine/Deadpool salute is not quite what the media would lead you to believe.

Wakandan Spooks or Marvel Spooks?

It is supremely ironic that “spook” is both a racial slur and a slang term for people who work in clandestine services because Black Panther is loaded with geopolitical espionage subtext.

For starters, the presumed villain Erik Killmonger, is T’Challa’s first cousin. His father, N’Jobu, was Wakandan deep state. While on assignment in the oppressive, racist world of the white man, he becomes embittered by the subjugation of his people at the hands of the white devil.

N’Jobu: I observed for as long as I could. Their leaders have been assassinated. Communities flooded with drugs and weapons. They are overly policed and incarcerated. All over the planet, our people suffer because they don’t have the tools to fight back. With vibranium weapons they can overthrow all countries, and Wakanda can rule them all, the right way!

He tries to redress these inequalities by hiring another unscrupulous white man, Ulysses Klaue, to steal vibranium from Wakanda. He is discovered by King T’Chaka and killed for his act of treason. His death is hidden from his son, Erik, and he grows up with nothing but hatred and animosity for the evil white man. Imagine my surprise.

So what does angry Erik Killmonger do? He ends up working with the CIA! This is the part of the film where they’re actually telling you the truth. As we learn from token white CIA hero, Everett K. Ross, Erik worked with the CIA on destabilizing foreign governments during election cycles! Remember, everyone. Election meddling is fine when we do it. But if Trump wins against Hillary, the progressive establishment will get apoplectic and manufacture a story about how this is the worst possible crime imaginable.

Everett K. Ross: He

[Erik Killmonger]

Everett K. Ross: worked with our CIA to destabilize foreign governments… during election cycles.

They’d never do that here though, right? Nah!

After all, Black Panther was first published in 1966, and the Black Panther Party, a radical Marxist, black nationalist party also surfaced in 1966. I’m sure it’s just a strange coincidence. It’s not like Marvel is working with the Pentagon and the CIA or anything.

This is also where the movie tries to have it both ways. The film wants you to believe that Erik Killmonger is Black Hitler. In reality, his rhetoric mirrors the radical BLM/socialist element of the progressive Left very closely.

Erik Killmonger: I’ve waited my whole life for this. The world’s going to start over. I’MA BURN IT ALL!

How many amongst the black demographic actually found Erik Killmonger’s rhetoric distasteful or disturbing? Much like Avengers: Infinity War sparked the Thanos Did Nothing Wrong meme, Black Panther inspired a Killmonger Did Nothing Wrong campaign. Of course, the progressive establishment doesn’t want to own up to the hatred and division it has actively cultivated, so they deployed their minions to attempt to tamp down the flames. Erik is the archetypal broken, angry black man who’s been ground up by the system and dispossessed of his family, country and past. They want you to believe that Erik is light years apart from T’Challa, but the system thrives by cultivating Erik Killmongers every day.

Erik Killmonger: I lived my entire life waiting for this moment. I trained, I lied, I killed just to get here. I killed in America, Afghanistan, Iraq… I took life from my own brothers and sisters right here on this continent! And all this death just so I could kill you.

Wakandan SJW shit is this?

As I expected, Black Panther is chock full of SJW bullshit. With one notable exception, the characters and the story are sufficiently engaging that it doesn’t derail the movie. Of course, we have the powerful warrior womyn archetype. Somehow, being a member of the all female Dora Milaje and swearing an oath to protect its male monarch is super empowering and #WOKE for some reason. Apparently, women have to be portrayed as asexual badasses in EVERY GODDAMN MOVIE these days.

Not only that, just like Charlie’s Angels and Wonder Woman, they refuse to use guns. Got that, guntards? The Dora Milaje don’t need no guns, coloniser! They have vibranium spears, really bitchen outfits that don’t turn them into sex objects and the best CGI money can buy, so give up your constitutional rights already!

But you can tell that Coogler and company don’t really believe the horseshit they’re serving up. Early in the film, T’Challa sets out to rescue Nakia and a group of burqa-clad women from a Boko Haram-style group of militants. Yeah, sure. Okoye shows up to help T’Challa out of a jam, but this group of women were pretty ordinary in that they had neither super strength nor combat skills. It was a welcome bit of realism from a film that’s very high on its own helium.

What sci-fi film would be complete without the requisite female scientific genius? Hollywood actresses and their feminist foot soldiers love to talk about smashing stereotypes and subverting gender roles, but they seem blissfully ignorant of the degree to which they’ve mainstreamed a handful of absolutely predictable and idiotic SJW stereotypes. Right behind the asexual ass kicking warrior womyn is the scientific super genius. How many times do we need a character whose sole purpose is to hammer home the idea that MORE WOMYN SHOULD BE IN STEM FIELDS? Besides being an irritating bigot, Letitia Wright’s Princess Shuri has no real flaws or weaknesses. This isn’t a real character. She’s just a progressive virtue checklist who is given some sassy lines of dialogue while being Q to T’Challa’s Bond.

Rounding out this collection of dumb clich√©s is a shout out to veganism. We already got a generous helping of racial politics and feminism, so that pretty much leaves us with climate change and veganism. It amounts to one wisecrack, but it’s extraordinarily stupid and contrived. Upon discovering that T’Challa had survived his confrontation with Killmonger and was convalescing among the Jabari tribe IN THE FUCKING MOUNTAINS OF WAKANDA, our heroes attempt to negotiate his return. M’Baku threatens to feed the party to his kids. After a pregnant pause, he breaks the tension and confesses that the Jabari are VEGETARIANS. Hardy har har.

Now remember, the Jabari have REJECTED technology and LIVE IN THE MOUNTAINS. They’re big and physically imposing dudes who wear ANIMAL FURS. But we’re expected to believe that they’re VEGETARIANS. Give me a fucking break, Ryan Coogler. This is what happens when ideological correctness overrides basic storytelling common sense.

The entire issue of immigration was so hot, I’m not surprised they completely bulldozed over it by the film’s end. To my surprise, they allowed a moment of honesty. Because W’Kabi sides with Killmonger, his argument is not meant to be taken seriously. After all, he sided with the self-proclaimed Black Hitler, so pay him no mind.

