Listen up, White Man: J.J. Abrams hates you. He relishes the thought of your extinction as he looks forward to a multi-culti matriarchy where instead of studying math and sciences, everyone sits around discussing their feelings. As for you, Black Man, he doesn’t want your extinction – you get to prance about doing monkey shine, so long as you obey your white, feminist overlords.
Paying money to see his film is the equivalent of auto-castration.
Star Wars: The Force Awakens offends on both an artistic and moral grounds. As a film, it’s nothing but a fanboy’s remake of A New Hope; shot for shot, scene for scene, it’s almost entirely lifted from George Lucas; it’s almost exactly the same function as the original, but it’s form is foul and ugly.
George Lucas was a brilliant, renegade Producer back in his day. He was a terrible Director – an even worse writer – but when it came to Producing, he was a force to behold. The original trilogy was something new, something that rebelled against the grain of mainstream Hollywood. He stood on the shoulders of giants (the Buck Rogers serials and the John Carter of Mars stories, et cetera) and built something new: the Special Effects Spectacle Film. He did something nobody had done before – that nobody thought would succeed – and wound up changing Hollywood in the process. These days every big movie is a Special Effects Spectacle.
That’s why Star Wars is remembered so fondly; not because the movies were particularly good in-and-of themselves, but because they were a new – despite being chock-full of the old.¹
This alone is sufficient reason to condemn Abrams’ film; it is the archetypal mainstream movie of today. It is derivative, paint-by-numbers, fan-boyish, mass-produced, Disney pablum. Where Episode 4 was unique and challenging, Episode 7 is derivative and copacetic. It is the antithesis of what Star Wars represented. It gets worse, however.
The underlying message of the movie is that men – and White men in particular – are useless, destructive, failures, who need to get out of the way so that society can finally progress.
First we have the character of Rey – aka Feminist Skywalker. In the originals, Luke Skywalker was a callow youth (Episode 4), who grew into a hot-tempered fool (Episode 5), before eventually becoming a seasoned warrior (Episode 6), through the tutelage of his elders (Obi Wan and Yoda), and the supportive friendship of his peers (Han Solo and Wedge Antilles). Feminist Skywalker, on the other hand, came out of the womb, already an expert on everything. Despite growing up as an orphan with no finances or support structure, she taught herself to be an expert at motorcycling, scrapping old tech, surviving independently, and fixing starships (in one scene, Han Solo relies upon her to fix the Millenium Falcon when he can’t figure it out), then – when she finds out that she’s a Jedi – she immediately “levels up” to the point where she can fight Not Darth Vader, despite never having held a lightsaber before.
Next we have Han Solo. In the originals he was a smuggler with a heart of gold. On the surface just another ne’er-do-well, flying around in his rusty Space Camaro with his hairy friend, but as the movies progressed he rose above his roguish ways to become a responsible General within the rebellion. For her part, Leia was charmed and aroused by the smuggler, but it was the General that she truly fell in love with. Since then he’s regressed, and outright degenerated. By the time Episode 7 rolls around, he’s a burned-up divorcee. Leia took half of his stuff, and he’s started hanging out with his hairy friend again. He’s gone from smuggling contraband to doing the sort of dirty, dangerous jobs that only ex-cons work, even getting people killed in the process. Instead of aging gracefully, he dresses like a teenager, flies around in a ship that was a piece of junk even when he was young, and you can easily imagine him and Chewie making sexually-suggestive remarks to the sixteen year old girl working at the McDonalds drive through.
To make matters worse, his failures as a parent are what drove Not Darth Vader to become the Big Bad in the first place (spoiler warning: Han Solo and Leia are the parents of Not Darth Vader).
Next we have Luke Skywalker; the fat, burn-out, pervert, who ran away from the problems he created. In the next film² it will be revealed that, not only is he the absentee father of Feminist Skywalker, but that he seduced her mother in such a way that it contributed to the primary conflict of these films. He not only betrayed his Jedi training by sleeping with a woman (oh, those White men – they just can’t keep it in their pants)³, but he slept with a particular woman who was already spoken for, thus alienating an ally, or provoking an enemy. The blame for this star war can be assigned entirely to his dick.
Finally we have Mace Dindu, the Black Stormtrooper (I tried to google the character name, but even the websites decrying all of the rassism still referred to him as the “Black Stormtrooper”). As it turns out, he actually is a Stormtrooper,⁴ raised since birth to serve in the Empire’s Elite, who – upon his first brush of combat – deserted his unit as a “conscientious objector”. Like most pacifists, he lacked any coherent philosophy behind his objection to violence (Mace Dindu doesn’t read books), and we’re left with the understanding that he’s simply a coward. He runs away from every battle he’s in, plays the boob and the incompetent throughout, and towards the end the only reason he finally nuts up and fights Not Darth Vader is because he got the scent Feminist Skywalker’s White Pussy into his nose-
-and the first rule for being a Black Bull is that she makes the rules. Grunt for her, monkey boy: the Cuck’s all Ego, and you’re nothing but Id. The female Superego is your true master.
