Monday, June 30, 2014
Thursday, June 26, 2014
Tuesday, June 24, 2014
Monday, June 23, 2014
Friday, June 20, 2014
The Truth About Maleficent
“Maleficent”
is yet another girl power redemption movie about the glories of femininity and
the evils of masculinity – “Frozen” with thorns.
The movie opens
with two orphaned children – a girl, and a boy. The girl – a goddess named
Maleficent – sits in a tree laughing at the sunshine, playing with toys she
magically floats in the air, healing trees and generally spritzing sentimental
virtues like a mall troll spraying perfume on her victims.
The boy is a
dirty thief.
Do you get the
picture? If not, this Nazi-level of anti-male propaganda will be repeated
within the film for approximately infinity. Women – good, because magic. Men –
bad, because beards.
The boy –
Stefan, the future king - has picked
up a gem because
he is broke and hungry. Maleficent takes it away from him by force, and then
throws it in a river.
Whaaaaa?
This interaction
is completely insane – and immoral. A starving boy picks up an unowned gem so
that he can eat, we assume, and the little witch takes it – just to throw it
away. She does not offer him food, or gold, or anything else - she just takes
away his treasure and trashes it. Can you imagine meeting a starving, orphaned
child who is about to eat a banana, ripping that banana out of his hands, and
grinding it underfoot?
Also, I don’t
know if you have been to a mall lately, but if I recall rightly, women don’t
seem to be particularly partial to taking expensive gems, and throwing them in
a river. It is women who are responsible for the rape of the earth called
diamond, mineral and gold-mining – not men.
Angelina Jolie
had a quarter of a million dollar engagement ring made for her, for a year, by
Brad Pitt.
Maleficent is
the protector of fairy land, where there are no rulers, because everyone just
trusts each other – this is the madness of GirlyWorld – you know, like in high
school, where all the girls loved and supported and trusted each other, right?
King Henry is
the King of Man World, and thus is greedy, dirty, bearded, swarthy, greasy, and
violent. He brings his knights to attack GirlyWorld, because – why? Well, he
has a beard, and thus is evil. One thing you will notice throughout the movie –
and this is becoming a ridiculously prevalent cliché – is that the more male
characteristics a person has, the more evil he is. Stefan as a boy is not evil,
because little boys look like little girls. Later, the gay Prince who wins the
Princess’s “heart” with his inept stuttering is not evil, because he looks
about as capable of growing a beard as a beluga.
This level of
transparently manipulative propaganda is directly lifted from the racist and
anti-Semitic cliché handbook. Imagine making a movie where everyone who was
good was really, really white; the ambivalent characters were mulatto, and the
more evil the character, the darker his skin. Or, a movie where all the heroes
were blonde, square jawed and blue-eyed Aryan blooded gods, and all the
villains were hook-nosed grasping Jewish caricatures - and the more Jewish they
looked, the more evil they were.
Good Person - No Male Characteristics
More EEEEvil, More Male Characteristics
More Evil, Almost There...
Total Evil Villain: There We Go!
We don’t see
this very clearly, because transcendent, world spanning, man hating bigotry is about as
noticeable to us as gravity – and about as prevalent.
So here we have
two orphans, Stefan and Maleficent. Stefan is dirty, avaricious, ambitious, and
immoral. Maleficent is glorious, brave, caring, good natured, sensitive and gentle - just run
through the lexical set of sentimental virtues, and you will see her picture on
every word.
In the
development of the two characters, you will see a fundamental artistic truism
of the etiology and progress of gender immorality: men are born bad, but women are made bad by men.
Male evil is causeless,
unexplainable, irredeemable, and inexhaustible.
Female “evil” arises from male betrayal. Men are bad because they are
men; women are made bad by men.
Women tenderly open their
hearts to men, who then sadistically cut their hearts out, leaving them bitter,
angry shells of their former glorious selves.
Women can learn virtue and
redeem themselves; men always just double down on their prior evils, until
justifiably killed by a woman.
Sounds pretty
balanced to me, how about you?
King Henry
brings his knights to attack GirlyWorld, for no discernible reason – Maleficent
summons her beta male tree guards, and reveals herself to be a magnificent
warrior, who sweeps helpless knights from the battlefield with the power of her wings, and has
some sort of magic immunity to being hit by iron arrows. Also, apparently, no one figures out
that setting fire to the tree guards would be a pretty good way of taking them
out – because, of course, they are men, and so compensate for their immense
evil with equally immense stupidity.
