Category Archives: superheroes

Avengers: Endgame (2019)

This is it, folks. After 22 films in 11 years, this phase of the MCU has come to an end. As far as big budget superhero franchises go, Endgame gives the audience the most satisfying conclusion for which a fan could hope in 2019. In contrast to the haphazard agenda heavy abortions of the Star Wars universe under Kathleen Kennedy’s stewardship, the MCU was conceived to hang together as a cohesive whole from its inception. At minimum, Kevin Feige and company deserve credit for shepherding a 22 film series through one continuous storyline which resolves with a real sense of closure. Endgame wraps up several character arcs for many of the key Avengers while setting the stage for the next generation of MCU heroes. As one would expect, it’s not without flaws nor is it devoid of progressive messaging we’ve come to expect from every big ticket franchise. The main difference between the MCU and its Disney companion franchise is that you at least get the impression that Kevin Feige’s crew still likes the characters and the fans. For now. With the introduction of the thoroughly detestable Brie Larson as the ostensible leader of the Avengers going forward, I am certainly not optimistic that this trend will continue. If the blatant pandering of Black Panther and Captain Marvel are any indication of the future of Marvel, then it is indeed bleak. Given the early signals from Feige, I’m expecting the MCU to crater just as spectacularly as the vile garbage heap known as The Last Jedi.

Endgame picks up where Infinity War leaves off. Thanos succeeded in depopulating half the universe. The remaining Avengers are left to face their defeat and find a way to be normal now that their comrades and loved ones have been vaporized. Tony and Pepper finally settled down and had a kid. Clint Barton was also enjoying being a family man before Thanos zapped his family out of existence and forced him to turn to vigilantism. Black Widow has basically become a shift supervisor at the Avengers help desk. The Cap tries to make a career transition to grief counselor. In a futile attempt to score points with the SJWs, he offers comfort to a gay dude at a session. Being the ungrateful, miserable shitbags they are, the Cap gets no credit for being an empathetic ally.

Scott Lang comes back from the quantum realm with a wild idea. He thinks they can hack time travel, get the Infinity Stones before Thanos, and bring back everyone who was wasted by the snap. Cap and Black Widow are sold, but they just don’t have the scientific chops. Bruce Banner tries, but he’s out of his depth. They’re forced to make an appeal to the best scientific mind in the erstwhile Avengers organization: Tony Stark. Tony has an adorable daughter, and is enjoying the simple life that was unavailable to him as a full time Iron Man. Not only does he see major problems in hacking time, he doesn’t want to give up his hard won domestic happiness. But Tony being Tony, he simply can’t let it go. So the Avengers plot one final gambit for all the marbles. Get the band back together one last time, hack time, get the Infinity Stones before Thanos, and bring back everyone else. No problem, man! These are the mothafuckin’ Avengers after all!

The Goodbyes

As expected, we say farewell to many of our beloved Avengers. Some farewells are more satisfying than others. I’ll discuss the resolutions of the three central Avengers from worst to best.

Thor

Frigga: Everyone fails at who they’re supposed to be, Thor. The measure of a person, of a hero, is how well they succeed at being who they are.

The closure of Thor’s story is by far the most undignified and insulting to this former God of Thunder. Thor was the most regal, masculine and distinctly Nordic character in the franchise. Subsequently, we see the pathological anti-white, anti-male, anti-tradition agenda on full display. When Rocket and Banner seek out Thor to enlist him for the time heist, they discover he’s become a reclusive, overweight drunk in New Asgard. Besides being racked with guilt over his inability to vanquish Thanos the first time, he’s also struggling with grief and PTSD over the loss of his entire family and homeland. In contrast to the arbitrary decision to turn Luke Skywalker into an emotionally defeated hermit, Thor’s situation actually makes sense given all that has happened. Thor has been through some serious shit. However, this doesn’t justify the absolutely wretched resolution of his story.

During the time heist, Thor is briefly reunited with his doomed mother. She correctly surmises that he’s the future Thor and that he’s crushed by sorrow and a misplaced sense of failure and guilt. She offers the kind of consolation only a mother could give, but instead of encouraging him to shake it off and get his ass in gear, she absolves him of any responsibility to his familial legacy. Just chillax with Peter Quill and Rocket, son. It’s all good.

So what does he do? He hands over the throne of New Asgard to fucking Valkyrie! That’s right. The son of Odin, the dude who was once in love with Jane Foster, decides to forego any responsibility to the survivors of Asgard or his heritage and just go kick it with the Guardians of the Galaxy. He doesn’t want to have kids or preserve the cultural legacy of Asgard for posterity. Come on, Marvel! Adding to the blatantly anti-European sentiment of Thor: Ragnarok, Civil War and Age of Ultron, the conclusion to Thor’s story in Endgame is the MCU’s final insult to European traditionalism. Never mind that Valkyrie was canonically portrayed as a rather voluptuous Norse goddess who was romantically involved with Thor. Nope. New Asgard is woke and multicultural now. Tessa Thompson’s Valkyrie is going to “make some changes around here”. #TheFutureIsFemale, you white supremacist, Asgardian misogynists!

Utterly reprehensible.

Steve Rogers

Steve Rogers: Avengers! Assemble.

