Saturday, May 27, 2017
Monday, May 22, 2017
|Why is his name "Arthur?" It's a rather unique name, it certainly applies to him (when we think of an "Arthur," we tend to think of "King Arthur" first), so, of all names (especially the choice of something more exotic, like "Uther" or "Vortigern") why is he named "Arthur?" Because "Arthur" was the "author" of his own free will and destiny. Arthur became the author of the new peace after the chaos, Arthur was the author of the deeds of Excalibur, Arthur was the author of humility and chivalry and, therefore, masculinity, and it's because we need to be reminded of all these things that Guy Ritchie has made this film, told this tale and conjured to our minds--like the nightmares Arthur suffers--the history of why we have treasured the values we have, and chosen the decisions we did, and why we avoided so many different paths, those which were taken by Vortigern.|
One of the easiest ways to begin an analysis of a film is to ask yourself what other films it reminds you of; what scenes invoked memories of films where you had seen such scenes previously, and then, once identified, ask yourself, why would the film makers "quote" those films within their own movie? For example, in Dracula Untold, there is the issue of a multitude of boys being sold into slavery from one kingdom into another, and we see the same in King Arthur; why? Children symbolize the future, and because men symbolize the active principle, men (young men and men of child-bearing age) tend to symbolize the (future of the) economy; these boys being sold into slavery, then, is the economy and the future of the economy being sold into slavery. How? The European Union, symbolized by the Vikings there to conduct trade with Vortigern. This is symbolized by Lucy who was beaten because women symbolize "the motherland," and especially since she was Arthur's adopted mother (with the other women) what the Viking does to Lucy, has--according to Ritchie--been done to England herself. At the end, when the Vikings face Arthur, Arthur says this: you face all of England, not just a single person or government official.
The story of Arthur pulling Excalibur from the stone is for men what Cinderella trying on the glass slipper is for women: a coming of age, a sign of gender identity and collective wish fulfillment. So, we can say that there is an element which reminds us of Cinderella (Kenneth Branaugh) which was recently released, and juxtaposing the two stories, we see the similarities and how they have addressed issues of gender identity, traditional, gender identity.
On another vibe, we can also see Clint Eastwood's film Unforgiven being cited when a prostitute is beaten up (Lucy in King Arthur). Ritchie adds an important commentary with this scene, because Arthur handles the injuries in this film, whereas, in Unforgiven, the prostitutes (Strawberry Alice) hired men (i.e., prostituted the men to be assassins) and only got death, whereas they could have had wages to provide for themselves instead. Is Arthur acting like a trade union in going after the Viking and getting Lucy's wages? No, he's acting like a man who is grateful to the woman who helped raise him, and that's the huge difference Ritchie wants us to notice, because in standing up for Lucy, Arthur fulfills his duty as a man, that is, protecting those he cares for, because they, too, have cared for him. Ritchie, then, provides us with a radically different example of "exchange" than that the Left cites for Karl Marx and market exchange; this "exchange" is based on love, not on someone getting what they believe to be is their "fair share."
Then again, we also see Ursula and The Little Mermaid (which we discuss more fully below), but we can see this as an example of the prince having to choose between the the good woman (Ariel) and the bad woman (Ursula). With Vortigern, when we see him with a good woman, like his wife, he kills her for something bad (power), and with Maggie, he imprisons her because she has threatened his power, then he kills his daughter for even more power. The Viking who abused Lucy, of course, was a guest of Vortigern, so we see how abuse spreads through shady business deals (the selling of the young boys). The Prince in The Little Mermaid isn't just choosing the woman he'll marry, but how he is going to become for the rest of his life; Ariel, on the other hand, has chosen the prince to be the man she wants to give herself to, to make of herself an offering to make him be a better man than what he would be otherwise (more on this below with The Mage).
Another film I think Ritchie cites is Anthropoid, which you probably didn't see, but you should, It was excellent. Just as there is a betrayal in Anthropoid, so, too, does the blonde-headed Rubio betray where the cave is that the Resistance has made as their base, and everyone is killed. There might also, however, be another vague reference in Ritchie's cameo he makes. When Arthur and the others plot assassinating Vortigern, we see Ritchie dressed all in blue for a brief second, as a man who would support "assassinating the king" and so they could use his building for Goose Fat to shoot Vortigern. Because Anthropoid is also about an elaborate assassination, we can see the two films linked; however, because Vortigern is not assassinated, Ritchie might be providing commentary that the assassination in Anthropoid didn't bring out the best in the characters (remember, Anthropoid was more of a call to arms against Obama than a historical drama); in other words, Ritchie cites Anthropoid so he can say, we could have had Vortigern die as a result of a political assassination, but that would not have brought out the strenuous sacrifices and courage Arthur had to summon to overcome Voritgern.