This entire film is metaphorical for affirmative action, both the direct and indirect forms. Women in today’s society graduate High School endowed with physical beauty, they enter a work environment with pro-female hiring quotas, they enjoy financial subsidies for schooling, are less likely to be harassed by the legal system, and the culture at large believes them to be naturally virtuous, hard working, and intelligent – furthermore society is as primed with a cachet of excuses for any and all short falls. Failed at school? Broke the law? Gave birth to a bastard? Men are to blame!
Meanwhile the boys who were raised beside her have been deliberately held back. Masculine behaviour was patholigized, and ritalin administered. They are presumed rapists from birth, and feminist lectures were given. They’ve been conspiring to hold women down because of their fragile, male egos, and while women’s-only spaces are an absolute must, masculine initiation and mentorship is exclusionary and evil.
The twisted reality fostered by such Hollywood films sickens me; movies are dreams, they reach deep inside of you, programming a new reality. While most storytelling comes from a place of truth, informing one of virtue and courage, this particular film has been designed to teach you lies.
The reality is that civilization is a result of men’s labour – technological progress has come from men’s inventions – even social advancement has come from men of great wisdom. The occasional female inventor or philosopher is thrown up to deny the truth of this, but even then you find that they are always – without exception – submissive towards masculinity. Jane Austin called out the petty, prideful ways of polite society (and women in particular) because she longed for the true leadership and masculinity of her beau, who’d been lost at sea. Madame Curie advanced science, because she so admired her husband the scientist and wanted to become like him. Even Ayn Rand delineated her philosophy of Objectivism as an attempt to understand masculinity, and knew perfectly well that no woman should ever be president.
Feminists have never – and will never – accomplish anything of worth, because they reject the masculine principle; the women of the greatest accomplishments are those who’ve submitted to it. J.J. Abrams preternatural fantasies about female superiors are nothing more than the symptoms of a boy whose development was arrested at an early stage. He longs for the safety of mommy’s apron strings, the pre-sexual intimacy of suckling at a milky teat, and a warm nest to protect him from the rough games the boys outside are playing. The masculine terrifies him so he denigrates father figures, while recreating the stories from his childhood.
Disney is the perfect home for him; a corporation that guarantees his safety, while monitoring and adjusting his behaviour whenever he steps out of line.
Women bleed on the birthing bed, while men bleed on the battlefield; that is the nature of the species Man. The delusions of broken boys like Abrams can’t change that – they can only pervert it. His world of gender-fluidity sells itself as freedom, but it is anything but; what he sells you is slavery, to your lusts, to your hungers, to your weaknesses, to the governments and to the corporations. True freedom, true individuality, comes when men pursue a truth higher than themselves, and women pursue the masculine truth that is higher than the feminine. These men and women are smiling, beautiful, confident, and strong because they obey a truth bigger than they are; those who follow whatever folly their hearts can conjure up are invariably ugly and wretched. It isn’t culture that creates man and woman – it is man and woman who create culture.
Star Wars: The Force Awakens is a perfect summation of the sickness infesting our civilization, a sickness which can only be cured by individuals devoting themselves to a higher cause. It’s time for all of us to find something worth living for, and to cast down the broken people who are held forth as idols.
1. I would argue that this warrants a re-evaluation of his prequel trilogy. They’re utterly terrible, of course (I still haven’t seen the third one and I don’t plan to), but the concept of green-screening an entire movie has actually succeeded to some extent, and has been adapted effectively in many other noteworthy films. As I said earlier, he’s a great Producer – it’s his writing and directing that are terrible.
2. This is all speculation on my part, but I’ll bet dollars to donuts that I’m right; I predicted most of the scenes and events from this film, based solely off of watching one trailer, and being familiar with hack Hollywood storytelling. Ask Matt Forney, I accurately predicted the exact scene where Feminist Skywalker was introduced; my only error was saying she arrived on a speeder bike, when in the film she left on a speeder bike.
3. The irony, of course, is that it’s women who are sexually loose with the most degenerate subset of men, and they are the ones who have chosen to raise a generation of maladjusted bastards, instead of being responsible with their reproduction, and demanding commitment out of the men they date. One Harley McBadBoy + Ninety-Nine sluts = Ninety-Nine single moms. It is women who have trouble keeping it in their pants, and yet we’re supposed to believe that men are the ones who think with their little-heads.
4. Dear nerds: I don’t care that he’s supposed to be a
Boba Jango Fett clone. That was a stupid idea in the first place. If you recall, they also lowered the testosterone of the clone soldiers to make them more obedient; because as you all know, the Marine Corp wants more Pajama Boys…