nevynosynij

Today, one does not need to be as wise as Solomon to see what has become obvious: pop-culture (cinema, literature, games, music) has been turned into a farce. Artistry, idealism, and authorship have essentially been erased from Western culture, it has become collective, as it was, for example, during the Soviet era in USSR, meeting the specific requirements of either customers or censors. Now culture is strictly controlled, those who do not meet the requirements of the censors are repressed and ostracized. Freedom of speech, freedom of self-expression, freedom of creativity is a natural human right, which has always been suppressed, today it is characteristically abolished.

Modern mass culture performs one function: the promotion of “traditional values”. Every civilization has its own traditions and values, and the (evil) civilization, striving to reshape man in its own image and likeness, shows superiority over the individual and unforgivingly digs into the plate with informational food, choosing from there that which, according to the opinion of the civilization, can harm, and throwing in that, which according to civilization will be useful. Such behavior is absolutely unacceptable. In an field of high culture, even looking at someone else’s plate is tactless, let alone touching someone else’s food with your bare hands!

All this ruthlessness is necessary for an evil civilization to build a hyperreality: a virtual superstructure in the global infofield for the moderation of collective consciousness. Because of hyperreality, a civilization can control people without any problems and they will not even know about it, because they will have no alternatives to compare. This focus is actively used by despots, for example, Russia, North Korea, China, Iran, or in the past, the Soviets: people under the Iron Curtain do not know about the real world, they really accept everything that authorities and influencers tell them; the North Koreans feel sorry for the poor Americans, those who are starving, standing in lines for drinking water, and even resorting to cannibalism. In the same way, they pity the “unfree” Americans (Europeans) of the Motzkovites (for example, the “putler detachments” or the Solovyovs), they really think that in the West it is worse than in their swamps. And the West actively uses these propaganda tools, this rudeness for its own needs, it is not going to defeat evil with good, and therefore, the cap of a crooked mirror falls on Europe.

Dissent is branded with marginality and banned. Try to say the unpopular opinion outside the meme context: you will be banned here and now, and this is only an opinion, not a petition, not an art, not a protest (action). For the latter, you will be persecuted, intimidated, possibly killed. And getting banned for words is the easiest thing, despite technology, the supposed high culture, European (Western) progressiveness, democracy, I think no one will be surprised when they hear that a couple of bullets were planted in someone at the entrance for a couple of words? Matrix architects are intolerant.

The leitmotif of this culture: pleasing everyone. But when you please everyone, you will please no one. It is simply physically impossible to please everyone. If your film aims to express internationality, you will have to respect the actors of representatives of all nations. If you want to comment on the idea of ​​equality of people, you cannot forget at least one minority. These urges are sometimes simply paradoxical, when you illustrate feminist narratives, you insult women opposed to feminism; by normalizing fatness, you insult not only common sense (science) but also those who fall out of your imaginary normality: thin and normal people, giving preference to Blacks, you insult Whites and Asians. Someone will always be offended if creativity is viewed through a prism with ideological layers.

The correct analysis of creativity should be conducted exclusively through the prism of common sense: the author’s ideas should be considered in the field of “good and evil”, objective symbols, and not imaginary, political ones. For example, if the author exalts a certain race of people over others in his work, then this is a really uncultured work that distorts the truth, since people, although different, are essentially equal. On the other hand, if the author did not represent any races in his work, except for a certain one, this is not an offense, just as it is not an offense to have a movie about bees that does not contain bumblebees.

In books, for the most part, race is not described when it is not important to the plot, in a rock ’n roll song you will not hear jazz or k-pop, in shooters you will not meet RTS, and in impressionism Suprematism, and this is normal, it defines the difference of essences and reveals the diversity of means and ideas, creative wealth. Attempting to melt everything, to merge it into one mixture, is a crime against art, it is like mixing all the colors in one glass for painting: it will turn out to be an unsightly mess. On the contrary, you need to cultivate dissimilarity. Originality inspires and becomes the basis for experiments, motivates to challenges and creates competitiveness. Originality is valued for its originality, for its uniqueness, it is a valuable thing, and no one needs a non-unique product. There are many precious stones, if we make one of them and discard the others, will we gain or lose? Far away, I say obvious, banal things, which, however, have become as incomprehensible to many as the round Earth.