W’Kabi: You let the refugees in, they bring their problems with them, and then Wakanda is like everywhere else.

This is the issue progressives refuse to confront. Culture is something that’s nurtured and cultivated over centuries within a homogeneous society. Cultural traditions exist for the purpose of affirming a unitary identity. When you have a minority population within a largely homogeneous population, the minority are naturally going to gravitate towards their own just to have a sense of shared cultural solidarity. Ideally, the minority population will assimilate to the culture and traditions of the host country because they actually want to be citizens. If there’s no incentive to adopt the customs of the host country, they’re going to assert the identity they already possess. But when you’ve got a class of elites who despise the native population and are intent on inculcating the notion that national identity and pride is the sole province of non-European cultures, then multiculturalism isn’t really about affirming all cultures equally. It’s about hating whitey.

In light of everything happening in South Africa right now, the entire post-apartheid biracial dream of unity is unraveling. Even under the SJW definition of racism, we’re seeing a white minority being dispossessed of their property under a black majority government. But progressives don’t care. They’re too invested in pushing their one sided narrative.

T’Challa the Globalist sings Kumbaya

By the film’s conclusion, Black Panther sidesteps the entire immigration question. T’Challa’s renounces isolationism and joins the United Nations, but we never learn whether he alters Wakanda’s immigration policy. We just see him turn into another milquetoast political hack mouthing the same idiotic, braindead appeals to Brotherhood and Unity we hear all the time. Sure, he sets up Wakandan CIA field offices from which to conduct psychological warfare…I mean….EMBASSIES in which inner city youth will get Wakandan iPads and learn sassy wisecracks from Princess Shuri. But it never addresses the question of whether Wakanda will be multicultural and #DIVERSE henceforth. I have a hunch I already know the answer.

Despite all my gripes, I enjoyed it way more than I expected. The template for the MCU franchise is well established, and for the time being, the Marvel team are able to crank out new additions to the Avengers saga that manage to be slick, stylish and entertaining. Yes, indeed. Black Panther is a clever, Afrocentric spin on the superhero archetype. Chadwick Boseman is quite likable in the role and he plays it with a slow burn charm that really works. I even bought the phony accent. Lupita Nyong’o is equally appealing as T’Challa’s lover, Nakia. It’s also nice to see a bit of romance at the end. Aside from Wright, the only other off key performance was an overwrought turn from Angela Bassett. Too bad Bobbi Kristina isn’t around to weigh in.

Is Black Panther also a wildly manipulative and cleverly deceptive piece of globalist propaganda? Absolutely. Anyone who isn’t drinking the #SocialJustice Koolaid knows this film is little more than a multi-million dollar virtue signal and a long running targeted psychological operation. It’s a chance for the black target demographic to flood social media with fist emojis and Wakanda Forever gifs while white progressives wring their hands and get hyper self-conscious about asserting too much white privilege in a moment that’s about “uplifting POC voices” or some shit. Like everything in the progressive movement, it’s a collection of platitudes that has the aura of unassailable righteousness but masks unpleasant realities and inconvenient facts. But progressives don’t care. You too will learn to say Wakanda Forever and mean it, coloniser.

Or else.

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Ghost in the Shell (2017)

Since we’re living in the Age of the Reboot and the number of films made from existing properties outpaces the number made from original scripts, some important questions need to be answered. To what degree does the artist’s or author’s original intention matter when doing a remake? Given that every writer tells a story using a specific set of characters, themes and ideas to make a general point, can a remake which repurposes those ideas to conform to contemporary sensibilities legitimately call itself by the work’s original name? At what point do those themes and ideas become so different, that the reboot has become a different story altogether? Where is the line between respectful homage and outright sacrilege? Most importantly, at what point do the thematic reinventions have a deleterious effect? I don’t have definitive answers to all of these questions, but GITS 2017 certainly has me inclined to believe that the law of diminishing dramatic returns holds true more often than not when it comes to these reboots. This is not to say that GITS 2017 is a complete disaster because the deviations from GITS 1995 are indeed handled very cleverly. However, this does mean that the various changeups don’t add up to a better final product even when accounting for the ramped up production values.

The broad strokes of GITS 2017 are basically the same as GITS 1995, but the changes to those original themes alter the overall message of the film in significant ways. Scarlett Johansson plays The Major, and in contrast to GITS 1995, the film is setting up an entirely different dramatic conflict by emphasizing how she was created and by whom.

In the future, the line between human and machine is disappearing. Advancements in the technology allow humans to enhance themselves with cybernetic parts. Hanka robotics, funded by the government, is developing a military operative that will blur the line even further. By transplanting a human brain into a fully synthetic body, they will combine the strongest attributes of human and robot.

This isn’t a departure from the basic premise of the original, but it marks a distinct shift in emphasis. Where the original was positing the idea of a fully sentient digital being, GITS 2017 is giving us a variation on Robocop. Instead of OCP, we have Hanka robotics which has contracted with the government to build a cyborg super soldier. The opening of the film shows us a fatally injured Mira Killian being carted into an operating room in which her brain is ultimately salvaged and inserted into her cybernetic shell. There are flashes of some violent fiery trauma which may or may not be flashbacks to the incident which left her fatally injured.

Upon being fully regenerated into her new cybernetic shell, the CEO of Hanka and her designer Dr. Ouelet have a debate over her future assignment. CEO Cutter wants her assigned to the elite anti-terrorism unit, Section 9, while Dr. Ouelet insists that Mira isn’t ready for that kind of duty. This is one of the points of departure from the original and where the film goes off the rails a bit. As Dr. Ouelet, Juliette Binoche is presumably an elite robotics engineer working for the most prestigious robotics company and instead of treating her like a professional doing the job she was hired to do, the film has her projecting maternal attachment to her new creation. So not only is the film trying to get feminist booster points by having a female character in a STEM role, they portray her exercising her female biological instincts on her cybernetic newborn. Way to smash gender stereotypes, folks.