As we saw in the
other Disney movie “Frozen,” women always possess great talents and abilities without any
prior training or experience whatsoever. Maleficent shows no hint of her army-destroying martial
powers
prior to taking on all the King’s men; she is a woman, and therefore is
magnificent and powerful and competent without ever having to undergo the
inconvenience of rigorous training and preparation. She plays with toys, heals trees, dances
with fairies – and then destroys an army! She never has to learn any of these skills;
she is just born with them, because all women are somehow born with thermonuclear labia
capacities.
All these
unearned skills and magical powers granted to women in stories throughout
history are merely metaphors for the magic vagina that gives young women value
that they do nothing to earn. I has vagina,
therefore value.
When we
understand this, we can understand that all the magic of Maleficent’s GirlyWorld
is merely the magic of youthful female desirability, which Angelina Jolie rules because, as the
most beautiful woman in the world, she rules the real world as well.
The fact that in
ManWorld, men are dirty and hard-working and ambitious, while in GirlyWorld,
women laugh and play and dance and sing, is merely testimony to the insane
degree that women take for granted the safe, clean and technological world
created by men. Try to imagine a day when women wake up and thank men for
providing sewers, electricity, plumbing, roads, frozen food, refrigerators,
dishwashers, laundry machines, smartphones – the list, literally, goes on
without end. Can you imagine women ever acknowledging the tragic reality that
men invented labor-saving devices for women before they invented life-saving devices
for men – laundry machines were invented for women before basic safety devices
for male miners? Of course not, it’s all “men are pigs,” “rape culture,” and “muh patriarchy.” Despite controlling 80 percent
of domestic spending, women consider themselves a tragically put-upon
underclass – because, as we all know, the motto for men throughout history, in
lifeboat situations, was, “women and children last.”
In this
metaphorical set, Maleficent’s wings are in fact her breasts, or sexual power –
they start small, when she is a girl, and grow large, when she becomes a woman. They allow her
to defy gravity, just as a hot young woman’s sexual appeal allows her to deny the
economic reality called having to work buy her own drinks, or pay for her own
dinners and trips. (A young woman I know told me that her friends love going out for
an evening armed only with cab fare home, knowing that young men will buy them drinks all night long. This is called
“empowered,” not lazy, manipulative and parasitical.)
Maleficent and
Stefan become friends – and then kiss – but after Maleficent fatally wounds the
King, the dying monarch offers his crown to whoever kills Maleficent. Taking advantage of
their former friendship, Stefan drugs Maleficent, but finds he cannot bring
himself to kill her, and so instead burns off her wings with iron – a substance
deadly to fairies – and returns them to the king as proof of his victory.
It is essential
to remember that, on the King’s orders, someone
from the castle is going to kill Maleficent – Stefan in fact actually saves her
life by only taking her wings.
Next comes the
most important moral dichotomy in the movie. Immediately after Stefan effectively
saves Maleficent’s life by taking her wings, Maleficent comes across a crow in
a net about to be beaten to death by a farmer, who is tired of the crow eating
his seeds. Maleficent turns him into a man – thus taking his wings!
The man – named Diaval
– says, “What have you done to my beautiful self?”
Maleficent
replies, “Would you rather I let them beat you to death?”
Diaval mournfully
regards his missing wings, and then replies, “I’m not certain.”
Maleficent says
scornfully, “Stop complaining! I saved your life!”
Diaval lowers
his eyes and murmurs, “Forgive me… In return for saving my life, I am your
servant.”
I am so
susceptible to propaganda that I did not even notice this until watching the
movie for the second time, but it is truly a jaw-dropping sequence.
King Henry has
ordered his men to kill Maleficent. Stefan saves Maleficent’s life by taking
her wings. She plots revenge, destroys lives, murders her former lover, drives
an innocent child into exile for sixteen years – and is considered justified in
her actions.
Maleficent saves
Diaval’s life by taking his wings – then snaps at him to stop complaining, and
turns him into a slave for the rest of his life.
Notice any slight
moral double standards here? Look closely…
Imagine this
scene: Maleficent wakes up to find her wings have been cut off. Stefan smiles
at her.
Maleficent
screams, “What have you done to my
beautiful self!”
Stefan laughs
and replies, “Would you rather I let the King’s men kill you?”
Maleficent
lowers her head. “I’m not certain.”
Stefan snaps
scornfully, “Stop complaining! I saved your life!”
Maleficent
lowers her eyes and murmurs, “Forgive me… In return for saving my life, I am
your servant.”