It is not necessary to please everyone, there is no such requirement for creators. The essence of creativity is self-expression: your creativity comes from your heart, that is, from your middle, and modern censors, latent communists, are trying to put a filter on your mouth to block out everything that, in their opinion, is inappropriate, dangerous for the construction of hyperreality. Bots are involved with the same goal, they spam their random-shit content in social networks to cut off human content, to turn people exclusively into consumers of poor content, to turn the Internet, an interactive environment, into a static environment, TV. The goal of this action: creation of homo neosoveticus.

Today bots (AI) cannot generate adequate media content, but the mass release of the first films (like this) and games from AI is not far away, shit of electronic brains: cartoons, serials, books (applied literature is already on the shelves (freelancers constantly receive orders for “writing”-editing, for example, books on psychology via ChatGPT)), memes, YouTube videos, etc., will soon flood our infofield, Orwell wrote about it in “1984”, remember the barrel with stories for books? This is it. And the propagandist crap from the collaborators* that we see today: it belongs to the training base of AI, modern samples of underculture will become its food, from which it will have the power to build a “wonderful new world”.

*We live in times of cultural occupation, our modernity is aggressively moderated, normalized according to someone else’s order, the past is rewritten, branded and crossed out. Accordingly, those who support these trends are collaborators.

Let’s consider a few examples of propaganda, distortion of reality, and artificial impoverishment, debasement for the sake of ideological indoctrination and the formation of bad taste

LOTR (movie, series)To begin with, you can compare original works and remixes or modernized versions, for example “The Lord of the Rings”. Everyone knows perfectly well how outstanding the trilogy was, it took 17 (!) Oscars out of 30 nominations, has a very high rating from critics:

And not worse the rating from the audience:

*Rotten Tomatoes: 95%; 95%; 86%. *IMDB: 8.9; 8.8; 9.0. *Metacritic: 9.0; 9.0; 8,9.

The series has been added to all sorts of best and significant film lists, for example: “In 2021, The Fellowship of the Ring was selected by the US Library of Congress for preservation in the National Film Registry for “cultural, historical, or aesthetic significance”, this is from Wikipedia. And no one asked at the time about racial quotas for actors, the representation of minorities, the role of women in history, everyone contemplated art and drew conclusions from the impressions that the film ignited, from the aestheticism that it interested, from the thoughts that it stirred.

Now let’s look at the pitiable analogue (The Lord of the Rings: The Rings of Power (2022)) from Netflix:

*39% of Rotten Tomatoes viewers praised the series, *on IMDB, 25% of viewers (25,645 people) rated the series 1/10, *Amazon was forced to freeze the rating system for 72 hours due to a flurry of viewer negativity, *rating on Metacritic 2.6 and disabled comments (on M. it is common practice to turn off comments for questionable titles).

I think no one will dispute that the audience rating is the most objective. It will be difficult to quietly buy tens of thousands of men so that they respond favorably to your nonsenseries, but with dozens of “critics” it is easier. No, I’m not saying that the critics who praised the Netflix series were bought, maybe some actually liked it (*facepalm*), but look at the percentage of favorable reviews from “experts”: Rotten Tomatoes scored 85% (7.5\10 ) based on 230 reviews; Metacritic 71\100 (37 “expert” reviews). Such a discrepancy with the audience rating is, to speak politically correct, suspicious. And in general, I am surprised that, for example, IMDB simply did not roll back the ratings after a wave of dislikes, as they did with the series Queen Charlotte: A Bridgerton Story, where the English queen was played by a black woman (!), then IMDB wrote out the series 7+\10 by their own hand, rejecting all the viewers “ones”, and after that I left this service, because suppressing freedom of speech is disrespectful to a man and a manifestation of autocracy, I’m not going to sit under a dome and deceive myself.

Complaints about the series are predictable: the movie diverges from the book to fulfill its feminist, racist plot tasks, in particular, to portray Galadriel, a strong and independent femalelf, Amazon-like warrior who defies her king, and essentially inherits the meme image of the American “Karen” . The actors are full of Negroids, but does the ancient universe of Tolkien’s fantasy Middle-earth: British-Scandinavian myth involve non-European characters? The inclusion of foreign races in a purely European work looks as comical as the intervention of white actors in some specific, authentic, local African film. Can you imagine, let’s say, filmmakers from Niger, who invited up to 50 % white actors from Europe to play in a film adaptation of a local folklore plot? Wouldn’t the audience look around the cinema mockingly to see their conventional Uhamba Bayund played by a conventional red-haired Robin Jancey from Ireland? This is a farce, a caricature.