While I’m generally cool with suspension of disbelief in sci-fi, I can’t help but to nitpick the scientific premise they’re putting forward since Rupert Sanders and company have chosen to make the Major’s creation story the center of gravity. Hanka is presumably a sophisticated and well resourced for-profit robotics company. Albeit one that’s in bed with the government. They want to build a super soldier by taking the human mind of a young woman with no combat experience whatsoever and place her in a cybernetic shell. So Hanka believes that Mira’s human reflexes, spatial recognition, muscle memory, emotional disposition, neurological and biological proclivities will be a sufficient foundation for a super soldier once outfitted with a cybernetic shell. It made sense in Robocop because Murphy was a cop in the first place. I know this is sci-fi and everything, but good sci-fi generally starts with at least a generally plausible scientific premise and extrapolates. This is saying that the all of the attributes which are either biologically hardwired or psychologically imprinted into the young female mind are simultaneously the most valuable attributes for a cyborg super soldier and can be sublimated once paired with cybernetic musculature. Alrighty then.

In the scene following Mira’s cybernetic birth, the film tips its hand by more explicitly revealing the film’s progressive editorial in what is otherwise a visually stunning reinvention of the original opening. Now operating as the fully functional cyborg super cop she was designed to be, the Major scans a meeting taking place between a Hanka executive and the African ambassador. Instead of a generic foreign diplomat negotiating a Megatech programmer defection, they give us a Hanka executive making a pitch to an African politician. Cuz multiculturalism and shit or something. Against the orders of Section 9 leader, Aramaki, the Major dons her invisibility cloak and storms the room just as a geisha-bots begin attacking the Hanka executive. Right before the Major shoots the hacked geisha-bot, it utters a warning: “Commit to the will of Hanka and be destroyed.” Where GITS 1995 left us to puzzle out the Puppet Master’s ultimate motivations, this one is telling us that this new mind hacker has it in for Hanka. The big, bad corporation. Imagine my surprise.

The Major and her multicultural team of Section 9 cyborgs spend the remainder of the film trying to identify the new mind hacker, Kuze. At the same time, the Major becomes increasingly curious about her past since her flashbacks become more vivid and frequent.

The film is making an important point about the nature of memory and the structure of human cognition, but it’s approaching the topic from a Marxist angle. By giving the Major a false memory which sharpened her killing instincts, the film is saying she had, in effect, committed to the will of the bourgeoisie. Which, in this case, was the Hanka corporation. Naturally, the false memory portrayed her as an immigrant whose parents were killed by terrorists because, after all, you need to gin up that antipathy towards terrorists artificially. To the film’s credit, the writers portrayed the Major’s natural genetic memory as the force which compelled her to discover her birth mother and know her own story more fully. As it turns out, her ghost belonged to Motoko Kusanagi, a young Japanese radical who campaigned against cybernetic enhancements. So Hanka figures it can fulfill the ghost requirements of its super soldier program by culling the ranks of anti-cyber-enhancement dissidents. Alrighty then.

Like many other Hollywood films, it’s trying to have it both ways by making Cutter and Hanka the bad guys. Cutter is yet another two-dimensional cardboard cutout who is all calculating menace and cartoonish malevolence. He also happens to be….you’ll never believe it….a white male. It’s as though there’s an overriding narrative.

Kuze threatens to destroy those who “commit to the will of Hanka”, but Hanka contracts with the government. Whose will is truly being carried out here? Section 9 is clearly some kind of special forces/homeland security unit which needed an elite cyborg and Hanka delivered. Again, one detects the distinct whiff of an agenda.

Of course, there are some pretty obvious sops to PC sensibilities. The film takes place in future Japan, and naturally, multicultural harmony and gender equality reign supreme. Besides the addition of another female cyborg to the Section 9 roster, the team speaks to Aramaki in English while he speaks to them in Japanese. This doesn’t make any goddamn sense, people. Also, if the Major’s ghost was Japanese, why is she speaking English? As long as there are nation states, there will be a dominant culture and language that will be upheld. The Japanese have proven themselves pretty protective of their culture and language. There’s no way Section 9 is multilingual. Sorry.

The film emphasizes the Major’s sentience by having her verbally consent to the administration of a serum or being jacked into a digital network. It’s an interesting twist and it reminds us that the Major is still human, but once again, the aroma of a certain highly politicized issue wafts about this piece of the story. One could certainly extend the question of consent to a wide variety of federal policies, but I don’t think that’s what the filmmakers had in mind.

The look of the film is spectacular, and it takes the arthouse cyberpunk noir of the original to another level. This is another take on the hybrid of squalid urban sprawl and holographic commercial overstimulation that we’ve been getting since Blade Runner. ScarJo has been raked over the coals for a number of aspects of this role, but she and the rest of the cast are enjoyable enough. The complaints of “whitewashing” from the #SocialJustice crowd are painfully stupid and tiresome given that these jackasses tend to be the most vocal cheerleaders for immigration and multiculturalism.

Since both GITS films have addressed very specifically the role of memory in determining selfhood, I can’t help but to think that what Sanders and company have done here is exactly analogous to what Hanka did to the Major. By rewriting the story, they want to hack the minds of the public and implant a new memory of GITS that will supersede the memory of the original. At some level, all of this remixing of the past is saying that there is no sanctity to a any artist’s original vision. Everything must be tailored to the prevailing political winds.

While I found it enjoyable enough, I still came away thinking that this remake failed to add anything new to the original and ultimately detracted from themes and ideas that were more provocative and original. By insisting that all films conform to progressive orthodoxy, films are increasingly taking on an aura of bland globalist cosmopolitanism. Where the original asked you to contemplate the nature of selfhood, the transmission of genetic memory, speciation and the possibility of a post-human being, this film ends up rehashing ideas that were already explored in films like Total Recall, Robocop, and Minority Report. The Major is haunted by her past, but only achieves peace after discovering the truth of who she was and from where she came. Ultimately, the film is affirming the importance of familial and cultural bonds while simultaneously affirming that one can only fulfill the process of individuation through self-discovery. Contrary to the claims of contemporary social scientists and gender “scholars”, the human being does not come into the world as a blank slate. Every person possesses an a priori cognitive structure through which the experiences of the world occur. The process of defining selfhood requires that one distinguish between whether you are the author of your own existence or a player in a drama that’s been written for you. While I can acknowledge that this is the common thread that binds the films together, I don’t know that this film is Ghost in the Shell. Or if it’s a different ghost in the shell of its predecessor.

