The Poz

Guest Post by The Zman

I don’t have a cable subscription, so the habit of channel surfing is unavailable to me, which means I miss much of what passes for pop culture. If I watch a movie, it is off the pirate system or from Amazon. TV shows I can binge watch off the Kodi, without having to sit through the commercials. Frankly, it is the only way I can watch television now. The commercials are so full of multicultural proselytizing, that I can’t make it through a normal show. That said, there are some shows that are not full of multiculti agit-prop.

Someone told me the TV series 12 Monkeys was pretty good, so I binged the first couple seasons recently. The series is based on the movie, which was a time travel flick staring Bruce Willis. The basic premise is people in the future send people back in time in an effort to find the people who caused a great plague. The idea is to alter the timeline by preventing the plague or figuring out the nature of the plague in order to create a treatment or vaccination against it. In the movie, Bruce Willis was the time traveler.

The trouble with all time travel movies is that they can never figure out how to handle the obvious problem of paradoxes. The writers usually fixate on it, as it makes for interesting possibilities, but they lack the smarts to make it work. Sometimes you have old self going back in time to give young self answers, like what happened with Biff in the Back to the Future series. Other times, the old self accidentally alters something in the past, only to return to a wildly altered future, his present. Then he has to go back and fix what he broke.

In this series, the writers actually do a good job avoiding the hackneyed time travel plot gimmicks and come up with a good plot that respects the “reality” of time travel. I don’t want to give too much away, but it you read the book The Man Who Folded Himself you will appreciate what the writers did with time travel. The show is relatively free of poz. No heroic homosexuals, no super hero women, no magical negros. It’s mostly unknown white actors doing a serviceable job acting out a reasonably well done television script.

Now, no series about time travel can make it to the air without having some scenes about the characters going back in time to Nazi Germany. That’s an unknown part of the secret law that was passed in the 60’s. We get that nonsense in this series, but it is brief, even though they obliquely try to blame the cause of the time travel conspiracy on the Nazi scientists experimenting on Jews. It’s the one bit of subversion that was tucked into the script after it was written, on instructions from the people producing the series.

The relative lack of poz in the series got me thinking about propaganda in movies and when it became so heavy handed. I had the movie Death Wish on my list, the new version, not the 1970’s version, so I watched it along with the original last weekend. I had not watched the original with Charles Bronson is decades. Frankly, I had forgotten just how bad he was at acting. Then again, the 1970’s featured a lot of really bad acting in popular movies. Maybe the audience just liked the stilted dialogue and clunky style.

For those unfamiliar, the original Death Wish was made during the last Progressive inspired black crime wave, which they started in the late sixties. By the 70’s, most cities were unlivable because feral blacks were running wild in the streets. Death Wish is about a normal middle-class white guy who loses his family to home invaders and decides to become a vigilante. The original makes the killers three Jewish guys, one of whom is Jeff Goldbloom, so even in the 70’s, movies were poz’d up on the race issue.

That said, the woman issue is where you see the difference. In the opening to the original, Bronson is at the beach with his wife, who is portrayed as a normal traditional wife. She likes looking like a women and being complimented on her looks. Bronson’s character enjoys her being a women and acts like a normal man. Throughout the movie, women play normal female roles. Whenever I watch an old movie and see how women were cast in their roles, I realize what a great mistake it was giving into the feminist harpies.

The new version does the same thing with the race issue, of course. We’ve reached the point now where it is forbidden to portray blacks as anything other than noble victims or admirable heroes. That means we have to pretend the nation’s crime problems are the fault of white street gangs using out-dated slang from the olden thymes or conspiracies operated by evil white men. Otherwise, the remake is a decent version that is free of the usual multicultural junk that makes most movie watching miserable.

I’ve developed an interest in 1970’s pop culture, mostly because it seems so alien to me, even though I was alive to remember some of it. I was too young to notice most of it, so seeing it through old man eyes in the current age, it feels like another world. But, it also reveals that the multicultural assault on our society did not start last week. This is a long term, multi-generational war on us that started before most of us were born. This scene from the 1971 Dirty Harry movie is a warning from the long gone past.