SCIENCE-FICTION GLOBALISM: HOLLYWOOD’S DESTRUCTION OF EVERYONE AND EVERYTHING

The science fiction and fantasy genres have become playgrounds for dark globalist forces – with everything in sight being remade and reinterpreted. Disney, Amazon, Paramount, and other such Borg-like entities, have been assimilating franchise after franchise with suspicious urgency. Among those are Star Trek, Star Wars, Tolkien’s Lord of the Rings, Grimms’ fairy tales, and so on.

Neither profit nor quality seems to be the goal. Projects which reliably lose money are extended year after year. Ridicule and contempt from fans does not deter either, as can be seen in the catastrophic continuation of the ‘Rings of Power,’ now blighting TV screens around the world.

Well, that’s not entirely accurate. Ridicule may be the only thing that works since that was most likely the reason the notorious ‘The Acolyte’ (or ‘The DEIcolyte’) was cancelled by Disney’s Lucasfilm. Perhaps evil is repelled by mockery after all.

Since profit and ambition are not the goals in these remakes and reinterpretations, there must be other more important goals. We know what those goals are because the people involved are not subtle and have told us. Those remakes and reinterpretations are essentially revenge fantasies against the hated White Man, particularly the even more hated Handsome Masculine Man. Power is symbolically removed from him in these productions and he is left cowering – weak, effeminate, and emasculated. There is also a hint of revenge fantasy against another hated type – the Nice and Beautiful White Woman – evident from the fact that most women hired for acting are ugly, obese or with horrible personalities – or all of those simultaneously.

This isn’t the real goal though. The obvious targeting of whiteness, masculinity and femininity is real, but it’s more of a ‘priority hatred’ of the people producing the material rather than the real goal. There is a wider underlying goal, rather sinister.

To understand what it is we must first ask an important question: Why has science fiction and fantasy become such priority for the Woke Message? What is it about these genres that draws the attention of the woke propagandists?

Science fiction and fantasy tend to include two very important ingredients: archetypes and world-building. This makes them very attractive vehicles for propaganda and systematic social programming.

Archetypes

Archetypes can be described as basic genetic/evolutionary ‘tendencies’ or concepts that are built into us on a basic level. We recognize and understand these concepts more or less the same way, regardless of whether we are born in Oslo or Kinshasa. This may include concepts such as justice or fairness, courage, evil, leadership, birth and rebirth, purity, sacrifice, honor, wisdom, and so on and so forth. The number and types of archetypes vary depending on who you ask. They are, however, most likely real. Even some animals seem to have certain basic concepts which are unlikely to have been learned, such as gratitude/reciprocity and fairness. This can for example be seen when crows and some other animals bring objects as ‘payment’ for food.

In order to exert their influence upon us, archetypes need to take form. They usually do that symbolically, primarily in the form of an archetypal person. In our mind a particular person with particular attributes will become a symbol for one or more archetypes. The knight is a symbol of honor and bravery, and some person, real or fictional, may become a symbol for the knight.

These archetypes, having taken form, become structures in our minds with foundations reaching all the way down to our genetic code. They are therefore very strong, and can influence our perception of ourselves and the world around us. They are, at least partly, the foundation of tradition and they provide basis for collective morality through example. In order to know what is right and wrong, we only have to ask ourselves what our archetypal forms would do – much like some Christians ask themselves ‘what would Jesus do?’ to solve an ethical dilemma.

Recently I was watching a clip on Youtube from the original Star Trek. In the clip Captain Kirk showed a captured Romulan commander respect and ordered that she should be treated well. One of the comments below was from a commander in the US Navy who said that this scene had motivated him in his career to approach enemies with respect. This archetypal influence is not only positive, but very common.

In earlier times the archetypal forms were developed by telling stories around the campfire. They were of characters larger than life that showed bravery, overcame seemingly insurmountable odds, conquered evil, gave sage advice, protected the defenseless, and solved moral dilemmas. Later there were books with mythical stories serving the same purpose. This included Grimms’ fairy tales, which were essentially archetypal forms set up as parables for children.

Later, novels with characters with archetypal properties became the main driver for archetypal forms, and then finally movies. Nowadays, movies and TV shows are the main supply of archetypal forms. When we think of the brave knight, we may think of Luke Skywalker or Aragorn.

The power of archetypes is such that we seem to gravitate toward them. A novel or a movie using archetypal characters skillfully will get direct access to the deepest parts of our psyche, and we will instinctively understand the characters’ motivations. We will cheer them on in their quests and trials.