Also, endless circling around “minorities” distracts from the plot. Men are depicted as dumb. And it’s also funny that among the orcs there are women-orcs, but don’t orcs breed in an incubator? These are killing machines, they are grown in incubators, whats the women?! Women are physically weaker, they are not as enduring as men, so it makes no sense for orcs to breed them. For real, how come Netflix didn’t think of giving dendroids sexual characteristics?! 😄

Star Wars (films) The original Star Wars series became a cult, this cultural phenomenon spawned countless fan fiction, sequels, and alternatives. The story went beyond the cinema screen, turned into video games and board games, LEGO, became a theme in cosplay, embodied in books and comics, in memes, Master Yoda’s pronunciation became one of the reminiscent markers. And now compare the first 6 films of the series with the last ones, especially with the final “Skywalker” (2019), where there is nothing left of art: we see nothing new, instead, a lot of racial and feminist propaganda — the main characters here are exclusively women and blacks, they are on the light side of the Force, and white men are purely evils, they are on the dark side of the Force. Therefore, this film is not perceived as art, but as a topic for twitter shitting.

He-Man (series) The animated series He-Man (USA) was popular in the 80s of the 20th century, a lot was heard about him in Europe as well. He-Man became the hero of memes. At one time, the series branched out into She-Ra, where the main character is a woman — He-Man’s sister. And even if you don’t know these series, you will guess the content from the title itself: He-Man is a white man, reflects a typical masculine image, She-Ra is presented in the image of an Amazon. In 2020, Netflix made its mock version of He-Man. The ridiculousness is that the cover of the new series looks more or less “canonical”, He-Man is the same and placed in front, which is normal, because he is the main character. But in the very first episode, he is abruptly killed, and his place is taken by a woman… If Netflix didn’t want to laugh at men, they would have made their own version of the film, instead of parasitizing on a well-known title, in the worst case, they would have remake She-Ra in particular, and “He-Man” would not be touched. Well, no, Netflix took the ready-made creative and turned it upside down. A movie called “He-Man” cannot have a main character other than He-Man. A. Sapkowski uses a similar trick in his “The Witcher” when he pushes the expected hero to the second, or even to the twenty-second plan, instead sticking out feminine images.

Lords of the Sky (TV series) Modern cinema, poisoned by racial propaganda, reaches absurdity. Look at the poster of “Lords of the Sky”: all the characters in focus are not Europeans, typically Mongoloid and Negroid… although the series is about the events of the WWII from the point of view of American military aviators. Do you see American military aviators on the poster? When I first saw this poster, I thought that it was either about Pearl Harbor from the perspective of a kamikaze, or some low-budget Chinese action movie. In the 40s of the past, racial segregation prevailed in the USA, African Americans were called colored, they were allocated seats on buses, there were separate shops, schools, cafeterias for them, even drinking fountains were separate for them. And here (on the poster) there are immediately three blacks and two Asians in the foreground in the image of aviators. Who do you want to fool? Is this cinema in the context of an alternative history?

Gladiator II (film) One of the textbook examples, so to speak, of creating a simulacrum can be seen in R. Scott’s film “Gladiator II” (2024). There is a Black character, Macrinus (D. Washington), an arms dealer and a gladiator — a sly, resourceful figure who ultimately reaches the Roman throne through cunning and intrigue; yes, you heard that right: a Black man becomes the Emperor of Rome in Scott’s movie.

On the left is Makrin as seen by AI, on the right is Makrin as seen by R. Scot

Antique image of Macrinus

The problem is that Macrinus is a real historical figure, Marcus Opellius Macrinus. He indeed ruled Rome for one year (217–218 AD), but, as you might have guessed, he was not Black! Nor was he a gladiator or an arms dealer. He hailed from North Africa and belonged to the Berbers. Not all inhabitants of Africa are Black. Thus, in this film, the creators make the same fundamental mistake as the creators of the series “African Queens: Queen Cleopatra” (2023), where Cleopatra herself was played by a biracial actress. This caused an uproar in Egypt, with Netflix being accused of “Afrocentrism,” “including slogans and inscriptions aimed at distorting and erasing Egyptian identity,” and facing lawsuits to ban their series in Egypt.