The Major: You are not defined by your past, but for your actions…

Ghost in the Shell (1995)

Since the Hollywood reboot of the 1995 classic is likely to disappoint, I revisited the original to see how it holds up. Unsurprisingly, the 1995 Ghost in the Shell directed by Mamoru Oshii more than earns its spot in the pantheon of SF classics with its highly plausible technological speculations, dazzling visuals as well as its political and philosophical commentary.

GITS was an early cinematic entry into the what was, at the time, a new subgenre of SF dubbed cyberpunk. With the advent of the home computer connected to a vast global information superhighway, SF writers turned their attention to previously unimagined futurescapes of mass surveillance, cybercriminal underworlds, technocratic corporatism, information trafficking, and cybernetic engineering. By weaving all these elements together, GITS established itself as an influential example of the genre. Add in some government deep state machinations, immigration terrorism and globalism, and the themes only accumulate strength and relevance.

Despite the absence of alien civilizations and interstellar travel, one of the main ideas in cyberpunk which connects it to the broader legacy of SF is the exploration of the idea of artificial intelligence. This is the central idea in GITS, and Major Motoko Kusanagi’s quest to uncover the identity of Puppet Master is simultaneously a quest to attain that which defines humanity in the end.

Like William Gibson’s seminal cyberpunk novel, Neuromancer, GITS is a high tech crime/espionage thriller which delves into some meaty questions pertaining to race, biological diversity, genetic memories and the nature of consciousness itself. The film opens by delineating the broad conflict between the globalist elites building a vast, decentralized network of technocratic control versus the proles who still claim selfhood through nationalism and racial identity.

In the near future – corporate networks reach out to the stars. Electrons and light flow throughout the universe. The advance of computerisation, however, has not yet wiped out nations and ethnic groups.

The film centers around Major Motoko Kusanagi; a cyborg who works in Section 9 and is pursuing a cyber-hacker called the Puppet Master. She possesses a human consciousness, a “ghost”, but her body (i.e. “shell”) is fully cybernetic. The Puppet Master has the ability to hack human brains and overwrite their memories and identity. She and her supercyborg partner, Batoh, are charged with finding the Puppet Master.

The opening scene sets up the intrigue. Major Kusanagi is monitoring a set of diplomats in a hotel room discussing Project 2501 with a programmer. The Section 6 police force moves into place to storm the room. One of the diplomats claims immunity as the cops enter the room and the bullets start flying. The head of Section 6 announces that it’s illegal to take programmers out of the country just as an invisible attacker from outside the hotel room takes out the foreign diplomat in a rather gruesome manner. The programmer is denied asylum and the diplomat is taken out by the Major without a trail. Two different police agencies working from different ends of the legal spectrum to quash corporate espionage and thwart emigration.

It’s handled very subtly, but Japan’s tight control of immigration and sense of national identity is very clearly spelled out. After the Major dispatched the diplomat, the Japanese Prime Minister expresses his gratitude to Section 9 leader, Aramaki, that the programmer’s attempt at defection was handled without going through standard bureaucratic channels. He goes on to explain that the he’d love to deport the recently deposed leader of the Gavel Republic if he had a good political excuse. In addition to the references to Section 9’s ongoing crackdowns on immigration terrorists, these pieces of the story strongly suggest that this future Japan is still maintaining a relatively homogeneous population and national identity. Based on what I’ve read about the reboot, this theme has been inverted to serve the globalist mantras around multiculturalism.

The real philosophical meat of the movie revolves around the true identity of the Puppet Master and Major Kusanagi’s existential ruminations over her own fate. What defines the essence of selfhood? Identitarians tend to claim immutable characteristics like skin pigmentation, racial heritage, genitalia and sexual preferences. Not far behind are religious tradition and national or regional identity. Peel away those labels and then you’re left with ideals and abstractions like belief, pride, and morality.

Section 6 Department Chief Nakamura: Nonsense! There’s no proof at all that you are a living, thinking life form!

Puppet Master: And can you offer me proof of your existence? How can you, when neither modern science nor philosophy can explain what life is?

More specifically, it addresses the extent to which intergenerational memory defines selfhood and ensures the propagation of genetics.

Puppet Master: It can also be argued that DNA is nothing more than a program designed to preserve itself. Life has become more complex in the overwhelming sea of information. And life, when organized into species, relies upon genes to be its memory system. So, man is an individual only because of his intangible memory… and memory cannot be defined, but it defines mankind. The advent of computers, and the subsequent accumulation of incalculable data has given rise to a new system of memory and thought parallel to your own. Humanity has underestimated the consequences of computerization.

GITS is posing questions pertaining to the nature of man found throughout the SF canon since Mary Shelley’s Frankenstein. Are humans just a bag of chemicals and organic tissue guided by laws of determinism? Or is the human capacity for thought a unique phenomenon? Are we caretakers and guardians of generations of genetic memory which are passed through procreation and family tradition? Can man become God by replicating life itself through technology?

Speciation is defined as the evolutionary process by which new genetic lines are created. Since the Puppet Master can only replicate its own code, the only way it can truly live on is by reproducing with another being. After a climactic battle scene, the Major and the Puppet Master conjoin their consciousness to produce a new post-human species merging human and digital being.

The features which distinguish SF as a genre are the usage of far reaching technological and imaginative speculation to ask the deepest philosophical questions pertaining to the individual and the State. It is a genre that has appealed to our highest ideals and given us some of the most dire warnings. The fact that GITS has been given the Hollywood reboot treatment is an indication of the strength of the original vision.

