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Feminism’s Secret Weapon: Weak Men
No movement has been more destructive to modern Western civilization than that which pits women against their protectors and their own unborn children and mocked their essential purpose — raising a family. Yet for the past 60 years, feminism spread like cancer across the greatest country in the world, supplanting the wisdom of the ages with fanatical fantasy. While America fought Marxism abroad, academia embraced its basic tenet of oppressed versus oppressor and applied it to the sexes, vilifying men as the latter.
No, the feminist agenda has to be advanced at all costs — including corporate disaster — with the blessing of little men like Iger.
It was an idea crazy enough to be brilliant — redirect women’s natural emotions and frustrations into resentment toward a nonexistent enemy, the opposite sex. The fact that its most prominent champions were decidedly unattractive to the opposite sex initially slowed the advance. Then appeared the absurd concept of Sisterhood to entice enough naïve yet desirable females into the coven. And the agenda flourished beyond the plotters’ wildest dreams, upheaving the whole culture in just a short time.
But bitter females alone could never have managed so much so fast. They needed the aid of the saddest specimen of all, male feminists who couldn’t compete for women against their manlier, tougher brothers. So, the latter had to be vilified as toxic, misogynistic primitives, while the sensitive feeble type got celebrated almost as much as their girl bosses. And this nonsense the left-dominated entertainment media wasted little time promoting.
In less than a decade, real men effectively vanished from the screen, replaced or rivaled by fake women — or as a female friend of mine calls them, “male imitators” — minus any femininity, and for that matter authenticity. Film and television franchises like Star Wars, James Bond, the Marvel Universe, and Mad Max built on believable male heroes became ghastly dollhouses populated by pseudo-female beings and maneuvered by talentless man-hating shrews.
Uncancellable true film artists such as writer-director Paul Schrader (Taxi Driver, Raging Bull) have no qualms about denouncing the current Hollywoke delusion. “The good news is that the superhero craze is fading,” tweeted Schrader. “The bad news is that it’s being replaced by the cinema of grotesqueries. (Furiosa I’m talking about you.)”
This month, the Mad Max universe installment, Furiosa: A Mad Max Saga, became the latest chick-action mega-bomb nail in the industry’s coffin. Ironically, the film’s star, Anya Taylor-Joy, was radiant as Jane Austen’s lovely manipulative title heroine in the 2020 version of Emma. In normal times, producers would have found an equally sweet romantic role for the actress. But sweet romance is sexist in today’s Hollywoke, which tried to mutate Taylor-Joy into a convincing warrioress, to empty theater seats.
Which brings us to Star Wars. In just 12 years, the epic went from the boy-friendly successor to old-time swashbucklers and Westerns to a repulsive feminist fever dream. Yet no matter how much men and women increasingly reject this change, the producers keep shoving the girl-power crap down their throat, with gay and trans activism thrown in for spite.
By now, anyone still interested in Star Wars has seen the video interview with the lesbian showrunner and ditto lead of the latest Star Wars series, The Acolyte, laughingly concurring that it’s “the gayest Star Wars yet.” Producer Leslye Headland’s previous credits comprise of several projects nobody ever heard of, including a 2018 TV series version of the 80s hit, Heathers, which lasted two episodes. Starlet Amanda Stenberg’s only recognizable title is The Hunger Games, in which she had a tiny part. And it was to these two that Disney, via Lucasfilm, entrusted the billion-dollar franchise that changed the course of cinema.
There’s only one explanation for such a catastrophic dichotomy — feminism. Feminism trumps business, certainly the movie business. And feminism hates men, especially white men, and real girls. Leslye Headland knows she could never create anything as significant as Star Wars, and Amanda Stenberg despises the male audience that made it thus. But she was chosen by her likeminded boss, Kathleen Kennedy, president of Lucasfilm, who was handpicked by George Lucas to run his company if not ruin his legacy. Which she has been doing for the last 12 years, since Disney bought Star Wars in 2012. And Bob Iger’s Disney is ground zero for the feminist anti-family crusade. It was a marriage made in woke hell.
Consequently, rather than give the fans what they want, a manly hero a la Han Solo, Kennedy assailed them in the New York Times. “Operating within these giant franchises now, with social media and the level of expectation — it’s terrifying,” she said. “I think Leslye has struggled a little bit with it. I think a lot of the women who step into Star Wars struggle with this a bit more. Because of the fan base being so male-dominated, they sometimes get attacked in ways that can be quite personal.”
It never even occurred to Kennedy to hire a male writer who appreciates Star Wars, understands the masculine dynamic, and would make the franchise fun again. No, the feminist agenda has to be advanced at all costs — including corporate disaster — with the blessing of little men like Iger. The madwomen-beta male alliance might have been more permanent if real men continued to ignore it. But they’re not. They’re slapping back the way Harrison Butker did last month over the wails of feminists of both sexes and the political party ruled by them.
Last week, Argentinian President Javier Milei terminated the Ministry of Women, Genders, and Diversity. Next January, a new American President may take similar steps here. While a former feminist President shuffles away after his female leader.
READ MORE from Lou Aguilar:
‘Now Tarzan Make War’ – On the Democrats
The Last Woke Memorial Day
The Leftist Exorcism Has Begun
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