We've seen a lot of octopuses lately, and to at least some degree, the "sea witches" or sea nymphs with their long legs, are certainly octopus-like; so why does Ritchie do this? Well, we just saw in Guardians Of the Galaxy Vol 2 how, at the start of the film, how the conservative, pro-capitalist audience is the octopus-like creature that is being destroyed at the start of the film (the one with a hide so tough, Drax is swallowed by it to try and kill it from the inside? Yea, that symbolizes the conservatives in America; please see Patricide: Guardians Of the Galaxy Vol 2 for more). But the octopus theme has been common in all of Marvel's film because it's the symbol for HYDRA, and, of course, the symbol for the terrorist organization in the James Bond film Spectre (and we will discuss the sea witch in greater depth below). So, by listing and connecting one film to other films you are reminded of as you watch it, a public dialogue and debate is created, with the film you are watching at the moment bridging issues concerning film makers which you have been smart enough to pick up on.
And now for something completely different. In the poster above, Arthur wears a jacket which we see him wearing two different times in the film. The first time we see him wear it, we've watched the montage of Arthur growing up and watching Lucy and the other women get beaten up by various "customers," and then, when Arthur watches, he gets beat up too, except for the last time, when a man goes to strike Arthur after beating up Lucy and Arthur stops the man's hand in mid-strike; Arthur wears this coat pictured above when he does that, and again after the scene when Vortigern's men have killed all the members of the Resistance in the cave. Why? Because Ritchie uses costume to tie-in these two scenes: the man beating the woman is like Vortigern beating England, and in both situations, it's Arthur who is there to stop it. Why? The jacket tells us. There is sheep skin fur lining both the neck and wrists: sheep nearly always, not always, but nearly always, symbolize sacrifice (because that is the animal most often associated with sacrifice) and we know that the hands symbolize our honor (we shake hands to symbolize giving our word when we intend to honor something we have spoken) and arms symbolize our strength (not just physical strength, but strength of character, morals and values as well) and the wrists bring that together to make a unified man. The neck symbolizes that which leads us in life, like a leash. SO, what we have, is that Arthur can only stop the beating England is receiving once he agrees to be the sacrificial lamb and lay down his life for England, but in being willing to make that sacrifice--because he's willing to put England before himself, as well as the lives of others--and because he values others above himself, he has increased his strength and honor through humility. What about the leather of the jacket? When Uther carries little Arthur from the castle, Arthur is wrapped in a thick fur coat, then when he trains with George, we see Arthur wearing a fur vest; the fur symbolizes the animal appetites and passions (the living like an animal, rather than the son or daughter of God with an immortal soul to guard over) so Arthur slowly, through the tough lessons of life, overcomes those appetites and gains respect for himself. The leather, then, symbolizes Arthur's toughness, his durability and tough hide (like the tough hide of the octopus in Guardians Of the Galaxy Vol 2) to take a beating but not get beaten down. The way Arthur holds the sword means he has taken the honor of Excalibur, the duty and solemn duty it represents, to his heart and he not only cherishes that, but it's a part of him as well.
Power is a "trigger word" for all interpreting themselves today as minorities: those identifying as minorities firmly believe (or at least attempt to make everyone believe they believe) that white, heterosexual men (especially if they are of Christian, and of the middle or upper class) define, exert and, thereby, abuse power to protect themselves, their power base (such as their economic standing through business) and maintain the self-identified minorities in ignorance and poverty. We'll come back to this claim in a moment, because Ritchie deals with this in the film in the person of Vortigern; however, what's imminently more interesting is the way which Ritchie redefines power with an element that would NEVER be mentioned by the Left: sacrifice.
They have no love.
