The backlash against Hollywood’s latest cauldron of coprolites (Mad Max: Fury Road) seems to have taken the mainstream media by surprise. Expecting the gullible (but reliable) male public to dine from Hollywood’s usual trough of trash, they were rocked back on their psychic heels by manosphere calls for a boycott of the movie.
(Personally, I’ll admit to a grudge against the movie from the beginning. No one, in my view, has any right to be behind the wheel of the “last of the V-8 Interceptors” except Mel Gibson. And I’ll bet you he could still have pulled it off in 2015. Where are ye, Mel? We still love ye.)
They should have seen the backlash coming. It was inevitable. For years—decades—there has been a coordinated effort by Hollywood to portray women as unrealistically masculine, take-charge, virtuous action heroes, and men as character props, rogues, criminals, knaves, or cowards. Social engineering now emanates from glowing screens, whether they be movie, television, or computer.
Consider 1985’s Mad Max: Beyond Thunderdome. An atrociously miscast Tina Turner is injected into the post-apocalyptic wasteland, sculpted legs and all, and cavorts as a cackling crone dictator in a remote desert “Bartertown.” For her amusement, pathetic male specimens fight to the death in gladiatorial combats.
She has no evident leadership virtues or qualities. But who cares, right? In Hollywood’s world, reality doesn’t matter, only ideology. She’s a strong, empowered woman, controlling her destiny and that of others. You go, girl!
Mel Gibson, sleepwalking through most of his scenes, is reduced to being little more than a peripheral figure, basically a cab driver with brass knuckles. A weird tribe of feral kids only adds to the general confusion, and reinforces the notion that traditional masculinity has no place in this brave new world.
It feels symbolic, in a way. Max is forced by the screenwriters to surrender his best friends—the dingo dog and the Gyro Captain—in exchange for a mob of annoying little kids. The whole spectacle is one grand embarrassment.
The list of social engineering films spewing the same message of male disenfranchisement is nearly endless. Consider this small sample, out of nearly hundreds I could have picked:
Million Dollar Baby (2004): Heroic female boxer displays incredible virtue against all odds.
The Cell (2000): Evil male serial killer is only stopped when brilliant Jennifer Lopez gets inside his head.
Laura Croft, Tomb Raider (2001): Balloon-breasted, ass-kicking chick takes on the world of evil men and defeats them all. Whatever.
Aliens (1986): Kick-ass heroine fights it out woman-to-woman with an alien mother, with men lurking in the shadows.
Enough (2002): Helpless, abused Jennifer Lopez turns the tables on her horrible abuser, delivering the message that all men are potential (or incipient) beaters or rapists.
Charlie’s Angels (2000): An all-time high of utterly pathetic “you-go-girlism.” Giggling SoCal snarkbarkers defeat terrorists, meanies, and bad guys of all stripes with a few karate chops, wire-work, and creative CGI.
Sleeping With The Enemy (1991): The “all men are abusive” theme again. Ridiculously exaggerated abuse and control-freakism is here again, with a predictable finale. The only good male character is a neutered neckbeard beta orbiter who always seems to appear at exactly the right time to save the damsel in distress.
Pretty Woman (1990): Prostitution is just another cool career choice, and it can be truly empowering!
Hunger Games (2012): You-go-girl, kick-ass, empowered heroine overcomes all obstacles despite the evil world holding her back.
These are just a small sampling of the unrelenting message coming out of Hollywood. The message is: (1) men must be portrayed in a negative light; (2) men should be viewed with suspicion and resentment; (3) men should play second fiddle to women in everything; (4) women are superior to men in everything, including virtue.
You might say that such portrayals are harmless, and all in good fun. But you would be wrong. Over time, the constant denigration of male figures seeps into the popular culture and sends the message that men are of no value. This is the message, both overt and subliminal, that is pumped out to the masses. Over time, it has its effects. People begin to act out what they see portrayed all around them.