With all due respect to pre-Gadot Wonder Woman and pre-Snyder Superman, Captain America is arguably the biggest patriot of all superheroes. He is Captain America, after all. Despite the MCU’s post-national, globalist agenda, they managed to treat the Cap fairly respectfully and give him a decent resolution. They were able to cheat along the way, but Chris Evans and the Marvel team made me believe in the MCU Captain America. Of course, they were able to pull this off pretty effortlessly in The First Avenger because it was set in WW2. HYDRA was the secret military-intelligence wing of the Nazi Party, and Red Skull was even more diabolical than Adolf Hitler. Since everyone already hates Nazis, Steve Rogers’ yearning to join the Army and fight for America and SHIELD made sense even in Obama’s America in 2011.

Fast forward to 2014’s Winter Soldier, the Cap has been unfrozen after 74 years and is still trying to get his bearings in the modern world. He didn’t have to take sides over Vietnam, Watergate, the JFK assassination or the Civil Rights movement. He didn’t have the opportunity to formulate an opinion on Roe v. Wade, The Great Society, The Pentagon Papers, the Church Committee hearings, the Kosovo War, the 2008 market crash, the Iraq War or the PATRIOT Act. Nor was he aware that SHIELD had absconded with the Tesseract or that they secretly conscripted HYDRA scientists. He just tries to get back into action by doing what he does best. Serve. The problem is that SHIELD is a multinational operation now. The threats are not nation states. They’re intergalactic. Even worse, they’re coming from HYDRA double agents who’ve infiltrated SHIELD. Despite the multinational nature of SHIELD, he still believes that it can be restored to its proper status. The only moral imperative was rooting out the HYDRA subversives. Cap’s instincts were correct and he gives a great speech, but no direct appeals to American patriotism are necessary.

In Civil War, the Cap is forced to reckon with the fact that the Avengers can’t be lawless vigilantes who are accountable to no one. They must subordinate themselves to oversight. Marvel was once again able to completely sidestep the Cap’s loyalty to America as defined place with specific customs, traditions and laws. They simply portrayed him as a generic individualist dissident who was justifiably skeptical of World Security Council bureaucracy. Cap becomes an outlaw to the organization who commissioned the super soldier program that made him in the first place. It’s appropriate that the Cap would do what he did in Civil War, but they jettisoned his patriotism again in the process.

By the time we get to Infinity War, the Cap is sporting a Ted Kaczynski beard and his formerly red, white and blue uniform is more befitting of someone in Antifa. Because of his falling out with Tony, he no longer possesses his iconic shield. In Endgame, Tony and Steve enjoy a hard won restoration of their friendship and alliance as Avengers. When Tony pulls the shield out of his trunk, and gives it to Steve Rogers, it at least feels like Captain America has been made symbolically whole again.

In the final act, Steve Rogers time travels backwards to return Thor’s hammer and the Infinity Stones to their original timelines. Upon his return to the present, we discover that he has pulled a Dave Bowman and comes back an old man. We learn that he chose to live his life in the past with his true love, Peggy Carter. All by itself, it’s a sweet resolution for Steve Rogers. But Marvel being the postmodern relativists and social engineers that they are couldn’t leave it there. Steve bestows his iconic shield to Sam Wilson and thus presumably passing the mantle of Captain America along with it.

On the surface, it seems appropriate and earned given that Sam has been steadfast in his loyalty to the Cap. But the whole reason fans bond with fantasy characters is their uniqueness and specificity. A great character is someone you feel like you know. Steve Rogers went through a unique journey to become Captain America. The super soldier serum simply allowed him to exhibit strength that was a match for the strength of his patriotism and sense of duty. If an iconic character like Captain America is just a software app that can be run on any meatsack operating system, why put any effort into crafting any character? Steve Rogers was Captain America. Sam Wilson is Falcon. But none of that matters now. We’re in the Age of the Final Revolution and the very notions of nationhood, manhood and gender are on trial in the public square. Certainly, the idea of a superhero with a fixed identity is as much an interchangeable part as the protective case for your smartphone. Does this mean Sam will undergo the same super soldier treatment that gave Rogers his heightened abilities? Or is he just going to continue to be Falcon but with Captain America’s vibranium shield?

On an even deeper level, what will Captain America even mean going forward? Unfortunately, Sam Wilson tipped the MCU’s hand.

Sam Wilson: Only thing bumming me out is the fact that I have to live in a world without Captain America.

Despite Anthony Mackie’s considerable appeal, this move is clearly more calculated pandering. If this is a passing of the torch, expect Captain America to be a cinematic leader of the #RESISTANCE from this point forward. Marvel has attempted numerous character reboots in the comics, and fans have always reacted negatively. You can’t just take a character like Captain America, Thor or Iron Man and make him a black dude or a woman just so you can score points with the SJWs. None of these failures stops them though. They are more invested in the cultural engineering than great storytelling at this point. And that’s too bad. It puts a slightly bitter aftertaste to what felt like a well earned happy ending.

Tony Stark

Tony Stark: It’s not about how much we lost. It’s about how much we have left. We’re the Avengers. We gotta finish this. You trust me?

Steve Rogers: I do.