They have no gratitude.
|In the very top image is an illustration of Ursula, the Octopus witch who is likely the source of inspiration for the water nymph to whom Vortigern goes for power and favors; in the second image down from the top is Vortigern sending the murdered body of his daughter Catia into the water so he can have an increase in his powers; in the third image down is one of three faces we see of the water nymph granting Vortigern power and the fourth image down is the long,.... "eel"-like legs/arms of the water nymph greeting Vortigern as she comes to talk with him. The last image, very bottom, is Arthur being pulled into the water by the Lady of the Lake and her "garlands" (for lack of a better description) embracing him.|
Let's discuss the Marxist angle of "the price" Vortigern is willing to pay for the power he wants (i.e. the power he believes he "needs"). First of all, this is, in base, monetary terms, an "exchange," the exchanging of the blood of a loved one for whatever it is you want, and on Vortigern's wish list, there is nothing but power (we'll discuss Vortigern and power below). Why would this siren want the blood of a loved one? Well, there is good reason to at least suspect that Ritchie is calling upon real life for this scene: anyone who knows anything about the Illuminati has at least heard of the blood sacrifice they require for a person to become super-famous and rich. Just type in "celebrities and blood sacrifices" and you will hit on a wealth of researched case histories at least suggesting that the occult references (like all the triangles and occult magic we see in Vortigern's tower) are, in fact, communicating to us about the very real ties of Hollywood to the occult and the links of power and domination of satanic influences (and even if you don't believe that, we cannot deny that there has an on-going and organized public effort by the Left to use satanic spells against Donald Trump, the same way we see Vortigern using spells against Uther and Arthur). So, in terms of "exchange" and what value does the blood of a loved one hold for a demon like this siren, we have our answer: when you are willing to kill someone you love for something you want more, then you give your soul to corruption and evil gains that power of you. As most everyone reading this post probably knows, a human never enters into satanic pact with a demon and maintains control over events: you give yourself to that demon. Just as Ursula in The Little Mermaid knows how to keep Ariel's soul forever because the prince really wants to hear the singing again, so the sea witch in King Arthur knows Vortigern There might be the illusion of power and control, however, that is fleeting, and this is why the sea witches have three faces, rather like Dante's Satan in the bottom-most circle of Inferno: the two attractive faces are the faces we want to see of power and wealth, but the ugly, old, bloated and evil face of the third woman who does the talking and granting the power is the truth behind the illusion. This brings us to our discussion about the water nymph demon pictured above. Now, in Excalibur (the 1981 film), Uther Pendragon, the father of Arthur in that film, makes an exchange with Merlin that, if he can lay with Igrayne for one night (she's the wife of one of his barons) Uther agrees to give Merlin "the fruit" of that union (the infant Arthur). In 1981, what people in the US were selling their souls for--sex, and specifically, taboo sex (homosexuality), symbolized by Uther's adultery--was the plague bringing ruin and devastation to the country and it could be expressed in one word: AIDS (1981 was the first year HIV was clinically observed, and the film Excalibur predicted some kind plague was coming). Today, however, Ritchie has traded in the desired sex for power and satanic activity, and given the revelations from WikiLeaks about presidential candidate Hillary Clinton, as well as former aides coming out and attesting that she is, in fact, a practicing witch who goes to monthly satanic meetings in Los Angeles, (and, when King Arthur Legend Of the Sword began production, everyone, especially in Hollywood, assumed Clinton would be the next president), we cannot help but think of Vortigern as a metaphor of Hillary Clinton. Why is this important? Because, as the leader goes, so goes the country, and leaders getting entangled with satanism means the country will, as well (just look at the public "binding spell" against Trump, and Hillary isn't even the leader; think how bad it would have gotten if she had made it into the White House). The problem is, a lot of people think they would never fall for Satanism, however, they also aren't actively working on being good Christians, either. If you aren't fighting the spiritual battle, you are losing the spiritual battle, which means the devil is winning. Ritchie provides us with the perfect visual to illustrate exactly why the spiritual battle is imperative: the "eel-like" arms of the sea-witches, vs. the garlands of the Lady of the Lake. Either we will be drawn into evil with those long, snake-ish arms, pressing us to the bosom of damnation, or we will be drawn into the mystery of ourselves for our eternal salvation and that of others as well.
Now, the women.