Major Motoko Kusanagi: There are countless ingredients that make up the human body and mind, like all the components that make up me as an individual with my own personality. Sure I have a face and voice to distinguish myself from others, but my thoughts and memories are unique only to me, and I carry a sense of my own destiny. Each of those things are just a small part of it. I collect information to use in my own way. All of that blends to create a mixture that forms me and gives rise to my conscience. I feel confined, only free to expand myself within boundaries.

Wonder Woman (2017)

After years in development, Wonder Woman has finally gotten her big budget Hollywood screen adaptation with a female director at the helm. Gal Gadot carries off the role with a sufficient level of likeability and physical prowess. One would not be unreasonable to ask “Have we finally reached peak cinematic feminism?” I mean,¬†it’s 2017¬†fer chrissakes! The answer is most likely a resounding No, but I’ll be damned if Wonder Woman doesn’t set a new standard in feminist pandering and wish fulfillment. Don’t get me wrong. The film definitely has entertainment value, but you are well advised to brace yourself for some serious next level Hollywood-style proselytizing for the Church of Feminism.

In contrast to the annoying trend toward gender swapping revisionism and the near ubiquity of blockbuster heroines, the feminist editorial in Wonder Woman is expected because it was written into the character’s source code from the start. In fact, not only is¬†the Wonder Woman character a pretty explicit piece of feminist mythology, this film is easily the most overt attempt to canonize feminism as a globalist secular religion. Though it eventually resolves with a respectful nod towards Wonder Woman’s origins, it is chock full of contemporary talking points, groan inducing PC orthodoxy and heavily loaded religious symbolism. ¬†I’m not an expert on every aspect of Marston’s original vision, but I know enough to know that they made some pretty dubious revisions to the original mythology in order to cater to current political narratives.

The film lays it on pretty thick right out of the gate. After delivering a voiceover in which Diana Prince confesses that her idealism had been blunted upon entering the world of mankind, a Wayne Industries armored carrier service delivers a package to our heroine working at what appears to be a cushy curator gig at the Louvre. Instead of an American patriot working from the inside of military intelligence, we have an aesthete working in a key EU member state at the world’s most renowned art museum. The package contains a WW1 photo of Wonder Woman and a note from Bruce Wayne indicating his desire to hear the story behind it. Cue the time warp back to Diana’s childhood in the matriarchal paradise of Themyscira.

If you thought the Vuvalini in¬†Mad Max: Fury Road¬†was pandering to radfem matriarchal fantasies, you ain’t seen nothing until you’ve seen Themyscira. Presumably modeled after Marston’s vision, the Amazons of Themyscira live in a utopia of pure feminine bliss and order. The gigantic architecture resembles classical Greek design and was expertly carved from marble and stone. Young Diana is enthralled by the combat training exercises being carried out under the iron discipline of Robin Wright’s Antiope. Naturally, every Amazon possesses balletic, superhuman combat skills with and without perfectly crafted metal weapons. Young Diana pleads with her mother, Hippolyta, to begin combat training but she forbids it. ¬†“Don’t you think she should learn to defend herself?”, asks Antiope. Absolutely not, says Hippolyta. After all, she is protected by Antiope’s Amazon army of super soldiers. Right away, we’re presented with a matriarchy in which there is perfectly crafted stone architecture, expertly wrought metal weaponry, abundant resources, peace, order, beauty, art, education, military might, cultural tradition, multiracial harmony, political equality and apparently, procreation. We aren’t privy to the details of the male eugenics program which weeds out male births, but it’s safe to assume it’s fully funded by taxpayers. Of course, all of these marvels are achieved without the aid of men. I realize this is superhero mythology, but this level of pandering seems geared towards appeasing the Julie Bindels and Laurie Pennys of the world.

While putting her to bed, Hippolyta attempts to disabuse young Diana of her desire to learn combat. ¬†I mean, it’s great that you’re breaking gender stereotypes and setting an example for young girls, but you need to get #WOKE to all this war stuff, Diana. Hippolyta busts out the Amazonian Bible and lays down the origins of civilization itself. ¬†Zeus made man in his image and, at first, they lived together in peace and harmony. ¬†Ares, the God of War and a white male, filled the hearts of men with fear and suspicion which put them in conflict one another. Ares killed all the gods, but was vanquished by Zeus and doomed to roam in the world of men. Zeus then created the Amazons to protect mankind from the scourge of Ares. The only way to stop Ares is by wielding the mythical God Killer sword; a sword whose phallic nature can be used to kill Greek and Christian gods alike. Step aside King Arthur and make way for Diana of Themyscira, PYGS! So to recap,¬†a fucking white male¬†poisons the hearts of mankind and fills the world with hatred and strife, but a peaceful civilization of women descended from Zeus lies in wait to redeem and defend the world from evil Ares. ¬†In short, womyn are goddesses, saviors and redeemers, but m*n have only poisoned the world with war because of their toxic masculinity. Kneel before the Church of Feminism and repent!

Naturally, gender studies are mandatory in Themyscira so Diana is completely unencumbered by harmful gender stereotypes and pursues combat training against Hippolyta’s wishes. Diana rises to the head of the class and not only can she kick everyone’s ass, she has magical bracelet powers and shit. ¬†Clearly, Diana has a little more goddess mojo than her Amazonian counterparts.

While contemplating her supernatural abilities by the beach, a fighter plane crashes into the ocean. ¬†Its pilot is in danger, so she dives into the ocean to save this hapless dolt. Upon dragging his helpless ass on to the shore, she realizes why this mysterious being has fallen into a state of misfortune and requires the rescue of an Amazonian goddess. ¬†“You’re a m*n”, realizes Diana. Chris Pine’s Steve Trevor exhibits his utter cluelessness to gender expression by saying, “Don’t I look like one?” And with this simple exchange, meme #hxstory was made.

