Friday, June 26, 2015

Trix Are For Kids: Ted 2 & the Entitlement Culture

Legalizing Ted and weed are similar circumstances, because people who think weed is harmless also believe in make-believe things like teddy bears that come to life. Just as Ted isn't a real animal, he symbolizes our animal instinct for a state of existence that isn't real and which usually goes by the description of "utopia." There is a scene, about halfway through the film, where John (Wahlberg), Ted and their lawyer Sam (Amanda Seyfried) have crashed into a field of a particular strand of marijuana being grown and as they look at it, the theme for Jurassic Park wells up in the background and they re-enact the scene where the scientists see the dinosaurs for the first time (again, they are staring at weed). What's the purpose of this scene? In Jurassic Park, the scientists had done something important and constructive with their lives, as opposed to this threesome who do nothing but smoke their brains out on weed; comparing the weed to the dinosaurs, however, is a stroke of genius, because we know the dinosaurs get out of control and end of destroying everyone in involved (especially Samuel L Jackson's character, who Seyfried's Sam is linked to). They find a guitar and a cowboy hat in the barn, and wonder who they and the weed belongs to and it's Willie Nelson's, who is a supporter of this. The argument the film makers seem to be making is, just because someone makes good music, doens't mean they would make good public legislators (please see the end of the post with the song Mean Ol' Moon).  In another scene, The Breakfast Club is referenced; why? The kids in detention actually learned something, about themselves and each other; is that happening in Ted 2 with these potheads? No, they insist they know what reality is, but how can someone who is high all the time know what reality is? Another important reference, besides Teenage Mutant Ninja Turtles and Transformers IV (which was decidedly anti-socialist), is to Star Trek Into Darkness, when the USS Enterprise crashes into John as he saves Ted from being crushed, and--one of the black gay characters is dressed as a Klignon, who have traditionally been associated with socialism throughout the series many runs. John trying to save Ted from the USS Enterprise crashing into him is like trying to save Ted from the reality of America crashing into him: the Enterprise represents all that is enduring and strong about American culture, and a make-believe bear only concerned with getting smash-faced and sex can't stand up to the examples of excellence that Americans have always held dear in our culture. 
The central conflict of Ted 2 is whether or not Ted, a teddy bear that has come to life in the first film, is human, and so can marry, vote, drive and adopt a child, or if he is property. The arguments the film posits has to why Ted has emotions is because he feels so deeply, and if someone(thing) can feel love, then, surely, they are human. This is apparently how the film ends, unless you stay and watch the end credit scene that completely destroys the entire premise and arguments of the film. What is the end credits scene, and why is it so important?
The film makes it wildly apparent how liberals disregard the law, until they need the law on their side. For example, John and Ted are regular drug users; when the law states that Ted is not human, they decide the government isn't following the law and so they are going to sue the government for "Ted's civil rights." When the three of them meet civil rights lawyer Patrick Meighan (Morgan Freeman) and John tells him what a positive influence Ted has had on his life, Patrick says, like when you two were both arrested for marijuana possession? Everyone should have equal access to the law, but everyone should also follow the law, and the makers of Ted 2 aptly demonstrate how it is often those very people who break the law without a second thought that are always clamoring about their legal rights and trying to sue someone.
Towards the start of the film, Ted works at his grocery check-out lane at Bay Colony Grocery Store and Liam Neeson comes up to him with a box of the kids' cereal Trix, and Neeson asks Ted, are these just for kids? Am I going to be followed? Can I enjoy these too? And Ted answers that Neeson can take them home, no one is going to follow him or stop him from enjoying them; the scene is very over-played and seems to go on for a long time. The whole "punch line" of this scene (and it's not particularly funny) is the advertising slogan, "Trix are for kids!"