|This is the most important place in the film, even more so than the place where Uther died and Arthur pulled the sword: the alter. This is where life begins, this is where life ends, when life is properly lived. In the darklands, Arthur has to take the sword to the alter to see what happened and, as we see in the top image, the runes on the sword light up; why? It's the Truth, the Light of Truth and it's infusing Arthur, compared to the bottom image and Vortigern shrouded in the darkness of lies and corruption. We have all ready discussed at least a little why it's so important that Arthur sees Uther and what Uther does with the sword, but there are at least two other reasons why this is important: first, it was an act of love, and it reveals to Arthur the incredible love his father had for his son, as well as the people placed in his care, his kingdom. Second, it provides Arthur with a role model, someone to whom Arthur can look up and model his actions after so Arthur in his turn can become a role model for all other men (which is where chivalry comes from).|
The great irony about sacrifice, which Ritchie points out so wondrously, is what Christ said: "For whoever wants to save his life will lose it, but whoever loses his life for my sake will find it. What will it profit a man if he gains the whole world yet profits his soul?" (Matthew 16: 25-6). We see both Arthur and Vortigern at the alter of sacrifice, each man there with a completely different intent: Vortigern to gain control over the world, and Arthur to stop him. Excalibur, in the top image, lights up with the truth of the mystical words engraved upon it, just as the Truth is engraved upon our hearts. In the bottom image, we see Vortigern wanting to spread the same darkness throughout the world which has consumed his own soul, and bring death to all. What's the deciding factor in this struggle? Women. It's the Lady Of the Lake who directs Arthur in the right direction, and it's The Mage willing to sacrifice herself (letting the guard hold a knife to her throat in George's courtyard, then letting guards take her hostage to Vortigern's castle when Arthur has thrown Excalibur away).
On a slightly different note, the fireball we see Vortigern holding in this bottom image, as well as one we had seen him holding in the trailers, might be a reference to the 1994 Russian film Burnt By the Sun; why? The film takes place in 1936, the USSR, and a young man who had been recruited by the KGB (one way to interpret "recruited" is "forced") to go oversees and do their dirty spy work for them, leaving behind the woman he loved; in moves Sergey, a colonel who had his eye on the young woman (yes, it's very much like the story of David and Bathsheba, but it's taking place under Stalin). The young man returns to exact revenge on Sergey for turning him into a monster and stealing the woman he loved, and he does it with the same means that Sergey forced him into the KGB to begin with. The point is, at the start of the film, then at the end, there is this free-floating fireball, just like the one Vortigern holds, wandering around, a kind of symbol for Stalin himself and the Orwellian universe he created, but also a universe with no love, no equality, no justice, and absolutely no hope for anyone. Why would Ritchie (IF, this is, indeed, what he is doing) reference Burnt By the Sun? Burnt By the Sun is obviously an anti-communist film, and Vortigern is a socialist/communist figure (at least he's representative of those in the US wanting to overhaul the republic and capitalist system we have had with a form of neo-communism), and Ritchie wants to warn those who have, perchance, seen Burnt By the Sun, that Voritgern is, indeed, an extension of Joseph Stalin. What about those who haven't seen Burnt By the Sun? Well, look down at the next caption, and therein lies your answer.
A phallic symbol is meant to invoke the male penis, especially when erect. Why? I wish you hadn't have asked that, because this is where it gets difficult, but that's okay, we will get through this together. The answer depends upon who you ask, and because feminists and other minorities ("minority" being anyone identifying themselves as such, but specifically those who are not male, are not white, not Christian, are not heterosexual or part of the 1% economically) have dominated the discussion of phallic symbols now for decades, and has been completely colored in their own self-interest with no on challenging their self-absorbed, dramatic interpretations of the "white man's narcissism."
|Why does the Left hate white men so much? As we have discussed before, it's because they are the dominant "power holders" in today's society; just as Jews were "power holders" in Hitler's Germany, the Left specializes in targeting an isolating "an enemy" then rallying their allies against that enemy and turning them into scapegoats. If you don't believe me, check out this story about the newest video game coming out, Far Cry, which has white, Christian men who eat red meat and read the Bible, as the villains of the game. Is the "power" which white men hold in Western European civilization the real threat to those who see themselves as minorities? No. The real threat which white, heterosexual men pose to the Left are their values. and anyone (male or female, white, black, red, yellow or mixed) can hold these same values (and many do) and fight for those values, but they are traditionally associated with white men because they are both distinctly European and Christian. What are those values? The basis of Chivalry, masculinity and the Christian faith. Just as these three things, inter-related, have built up European and American civilization, so they have kept order and brought peace and prosperity to all peaceably participating within that system. This is the very reason the Left hates it so much: the Christian society of masculine rule outlaws anything that will bring it down, which will corrode society and its members. Miniorities, on the other hand, want these perversions, and so blame white Christians on "hatred" and "intolerance," "racism" and "greed" so they can unleash the devil through their sins and call it "social justice." Just as Vortigern unleashes evil in King Arthur: Legend Of the Sword, the Left wants to do the exact same thing.|
How? The "false phallus."