I complain so bitterly about the MCU’s missteps because I genuinely believe that what they get right almost negates everything they bungle. Almost. The premise with which you are presented in the Avengers franchise is yet another set of archetypal misfits, outcasts, and alphas who have to learn to rise above their own limitations and petty grievances in order to work together as a team. Of all the Avengers, the person most hobbled by narcissism and grievance is also its most brilliant scientific mind.

Tony Stark.

When we see Tony finally fulfill the dream of fatherhood he shared with Pepper in Infinity War, it already feels like a happy ending. He traversed a long personal distance from the self-involved playboy we met in the first Iron Man to the devoted father we see in Endgame, and it feels like a truly heroic growth arc. The scenes with Tony and his daughter are among the sweetest moments ever captured in the MCU. Despite all the destruction porn and CGI whizbang, this is the stuff that gives the MCU a human soul. Being a leader of the earth’s mightiest heroes still doesn’t compare to the simple pleasures of being a dad.

Tony gets an even bigger emotional payoff in Endgame. Aside from his newfound fatherhood and his reconciliation with the Cap, he has a reunion with his own father during his detour into a 1970 SHIELD facility to acquire Pym Particles and the Tesseract. As he leaves the facility, he encounters Howard Stark who is anticipating his own birth. They share a brief but awkwardly touching scene in which Tony is able to express the gratitude he was never able to give while he was alive. Again, this is the stuff that gives the MCU real emotional weight, and dare I say it, a smidgen of dramatic maturity.

When Tony joins the Avengers in pulling off the time heist, the stakes are even higher because he has something to lose he never had before. We’re rooting for him like never before. The cruel joke is of course that our tech savvy savior is a proxy for the military-industrial complex. This is the guy who unwittingly unleashed Ultron on the world. This is the guy who builds military hardware, bombs, and AI powered armored suits. How can you make that character palatable? By casting the most charismatic working actor who goes through an unprecedented eight film arc and delivers all the most smartass lines, that’s how.

Tony Stark: I saw this coming a few years back, I had a vision, but I didn’t want to believe it. Now it’s true. What we needed was a suit of armor around the world! Remember that? Whether it impacted our precious freedoms or not, that’s what we needed!

Tony is a sort of military-industrial transhuman Jesus. He seeks the same thing Thanos did: ultimate power. A device which can snuff out half of the universe with a finger snap. We don’t know how the Infinity Gauntlet can filter out its targets, but we just accept that Tony will succeed in vaporizing only Thanos and his minions. His final sacrifice ends up making the resurrection of the previously fallen Avengers a triumphant denouement. It’s quite a feat that Marvel succeeded in placing your sympathies with a weapons manufacturer who acquires the ultimate weapon, but that’s essentially what Robert Downey Jr. and Marvel have achieved here. When he’s drawing his last breath, Pepper informs him the she and their daughter will be okay. That’s great, Marvel. Hooray for Pepper. Not only can she wear the Iron Man suit and run Stark Industries, but she can raise her daughter without a father, too. Yay, feminism.

The #SCIENCE

Tony Stark: Quantum fluctuation messes with the Planck’s scale, which then triggers the Doidge proposition. Can we agree on that? In layman’s terms, it means, you are not coming home.

As I’ve written previously, I don’t go into any sci-fi film expecting pure scientific realism. That’s especially true of the MCU. I’m fine with Infinity Stones, magical hammers, and talking raccoons who pilot spaceships. However, when a film spends 5 or more seconds trying to explain its wildest speculations like the way they did in Interstellar, The Martian or Endgame, you can bet your bottom dollar they’re attempting drop some metaphysics or reach for the furthest limits of established scientific thought. In other words, they’re trying to directly influence your perception of reality itself. Time travel is nothing new in science fiction. Endgame even makes some clever meta references to other time travel films. But what are the metaphysical presumptions behind all this?

  1. The deepest mysteries of the universe are physical. In order to access the quantum realm, they need Pym Particles. Essentially, matter will allow our heroes to access immaterial dimensions of time and move backwards and forwards. Similar to Interstellar and 2001, Endgame posits that metaphysical concepts like time, love and intelligence are locked inside the material substance of the observed universe. It’s a twist on the alchemist’s quest for the philosopher’s stone.
  2. Time is merely an algorithm to be hacked. The Avengers didn’t really have to face defeat or failure. They didn’t really have to own the consequences of their decisions. Some timelines can be rewritten, but most are to be left alone. It symbolizes a scientistic resurrection myth. Subsequently, concepts that were once the exclusive province of religious faith can be substituted with a belief in #SCIENCE.

But it’s just a Marvel movie, dude! Yes. That’s precisely the point. It’s a Marvel movie that happens to be the second largest grossing film of all time. These things are never made without an underlying cultural programming agenda. There are aspects of the MCU that are already a reality. AI, robotics, drones, mass surveillance and all manners of smart tech are already a reality. Even the idea of a mind controlled super soldier is closer to reality than you might think. The MCU combines the outrageously fantastical with the real world in ways that most sci-fi films only attempt. When Tony Stark injects subcutaneous nanotechnology for the purpose of summoning his suit more easily, it’s because they want the idea of tech implants to seem sexy and cool. After all, if TONY STARK uses nanotech implants, don’t you? I mean, come on! Captain America was using facial recognition technology to search for Thanos! Why are you getting so spooked by airline kiosks that use it, bro? Stop being so PARANOID! You must listen to Alex Jones or something.