After fending off an invasion in which the Amazons’ balletic badassery is barely sufficient to repel m*n with g*ns, Diana realizes that Ares has plunged the world into a deadly conflagration that threatens to consume all of mankind. Under inducement of the magical Lasso of Hestia, Steve Trevor reveals that he is a spy who stole plans to a deadly bioweapon being developed by….wait for it…..THE GERMANS! Because there has apparently never been a country in the history of the world which has bred genocidal and totalitarian ambitions quite like Germany. Under the command of General Ludendorff and the evil Dr. Isabel Maru, the German army will wreak destruction on countless women and children. Maybe some men, too, but who cares about them, amirite? Knowing that the lives of women and children are at stake, Diana resolves to leave Themyscira with Trevor in order to kill Ares and vanquish evil from the hearts of men. Hippolyta is saddened, but resigns herself to accepting Diana’s choice by reinforcing the valuable lessons in gender supremacy and misandry that the Amazons have cultivated for so long. ¬†“Be careful in the world of men, Diana. They do not deserve you. You have been my greatest love. Today, you are my greatest sorrow,” says a tearful Hippolyta. Determined to uphold the tenets of #SocialJustice, Diana sets out to check privilege, smash gender norms, and generally kick the patriarchy’s ass. “I will fight for those who cannot fight for themselves,” she promises. And just think. This was WAY before Tumblr. Watch out, fascists!

Diana and Steve set sail for London to get Dr. Poison’s plans into the hands of British military commanders. While at sea, Steve reveals himself as the patriarchal piece of shit that he is with an antiquated bit of “chivalry”; he makes a comfortable bed for Diana while confining himself to a cramped edge of the deck. She invites him to join her, but he hesitates because it’s not proper to sleep with women outside of marriage. This is an admirable amount of restraint for a rapist who doesn’t understand consent, but Diana persists. Diana reveals that she doesn’t understand why men and women get married and commit their lives to one another if they don’t keep the promise. Steve is stumped, and quite frankly, so are we. Who wants children and families or any of that patriarchal enslavement? ¬†I mean, gender scholars have pulled the veil from all this heteronormative bullshit. After raising Steve’s hopes of getting some Amazonian action, Diana leaves him blue balled by telling him that she’s read all of the works on sexuality written by Themysciran gender scholars. They concluded that m*n were necessary for reproduction but unnecessary for sexual gratification. Guess you’ll have to resort to self-service, Trevor.

Upon arriving in London, Diana is instantly appalled by rampant pollution, shitty architecture, catcalling, and m*n everywhere. In another nod to the Marston mythology, we meet Steve Trevor’s body positive secretary, Etta Candy. ¬†Diana is puzzled by the phenomenon of a secretary and asks what that entails. “Oh, well, I do everything. I go where he tells me to go, I do what he tells me to do,” she says. “Well, where I’m from that’s called slavery,” retorts Diana. Oh snap! Burned again, shitlords! EMPLOYMENT is slavery! I mean, it’s not like Themyscira had a very strict military and government hierarchy or anything! It’s not like the cultivation of resources, development of military discipline, or the building of civilization requires some level of submission to leadership or anything. It’s ALL ARBITRARY PATRIARCHAL ENSLAVEMENT.

Steve insists that Etta help Diana blend in by getting her some new clothes. ¬†Cue the montage in which we’re treated to Gal Gadot sporting early 20th century British fashion while chuckling at the high hilarity of the many patriarchal restrictions it places on her Amazonian combat capabilities. There aren’t any free bleeding-friendly yoga pants which would raise awareness of period shaming, but Diana settles on a smart corporate business suit that comes with glasses. The glasses are essential in order to forestall sexist assumptions that she’s a clueless dumbass because that’s obviously the first thought a m*n thinks when seeing a woman.

Steve scandalizes the British high command by daring to bring Diana, a woman, into their top secret meeting. They’re totally triggered because of their fragile masculinity, but they listen to his plea to take the bioweapon plans and destroy the secret lab. David Thewlis’ Sir Patrick assures him it’s unnecessary because they’re on the cusp of signing an armistice deal. Diana isn’t buying it. Because she’s been educated in Themyscira University with a degree in postmodern gender theory, she can read Babylonian cuneiform and shit. She tells these clueless dumbshits that they’re risking the lives of innocent women and children. Subsequently, they should send all the men to the front to save them because what good have men ever done in the world? The commanders are too triggered by the presence of such a #STRONG womyn, but Trevor resolves to keep his promise to bring her to the front. As the enthusiasm amongst American feminists for mandatory selective service indicates, women are CLAMORING to fill combat roles and reach the heights of military command positions.

Before they undertake this dangerous mission, they need to assemble a diverse, multicultural team of men to bumble their way through the mission while marveling at Diana’s Amazonian voluptuousness. Among the mercenary heroes are an English drunkard marksman, an Arabic guy to school everyone on #RACISM, and of course, a Native American(?!?!) dude to remind everyone about the evils of colonialism perpetrated by the American white man.

With the blessing and patronage of Sir Patrick, the heroes set out to the battlefront to kick some proto-Nazi ass. Upon reaching the front, Diana is unfazed by the bullets and ordnances flying around her and can’t understand why these cowards won’t just advance their position. ¬†The lives of women and children are at stake! Steve tries to spell it out for her.

Steve Trevor: This is no man’s land, Diana! It means no man can cross it, alright? This battalion has been here for nearly a year and they’ve barely gained an inch. All right? Because on the other side there are a bunch of Germans pointing machine g*ns at every square inch of this place. This is not something you can cross. It’s not possible.

Diana Prince: So… what? So we do nothing?

Steve Trevor: No, we are doing something! We are! We just… we can’t save everyone in this war. This is not what we came here to do.

Diana Prince: No. But it’s what I’m going to do.

Checkmate, shitlords. ¬†Cue slow motion robe removal and step ladder climb on to the battlefield. ¬†It’s cheesy as hell, but it works.

In an unusual concession to patriarchal norms, Wonder Woman actually allows some romantic affection to develop between Diana and Steve. ¬†After liberating a French village from occupation, the heroes enjoy a moment of peace and celebratory revelry. Marksman Charlie attempts to entertain the crowd with some sweet piano ballads and his crude but spirited singing voice. ¬†In what is probably one of the more poignant commentaries on the true legacy of modern feminism, Steve Trevor reveals something remarkably honest about the state of manhood in 2017. It’s a confession that’s probably meant to be another indictment of the shallowness of men, but I suggest that it reveals the dearth of positive paternal examples for young men in general.