In the images above, we first see Arthur with Excalibur, the "good phallus," the good ruler with his power he uses for the greatest good of society. It doesn't always work out that way, but this provides the most peace and the greatest benefits for the greatest number of people. Below King Arthur, we see Princess Ahmanet from The Mummy; what does she hold in her right hand? A knife, a jagged, nasty knife she uses to cut the throat of her father, the pharaoh, and then of anyone else who gets in her way. Below that is Diana Prince (Gal Gadot) in Wonder Woman; what's she doing? Pulling out a sword that is destined for a great warrior,.... or is she really re-writing history to make a woman seem like a better "King Arthur" than King Arthur? In the bottom image, we see Emma Cullen using her rifle (which, in this film, is a phallic symbol) to "take revenge" on the industrialist Bogue (symbolizing capitalism). We also just saw Gamora (Zoe Saldana) in Guardians Of the Galaxy Vol 2 use a sword (phallic symbol) to kill a giant octopus symbolizing capitalism (please see Patricide: Guardians Of the Galaxy Vol 2 for more). It's possible we will be seeing something similar in Pirates Of the Caribbean 5 with the trident of Poseidon. What I am saying here, is that phallic symbols are going to be important for the next year, and if they are being "cut off" that is a clear case of castration.
Because that is where God is.
Eat Your Art Out,
The Fine Art Diner
I have been writing about King Arthur: Legend Of the Sword since the first trailer dropped; here are the other discussions which includes analysis you might be interested in, which I have not copied into this post:
Symbols In King Arthur: Legend Of the Sword
Symbol Analysis Of King Arthur Legend Of the Sword Teaser Trailer
Vortigern and 7 Details Of King Arthur Legend Of the Sword
2 New Spots: King Arthur Legend Of the Sword
Tuesday, May 16, 2017
|Russell Crowe portrays Dr. Henry Jeckyll and his famous "other," Mr. Hyde; Jeckyll is the founder/leader of Prodigium.|
Eat Your Art Out,
The Fine Art Diner
Sunday, May 14, 2017
Eat Your Art Out,
The Fine Art Diner
Wednesday, May 10, 2017
The film tells us.
|Had The Sovereign been the only villain of the film, it would have been a different film. We've seen the "birthing mechanism" of The Sovereign (genetically engineered to be perfect and for a specific purpose) in two different films before: the first being Oblivion with Tom Cruise, and Man Of Steel on Superman's home planet. Typically, because socialist governments strive for efficiency and try to root out all sentimentality (did you know that hugging is illegal in China? Even hugging your own children or spouse is illegal) we could have taken The Sovereign to be the villain and, hence, the sign of socialism (in other words, that the film was pro-capitalist). What happens with Ego and Yondu (explained below) changes the way we have to view The Sovereign, however. One of the aspects is that comes out in conversation between the High Priestess (Elizabeth Debecki) and Peter Quill in this scene above, is that Peter has mixed heritage (he's a mortal and Ego, his father, a "Celestial," or god) and the Priestess tells him that he has a contaminated bloodline that causes him to be reckless, and they protect their blood lines in their race. Anyone who knows what really happened in history, know that it was the socialist Nazis who enacted the Nuremberg Race Laws and Marriage Hygiene Laws to keep the German or Aryan race free from the "contamination" of Jewish blood and physical traits. What Gunn does, however, is try to draw attention to the low inter-racial marriage statistics in America and Europe and suggests that blacks who marry blacks, or Asians who marry Asians or even white people who marry white people (yes, I know this is specifically targeted at white Americans, but I am making a point) are inherently racist because they haven't married someone from a different ethnic background from themselves so they can keep their own blood line pure. (If you doubt me about this, hold this thought, because we will discuss this below with Yondu and the song Come A Little Bit Closer and what Gunn is telling men who can't get a date like Yondu). Again, this is utterly ridiculous, but it's a form of bullying and shaming the Left pushes because they don't have logic or reality on their side to create a false world of socialist rule. It's important that Elizabeth Debecki plays this role, because she was the Nazi-enabler in Guy Ritchie's The Man From UNCLE; so by casting her as an example of a capitalist, Gunn says, "Oh, you think she's a villain? Let me show you what a villain really is,... YOU! Because you only marry white people!" and so he has shown us what he thinks a villain is, hasn't he?|
Why are they all gold? Symbolically, we know that gold represents kings (hence, they are called The Sovereigns). Gold (and the color yellow) symbolizes our dignity, because it relates the inherent dignity each of us has,or the dignity that someone ignores or desecrates. To Gunn, The Sovereigns have a "false dignity" about them, emphasizing their breeding techniques and their blood lines. Politically, the gold skin and features might well have to do with a large push to get on the gold standard so that economies cannot have politicians falsely driving up their debts to intentionally wreck the country's economy and usher in--under very contrived and false circumstances--socialism. Anything we (conservatives and Christians) want, is going to be vilified in this film. And I think all the other Marvel films (the Russo brothers might be the only possible exception) will start doing the same.