Steve Rogers: We’ve been hunting Thanos for three weeks now – through face scans and satellites, so far we’ve got nothing. Tony, you fought him…

Tony Stark: What are you talking about? I didn’t fight him. No, he wiped my face with a planet while the wizard gave away the store. That’s what happened, there’s no fight…

I also have a hunch that Hollywood is trying to manufacture a resolution between quantum mechanics and relativity through movies. In Interstellar, Cooper time travels by passing through a black hole. In Endgame, they’re using Pym Particles in a device built by the Avengers. In one film, you’re seeing a hypothetical object with zero volume and infinite gravity. In another, you’re seeing an imaginary substance being used to power a machine that can do something that only exists in sci-fi films. But Tony sure sounded like he knew what he was talking about, didn’t he?

Globalism Über Alles

Thanos: I thought by eliminating half of life, the other half would thrive, but you have shown me… that’s impossible. As long as there are those that remember what was, there will always be those, that are unable to accept what can be. They will resist. I will shred this universe down to it’s last atom and then, with the stones you’ve collected for me, create a new one. It is not what is lost but only what it is been given… a grateful universe.

This quote represents the underlying sentiment animating Endgame and the entire MCU. It shouldn’t be a mystery that the MCU is one giant hymn to globalism. Mass destruction and depopulation has been recurring theme. We saw it in Winter Soldier, Age of Ultron, Ragnarok and Infinity War.

Closely resembling Erik Killmonger’s monologue in Black Panther, this quote will be another interesting litmus test. How many fans are going to find this sentiment repellent? He sounds like a full fledged member of the #RESISTANCE to me.

Besides, how would Tony’s plan be an improvement? He said he wanted a suit of armor around the planet. Freedoms be damned. Don’t think he’s the only one in SHIELD who feels that way. Pick your globalist poison, proles. Mass depopulation or technocratic superstate panopticon. How about both? Heads, we win. Tails, you lose.

Captain Marvel, the WTF and Other Cringe

Bruce Banner: If we do this, how do we know it’s going to end any differently than it did before?

Carol Danvers: Because before, you didn’t have me.

James Rhodes: Hey, new girl? Everybody in this room is about that superhero life. And, if you don’t mind my asking, where the hell have you been all this time?

Carol Danvers: There are a lot of other planets in the universe, and, unfortunately, they didn’t have you guys.

Kevin Feige, thank you very much. I hope you’re enjoying this moment because your decision to bring fucking Brie Larson into the next phase of the MCU is your first major Rian Johnson moment. I’m confident it won’t be your last either.

Like many others, I saw the 11th hour inclusion of Captain Marvel (aka Captain RBF) after the cliffhanger of Infinity War as an ill omen. No one really wants or gives a shit about a jerry rigged sop to the SJWs whose undergone a gender swap and at least nine comic book reboots. This is Marvel desperately grasping for a competitor to Wonder Woman that they simply don’t have. Even worse, they cast SJW supreme, Brie Larson, to play her. The good news is that she doesn’t fuck anything up. The bad news is that even for the short time she’s there, the cringe is palpable. She even sports the Hillary Clintonesque haircut in one scene.

Naturally, Endgame genuflects to the Church of Feminism in numerous ways throughout the film. At this point, it has become its own cliché despite the pretense of “smashing stereotypes”. It’s merely matters of degree. Even Black Widow’s sacrifice for Clint Barton has a slightly unpleasant SJW aftertaste. Aside from the abominable decision to hand New Asgard over to Valkyrie, there is one major, utterly cringeworthy sop to the SJWs in the final battle. Look, I got a kick out of Eowyn dispatching the Nazgûl in Return of the King, too. Not only is this a retread of an almost identical scene in Infinity War, you just know the Russo brothers are pandering directly to the writers of The Mary Sue and Teen Vogue when they do this stuff. Writers who are simply going to bitch about how it wasn’t intersectional enough anyway.

While we’re on the subject, Captain Marvel can bring down Thanos’ ship single handedly, but she needs the Avengers sisterhood to cross the battlefield? And they all happened to be congregated there at that moment? This is Admiral Holdo grade shit, dudes. She’s been doing the work of the entire Avengers crew on other planets, but she’s incapable of defeating Thanos on her own? Captain Marvel added nothing to the film, and her presence in the final battle carried no dramatic weight because she simply hasn’t gone through the same journey the rest of the Avengers have. This is storytelling 101. It’s something Kevin Feige and company only selectively grasp, but they have an agenda that trumps common sense.

The decision to turn Hulk into a CGI-enhanced analogue of Mark Ruffalo’s real world soy latte beta persona was also a bit of a disappointment. This is a superhero whose superpower is going on Gamma radiation roid rampages. He got his ass handed to him by Thanos and his moment of redemption is putting on the Infinity Gauntlet and snapping everyone back? Whatever.

