The Corporate / Liberal use of movies to push their agenda
Liberals insist people subserviently accept social policy made by ‘experts’, often sponsored by the corporate world. The power of marketing, product choice and mass entertainment are directed towards creating the ‘Toynbee Effect’ – the unquestioning acceptance of just about any of the social and economic engineering offered up by liberals and their corporate allies. They want us all submitted to a feudal state where we exist as merely their workers and consumers with no power as citizens over our own destinies. The mess made by U.K. politicians of a straight forward vote to leave the EU attests to their determination to resist the popular will. Responsible citizenship, sustainable local communities, real democracy and critical thinking are discouraged, while an unconscious narcissism is encouraged.
Liberalism’s doctrines are pursued relentlessly, especially those related to moral relativism and the deconstruction of Western culture in fulfilment of a global and anti-Christian agenda. A populace desensitised to morality, truth, virtue and reason have nothing left but gratuitous consumption and the employment needed to pay for it. The synchronisation of liberalism and the neo-liberal corporate model is particularly obvious in the movie industry where profiteering on entertainment and the deconstruction of Western culture are merged. Take the following movies as examples:
Pleasantville (1998). A disturbing parody of the period prior to the 60’s sexual revolution, characterised using black and white cinematography to represent an era of repressive conformity and all the traditional gender based taboos which are claimed to characterise the post WW II period. People and places are visibly transformed by technicolour as they shake off the old repressions, realising their ‘real’ selves by connecting with their true feelings. It is a neatly done parable. The main characters, siblings David and Jennifer, are by some unexplained magic involving a TV remote, transported back to 1958 and the town of Pleasantville. Through their influence and beginning with the youth, the town’s citizens discover the liberating delights of promiscuity, rebellion, adultery and deconstructed art. The effect is to sneer at the sort of transcendent values against which liberals rebel. As usual, the terrible harm done to so many people as a result is ignored. Older men are depicted as the class least able to embrace ambiguity and change to fit the prevailing white male privilege and patriarchy narrative. Stability and caution are portrayed as foolish and backward.
Mamma Mia (2008). Looking past Abba’s great songs this musical was a cheap excuse to backhand fatherhood and marriage with a little homosexuality on the side. The 20 year old daughter of a woman managing a rundown hotel on an idyllic Greek island decides to invite three men who had sex with her mother (Meryl Streep), 20 years earlier, to her wedding. She wants to know which one is her father. Promiscuity and sex outside marriage are celebrated. A 20 year old girl on her wedding day and actually at the altar decides knowing who her father is does not really matter and neither does marriage. Better to abandon the ceremony and go off with her boyfriend to see the world. Her mother’s earlier ‘fling’ with the three men is treated as just something a young lady should do when she is young. Raising a daughter, free of any ties within marriage, is lauded. After all, mum got to buy and manage a romantic, if run down hotel, as a result. If only all unwed mothers could enjoy such ‘benefits’. This film is highly sexist., portraying men as simply the less colourful necessity in the act of procreation. It is just another cheap Hollywood lampoon of marriage, fatherhood, family and morality camouflaged by some clever musical choreography.
Dark Knight (2008). In this continuing Batman sequel a hero is easily warped into a monster, the baddie is hugely clever and Gotham’s protector must don the mantle of the bad boy to protect the corrupted good guy. Once again a clever plot line plays with one’s sense of right and wrong, leaving those without a Christian world view lost in the usual postmodern ying and yang no man’s land where right and wrong are twisted around each other in a tangled mess. Anyone exposed to this sort of tripe might be forgiven for falling for the postmodern idea that truth and morality are simply social constructs resting on historic trends. The transcendence of natural law founded on the rock solid foundation of God’s holiness is cold shouldered. Dark Knight is another window into the confused, foundation-less world of today’s western liberalism.
Avatar (2010). This movie’s significance lies in its unabashed pantheism. On the mythical planet Pandora the local human-like population, the Na’vi are, like the flora and fauna, linked together by a biological web to everything else. A god like force with which the Na’vi communicate through a special tree is reminiscent of the New Age belief in a life force that is closely aligned to eastern mysticism. The movie-goer cannot help but be attracted by this ‘earth mother’ allusion and the associated green agenda. Liberal’s attempts to re-create a garden of Eden, populate it with the noble savage and then pollute it with white man’s guilt is yet another crude effort at dismissing God as creator while stabbing western civilisation in the back. The fact that the West created nigh on everything needed for human progress is ignored. This is all beautifully cloaked in a plot line that quite rightly sees the innocent and the exploited triumph over the greedy. The only problem is that in paying to see the movie we contribute financially to the liberal-corporate cause.
Three Billboards and A Simple Favour (2018): Two more recent movies highlight what is now an obvious attempt to write white men out of the socio-political and historical script. The feminist movement has ensnared weak willed men in their conspiracy to push the white male privilege line. Listen to media interviews, watch adverts and go to the movies and it is abundantly clear white men are being either sidelined, caricatured or patronised.
The 2018 movies Three Billboards outside Stebbings Missouri and A Simple Favour subtly side-line men, making them the foils for female dominated plots. Once again the movies are well acted and produced, but given the broader radical feminist context they are further indicators of a strategy to carry the feminisation of western culture as far as possible. The end will not be good. As I discuss elsewhere feminised societies do not survive in an overwhelmingly male-oriented world (Genesis). Since the feminist movement is also inextricably connected to abortion and below replacement level procreation the West is doomed, if it continues on its present course to ever growing weakness and vulnerability nested in the emasculation of men.