Why does Rocket steal the batteries? Rocket tells us: because he wanted to. This is the perfect example of wealth re-distribution. The Sovereigns have the wealth (the elite line of batteries) and Rocket wants it, so he takes what he wants. THEN, they show Rocket using the appropriated wealth he has gained to blow up Ego, who symbolizes God. In other words, Gunn suggests that once people get the wealth of people like Donald Trump (literally, just take what he has and give it to all those people who are always rioting) people will gladly abandon their faith in God (turn on Kurt Russell's Ego like Peter does). Yea, we still have a lot to discuss.
|I know there are many of you apt to be big fans of these songs, so please, do not take personal offense at what I am about to write (trust me, my parents listened to these songs when I was growing up, so I know them well) but their role in the film transcends our personal experiences with them because they have been interpreted and applied to a particular situation which had nothing to do with the original songs and their creation. Are we cool? Great.|
The song Brandy by the group Looking Glass has particular significance in the film because it's played twice and Ego (Kurt Russell) uses the lyrics of the song to interpret his personal situation and that of Peter's, too. According to Ego, he and Peter are the sailor in the song (you can read the lyrics here if you can't recall them) bringing gifts to people they love, but, ultimately, they have to leave them again because of their purpose. What does this have to do with anything in the film? Let's do a bit of the literary theory strategy New Historicism. We see Meredith (Peter's mom) singing Brandy in the car as Ego drives through Missouri; knowing the radio then only played current songs, we can guess that it's within about a month of the song being released (which happened in February, 1972). So, the question then, that this historical investigation leads us to ask is, what happened in February/March of 1972? Please recall in the film that, after we see Meredith singing the song, Ego takes her into the woods and shows her that plant thing he planted, but she doesn't know what it is and doesn't care. He tells her he's planting them all over the galaxy. Okay, in March 1972, The Rome Club (a think tank of UN bureaucrats) published their highly-speculative study The Limits to Growth which might be called the first environmental doomsday book. Essentially, the book examines the problems of population growth with industrialization in a system of finite resources. Sound familiar? Okay, what does this have to do with Brandy? Two things. First, James Gunn is telling women, hey, if you want the guy to marry you, tell him to stop being a capitalist, so he will stay home and take care of you. Oh, wait, that doesn't sound very pro-feminist, does it? That's because, it's not. But it doesn't matter, because this is why the Liberals want you to feel instead of thinking, just like Mantis (more on her below). Meredith didn't want Ego to leave, but he did, but if Ego hadn't been so intent on spreading his seed with his penis, then he would have stayed with Meredith, but no, he had to go and put those plant things everywhere; why? This leads us to the second point. He's a capitalist. The sailor in the song talks abut the sea, however, Brandy wears a braided chain/Made of finest silver from the North of Spain/A locket that bears the name/Of the man that Brandy loves. How do you think he got the chain to give to Brandy? By trade. All the hundred ships the harbor serves every day are trade ships, i.e.,the vehicles of capitalism and the free market. Gunn draws women's attention to this by saying, if he wasn't a capitalist, he would stay home with you instead of leaving you. When Ego compares himself to the sailor, Ego says that he, too, is a capitalist because he comes bearing gifts (rather like the dad in the very pro-capitalist Poltergeist reboot, who brings the wife jewelry, the daughter a new iPhone, his son a drone, etc.) and he had to work for the money to get those gifts, but then he's gone again to make more money to buy more gifts. Peter is the same because the Ravager community, who steal from everyone, is actually Gunn's way of saying they are capitalists, because if they were socialists, they wouldn't steal because they wouldn't have to because all of their needs would be met, and everything would be held in common (remember, in GG Vol 1 the orb has buyers, someone wants it, so that's why everyone tries to steal it is to sell it).