And why the fuck was Captain America able to wield Thor’s hammer?! It’s cool, but come on, dudes. Did I miss something? I know this is Endgame and everything, but this is like Rey kicking Kylo Ren’s ass with the lightsaber in the first encounter. I can buy Pepper wearing the Iron Man suit because they at least made the effort of setting the precedent in Iron Man 3. In Age of Ultron, it seemed pretty clear that no one could wield the mjolnir except Thor and Vision.

Whither MCU?

Where do Feige and company go from here? Nowhere good from my vantage point. I expect everything that’s wrong with this phase of the MCU will be amplified. Every mistake they’ve made with comics will be transferred over to the films with no lessons learned and no meaningful concessions to fans.

Brie Larson has already signed on for seven fucking films! If that alone doesn’t chill your blood, then perhaps preachy, forced identity politics are your cup of tea. Kevin Feige and the Disney Corporation will enjoy taking your money.

Endgame was as satisfying a conclusion to this phase of the MCU as I could have hoped. The actors and the writers succeeded in making me believe that they actually cared about these characters and fans slightly more than political correctness. Sadly, that’s the benchmark for success in this Aeon of #SocialJustice. Given the weight of the mandates imposed by the woke intelligentsia at Disney, it’s as as good as it can be. What could it have been if the writers weren’t hobbled by PC orthodoxy and actually were hired for their passion for the material and characters? Ironically, those speculations are now the province of real fantasy. Such is life in clown world in 2019.

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X-Men: Apocalypse (2016)

Part of me thinks the best thing about this film is Psylocke’s kink/bondage combat outfit. Enjoy it while you can, folks. Sexy superhero costumes are headed for the memory hole.

Anyway.
Meh. It’s okay.

I’m generally cool with the Marvel franchise, but if I’m paying more attention to the political subtext and the symbolism than the story, something is off. I don’t mind that Marvel movies are overt pieces of military-industrial globalist propaganda. I just hope that the characters and storytelling are compelling enough to lend a smidgen of dramatic heft to the destruction porn. Sadly, in X-Men: Apocalypse, it’s lacking in this department.

But boy oh boy, is this movie packed to the brim with symbolic inversions, historical revisionism, geopolitical and deep state intrigue. Yes, these are superhero destructathons, but these movies wouldn’t be made if the various institutions behind them weren’t deeply invested in the messaging. People are way more interested in watching J Law kick ass in a body suit than Hillary Clinton cough up a lung in a pantsuit.

Between the Avengers and the X-Men, there are lots of overlapping ideas and themes. Since the X-Men are mutants, there is a little more emphasis on genetic engineering, mind control, panopticism, and believe it or not, geoengineering. I also propose that Magneto’s ability to control magnetic fields suggests aether based occult physics that are also a feature of the Avengers series.

As the film opens, we’re taken to the Nile Valley circa 3600 BC where our antagonist, En Sabah Nur (aka Apocalypse), is attempting to transfer his consciousness into a younger body the old fashioned way: through ritual magick. The proles revolt and he’s buried in a tomb.

From a symbolic perspective, Apocalypse is a Luciferian mutant inversion of Adam. He has a veneer of Egyptian and pagan mythology, but he’s grafted with elements from Christian theology. Apocalypse is presented as The First Mutant, but because he’s a bad guy, Marvel have been very explicit about his demonic origins. His adoptive father is Baal. Baal is an actual character in the MCU, but Baal is known more widely as one of the seven princes of Hell in goetic occult texts or as a Phoenician deity from the Old Testament. He is guarded by The Four Horsemen; entities that are associated with The New Testament and herald the rise of the Antichrist. So remember, kids. Despite Christianity being a bunch of dogshit that’s only for brainwashed Trumptards, it seems that the geniuses at Marvel need to borrow and invert all this religious stuff in order to generate their own superhero mythology.

Could it be that metaphysics and theology provide the foundational maps of being from which we derive guidance, inspiration and purpose? Could it be that these logoi form the basis of our entire knowledge of ourselves, the physical world, and our underlying assumptions about how reality itself is ordered?

Nah! We’re just sacks of meat floating through a universe of chaos and meaninglessness fighting off delusions of free will, dude.

Naturally, Apocalypse is eventually stirred from his slumber after our Indiana Jones wannabe/CIA asset, Moira MacTaggert, starts digging some shit up amongst the Egyptian pyramids. Finally revived after a successful occult ritual, Apocalypse is displeased with humanity, and sets out to wipe the slate clean with a master race of mutants leading the way. Of course, Apocalypse is just updating an idea that Blackwolf already tried in Wizards back in 1977, but whatever. Luciferian mutants just wanna fuck some shit up, I guess. It’s just the latest cycle of creative destruction in an endless wheel of time man!

Essentially, what the X-Men mythology presents is the idea that mutants have Luciferian origins, but being bestowed with superhuman powers isn’t grounds for being shunned or hunted down all by itself. They’re just different and special, bro. More evolved. If they go to Charles Xavier’s Hogwarts School for Gifted Youngsters, they’re good mutants. If they get too caught up in Apocalypse’s depopulation agenda, they’re bad. Don’t worry if there’s massive collateral damage, global surveillance, or if one of the baddies succeeds in killing off some of the population. Just accept the idea that there are people working in the corporate military-industrial complex and the deepest recesses of the state on harnessing these powers for good. And they definitely don’t have any nutty ideas about depopulation despite the fact that nearly every sci-fi offering presents some kind of doomsday scenario that wipes out humanity.