Maleficent then
spends the rest of the movie making King Stefan sandwiches, rubbing his feet,
picking up his dry-cleaning and washing his floors, in humble gratitude for the
fact that he saved her life.
Women would go
insane at such a humiliating depiction – but no one even notices it if the
victim is a man.
Also, why did
Maleficent need to enslave a man to save his life? She could just have used her
magic army-destroying powers to get rid of the farmer, and set the crow free.
Maleficent has infinitely less justification for enslaving the man then Stefan
has for taking her wings – the man Diaval is not allowed to mourn his loss for
even two seconds, but the woman Maleficent is given over an hour of screen time
to mourn and plot and abuse children and kill her former lover. She turns
him into various creatures – which he hates – and constantly puts him in death-magnet situations of danger, and scorns
his trembling attempts at good
advice.
You see? Men are disposable
slaves; women are dark justified
goddesses of retaliatory magic.
Mmmm, I can
almost taste the patriarchy, can’t
you?
Watching the
movie, I understood that Maleficent’s “wings” were a metaphor for her breasts, and watching Angelina Jolie – who
recently underwent a double mastectomy – awaken from a drugged sleep and howl
in agony at the surgical removal of her “wings" made me pretty
uncomfortable. I prefer a bit more acting in my movies.
A woman believes
that she has value because she is sexually attractive, but then, when a man
impregnates her, she loses her sexual attractiveness. The “loss of wings” is a
metaphor for Stefan impregnating Maleficent that night in the forest, which
caused her to lose the sexual value of her breasts, as they transition from
sexual objects to baby feeding bags.
If we understand
that Maleficent is the King’s mistress who gives birth to a child, the rest of
the movie makes a whole lot more sense.
Historically,
bastard children are great problems to royal families; when the King has a
child with a mistress, he does not want to kill the child, but the child can
lay claim to the throne. (Shakespearean plays are rife with the problems of
bastard royal children.)
The bastard
child is usually raised a great distance from the palace, and not told about
his or her Royal lineage. The child is kept as an emergency backup monarch-to-be, in case the
Queen proves infertile, or illness or war carry off the legitimate heirs to the
throne. This the fact that the child in the movie – in reality the child of
Stefan and Maleficent, but passed off as the child of the Queen – is sent away
to a distant cottage and raised without knowledge of her Royal lineage, would
be standard operating procedure for the head criminals in society.
Once we
understand that the child – Aurora is her name – is really the love child of
Stefan and Maleficent, we can understand why Maleficent never falls in love
again, and basically grows into a brittle and aggressive spinster. In history, few men would wed a woman who gave birth
out of wedlock, for the simple reason that she had clearly signaled her sexual
greed and irresponsibility, and thus he could never be sure that he would
actually be raising his own children. She loses her wings permanently after
being impregnated by Stefan, because by giving birth to a child out of wedlock,
she has permanently lost her sexual appeal to other men. (There is a reason why
Monica Lewinsky remains unmarried…)
This also
explains why Maleficent is obsessed by Aurora, and continually watches over her
– because Aurora is not only her child, but also the only child she can ever have.
On the baby
Aurora’s
christening day, pixies arrive to give her blessings – the first blesses her
with beauty, the second with happiness. What sort of messed up set of
priorities is this? Nothing about intelligence, or wit, or creativity, or
self-knowledge, or wisdom – she should be pretty, and then giggly, which is all
she ever turns out to be, which is even worse than falling into a never-ending
sleep.
What is the curse that Maleficent puts on
Aurora on her christening day? That she shall die by being pricked by a
spinning wheel on her sixteenth birthday. Historically, a spinning wheel was a
dowry present for a woman getting married, so this curse is basically for
Aurora to die giving birth to a child when she is 16. ("Prick" is
slang for “penis,” of course; a finger is a metaphor for a penis, which enters the woman on her
wedding night and makes her bleed.)
Sleep is a
metaphor for a lack of self-knowledge – people sleepwalk through life if they
act automatically, without self-reflection, which basically means without being
told the truth by those around them, particularly their parents.
So the curse means
a continuation of the sexual disasters and dysfunctions of the bloodline –
Aurora will get pregnant, just as Maleficent got pregnant, and these disasters
will just repeat, over and over again, because Aurora will never wake up to
reality, to the truth, which is withheld from her.
After being
begged, Maleficent makes a modification to the curse, which is that Aurora can
be awakened by true love’s kiss. Just as in “Frozen,” it turns out that this
kiss, this love, must come from a woman, not a man.
At one level,
this appeals to the vanity of girls and women who love to imagine that,
although they want to become mothers, they can “do without men!”