So, why does Ego, then, tell Peter that Brandy might be the greatest human composition ever written? Because it offers Gunn and other Liberals an easy way out regarding feminism. As we have often said, the reason feminists support socialism is because these are women who know they don't have what it takes to make it in the real world on their own, and they are not willing to suffer or work hard to become self-sufficient (they want the government to take positions away from men and promote women into those positions) BUT, taking the line that Brandy uses, instead of arguing what we just said, socialists can say that it isn't fair that men chase after capitalism, they should stay home and take care of their families (even though the Democrats have spent decades degrading marriage and the role of the father in families).
Now, for Jay and the Americans (the bottom image). Did you catch the line, "She belonged to bad man Jose?" She "belongs" should be a massive insult to feminists, however, the feminists aren't going to bat an eye over it; why not? This is "wealth redistribution." If the woman belongs to bad man Jose, then the guy singing the song is taking what belongs to Jose for himself, and that's exactly what socialists want to encourage. Feminists are happy to sell other women up the creek without a paddle, as long as it helps their own political agenda along. Please just note that image, and how these guys look, and we will discuss this below when we talk about Yondu.
Why would GG encourage patricide?
The founding fathers.
Continuing on with Ego,...
|Say hello to Conservatives and Christians everywhere! Here's Taserface! How do we know that Taserface symbolizes Conservatives? Well, what charge does Taserface bring against Yondu as the case for his mutiny? "You've gotten soft on Quill," and Yondu isn't killing Peter Quill the way Yondu told everyone he would (in the first film). So? Isn't that a virtue? Well, not upholding the law is a virtue if you are a supporter of Hillary Clinton. Remember, Gunn and the rest of Hollywood thought Clinton would be president when this film came out, and there would still be people, like myself, yelling about Benghazi and all the crimes she has committed and broken, and want her--like Peter Quill--to be brought to justice, the same way Taserface complains that Peter should be brought to justice. So if you think Hillary, Obama, and the rest of the Obama administration should stand trial for the crimes and treason they have committed, congratulations, this is what Gunn says we (Conservatives, Christians and anyone demanding justice for Hillary, Obama and the rest of the Washington bunch) look like to him. If this shocks you, it shouldn't: we basically saw the exact same thing in Jason Bourne when Matt Damon and Paul Greengrass sentenced Nicki (Julia Stiles) to death because she wanted to expose the corruption in the CIA, and Bourne didn't want to (please see Damning Iceland & Greece: Jason Bourne for more).|
|Yondu's character in GG Vol 2 is nearly as complex as Ego's. The first time we see Yondu in the film, he's just finished having sex,... with a robot. He's been banished by the Ravager community (this is where we meet Sylvester Stallone's character, and we know he's a capitalist figure, not only because he's a Ravager like Yondu, but because he tells the female figure alien who owns the bar that she lost the business of 99 Ravagers because she served one (Yondu who has been exiled); "boycotting" is a practice common to us Conservatives when we don't like what a business stands for; Gunn takes issue with that and wants to make us look like we are bad people for exercising the power of boycotting, so he inserts those lines into Stallone's character. So, what does Come A Little Bit Closer have to do with the scene above? The song plays as Rocket and Yondu make their escape after the mutiny led by Taserface. Yondu has his magic arrow whipping around, killing everyone who committed mutiny. Yondu's arrow is, undoubtedly, a phallic symbol, like Thor's hammer or King Arthur's Excalibur, and when Yondu's fin gets blasted off his head earlier in the film, it's a form of castration because he can no longer use his arrow as long as he doesn't have a fin on his head (which he manages to get a spare which you see on his head in this image here). So, what does this have to do with the film and socialism? Gunn is saying that, for men, like Yondu who want to have a relationship, even just for one night, they should support the liberal Left because of Mexican women who would be willing to sleep with them,... What? Well, if you listen to the lyrics of the song, it takes place on the Mexican side of the border, the border where Trump is wanting to build a wall; but if we don't build a wall, Gunn argues, and we declare amnesty instead, Gunn is assuring single men like Yondu that they can find a senorita who will sleep with them (instead of a robot; look at the guys in the band who sing this song; they have probably never had a woman tell them "You're my kind of man, so big and so strong," so Mexican women must be easy women, which is a reason to NOT build the wall; this is all James Gunn's propaganda to recruit people to the Democrats); all these lonely, single men like Yondu have to do is what Yondu does in this scene: kill all the capitalists and anyone else who wants to build a wall, then, you also won't be like those stuck-up Sovereigns with their pure blood lines (remember, The Sovereign comes to visit Yondu right after Stallone's character leaves) because you will be sleeping with a Mexican so you are not racist! Hooray!|
Now, on an important sidenote, when those who were loyal to Yondu are killed by Taserface and Yondu's loyal crew, what do they do to them? Put them out into space where they instantly freeze to death. Why? THE COLD WAR. Why does Yondu freeze to death at the end of the film? Patriarchy. If Yondu had let Peter die, Yondu would have lived, then Yondu could have gone around, doing the "works of mercy" of socialism. But no, Yondu wanted to claim Peter as his own (as much as he could) and that means "ownership" and "possession." Just like the anonymous woman in Come A Little Bit Closer who belongs to Bad Man Jose. Because Yondu freezes, we can work our way back through the chain of logic (because you and I employ logic, whereas Gunn and socialists make "leaps" of logic) and see that Gunn freezes Yondu to death because of patriarchy, and because the Cold War was about capitalism defeating socialism and communism, now, the socialists are going to "win" the Cold War by literally freezing anyone and everyone who upholds patriarchy, capitalism and religion.