Netflix-version of Cleopatra

The Avengers (film) In “Avengers. The Finale (2019)” Europeoid Captain America gets old and passes his shield to a young black man, now he is the new Captain America, or should we say “Captain Afroamerica”? At the same time, the white man Thor calls the black woman “the queen of New Asgard”. You don’t have to be smart enough to pick out the politics and artificiality of these scenes, they are far-fetched, unnecessary, they are not grounded in the plot, that is, the authors did not even manage to bring the plot under these casts, but suddenly made such a move. YouTubers do the same by integrating advertising into their videos. When advertising is skillfully integrated, it is possible not to notice, and sometimes the entire video is disguised advertising, here the story is similar. By the way, this movie has two Audi ad integrations from Iron Man, and that’s with the fact that the movie has a $400 million budget! Such integrations are typical for B, C, Z category trash movies, which proves once again: art in the past, modern art relies on customers of ideas and goods.

Assassins Creed (game) Another example of absurdity was bred at Ubisoft, where they make a historical game in the setting of ancient Japan, and one of the samurai (Yasuke) is black. Do you hear? — A samurai is a negroid. Another example of simulacrum and mockery. The Japanese were outraged by the distortion of historical reality, wrote a petition, but Unisoft spat at you and your reality, they are the creators of a new reality — hyperreality.

Sweet Baby Inc. (games) There is even Sweet Baby Inc., an organization that advises game developers on woke(DEI)-representations in games, they help create images that would correspond to hyperreality. Sweet Baby Inc. or similar DEI-consultants today, although they do not have enough influence, but under the condition of public loyalty, or at least neutrality, they will surely receive famous funding to strengthen their positions and normalize the very phenomenon of “consultations”. Now these consultations are voluntary, but who is to guarantee that the game will not be shadowbanned (or permabanned) later due to the lack of a “Agreed with Sweet Baby Inc.” sticker? Isn’t that how the Overton window works?

The Witcher (book) In some places, literature is even worse. Take, at least, the “Witcher” series, which was promoted just today. It is important to note that everyone heard about the Witcher somewhere from the mid-2010s (mostly thanks to the games), I myself thought that Sapkowski wrote the series then, but as it turned out, he wrote it in the early 90s. Are you surprised? But why be surprised, because right now there are orders for such cul stories, because “The Witcher” is really a story not about a witcher, not about Geralt, not about a man, but about femininity, about Yenefer, Ciri and their female friends, it typical feminist literature. The name “Witcher” serves only as clickbait and selling point for men. Who would buy a book called “Yenefer. Justice fan”? And “The Witcher. The Sword of Destiny”? The difference in vibes is obvious. When I started reading the series, I thought I was diving into a heroic fantasy, but I was teased, I dived into something else. Sapkowski teased me and all the men, on the cover he promised a fantasy about Geralt-the main-hero-the-powerful, but shows Geralt-the slug-heel, a pitiful serf who is owned by the lady Yenefer, or even does not show it at all, in the 2nd and in the 3rd book, he almost does not appear before the reader, it is all about women and their adventures, and about menstruation. I read this crap halfway through book 4 and threw it in the trash.

The Da Vinci Code (book) It’s the same story with artificially promoted bestselling author D. Brown, who became popular thanks to his debut with “The Da Vinci Code”. In this book, he obsessively promotes matriarchy, paganism with goddess worship, his main character Langdon obeys the orders of a woman, the whole plot is looking for a female grail, at the end he acquires “wisdom” from a church servant (woman), and all this is built on anti-Christian rhetoric. How such crap became popular is beyond me, the only explanation is that it was all paid for by the secret organizations he writes about.

Music After 2020, there were two very thorough experiments (news 1, news 2), which revealed the primitivization of music in relation to both melody and lyrics. Although the simplified melody is compensated by compression from instrumental, sound layers, the latest technologies allow synthesizing almost any sound and this is considered a modern achievement in music, the sounds in the tracks have increased. But the lyrics did not gain any visibility and gave birth to memes with comparisons of song texts of the past (1970+) and the present. The style of today’s lyrics is degraded, often operates with the simplest images and verbal turns, consists of constant repetitions. Songs have become more aggressive, self-centered, narcissistic, and, of course, agenda-advancing, trendy simulacra. Suggestion through music is especially effective, because music is essentially aimed at the emotion, it is perceived first of all by the heart — feelings, and then it is analyzed, if it is analyzed at all.

