You used to be able to take it for grated that when a studio announced a new TV show, they made the announcement assuming that the creators were dealing in good faith. Back in the 80s, a new Saturday morning cartoon being greenlighted meant the network execs were confident the show would appeal to its audience.
That audience consisted of two demographics: a) kids who would enjoy the story and characters and b) those kids’ parents, whom the TV networks and the toy companies counted on to shell out money for actions figures based on the IP. Relevant to our purpose here, b) relied on the show seeming harmless enough to fly under parents’ “bad influence” radar.
Since two-earner households became the norm in the 70s, parents have sought to compensate for neglecting their kids by bribing them with cheap plastic trinkets. There’s a concurrent tendency to overcompensate by vetoing toy purchases that bear the slightest whiff of impropriety. I’m not complaining. These factors provide a reliable barometer for propaganda, as we’ll soon see.
These days, to assume that any of the crumbling media giants would release a new offering in the hope of turning a profit, you’d have to be utterly ignorant of recent debacles in video gaming, trade science fiction, comics, and Hollywood. Attempts by social justice warriors to flay these industries and spread propaganda in their skins have led to prominent consumer revolts against the SJWs.
If you remain skeptical that multibillion-dollar corporations would voluntarily go kamikaze into mountainsides in the name of intersectional theory, take a look at this post’s header image. The picture on the left is a promotional still from Netflix’s new She-Ra series. If you don’t remember She-Ra, it was a He-Man spinoff that flipped the main characters’ sexes. The show never took off as big as its predecessor because its creators failed to acknowledge that girls have different coming-of-age fantasies than boys. It goes to show that even going back tot he 80s isn’t going back far enough.
Even without the explanatory cartoon, the picture above is a dead giveaway that Netflix is remaking She-Ra for reasons other than a profit motive. They have the original 1980s series as an object lesson in what not to do, viz. projecting male power fantasies onto girls. A She-Ra reboot intended to be successful would have started by making the character design more feminine. Instead, they doubled down and gave the title character boyish features and a masculine head-to-shoulder width ratio.
The picture on the left is how the She-Ra reboot was marketed starting last year. The picture on the right is actual artwork from the show. A normal person will immediately see why reactions have been overwhelmingly negative. The main character looks like a gender dysphoric Dennis the Menace.
There’s no use trying to dismiss this kid of Charlie Foxtrot as a well-intended misstep, not with millions on the line. It’s an open secret that Netflix has been in precarious financial straits for years. Not surprising when management knowingly turn their streaming service into a Ponzi scheme. The con works by leveraging your company to the hilt to buy up all the talent. In theory, you’ll end up as the only game in town and can pay off your debts with the sweet monopoly profits.
An unwritten rule in Hollywood states that one studio in every generation tries the same grift. It nearly killed Sony in the aughts, and it did kill RKO. Netflix is doubly screwed because in addition to racking up debt like it’s going out of style, they’ve been effectively cooking the books by depreciating their digital library much more slowly than anyone else in the business. The FTC and the IRS haven’t figured out a way to close the loophole yet, but I wouldn’t bet on them giving up and going home.
Netflix’s only way out of the hole they’ve dug is to attract more subscribers. The fact that they’re vomiting out a reboot of an unsuccessful 80s kids’ show that appeals only to Sapphic cat ladies proves they’ve drunk deep of the SocJus spring and have entered a nosedive aimed straight at Normieville.
The formula–one might more aptly say ritual–is now well-established. An SJW converged entertainment company on the skids announces a new project based on an established franchise with some degree of American cultural cachet. They build up buzz as one might expect for an honest product launch, only to deliver a crude and twisted parody of the original.
What follows is crucial. In fact, it’s the whole point. The converged corporation fans initial murmurs of normie dissatisfaction into a full-fledged backlash. Conveniently, the company will have hired a race hustler masquerading as a writer or a LOOK AT ME!!! LGBTQ+ mascot to headline the project. Those who complained have unwittingly stepped into a kafkatrap wherein the production’s SJW fellow travelers in the media can snipe at normal people with their victims caught in a crossfire.
The memory hole is a defining feature of the social justice cult. Because the cult’s ideology is totalitarian and progressive, it must constantly disavow its own past. Since the cult recognizes only two broad categories of people: “Us” and “not us”, perpetual loyalty tests are deployed to separate the reprobate from the elect.
Companies like Marvel, Disney, and Netflix now exist only to broadcast these identity tests to the SJW hivemind. When you publicly oppose the latest assault on truth and beauty, you identify yourself to the collective as an outsider and therefore an enemy.
Much like Global Thermonuclear War, an SJW Turkey Shoot is a chump’s game where defeat is guaranteed by virtue of agreeing to play by the stated rules. Don’t waste your time trying to answer the SJWs’ accusations. The only logical response when you find yourself in a crooked game is to flip the table.
Don’t give money to people who hate you. Support independent creators working hard to bring you honest entertainment instead of smug civics lectures.
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