Novels and movies using archetypes do more than just utilize them to draw in readers and viewers. They actually define the forms for us, much like the stories around the campfire back in the day. And by creating the forms or symbols for the archetypes, they tell us what is right and wrong through the actions of the characters. Since many parents are no longer bothering to do this for their children, and traditional community has more or less disappeared, movies and TV shows are more powerful than ever.

No genres are more loaded with archetypes than science fiction and fantasy. They are both unrestrained by the real world and the freedom to define and develop characters is far greater than in stories taking place in the real world. Science fiction and fantasy are the myths of our times.

In some science fiction and fantasy movies all the main characters are archetypes participating in an archetypal plot – usually some kind of struggle between good and evil. Movies like that can be extremely effective at defining these forms for us if they are properly executed. They help build up a ‘city’ of archetypal structures in our minds, creating a sort of mental foundation for us. The characters in the movies and their actions and decisions provide guidance for us, both for life in general and for moral decisions. This guidance is usually subconscious but is often conscious as well. What would Frodo Baggins do in this situation? He would certainly not give up.

Archetypal forms are usually positive in the sense that they strengthen our character and help us differentiate between right and wrong. If you’re not a slightly better person after having watched the Lord of the Rings trilogy or the George Lucas Star Wars movies, then you are truly beyond saving.

There are, however, negative archetypes. Evil, deceitfulness and trickery, betrayal, and other negative concepts have their forms as well. Sauron and Emperor Palpatine are archetypal characters signifying evil; Darth Vader and Saruman signify betrayal – and redemption (in Vader’s case). Good cannot be demonstrated or recognized without evil, which is important because the way archetypes have partly been used through the ages is to teach the difference between the two.

Now let’s take an example. Suppose we wanted to completely rebuild a city. We have a city which could use improvement, say Detroit, and we want to rebuild it as Rome. Detroit, however, cannot be transformed into Rome. It would have to be wiped off the map and completely rebuilt as Rome. Same applies if we wanted to turn Rome into Detroit. Rome would have to be destroyed.

This is essentially the goal of Hollywood. We have a ‘city of the mind’ full of beautiful and noble archetypal forms providing direction in our lives and showing us the distinction between good and evil. This is our Rome. Hollywood wants to turn it into Detroit.

If we had a plan to reformat society, this is what we would do. We would remove all obstacles, physical and mental. We would remove inspiration from the past by rebuilding actual cities to be ugly and dehumanizing. We would also remove mental obstacles, both moral and archetypal. Only then can a new structure be built. The people doing this have identified certain aspects of popular culture as both obstacles and opportunities, and decided two things: 1) To remove the most powerful of their archetypal forms and 2) replace them with something new.

This is the reason for the urgency to ‘deconstruct’ powerful archetypal characters from powerful movie franchises. The old versions are still there. Those people cannot, yet, remove them from existence – preventing people from watching them. Instead they must ‘go back in time’ and destroy the archetypal forms in them. In the new reinterpretations, such as the New Star Wars, the New Star Trek, and the New Lord of the Rings, the most powerful archetypal characters from the old versions are therefore being systematically destroyed.

Luke Skywalker is now a pathetic figure, and so are Han Solo and Obi-Wan Kenobi. Galadriel is no longer wise; she has become an intolerable idiot. The Jedi Order is no longer a powerful beacon of honor and justice; they are now both weak and evil. This goes on and on, all over the place. The demolition of these archetypal characters is both systematic and obvious.

The new productions then present us with a new archetypal landscape we are supposed to accept. The new archetypal characters have new way of doing things, they have new agendas, and new morality. Steadfastness, logic, bravery, wisdom, honor and justice have been replaced with emotional outbursts, random decisions, stupidity, deceit, and moral ‘ambiguity.’ Hard work and intelligence are no longer required and the new characters’ skills and knowledge just appear without effort. Instead of asking ourselves what Frodo or Captain Kirk would do, we are supposed to ask ourselves what some sneering sociopathic character in the Acolyte would do.

Is this done on purposes? Yes, obviously. This is too systematic not to be done according to a plan. A company like Disney doesn’t abandon profit for no reason. This is not only a plan, but the people doing this are willing to lose a lot of money to accomplish their goals. This means that they see these goals as important – and they are right about that.