A deeper level,
this is the beginning of mankind’s awakening to the basic reality that it is
the lack of love from women that is killing the world. Women’s well-documented
verbal, physical and emotional abuses within the family – statistically,
greater than men’s – is beginning to be understood, and the first indications
of focusing on the immorality of so many women as the most necessary
dysfunction that needs to be addressed to save the world, is underway.
People are so
terrified of women that they can only assign them a tiny shred of moral
responsibility for healing the world after spending roughly 90 minutes
obsessively praising them. The movie Maleficent is willing to give women the
message that they need to love their children more in order to heal the world
only after endless scenes of women being wonderful, healing trees, flying,
dancing with fairies, loving open heartedly, being endlessly victimized, and so
on. This
requirement for endless flattery before giving a heavily veiled metaphorical
message is characteristic of those living under a dictatorship, a “chicktatership” perhaps.
Another message
that appeals to the vanity of women is that Aurora can be raised by essentially
three neurotic lesbians – the trio of verbally and physically abusive pixies in
the movie – and emerge an absolutely wonderful and radiant young woman, who
giggles and laughs, emerges from leaves, plays with fairies, loves unreservedly
and unconsciously and heals the broken heart of the woman she calls her “fairy
godmother,” who has been watching over her since she was born – all phrases
used to describe a real mother who is being passed off as a mere relative or
friend.
Again, we see
that pure female influences in the life of a child – with the exception of
Maleficent – always produce wonderful offspring, while whatever a man touches
turns to ash and hate and fire and death.
In the final
scene, when Maleficent finally speaks maternal words to Aurora, promising that
no harm will ever come to her, Aurora “wakes up,” which is to say that she is
finally told the truth about her family, and her origins, and who her mother
really is.
Maleficent actually apologizes, expressing sorrow and regret, which is not the
most common female trait in the world, at least in my experience. In fact,
feminism, by making women eternal victims, has stripped them of their ability
to apologize, and thus to take moral responsibility, remain sensitive to
empathy, and grow as human beings. Believing in the patriarchy means never
having to say you’re sorry.
Much has been
written about the “rape” scene in the movie, where the future King removes
Maleficent’s wings while she sleeps, which is considered analogous to drugging
a woman, and then raping her while she is unconscious.
I have some
problems with this interpretation – not least of which is that Stefan’s supposed rape is considered a crime, but not one
commentator has mentioned anything about Maleficent’s theft of Stefan’s gem, which really set
the whole story in motion. If the young Maleficent had not stolen the boy’s gem, he would
never have had to go and work in the Castle, and never would have been infected
with the desire to become King, and therefore would never have cut off her wings.
It would have
been immensely powerful if Maleficent had apologized to Stefan for stealing his
treasure when he was a little boy, particularly since she only threw it away. I mean, imagine
what a wonderful scene it would have been if, when he returned to her as an
adult, she had apologized for her theft that drove him to the Castle, and
invited him to stay with her, and work to overthrow the unjust King. However, it seems
to have crossed no one’s mind but mine that Maleficent did the boy an enormous
wrong, and sent him down a very dark path through her imperious theft. However, the
idea that a woman would genuinely apologize to a man in a movie remains in the
realm of fantasy; I think we will sooner see an orc run for president than witness such an improbable spectacle.
I’m sorry if it
sounds like I’m beating the same drum with the same stick, but really, this
level of contempt for masculinity has to be noticed before it can be stopped.
It is not
healthy to tell women that men are bad – is not healthy to tell daughters that
fathers are bad – it is not healthy to tell wives that husbands are bad,
because the absence of fathers is killing the world. It may sound like I speak in hyperbole,
but I’m deadly serious. Just look up the statistics on the children of single
mothers; I will let the fatal math make my case.
A society
without respect for men has no respect for property, or nature, or currency, or
solvency, its own children – or its own future, which shortens every single day.
Ladies – you
need men, your children need men, the civilization you rely on was built by,
and rests on, the labors and talents of men. Stop putting us down, stop
supporting those who put us down, because it kills your capacity for love as
much as it murders ours - and without love, without respect, without virtue, we are less
than animals, because animals can survive without such glories.
We cannot.
Thursday, June 19, 2014
Tuesday, June 17, 2014
Monday, June 16, 2014
Saturday, June 14, 2014
Thursday, June 12, 2014
Monday, June 09, 2014
Friday, June 06, 2014
Thursday, June 05, 2014
Wednesday, June 04, 2014
Tuesday, June 03, 2014
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