But every so often, a dose of truth slips past the Hollywood censor. Occasionally, the mask comes off, and we are allowed (accidentally) to see a realistic portrayal of how American women behave in a crisis. One such example is ironic, and instructive.
The scene I will discuss happened to involve Charlize Theron (the irony!). The movie was 2009’s The Road. This was a realistic and terrifying vision of what a real apocalypse might look like. This is the face of reality, not the face of Hollywood leather-clad make-believe.
There is a scene near the beginning of the film where the Charlize Theron character and her husband become aware of the calamity that has befallen civilization. She and her husband (Viggo Mortensen) also have a small child.
Theron, unable to handle the collapse of social order, abandons herself to despair. She wants to kill herself. And in an extremely disturbing scene, she simply abandons her family and walks out into the night, hoping to find a place to end her life. Lacking any character or strength, she abandons her family with unforgivable cowardice.
In other words, she is the typical modern American woman: lacking in character, tenacity, and endurance, and ready to sell out her man the minute that the shit hits the fan.
This has the ring of truth. And this is what makes the scene so disturbing. This is why no critic ever commented on it. If a real apocalypse were to happen, the response of nearly all American women would be: (1) curl up into the fetal position and die; or (2) seek out a male figure to protect her.
There would be no altruism. There would be no virtue. But of course, this reality is almost never portrayed. Instead, what we get is the bullshit feminist pipe-dreams of Mad Max: Charlize Theron as a bionic-armed, karate-chopping ass-kicker, able to take down bodybuilders and brutes of all types.
To be fair, it is possible for women to act with great courage. But this courage involves situations where they are protecting either their lovers or their children. Women rarely fight convincing for ideologies, causes, or principles. They care about themselves and their children. Women are specialists at vengeful retribution.
Our ancestors had a more realistic idea of the true nature of female courage. The ancients understood that vengeful retribution was the specialty of female heroics. In Euripides’s Medea, for example, we see the idea of vengeful retribution played out compellingly.
The plot is simple. Jason takes a barbarian wife, and has several children by her. He eventually grows tired of her, and leaves her for a Corinthian woman of noble birth. For this abandonment, Medea extracts a terrible revenge, killing Jason’s new wife and all of her (Medea’s) own children by Jason.
The same idea is on display in the medieval German poem called the Nibelungenlied. The story: the heroic Siegfried is murdered, and his wife Kriemhild plots a blood-soaked revenge. She eventually has an entire group of Burgundian men put to death, including her own brother, after which she herself is slain. It is a shocking drama of a woman driven insane by grief and hatred.
Even these two historical examples are far removed from the current reality of female behavior in Western countries. There is no heroic retribution, no fighting for ideas, no altruism. The historical examples to the contrary (e.g., Joan of Arc) are the exceptions that only prove the rule. To be fair, most Western men (like their female counterparts) would also fail to pass muster in a real crisis situation. But far, far more women would fail than would men.
There is nothing inherently wrong with portraying women as strong and empowered: the old Greek and Roman myths did it, as well as the Norse myths, Icelandic sagas, and the classic novels from old China and Japan. But the difference between those stories and modern Hollywood is this: in the old myths, the story complements, and is faithful to, the true nature of women. In modern movies, the stories are utterly fanciful. They are attempts to ram a degenerate, socially pernicious ideology down our throats.
The real truth of Western female behavior is found not Charlize Theron’s role in “Mad Max,” but in her role as the despairing, cowardly wife in “The Road.” This is the reality.
Women are masters at vengeful retribution, but are conspicuously lacking in the virtues that Hollywood so desperately wants us to believe that they have. In real life, they’re not going to be joining Mad Max in all-out combat against marauding barbarians as a tanker truck hurtles through the wasteland.
Rather, they’re going to be cowering in the backseat, trying to make Max do all the work, and looking to save their own necks.
Don’t expect to see honest portrayals from Hollywood of how Western women truly behave under pressure. The truth would be far too uncomfortable for the public to handle.
Read More: How To Reverse America’s Cultural Decline