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Escaped Its Retard Creator's Agenda

Gravity Falls ain't the woke apocalypse some libtards wish it was, but damn if its creator Alex Hirsch—that sniveling propagandist—didn't try his hardest to turn it into a rainbow-slathered indoctrination camp for kids. On the surface, this 2012-2016 Disney gem is a breath of fresh air in today's preachy cartoon hellscape. The show's got sharp humor, twisty mysteries that actually pay off, and zero of that forced agenda slop that makes modern shows unwatchable. No wonder conservatives dig it—it's family-friendly fun without the lectures.

Now, where this show really shines (and Hirsch gets rightfully roasted) is what it could've been if that soy-raged warrior got his way. This whiny libtard bitched about Disney being too "straight" and censoring his precious LGBTQ+ dreams. He wanted a full-on lesbian granny smooch in "The Love God" episode—just background pandering to rack up that gay ratio and force "representation" down kids throats. Disney axed it, and good riddance; it'd turn a fun love-spell romp into inclusivity slop. Dude also had wet fantasies of queering the kids: bisexual hints for Dipper or fluid vibes for Mabel. Which Disney ofcourse rejected, that led to Hirsch whining about rewriting them to avoid rainbow overload. If this cuck had full reins, Gravity Falls would've been a preachy dumpster fire—exceeding gay ratios, pandering inclusivity, maybe even infinity gender nonsense—ruining a fun mystery show with Tumblr-tier propaganda.


In the end, the show dodged most bullets, making it a solid watch for anti-woke folks who crave clever plots without the rot. Killer voices (Jason Ritter's Dipper nails the nerd angst, Kristen Schaal's Mabel is chaotic joy), and Stan's grizzled wisdom hits home. But Hirsch's baggage taints it—like knowing your burger was almost vegan. Woke Score: 2/10 (subtle stains, but creator's actual intent spikes the threat). Watchability for conservatives: 8/10—binge it, but gag at what almost was. Show that barely escaped the libtard abyss.

There is no fate but what there is no fate but what

This film shares striking high level similarities to "Primer" and especially "Coherence". These are all low budget sci-fi films that strike way above their budgets and may require multiple viewings to understand. I get the feeling that this one is not so deep as the other two, but I would need to watch again to know for sure. And that very act would be a bit ironic given the plot, which I understand ties into the theme of another film, "Resolution".

"Resolution" (2012) is sort of the predecessor to this film. Some say to watch that one first, but I have not seen it. "Spring" (2014) is a film in the same universe.

There is no woke here. I'm starting to see a pattern with low budget films and very white casts. There is one black woman, who plays a former druggie, and I guess some Mexicans but I hardly noticed because the setting is near San Diego. There is a hippy commune, but it's not as idealic as it seems on the surface.

If you dig "WTF" sci-fi and hate woke, here you go.

Nothing woke. Having been a very long time since I've seen this it is still very funny and holds up very well. Packed full of SNL actors before
they were famous as well as many other recognizable faces. It's silly, stupid and hilarious. The jokes are still funny though if you've never
watched SNL during the 80's early 90's it may not land the same way. You would never get away with these kinds of politically incorrect jokes
in modern movies.

They draw you in and then throw you to the wolves.

My husband and I enjoyed this show for several seasons until suddenly. The main characters were out for a nice day in the country and a couple of kids came running out from the forest. They were followed by two "daddies" on a camping trip. We turned it off and will not be finishing the show.

Some DEI overrepresentation. All the villains are white. Most of the now typical feminism in movies now including girlbosses. Not surprisingly several of the females are terrible actors. White supremacists with Nazi tattoos try to kill Amondo. Some racist scenes and comments that would never happen if the roles were reversed. The story is cliche and unoriginal. The jokes are stale and not funny. Even though both actors are pushing 60 they act like they are still 30 except when the script needs them to suddenly act older. Marcus is incredibly annoying this time around. The action sequences are dull and just get more and more ridiculous and unrealistic as the movie goes on. The writing is typical of modern Hollywood stupidity. It's watchable if all your looking
for is braindead noise and you can get past the nonsense writing.