|Peter Quill. Just as Ego has to die because he has a penis, and Yondu dies because he has the phallic symbol of the flying arrow, so "Quill" is a phallic symbol as well, not nearly as mighty or impressive as Excalibur, but a phallic symbol for what it can muster (what do you expect, coming from a socialist?). This scene, when Peter and Rocket argue about who the better pilot is, and which of them is going to fly the ship through the asteroid field, is meant to be a pièce de résistance to the film: beings (because Rocket isn't human) with a penis are going to be cock-sure and get everyone killed. Therefore, castrate them, castrate them all, just like Bruce Jenner.|
Why, when Peter fights Ego, does Peter take on the image of Pac-Man? To show that Peter is, indeed, a capitalist, even though he's fighting the uber-capitalist, Ego. Pac-Man arcades made $2.5 billion in quarters by the 1990s and is one of the most recognized brands in the history of humanity. It was also developed during the height of the Cold War, which makes it a sign of the success of capitalism and the fun it generated for several generations of Americans and other audiences throughout the world. Peter, then, is still Ego's son, even though he has committed patricide, but either Peter will have to convert to socialism (which is what I expect to happen) or Peter will have to die. Why does Yondu die? For Conservatives, it's right that a parent should give their life for their child; to socialists, it's not, the parent has the life, and the child is a parasite (remember, for example, Pirates of the Caribbean: On Stranger Tides when they look for the Fountain Of Youth and Penelope Cruz's character is going to give her father, played by Ian McShane, the years left in her life, because he doesn't believe in God, so he can't afford to die because he will go to hell. Well what kind of sense does that make? And Jack Sparrow realizes it, and makes sure that McShane's character dies because parents should sacrifice themselves for their children). But Yondu is also unwilling to kill "Pac-Man" and become a socialist himself, so instead, Yondu embraces patriarchy, being Peter's daddy, and for that, he must die because he's there for Peter when Peter needs him. What Gunn wants is for Yondu to be selfish, and absent, so that the government will take care of Peter instead, or leave Peter to die, because that would be like an abortion and that's what socialist governments do, they provide abortions for women.
If Peter kills Ego, then Peter, too, will be mortal because the light in the planet will be extinguished and Peter won't be part celestial anymore. This argument is really what is at the heart of Gunn's GG (all of them) capitalists want to be individuals. We want to do things setting us apart from others (which is one facet of our definition of "success"); why? Conservatives tend to believe in God (but certainly not all Conservatives). Those of us who do, believe that God created us to be individuals, with unique gifts and talents, and we are meant to develop those for God's glory because to us, that is true diversity, and united, we reveal part of who God is, and He reveals who we are, and who He created us to be, our purpose in life (like Ego's purpose). For capitalists, if we don't define our individuality with accomplishment, gifts and purpose, we become like that faceless, identity-less blob taking over the Dairy Queen. These beliefs regarding God and His relationship with humanity is what causes us to be that octopus monster at the beginning of the film, the one who has a thick hide and can't be killed except through the cut in the neck. Gunn hopes that his arguments against God in GG V 2 has made us "look up" (like the monster so Gamora can open that wound and slash the cut bigger and kill us) and despise God so that we, like Peter, will be happy being just like "everybody else," with no individuality, no accomplishments, and no eternal life to look forward to with God our Father in heaven (in case you are wondering, yes, Gunn was thinking these things specifically, because he used to be Catholic and went to a Jesuit high school in his home state of Missouri where the "earth portions" of the film take place).
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