Megiddo Iscariot's Reviews
A Classic that Predates Woke But Espouses Progressivism
This is easily one of my favorite movies. I am a huge fan of Stanley Kubrick, but I have to call out the progressive ideals of such a revolutionary and notable director.
As with many of his films, Kubrick intended to highlight certain tendencies in this movie. In this case, it was the concept of a conservative, authoritarian government that would punish even the protagonist of our story to forced propaganda. It was, as some consider it, a right-wing fascist state, but these are terms best left for the academic and over-institutionalized. In reality, what Alex experiences in this movie is the definition of a collectivist totalitarian leftist state. His urges are dispensed of, at least theoretically, while his anarchistic nature is still in play, despite the mind control he experiences.
Make no mistake: This movie is leftist and built on the idea that behavioral modification is a right-wing tactic. That said, it predates the modern "woke" idea by over 30 years. It portrays a sociopath who is, in some ways very right-wing, but in others, very left-wing. The promiscuity and attacks upon the rich are deeply rooted in leftist ideology. The rejection of authority and creation of a gang independent from neo-London's oppressive rule are certainly right-wing. Overall, though, it is vey much a siren song to the equity-seeking left. Despite its very adult themes, A Clockwork Orange is a cautionary tale against the centralized government in that those in charge will use whatever means possible to change those who fight the system.
This is a movie that explores anarchism well, and finds it lacking. Whether you're a left or right anarchist, it is against absolute freedom, but it also fights against the the idea of control from the government. It is a movie built upon the idea that you should make your own decisions. For that, I applaud it.
Created: 03-29-2024
Uniquely Woke with several redeeming factors
"Supernatural" is a near-classic part of TV history at this point. The seasons progressed from a fairly-standard sci-fi monster hunt, akin to X-Files all the way to an existential crisis in latter seasons. Jensen and Padalecki absolutely nail their respective characters, growing into them over the over-decade long run. Sam and Dean are the sons of a paranormal investigator slash hunter who inherit his skill and natural talent.
Unfortunately, as the seasons go on, we find more and more blasphemy, going so far as to mimic the Kevin Smith "Dogma" approach to God as an absent child with power. Eventually, we run into "God" as a demiurge as is consistent with Masonic beliefs. He is little more than another piece of a creationist puzzle and relegated and limited by his status as the Demiurge. This concept of God is in-line with the more Masonic concept of a universal architect with flaws, rather than the pure and perfect God of Catholicism and protestant faiths.
There are several moments of "girl boss" fervor and of course, the typical "sympathy for the devil" tropes, but at least the latter is largely assuaged by showing Satan to be quite the ass. This is despite the Winchesters giving him a chance. The issue is, we're also inundated with the trope of "evil angels", and of course, the "false paradise" where being good and going to heaven just means you're stuck in a positive-reinforcement which enforces your biases, rather than becoming content with being in the glory of God.
Regardless, I give credit to the writers for depicting Satan as a tempting being but still untrustworthy and ultimately evil. Unfortunately, they also portray God as the kind of skeeball-loving limited being that Dogma did.
Still, a really enjoyable show, despite the latter seasons becoming very repetitive and bland. I would recommend it to others, particularly the early seasons, as the visuals are incredible. It is worth watching for certain, but just be vigilant for the heretical and obviously anti-Christian vibes especially in later seasons.
Created: 03-29-2024
Riding on the Shoulders of Giants
Having watched the first 3 episodes of X-Men '97, I can say that it is a fairly true-to-form continuation of the original cartoon series, though it has introduced some irritating elements.
First, I want to assure everyone that Morph's "gender identity" isn't referenced in the run of the show (thus far) but the "they/them" is played out in the credits scenes with the 3D renders of the characters, a holdover from the original show.
What is included is a very clear, unsubtle same-sex attraction from Morph toward Wolverine. In a scene depicting hidden fears and desires, Morph's hidden desire for Wolverine is exposed, showing that he is attracted to the century-old mutant.
There are some good progressive things happening here. Woke isn't ALL progressivism, after all. Jubilee's character model better depicts an Asian face, as the original did not. I think this is a good thing, as her character is the child of two Hong Kong immigrants.
Now we need to talk about some of the subplots. Surprisingly, Magneto's origin story is glossed-over, effectively alluding only to his "people" being oppressed in the past. Very vague and seemingly an attempt to distance the character from his WWII origins. Still, it's an "if you know, you know" moment, and that's fine with me.
Rogue develops a bizarre and rather sudden attachment to Magneto, which is even more uncomfortable due to the character design giving her a more teenage appearance while Magneto's age is clearly pushing the century mark.
There is a brief scene of Gambit in a crop top and an atypical (for the time period) hairstyle, but I can excuse this easily by saying that the writers and artists are likely too young to have even experienced 1997. There's a conflation with the 1980s that is unmistakable.
The animation is quite fluid. It's almost jarring for a continuation of the 1990s series, but admittedly somewhat welcome. There is definitely simplification, but the cheap tricks used in the original series are thankfully not utilized here.
Back to Morph, though. His comfortability in a feminine form to jokingly influence fellow team-members, particularly Wolverine, is a little disconcerting. This is where the "woke" tends to come from.
Overall though, the storyline is consistent with the original, as they're both vaguely following 70s-90s era X-Men comic stories. Episode 3 is particularly interesting due to the introduction of a character whose origin is different in the comics, but still handled well for such a short-form medium. The inclusion of the "Friends of Humanity" made up of almost exclusively white characters leans heavily on the "white = bad, others = good" trope, but the mutant team itself is led by a white man, so I'm calling no-foul on this one.
There's surprisingly little ethnic diversity in the first three episodes. Storm and Bishop are the main "people of color" while Jubilee is more accurately rendered, but most of the characters are actually white, as is reflected in society and in the initial representations of the characters.
Overall, other than the aforementioned "non-binary" idiocy of the Morph character, the inclusion of a native character at the end of the third episode (I know who he is but I'm trying to not spoil), and extant characters from the original show, X-Men 97 so far has been both fairly entertaining and lacking in woke pandering, at least as far as it being pushed.
Overall, it succeeds despite its flaws and as is often the case, isn't nearly as woke as advertised. It still has some serious flaws, and I can understand not wanting to get into it due to them. Still, it scratches a nostalgic itch fairly well, redeems a character thought overly pushy (Cyclops) into a place of genuine sympathy, and realistically adapts some of the most dire and interesting storylines of the 80s and 90s comics, which was the purpose of the original.
There are absolutely some themes already explored in other media. The live-action X-Men already covered what happens to one character very well, and the core concept of the show remains largely unchanged. The power shift presented is ridiculous, but it's comics and not at all unheard-of.
In the end, it's worth a watch. I wouldn't suggest subscribing to absolutely woke Disney+ to see it but there are other options and it's still fairly in-line with with original cartoons so far.
Ultimately, I find myself wanting to see further episodes due to the structure of the storytelling, which is a good sign. You may as well. I do not fully recommend watching it, but it isn't so distant from the source that you won't enjoy it.
There are absolutely scenes of very abstract sexuality that might not be suitable for kids though. Just beware and watch this without the kids before you decide to let them see it.
Created: 03-29-2024