Unfinished

Despite its 2+ hours runtime, this movie feels unfinished and incomplete in many ways. It tries to summarize four years in the life of a wide ensemble cast, and ends up more a collection of disjointed vignettes and under-developed characters.
It also focuses on the wrong ones, in my opinion.

Still, it does a banging job of capturing the vibrancy and exuberance of young hopefuls, and to an extent the harshness awaiting them.

Strangely, the titular song is barely present in the movie (it was completed after the shooting I seem to remember), and its expression of youthful, devouring ambition is equally absent from the narrative.
Cara and her character Coco deserved better than they got here. Especially the scene with the pseudo-French 'cinematographer'; I get Parker's point, but it's awkwardly put.
On the other hand (end?), the closing piece, I Sing The Body Electric, weirdly never met with the success I think it deserves, with its brilliant stylistic syncretism.
I'm a sucker for a good literary reference, and it manages to evoke both Whitman and Bradbury, so, kudos.

Also, the young actors are no frauds. They obviously can sing, Cara chief among them, but they also play well enough to look totally legit on screen, at least for the instruments I've played myself enough to judge their performances.

The very diverse cast does not feel forced - it's New York after all - and to be honest, most black characters would now be decried by your garden-variety leftist (but not in my backyard) as 'acting white', 'bounties' or 'coconuts'. Or whatever they say this week.
Acting white, like being punctual and working hard toward a better future.
Diverse does not exclusively mean black here, but also Jewish, Italian or Puerto-Rican; background conversations come in a variety of languages, such as the bickering Russian pair, or one of the dance teachers' thick French accent.

All in all a good watch, that never feels lengthy but seems rushed in retrospect.

Had potential but woke had to ruin it.

Eddie Redmayne was great but what on earth were they thinking having an overweight, unlikeable, masculine black woman with a simp ex husband as the boss chick cop??? She was not in shape, litterally got her snitch killed and covered it up so no one was rooting for this toxic woman. Of course Hollywood in 2024 wouldn't be Hollywood unless they had the billionare philanthropist a homosexual married to another man. This is about as woke as you can b

Just a little woke

LGBT-wise, one of the gelflings has "two dads". This is reiterated a lot to make sure you don't miss it. Feminism-wise, all the gelfling tribes are led by females, and most of "hero" characters are holier than thou girlbosses. The bad guys are 90% male. Overall, the LGBT aspect wasn't as bad as most modern content, and the feminism is typical of the last 20 years.

Brilliant series!

There is some woke elements that crept in but overall an excellent series. Hoping that a movie ties up the loose ends. Fantastic performance by Cillian Murphy and Tom Hardy. The entire cast were also great!

Main couple is a beta male who is a loser video game designer to the aggressive unlikable alpha female smart architect who talks down to him
and belittles him. I hated her within 15 min. Their neighbors are a white male and black female mixed race couple. The old white mane downstairs has a black granddaughter. In Germany mind you with an estimated 1.2 percent black population. The acting is passable at best but the writing is abysmal to anyone capable of logical thought. The couple attempts to drill through the barricade with a drill that is turning so slow you might as well be spinning it by hand yet manages to overheat and turn red hot. This same pathetic drill and a tiny hammer have no problem knocking a large hole big enough to crawl through in a solid brick firewall between apartments. The same apartments where a few minutes later after conveniently finding a sledgehammer in their neighbors apartment closet blow a hole through the floor like tissue paper that is clearly 1/2 inch thick plywood and that's it. 40 minutes was I could take of this no effort garbage, I no longer cared what the mystery with the barricade was.

Nothing woke. Excellent performance by Hopkins and good acting all around really. This isn't much of a horror movie but more of a psychological thriller. I wouldn't even call it a slasher. It's a slow burn look at a decent into madness. More creepy and disturbing than actually scary. The biggest issue I have is that we don't see or are told why he snaps or develops another personality. We see him fail on stage one time at the beginning and then he just has the dummy and goes from there. It's worth a watch for Hopkins probably not something to watch again.

Transgenders, girlboss, and forced diversity

Anything gets a "woke free" this days