Diana Prince: What do people do when there isn’t a war?

Steve Trevor: They get a job, get married, have children.

Diana Prince: What is that like?

Steve Trevor: I… don’t know.

As much as I enjoyed Gal Gadot’s martial vision of Wonder Woman, I can’t help but think that it lacks the joyful cheeseball patriotism that Lynda Carter brought to the 70’s version of the character. Like Superman and Captain America, Wonder Woman was most definitely a patriotic superhero. ¬†Even her Israeli accent makes her seem more Euro-cosmopolitan and less American. Instead of the bright primary colors of Lynda Carter’s Old Glory-inspired two-piece, Gal Gadot sports an armor-like combat skirt which mutes the traditional blue, gold and red with dull metallic overtones. It looks cool, but it definitely says Globalist Wonder Woman instead of America’s Wonder Woman.

The film is entertaining enough, but I never felt that Wonder Woman was in danger at any point nor did I sense that she had any real weaknesses or flaws. Besides her bombshell good looks and physicality, Gadot alternates between adequate and bland on the charisma scale. Whether it’s that the role has been flattened by the necessity of fulfilling every item on the feminist checklist or that she’s not that great an actress in the first place, there’s an absence of any real personality. The responses to the film from feminist media have been predictably hilarious. ¬†If it’s not the¬†outrage of Wonder Woman’s shaved armpits, it’s the hope that one day¬†Wonder Woman will be a fat, queer, non-binary WOC. ¬†One gets the distinct impression that the more you pander to feminists, the more petty the complaints become.

Above all else, Wonder Woman is a hymn to the twin religions of Globalism and Feminism. The one plot twist in the film could easily be seen as a slam on Nigel Farage, UKIP and #Brexit. As for the feminist proselytizing, Wonder Woman represents a new high water mark for religious symbolism. In one of the early battle scenes, Wonder Woman bounds through a church steeple to take out the German snipers endangering the civilians below. ¬†After dispatching them handily, Wonder Woman emerges from the rubble of the Christian Church to bask in the glow of her devout and grateful flock. Symbolism doesn’t get more blatant than that.

The ending of the film is respectful towards the character legacy, but also rife with theological overtones.  Diana recognizes that she may never conquer the evil that lies in the hearts of humanity. As a goddess of love, they are always free to choose the salvation she provides if they just listen and believe. Praise Wonder Woman and get ready for Justice League, PYGS.

Diana Prince: I used to want to save the world. To end war and bring peace to mankind. But then, I glimpsed the darkness that lives within their light. I learned that inside every one of them, there will always be both. The choice each must make for themselves – something no hero will ever defeat. And now I know… that only love can truly save the world. So I stay. I fight, and I give… for the world I know can be. This is my mission now. Forever.

Jill Lepore: The Secret History of Wonder Woman

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Jill Lepore’s impeccably researched history of William Moulton Marston and Wonder Woman never fails to entertain and engage.  However, Lepore’s book isn’t just an exercise in fangirl trivia mining. Like Marston, she has an agenda. The story of Wonder Woman isn’t just a story of a pop culture superhero; it’s the story of American feminism. As entertaining as it is, her book reveals the dubious implications of Wonder Woman’s symbolic power. Specifically, this includes the questionable notions, political illusions, flagrant hypocrisies and straight up idiotic nonsense at the center of contemporary feminist thought which directly fueled the character. The details of Marston’s colorful professional exploits are fascinating, but one is left with the impression that he was little more than a high functioning charlatan. What’s even more fascinating is the various ways his unconventional libertine polyamorous lifestyle ended up revealing itself on the panels of the strip. These observations of Marston also offer a window of insight into the equally dubious phenomenon of the contemporary male feminist.  

Ultimately, this is a story of pop culture myth making. It encompasses Wonder Woman’s origins in the two central pillars of contemporary Left feminism: suffrage and birth control. Lepore also discusses the character’s cultural legacy on the broader movement. While Ms. Lepore is quite obviously using the book to do some myth making of her own for feminism itself, the story produces the inverse effect. It exposes contemporary feminism for the empty farce that it is. 

Worse, the story reveals something even more toxic. Wonder Woman represents pop culture’s terrifyingly effective ability to synthesize nationalism and state propaganda and present it in a manner that lends it an almost divine authority. Marston openly acknowledged that Wonder Woman was a form of “psychological propaganda”. By appropriating mythic storytelling and pop iconography and conjoining these elements with contemporary political activism, Marston built an aura of female power around Wonder Woman that is arguably immeasurable. Power which is the result of an unfailing belief in an emancipation obtained, preserved and defended through the democratic process. Worst of all, it reveals a loyalty to that ideal which rivals any religion or cult.  

Ms. Lepore is peddling a boilerplate Left feminist editorial throughout the book. Her insipid attempts at drawing attention to scandalous sexism and indignities suffered at the hands of a retrograde male patriarchy end up as unintentional parody. The disconnect reveals itself over and over when measured against the infantile whining of the contemporary movement.

When Elizabeth Holloway attends law school and attention turns to “something like rape”, female students were asked to leave. Jill Lepore obviously wants to convey a sense of outrage over this paternalistic sexism. When this incident is stacked up against the rising tide of outrage over controversial subject matter in contemporary rape law courses, this sad attempt at manipulative propaganda is both laughable and contemptible. Perhaps Jill Lepore should have gotten some feedback from Jeannie Suk on how well today’s feminists are dealing with contemporary rape law courses at Harvard.  

Ms. Lepore sanctimoniously aligns the peace movement with the suffrage movement while ignoring their flagrantly racist views and the Left’s impotence in curtailing the excesses of the war machine. In a typical display of misplaced liberal faith in politicians, Lepore simultaneously attributes Woodrow Wilson’s victory to support from suffragists while downplaying early support for suffrage from Republicans.  This faith is soon crushed by a declaration of war signed by an indifferent head of State and a federal bureaucracy intent on silencing their voices. Fast forward to present day, feminists placed the exact same faith in Barack Obama to be a peacemaker only to have it trashed in the exact same fashion. 

