My friend is a movie reviewer for the college newspaper, and invited me along on one of his viewing trips. The film is the latest Spike Lee project, "Chi-Raq", a modern retelling of Aristophanes' comedy, "Lysistrata".
Stylistically, it was wonderful. The rhyming, metered speech of the actors' dialogue reminds one of the theatre, which was the goal, of course. The colors, music, and dance draw one in. But that is, of course, the aim of propaganda.
The whole thing was rife with SJW propaganda. Such as describing the death of a young girl by a stray bullet during gang violence as a product of politicians' connections to the NRA (though the gun in the film is said to be illegal in the same breath as they condemn the NRA).
However, they had to give up one important SJW narrative: the idea that all men are rapists.
If one is familiar with Lysistrata, it is a comedy in which the women of Greece aim to end the Peloponnesian War by means of withholding sex. The eponymous character is also the star of Chi-Raq, convincing women around the world, including sex workers, to stop having sex with men until there is peace. Ignoring that women rarely work together like this (which is necessary for most SJW narratives), and ignoring that porn would continue to exist even after the porn stars stopped working (lightly mentioned in the film), what is to stop men, especially the violent men whom these women are focusing on, from raping these women? In the film, it is only after they gain global female support and hole up in a national armory that the rest of the world's men are affected. But at the beginning, when it is just the girlfriends of thugs trying to keep up this vow, what is stopping their men? Yet the idea of rape is not even discussed in the film. The men try to seduce their women to no avail. Men are helpless when women simply say no.
And this, my friends, is when the holes in the narrative grow wider. In order for the rest of their rhetorical propaganda to flow, they had to give up a key tenet of their narrative.
The tale is ending soon. The tide is turning. Stay strong.
Stylistically, it was wonderful. The rhyming, metered speech of the actors' dialogue reminds one of the theatre, which was the goal, of course. The colors, music, and dance draw one in. But that is, of course, the aim of propaganda.
The whole thing was rife with SJW propaganda. Such as describing the death of a young girl by a stray bullet during gang violence as a product of politicians' connections to the NRA (though the gun in the film is said to be illegal in the same breath as they condemn the NRA).
However, they had to give up one important SJW narrative: the idea that all men are rapists.
If one is familiar with Lysistrata, it is a comedy in which the women of Greece aim to end the Peloponnesian War by means of withholding sex. The eponymous character is also the star of Chi-Raq, convincing women around the world, including sex workers, to stop having sex with men until there is peace. Ignoring that women rarely work together like this (which is necessary for most SJW narratives), and ignoring that porn would continue to exist even after the porn stars stopped working (lightly mentioned in the film), what is to stop men, especially the violent men whom these women are focusing on, from raping these women? In the film, it is only after they gain global female support and hole up in a national armory that the rest of the world's men are affected. But at the beginning, when it is just the girlfriends of thugs trying to keep up this vow, what is stopping their men? Yet the idea of rape is not even discussed in the film. The men try to seduce their women to no avail. Men are helpless when women simply say no.
And this, my friends, is when the holes in the narrative grow wider. In order for the rest of their rhetorical propaganda to flow, they had to give up a key tenet of their narrative.
The tale is ending soon. The tide is turning. Stay strong.
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Havamal 77
Cows die,
family die,
you will die the same way.
I know only one thing
that never dies:
the reputation of the one who's died.