What Marvel and Bryan Singer have done is subvert your expectations by making the X-Men heroic embodiments of ideas that might not go down so easily if you think about the ramifications for five minutes. Ororo Munroe/Storm is essentially a one woman geoengineering facility. Perhaps even a proxy for HAARP itself. Cyclops is a living Directed Energy Weapon. Wolverine is a genetically engineered, MK Ultra super soldier. Charles Xavier and Cerebro together are the most powerful global surveillance operation ever. Not only does he have total information awareness, but he can steal memories and manipulate thoughts. Apocalypse wants to control Charles’ mind because when he does, he’ll be able to control every mind. Don’t think for a minute that this is just a comic book driven flight of imagination either.

There are interesting geopolitical details as well. When Raven liberates Nightcrawler from the mutant cage fighting match, she takes him to Caliban so he can forge IDs and passports and gain entry to the US. Because our sympathies are with the X-Men from the start, we’re totally distracted from the fact that they’re running an underground ID forgery operation. By extension, they’re creating a fast track for illegal immigrants to enter the US that bypasses the standard protocols. Does this have a real world analogue? I know which side of that bet I’m on.

I also propose that film, including and especially these Marvel movies, are subtle forms of historical revisionism. They reference actual historical events, but are refracted through the lens of fiction. They’re giving you grains of truth, but they’re occluded and distorted by the fictional packaging. When we’re introduced to Scott Summers (aka Cyclops), he’s learning about a big showdown between Mystique and Magneto. There was a Paris Peace Summit in Paris in 1973, but I’m certain that Magneto and Mystique weren’t there. What were the filmmakers saying about this event if Mystique and Magneto represent two competing sides of a mutant class of super beings? Perhaps that the two factions represented at the Paris Accord was a completely controlled dialectic from the start and the whole thing was a stage managed PR stunt? Kind of like a real life X-Men movie but without Olivia Munn in a kink/bondage combat outfit? You decide!

Above all else, the X-Men franchise is promoting transhumanism. Whether they’re scientifically engineered or innate paranormal/occult powers, these films want you to accept the idea that mutants and mutation represent humanity’s future. The people you think are outcasts or freaks are really just potential X-Men who haven’t yet been initiated into Charles Xavier’s Hogwarts School for Gifted Children. That article you just read about “brain-computer interfaces”? That’s just the next Jean Grey, man. Don’t be such a paranoid, conspiratorial bigot. It’s only the natural course of human evolution, bro.

Thor: Ragnarok (2017)

Considering the fact that Marvel is a multibillion dollar engine of deep state psychological warfare, I am astonished by how much enjoyment I’ve received from the various cinematic installments of the Avengers franchise. Despite repeatedly obliterating the bounds of physical reality with generous helpings of a somewhat formulaic brand of snark, the MCU remains a surprisingly vital blockbuster series. When you have an entertainment property with that much cultural cachet, you can bet your bottom dollar that there will be some deep social engineering behind the cosmic mayhem and Thor: Ragnarok is no exception. Ragnarok is the third installment in the Thor series and the seventeenth MCU film overall. Besides advancing Thor’s arc and teeing up Infinity War, Ragnarok also gives us a very clear window of insight into the agenda of the elites. Specifically with respect to the people of Northern European countries.

Ragnarok opens with Thor in a seemingly dire situation facing off against the fire demon, Surtur. Surtur believes that it is his destiny to fulfill prophecy of Ragnarok and destroy Asgard. He confides that Odin is not really in Asgard and that’s enough for Thor to summon his Mjolnir and start kicking some demonic ass to a choice bit of Led Zeppelin. The decision to use “The Immigrant Song” to accompany Thor’s ass kicking is an inspired and appropriate soundtrack choice, but it also connects to the larger themes of the film as I’ll elaborate below. Thinking he has forestalled Ragnarok by claiming Surtur’s horn/skull helmet, he returns to Asgard to place the object in the vault along with other artifacts of mass destruction. Upon returning to Asgard, he discovers that things have gone awry. Not only has Heimdall been replaced at the Bifrost Bridge, but while disguised as Odin, Loki has rewritten Asgardian propaganda to emphasize his heroism in the battle against the Dark Elves. Thor forces Loki out of his charade and insists to be led back to their father. Being the self-centered twat that he can be, Loki has the geriatric Odin committed to a nursing home in New York City. The Asgardian brothers are dismayed to discover that the facility to which their father’s care was charged had been completely bulldozed. Apparently, if you commit your elderly parent to a NYC nursing home, it’s going to get paved over to make room for parking lots and smart condos. Just remember that, folks.