The End Woke-trend or woke-culture claims to be avant-garde, but in fact they do not go beyond marginality. Since the 2020s, there are so many simulacrum manifestations in culture that it no longer makes sense to weed them out, now it is easier to focus on real creativity than to point to the plastering of jokers. Can you name a new popular movie or game without racism and feminism? I think not. If you search, you will probably find something artistic, value, but in the future, when there will be no passive resistance, everything that we call adequate today will be called barbaric. There are already precedents: look at modern reviews of old works, for example Lovecraft, the reviewers disclaim at the beginning: the author lived in the old dark times and had no idea about progressive morality, called African Americans negroes (I condemn!). Such reviewers have accepted the simulacrum of “racist” names from the mass media and do not know that “negro” is the definition of “negroid”, i.e. race, this is a normal dictionary word, it comes from Spanish, Latin, where it is interpreted as “black”. When calling an African-American “black” or “black skinned” is acceptable, why is it not acceptable to call an African-American “negro”? These are synonyms 😄 Such are the fruits of political correctness, which is one of the tools of censorship of dictatorial building hyperrealities, extremes and radicalism are characteristic of it. More and more words are included in the list of ban words: suicide, murder, assault, rape, pedophilia, which are baselessly, senselessly and ridiculously euphemized (by people and (or) bots): unalive, grape, unpronounceable (replaced with the spoiler “well, you understand what am I talking about”) or are censored by beeping. Look at modern (2024) Youtube: the site has been turned into a laughing stock, everything is soaped up and baked, except for videos about cats and dogs, you can’t post anything there without censorship. This is an attack on freedom of speech, this is the introduction of Orwellian newspeak.

This nonsense should be opposed primarily in the financial sphere: do not buy a spoiled product! No matter how much they sponsor propagandists and instigators of debilitation, if they stop paying for their bullshit, their self-confidence will fall from their faces and they will change their tactics. They will “change”, they will not refuse. But having principle and the will to maintain that principle, any tricks are not scary, and hypocrites are laughable. We live in a European universe and have the right to demand comfortable, natural content. This is violence: to force Europeans to a foreign culture, to foreign symbols, traditions, and religions. If I want to watch an Asian movie, play an African game, or listen to Latin American music, I will turn to the relevant community, to the original sources, there is no need to drag, import caricatured, inferior models into the European cultural field, this is inappropriate, ridiculous, this is stupidity and aggression. Thoughtless imitation reminds me of cargo cults, drawing a watch on the wrist.

There are incompatible (incompatible) cultures, take at least rap, no matter how hard the whites tried to stick in there, nothing succeeded in them, because it is a characteristically black theme, whites are outsiders there apriori. Yes, Africans called Eminem “theirs”, but they probably did it out of condescension, they saw how a person is trying and praised them for those efforts, not the results. No, I’m not saying that white people can’t rap, rap as much as you want, but white and black rap are different worlds, and if you’re white and rap, you won’t join the black party, you’ll always be in the white rap bubble. That’s why a white person who is squirming from a black person looks ridiculous and unworthy. Funny, like the Russians in the 18th century aped Europeans in fashion and architecture: a dignified man in a curly wig with a black satin bow, in lacquered shoes with a gilded buckle, in white trousers, in a silk camisole under an embroidered caftan emerges from a tall building with a figured pediment, a wide portico, and sculpted rococo decorations... spits on the muddy dirt road, looks around in the middle of the street with mowed bushes. A man in rags comes, takes off his hat, bows with the words: “Hello, my lord, slaves (chattles) are bought like you obey”, a humpback rolls past, a rumpled humpback swings balls from under its tail, the humpback’s wheel has fallen into the slop, splashes around swamp, speckles white pants and makes the “gentleman” faintly squirm. It is impossible not to notice the inconsistencies, if you do not notice: you are curving your soul, because it is as obvious as, for example, transgender men in sports: they self-identified as women and moved to a women’s league, everyone sees that this is absurd, but they close their eyes, this a typical example of post-truth.

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This article is translated from Ukrainian by AI.