Is it working? Not really. The response in society to all this has been harsh, and is getting harsher. It has become so harsh that projects are now being shut down. It started with the Acolyte and perhaps Snow White will be next. So, why isn’t this working? There are two main reasons:

Firstly, there is the nature of the archetypes. For a significant majority of people, upside-down archetypes are simply not acceptable. Turning good into evil will not compute for them. The positive archetypes are already there – in our genes, and they are strong. It is doubtful that this majority can ever be conditioned to internalize upside-down archetypal forms. The majority of the human race is fundamentally decent and wants fairness and justice. I never thought I would say this, but there it is.

Secondly, the people available to execute this plan tend to be hacks with low self-awareness. No decent and competent person would go near this on the level of script-writing, directing or casting. They wouldn’t be allowed to anyway. You can go through the list of the people involved in the new projects and what you’ll find is mostly the same type of people – incompetents who have never accomplished anything significant – and who can’t even answer questions or appear publicly without making fools of themselves. (The good news is that if Kamala Harris doesn’t become president, she would be a perfect showrunner for the next Star Wars project.) People like this are not exactly subtle in what they do, and a majority of the population can see what they are doing.

The situation for these productions is now such that only the people who are already onboard with upside-down archetypal forms and twisted morality watch them. They are now isolated with that part of the human race for audience. Everyone else just mocks them.

World-building

Science fiction and fantasy usually has some ‘world-building’ – particularly if the story doesn’t take place in the real world. The quality of the world where a story takes place is quite important for the success of a novel or a movie. The best worlds can be so appealing that many people would prefer living in them instead of the real world – which isn’t surprising considering how the real world is for many people. Millions of people would gladly abandon their current lives to be able to live in the world of Star Wars, Star Trek or the Lord of the Rings. This appeal makes science fiction and fantasy worlds a powerful tool for programming.

A well-constructed fictional world gives the propagandists an opportunity to sell a whole ‘concept’ rather than just new archetypal characters. This particularly applies to worlds that represent a possible future, rather than ‘side worlds’ like in the Lord of the Rings. Science fiction is therefore a more suitable venue for programming because those worlds can be used to sell a particular type of future, or eventuality, for the human race.

There are two basic sales methods which we can call ‘seduction’ and ‘normalization.’

The seduction method involves presenting a glorious future where mankind has evolved to a higher state. Perhaps there is no violence anymore and everybody lives prosperously and happily. These worlds are bright and optimistic, and there is a lot of interesting stuff going on. The positive aspects, however, are a camouflage for some form of tyranny – usually through consolidation of power. This tyranny can be a world government, a society ruled by an AI, or a shadowy council, or some sort of code which forces us to be good to each other. The goal is to present this particular type of totalitarianism as a necessary step to achieve this golden future. Tyranny is essentially wrapped in kittens and rainbows (much like the EU is doing now and the West in general). The goal is to sell this totalitarian structure as both a necessary and inevitable step toward this golden future. You see, humanity will never progress like this unless we all come together. It’s a subtle and seductive way of selling tyranny.

The normalization method involves presenting a dark future where mankind has ‘gotten itself’ into a blind alley. These worlds are dark and depressing. There is suffering, shortages and hunger, oppression (for the common good), and perhaps rampant crime. Life is nasty, brutish and short for the common man and woman. The situation is our fault, usually because we polluted the air, consumed all the resources, released carbon into the air, or something along those lines. Now there’s just too many of us and there’s not enough for everybody. The goal is to normalize a dark future – to get people used to it before it actually happens – and to make sure we blame ourselves for it instead of the people who actually engineered it.

Dystopian science fiction is nothing new. Historically, it has tended to reflect our fears. The fear of nuclear war spawned a lot of dystopian science fiction world-building after the creation of the bomb. Fear of plagues and alien invasions have also contributed greatly to science fiction. However, there seems to be an ongoing trend where worlds are not only darker but certain behaviors are being normalized. This includes a total disrespect for human lives, random violence, manipulation of the population, and systematic experiments on the population. Many of these worlds have a new ‘overclass’ of people, who under normal circumstances wouldn’t be trusted to run a hot dog stand – but in these shows have almost magical properties .

The normalization pattern is clear: You should expect to be ruled by emotional and incompetent people who will subject you to random and nonsensical decisions, experiments, violence, constant contempt, and death. It seems that the real world is rapidly catching up with these programming operations.