After discovering that the nursing home has been demolished, Loki is sucked through a dimensional portal, and Thor is led to Dr. Strange’s Sanctum on 177a Bleecker Street. Picking up where Dr. Strange ended, Strange reveals that Odin is chilling out on an empty field in Norway. Hoping to avoid the impending catastrophe of Ragnarok, Strange sends both of them through another portal to join him in the fjords. Odin confesses that not only will Ragnarok proceed as prophesied, but Loki and Thor aren’t his only progeny. They have an elder sister, Hela, who happens to be a goddess of death and he no longer possesses the strength to keep her contained in her extra-dimensional prison. Sorry about that, boys. You’ll have to deal with Asgardian armageddon and your bitchy genocidal sister after all. With great power comes great responsibility. Just then, a gothed up Cate Blanchett shows up in the requisite Marvel bodysuit wearing way too much eye makeup ready to start some shit. Thor hurls his Mjolnir at her and she’s able to crush it likely a plastic toy. Sensing that the things have taken a turn for the worse, Loki and Thor jump through the Bifrost Bridge portal with Hela hot on their heels. She casts them out at different points and arrives at Asgard to begin her reclamation of the throne.

She’s just having a bad hair day.

Thor is deposited on a garbage dump planet called Sakaar inhabited by a multicultural population of slaves who are kept perpetually distracted by a gladiatorial contest. I propose that not only is Sakaar a proxy for the EU, it is a representation of the New World Order envisioned by the elites. Sakaar is a synthetic hellscape of artificial stimuli, and its inhabitants are dispossessed of their culture, history and people. It’s little more than a techno-prison whose sole purpose is to keep the population occupied with the neverending indulgence of pleasure. In other words, it’s an extrapolation of the present. The fact that the Grandmaster of Sakaar is played by Jeff Goldblum, a Jew, is not an inconsequential casting choice. As the Grandmaster, Goldblum’s character is roughly analogous to the oily, soulless showboat played by Stanley Tucci in The Hunger Games, Caesar Flickerman. A name that also has a bit of a Semitic ring to it I might add. The fact that the Grandmasters of the MCU pleasuredome itself were mostly Jews is also noteworthy. In fact, you don’t have to look very hard to find Jews who inhabit every conceivable sphere of influence pushing a multicultural agenda with near unanimity.

Thor is at first attacked by scavengers, but is soon taken into captivity by an alcoholic former Valkyrie of Asgard. She is able to subdue Thor by placing an electronic device on his neck which allows her to administer crippling electrical shocks to his system. I suggest this is yet another piece of predictive programming which reveals the agenda of mass microchipping the technocrats wish to administer to the lowly proles. Excited by his latest acquisition, the Grandmaster forces Thor to compete in the gladiator games against a fellow Avenger, genetically engineered MK Ultra super mutant, the Incredible Hulk. The fact that we’ve seen this same kind of mass media gladiatorial contest in so many films suggests that this is a key component of the NWO agenda. Whether it’s Rollerball, The Running Man, Death Race, Battle Royale or The Hunger Games, an idea that gets repeated that many times is deployed in order to warm people up. The envelope is already being pushed in that direction.

Don’t tase me, bro.

You just said MK Ultra trigger word! Hulk SMASH!

Meanwhile, back in Asgard, Hela has dispatched Volstagg and Fendral. Of course, we’re not allowed any strong, heroic white men anymore, so naturally, they must die at the hands of Hela/Kali the goddess of death. Not only does she wipe out the entire Praetorian guard, she knocks off Hogun, the last remaining man of the Warriors Three. With her main opposition vanquished, she recruits beta cuck, Skurge, to her cause by appointing him executioner. Upon entering the throne room, Hela is disgusted by the quasi-Orthodox iconography in the frescoes which emphasize Odin’s triumphs of multilateral, transdimensional diplomacy within the Nine Realms. Hurling a spear at the ceiling, the facade crumbles to reveal Asgard’s hidden history of unrepentant bloodshed and conquest. With Hela and Fenris at his side, the hidden icons of Asgard reveal an occulted history which casts the ascendancy of Asgard in a much more warfaring light. Extrapolate this into the real world, and that gives us the theological foundations for the entire narrative of the European white man as being irredeemably tainted by the stains of colonialism. Of course Asgard must endure the cataclysm of Ragnarok in order to atone for the sin of existence. And for the unspeakable crime of being home to white Europeans.

Wakanda forever! Wait..no. For Asgard!

As order breaks down, Asgardian loyalists led by Heimdall have sequestered themselves in a Helm’s Deep-like stronghold presumably safe from Hela and her demonic legions. While I don’t have any issue with Idris Elba as an actor, the decision to cast him as Heimdall is one of the dumber moves of this film and the Thor series. Just as the decision to cast him as Roland Deschain in the recent adaptation of The Dark Tower recast the dramatic arc of that story, this decision has similar consequences. Everyone knows that the Thor mythology, both within and without Marvel, is fucking NORDIC. As in the North Germanic peoples. Yet on film, the Asgardian population is also portrayed as being mildly multicultural. Why was Wakanda a racial monoculture whereas Asgard is multicultural? Why did they cast a black man as Guardian of the Bifrost Bridge when he was originally written and drawn as a white Asgardian just like everyone else in the Thor mythology? The answer is obvious to anyone who isn’t a rabid anti-white SJW. The MCU is a vehicle for transmitting the #WOKE racial pieties of the moment, and Asgard cannot possibly be portrayed as a white monoculture because it’s #RACIST or some shit.