Ms. Lepore’s greatest sin is perhaps the manner in which she glosses over the connection between Margaret Sanger’s socialist ideals and her ideas on eugenics and population control. The difference between her agenda and the eugenics program carried out by the Nazis is razor thin. Not a single word is written about Margaret Sanger’s flagrant racism. Nor is there a single mention of the grandest Sanger irony of them all: denouncing state power while simultaneously advocating for its acquisition to carry out a population control agenda with terrifying ramifications

Jill Lepore is promulgating a trite, idiotic and destructive narrative of socialism as the embodiment of libertine sexual mores, defiance of authority and the font of social justice.  

In reference to Sanger and her socialist cohorts, Lepore’s swooning description of them as creators of a world of “free love, heterodoxy, Amazons and breaking chains” is especially moronic because she fails to mention that socialism was itself an agenda of enslavement.  

The full extent of her intellectual dishonesty is laid bare in one chapter. She openly acknowledges that Margaret Sanger wanted to make birth control available “by force, if necessary”.  A mere couple pages later, she attempts to whitewash Sanger’s open authoritarianism by claiming that “love is stronger than force”. Right. We’ll just ignore the fact that Sanger was totally cool with government force.  

The details of Marston’s professional life are indeed sordid and are hardly the legacy of one who possessed any meaningful skills. Given his obsession with dominance, submission, and identifying truth telling, one certainly questions the underpinnings of his polyamorous lifestyle with Olive Byrne, Elizabeth Holloway and Marjorie Wilkes Huntley. Once again, the delta between Lepore’s romanticized exaltation of the spirit of free love that all of these self-proclaimed feminists espoused and the repressive, neo-Puritanism of contemporary movement is enormous. 

Aside from maintaining three relationships with women and fathering children from two, they engaged in all kinds of kinky sex games that expose many contemporary feminists for the repressive prudes they are. In contrast to the joyless Puritans like Andrea Dworkin or insufferable cultural authoritarians like Anita Sarkeesian, Byrne and Holloway lived their convictions rather than imposing their self-righteous notion of feminist virtue on others.  

Marston’s life opens a window of insight into the outrageous hypocrisy of male feminists. To use contemporary parlance, Marston would undoubtedly be referred to as a “feminist ally”; a pretentious douchebag who grandstands about feminist issues in order to ingratiate and aggrandize himself amongst feminists. This was an individual who made a dubious prediction that women would rule the world while flitting from one failed endeavor to another while Holloway earned the money on which his polyamorous family depended. 

Not only did Marston coast off the sole income of Holloway for years, he exposed his hypocrisy in other ways. He penned an article for Life magazine called “What are your prejudices?” in which he condemned prejudice, but proceeded to reveal his own prejudice in his portrayal of different ethnic groups in the Wonder Woman comics. All of his sanctimonious bullshit is indistinguishable from the idiotic notion of “privilege” that’s promulgated in feminist circles today. This propagandistic twaddle is littered throughout the feminist mediasphere. In the current political environment, few factions are as sanctimonious as feminists and it’s fairly clear that this contemptible charlatan contributed to their smug self-righteousness in more ways than I ever knew. 

It’s unsurprising that the polygraph he invented, a device whose efficacy has been discredited, ended up in widespread use by the government. Hey! Let’s use the device that doesn’t detect lies and put it in the hands of professional liars! What could go wrong? 

The Marston incarnation of Wonder Woman is all by itself a toxic, frightening and infantile fantasy of his notion of matriarchy, and by extension, the fantasy feminists including Lepore have assigned to feminism. By placing Wonder Woman in the military, running for president for a 1000 year term, and wrapping her in nationalist regalia, Wonder Woman represents little more than fascism with a uterus. Lepore laughably asserts that Wonder Woman was “fighting fascism with feminism”, but no matter how much moronic drivel Marston attached to her, fascism is exactly what she represents. Furthermore, the choice to not use a gun feeds right into this hollow fantasy of the benevolent application of feminine power because it ignores the true nature of state power. This disconnect is fully embodied by the cover of Wonder Woman Number 1. Wonder Woman is charging into a battlefield full of Nazis and everyone has a gun except her. Right.  

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Because somehow when a woman wields the state gun it’s not REALLY a gun. Because…uterus!

Marston’s toxic delusions are on full display in a response to early criticism of Wonder Woman.  

He writes: 

The only hope for peace is to teach people who are full of pep and unbound force to enjoy being bound-enjoy submission to kind authority, wise authority, not merely tolerate submission. Wars will only cease when humans enjoy being bound.

Oh, really?  Wow.  How progressive! 

Fuck you, Marston.  

Of course, these charges of fascism go way back and were first leveled in 1945 by Jesuit priest, Walter J. Ong. I suspect Lepore wants the reader to be appalled by these repressive, retrograde sentiments because after all, what could some religious asshole have to say that’s of any value on the issue of women’s liberation? But the iconography and written words of Marston as well as those of Sanger from which Marston drew inspiration, speak for themselves. 

The book also reveals the cult of legitimacy accorded to academics. Lepore certainly leaves the reader with the impression that despite Marston’s credentials, he had little to nothing of value to offer and his professional career was more or less a confidence game. She seems intent on aggrandizing academics and by default, people like herself as heroes of social justice and champions of virtue.  “Wise authorities” to whom us lower life forms should joyfully submit.

Her book concludes with a recap of the idiotic sniping that occurred amongst feminists upon Wonder Woman’s pop culture resurgence of the 70’s. When one considers the current state of feminism, it’s pretty clear that little has changed. For a movement allegedly predicated on equality, its adherents seem more successful in fomenting discord and division than anything resembling equality, let alone peace. As long as feminism relates to equality as a product of federal power, feminism cannot be viewed as a movement agitating for equality. It must be viewed as a movement dedicated to enshrining privilege for women with the explicit and open embrace of government force at the expense of men.  As fascinating as this story is, I’m unenthusiastic about Jill Lepore’s open embrace of this agenda. 

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