It is also interesting that the emphasis seems to have shifted from the seduction method to the normalization method. A good example of that is Star Trek. The old Star Trek was a bright and seductive world while the ‘New Star Trek’ is dark and twisted and textbook for normalization programming.

Star Trek was one of the most successful globalist programming operations ever conceived, particularly the Next Generation and the shows that followed. That includes Deep Space Nine, Voyager and Enterprise. The programming in these shows mostly focused on normalizing the consolidation of power, cultural assimilation of nations (alien races) and the inevitability of a world government (galactic government in the shows).

The main driver of the programming in Star Trek was the ‘Federation.’ In Star Trek there was already a one world government on Earth, but the key theme was its expansion throughout the galaxy. The Federation was a near post-scarcity culture – a ‘benevolent’ entity where people had reached a higher state. There was little or no violence (except when the Federation fought its enemies or crushed rebellions), money was not used (except when it had to be) and people were motivated by self-improvement (except when they weren’t). This all sounds good but human nature is such that these ideas couldn’t really be written into the shows in a believable way, only talked about.

In the shows the Federation expanded continuously and the main interest when contact was made with new alien races was ‘cultural exchange.’ Another interesting characteristic of the shows was the ability of different alien races to have children together. An unavoidable result of the Star Trek world was a future galaxy with a unitary culture, populated by a unitary race. A galaxy completely void of diversity. That sounds vaguely familiar, doesn’t it?

The expansion tendencies of the Federation were always sold as something positive. Benevolence, higher ideals, togetherness, cooperation, justice, and so on, were always used to justify the expansion. Wars against enemies had the explicit purpose of bringing them into the Federation at some point, regardless of how evil they were. It was imperialism by violence and cultural assimilation, wrapped in kittens and rainbows.

This nature of the Federation was clearly obvious to some of the writers. There were some interesting scenes and plots in Star Trek where the writers seemed to be sneaking in the real purpose of the shows. The most famous of these involve Commander Michael Eddington who rebels against the Federation. His rebellion was, of course, crushed. A scene between him and Captain Sisko, a loyal henchman of the Federation, lays out the agenda eloquently. It is surprising that this scene was allowed at all. Watch it here:

This scene not only describes the Federation – it accurately describes modern globalism, and its goals and nature. It describes the hypocrisy and dishonesty of our rulers and power structures. There is actually another famous scene in Deep Space Nine where the hypocritical nature of the Federation is discussed. Watch this example of brilliant screenwriting and acting here:

These scenes are famous for a reason – they completely subvert everything else in the shows. They are a peek behind the curtain. Michael Eddington is among the most popular recurring characters in Star Trek despite his limited screen time. The rebel archetype is indeed strong.

Star Trek was an extremely successful propaganda operation. There are millions of people who have been programmed by Star Trek to believe that the unification of humanity is not only unavoidable, but a necessary condition for its advancement. We will not reach the golden zone in the future without a world government. In their minds, the consolidation of power is not a recipe for tyranny, but a noble and necessary undertaking. It is, in fact, unavoidable.

Why was Star Trek such a good programming vehicle? For one, it was subtle. It did not push the propaganda in an obvious manner. It had good writing, well developed characters, and interesting plots. However, the mask started to fall off during the last seasons. The last three seasons of Voyager started to become outright woke and irrational, and some episodes in Enterprise were unwatchable for the same reason. But generally, Star Trek was a great show.

So, why wasn’t this continued? Why did New Star Trek abandon the seduction method? There are many possible reasons. The seductive method requires subtlety, good screenwriting and good characters. Those properties require writing talent. Writing talent is incompatible with woke ideology, which means that the seduction method is generally outside the ‘approved’ modern screenwriter’s ability.

There were also strong archetypal characters in Star Trek who cannot be allowed and must be deconstructed. The original Star Trek had the archetype for the Leader (Captain Kirk) and Reason (Mr. Spock) and was full of ‘toxic masculinity.’ The later Star Trek also had strong archetypal characters, such as the Father (Picard), the Mother (Dr. Crusher), the Noble and Brave Knight (Commander Worf), as well as a multitude of characters symbolizing all kinds of archetypes, including Redemption. Star Trek therefore had to be reconfigured into a dark normalization world with upside-down archetypes.

All this, as stated earlier, cannot be a coincidence or ‘emerging properties’ of a ‘new culture.’ Entertainment companies do not decide to lose money for no reason. In fact, they are not losing money at all. They are investing it – in a new future for humanity. A dark future.