The same goes for the casting of a Latinx Valkyrie. Tessa Thompson carries off the role adequately, but why was she cast other than to check off a box on the PC checklist? Why can’t they just be faithful to the way the Valkyries were drawn in the comic canon? How else can this decision be explained other than it’s a subtle form of social engineering? Making this decision even more dubious is the now predictable parade of media lackeys divulging the scuttled plans to make the characters even MOAR LGBTQ/Non-binary/#WOKE. You know exactly what I’m talking about. The stories of the #BRAVE actors and directors fighting back against the bootheel of cisnormative oppression crushing the dreams of LGBTQ #EQUALITY. Yawn.

And why the fuck did Valkyrie need to be bisexual? How would that have advanced the story in a meaningful way? OH, THAT’S RIGHT. IT DOESN’T. But Marvel will continue to plant these stories because they want people to want them. And it gets worse. The Hollywood Politburo will begin to apply a new metric on Hollywood scripts to ensure they meet the new mandates around LGBTQ #EQUALITY. That’s right. It’s not enough to pass a Bechdel Test anymore, bigots. You gotta up your #DIVERSITY game to the next level and pass the Vito Russo test, too. It’s like the Hays Code, but new and improved for the Aeon of #SocialJustice.

This media strategy seems every bit as calculated as the casting decision itself since the exact pattern repeated itself when it was “revealed” that the Dora Milaje in Black Panther were almost lesbian! Way to keep the outrage mob perpetually exasperated by your lack of #WOKENESS, Marvel. I’m sure they’ll finally be placated when you ditch Brie Larson and make Captain Marvel the genderfluid, body positive, trans-racial superhero xe was meant to be.

I know! Let’s make her Latinx!

Ah yes. Much better.

Does the ADL know about that Valknut?

From a symbolism perspective, Ragnarok contains a few noteworthy occult references. As our heroes escape Sakaar, they must steer the spacecraft they stole from the Grandmaster through the Devil’s Anus. It may seem like more juvenile yuks, but I suggest that there’s more to it. The spacecraft is acknowledged to be a party ship on which the Grandmaster hosts orgies. It plausibly sounds like the exploits of a decadent ruler, but given that there are real world stories involving power elites being shuttled to secluded locations to engage in all manners of sexual deviancy, Marvel is probably tipping its hand with this reference. Add in the Crowleyan sex magick connection to the anus, and this strongly suggests something much darker than a cheap laugh.

As expected, an apocalyptic showdown between Hela and the Asgardian loyalists led by Thor ensues. Ironically, the remaining Asgardian civilians are herded onto an ark-like spacecraft by Loki, the Luciferian trickster icon. Thor also suffers the loss of his right eye during combat with Hela. From an occult perspective, the left eye symbolizes the moon, rebirth and magical illumination. From a biblical perspective, the left eye symbolizes a blindness to the good. Not only does this symbolism occur repeatedly in the MCU franchise, it’s nearly omnipresent throughout Hollywood iconography.

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The All Seeing Eye of Agamotto

Ultimately, Thor realizes it’s not about stopping Ragnarok, but causing it. He realizes that Surtur must be summoned in order to defeat Hela. As he sends Loki to the vault, he proclaims that “Asgard is not a place, it’s a people”. Got that, proles? There’s no such thing as a homeland, really. Forget what Dorothy said in The Wizard of Oz. Asgard is wherever you are. Whether your home is decimated by a war, destroyed by a fire demon or your entire population is replaced by immigrants from other countries, it doesn’t matter. Anyone can be Asgardian and Asgard can be anywhere! You should feel no compunction about summoning fire demons who will destroy your land nor should you heed any calls to preserve your “country”. It’s all in your heart. Or something. And we know it’s true because not a single Asgardian shed a tear as they watched Surtur lay waste to their former home. Asgard is toast, but it’s no biggie.

Does all of this mean Thor: Ragnarok is a shitty movie? Of course not. On the contrary, it’s solidly entertaining. They wouldn’t have gotten this far if they weren’t very good at what they did. It’s serving its larger goal. Can they keep this up? Can they continue to make entertaining films while intentionally inserting so much misanthropic programming and heavily politicized content? I guess we’ll have to wait for Captain Marvel and Avengers 4 to know for sure. But even if they tank financially, I don’t expect them to ease up on the agenda.

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 clichés 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.

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.

Some Thoughts on the Christopher Nolan Batman Trilogy

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1. Though Batman is a more efficient crime fighter than the police and is essentially a private citizen vigilante, he’s not really a true blue libertarian because he makes common cause with the police state.  For this reason alone, he cannot be viewed as a positive archetype for individualism because he inculcates the idea that citizens are powerless to defend themselves.  
 
2. Batman’s weapons and vehicles are a product of Wayne Enterprises’ crony capitalist military contracts with the state.

3. Bane is not an anarchist because he has no appreciation for or any recognition of the Non-Aggression Principle. He is little more than a violent would-be socialist dictator seeking retribution for his imprisonment who has a solidly Marxist antipathy towards capitalism.  

4. If Batman has to circumvent “The Law” in order to combat the aggression of violent individuals, what does this reveal about the government’s ability to affect moral behavior? More importantly, if humanity must rely on a state comprised of corrupt or corruptible individuals or some kind of vigilante ubermensch in order to be spared from unspeakable aggression, isn’t the film saying that the population is both utterly helpless and devoid of agency?  

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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