This is the scene where Ted and John go to Tom Brady's bedroom for a sample. I don't know about you, but dressed like this, Ted reminds me of Paddington Bear, the lovable bear that I enjoyed so much when I was a kid. If Ted hadn't been dressed like this, there is no way I would have linked the obnoxious, druggie, alcoholic, over-sexed bear with a childhood toy. This is important, because several films (The Woman In Black 2, The Conjuring, Annabelle, Wreck-It Ralph, Ouija, Poltergeist, Ant-Man (with the choo-choo train) and even Hotel Transylvania) fight over whether toys are important for kids or not. Because children generally don't have any property, socialists always target their indoctrination attempts at the younger generations because, in a socialist revolution, they don't have property to lose like their parents do who have worked hard all their lives. Even though Ted is technically a toy, he's still teaching us things, so toys are worthy possessions for kids to have because they do instruct kids (in the case of Ted 2, the audience members who are drawn to this kind of humor). We will be seeing this argument in more films to come. Now, let's talk about another issue the film brings up, and I do apologize because this is really offensive. Anytime any in the film does a Google search, instead of what they searched for, Google asks, "Did you mean black cock?" Why? The propaganda coming out of the White House, and the first black president, is being forced into everyone's every day routine and every facet of our lives, no matter what it is that we are doing. 
Because the conflict is, "Is personhood just for people? Can animals and toys be granted personhood, too?" At the very end of the film, after the catering credits, we see Leeson enter the store again, with the unopened box of Trix, and he's been severely beaten, with bruises and blood all over him; he puts the box of Trix on the checkout table and walks out; TRIX ARE JUST FOR KIDS. Personhood is just for people and civil rights have become so watered down, they mean absolutely nothing for anyone. But, it's even worse than that,...
This is a really important moment in the film, and one that is repeated throughout. In this situation, Ted has gotten on John's computer, and it is filled with porn; filled with porn. Later, when John asks Ted why he didn't just ask John for a sperm sample for his kid, Ted tells him because he thought John had wasted all his sperm on porn; this is the case with Flash Gordon who can't donate any because his count is so low. Likewise, Tami-Lynn, Ted's "wife," can't even receive an artificial insemination because she had done drugs for so many years, she destroyed her reproductive organs. This is an example of one of the "good" lessons the film teaches: people who engage in self-sabotaging behavior, like drugs and porn, end up in a cycle of nature's birth control because they have proven themselves too stupid to be worthy of being reproduced, so nature makes them incapable of bearing children. It's also a warning to those who engage in this kind of behavior of what they are doing to themselves and potentially setting themselves up for in the future. On a similar note, when Sam argues before the jury why they should recognize Ted as a person, she argues that when one type of life is devalued (in this case, that of a teddy bear's) then where is the line going to be drawn when it comes to all forms of life and all life being devalued? For conservatives, even as she's making this argument, we automatically think of the liberals' position on abortion, and how the Left devalues the life of the unborn child in the womb, and the film makers want us to think of this. When Ted and John are at the sperm donation center, Ted tosses John a container holding a donor's sperm and John drops it on the floor, the sperm going everywhere and John anxiously comments, "That's someone's kid right there!" on the floor. The film makers are recognizing life even before conception takes place and, again, attacking the liberals' hypocrisy on "valuing life" even though they uphold abortion. 
It's not just that people who have killed all their brain cells smoking weed automatically assume that, because Ted is alive, he deserves whatever he wants (the "entitlement" culture), these are people who have abused--through drugs and porn--their own personhood and so have no realistic conception of what "being a human being" is about because they have demoted themselves to the level of animals, rather than raising themselves up to be the best people they can be. The film isn't just about the abuse to civil liberties--perfectly timed as it were, to be released on the same weekend that the Supreme Court has announced so-called "gay marriage" is legal--it's about the abuse of arguments used to defend civil liberties and the abuse that has been endured by employers, which leads us to Steven Spielberg's Lincoln.
This is the actual headline in the film. If you click on the image and notice the date, it's Wednesday, August 26, 2015, so the events in the film haven't happened yet; why August 26? The 19th Amendment, granting women the right to vote went into effect; what does this have to do with Ted being declared "property?" Two things. First, There are "real civil rights" that belong to every human being, and then there are civil rights that are so ludicrous, the people arguing for them, like "gay marriage," make themselves look ridiculous as they prostitute their knowledge and destroy the Constitution so they can have their way. A teddy bear not being human is the perfect metaphor of the Obama administration's ideas of "civil rights," because it waters down everyone else's genuine civil rights. Secondly, on this date in 1970, the second-wave feminism begins in an effort for sexual equality. Now, the film makes it clear that being "property" is a bad thing, and yet, Tami-Lynn is furious that she can't be Ted's wife, and Ted that he can't be her husband. Feminists have argued (and Sandra Fluke does still today) that they aren't anyone's "property," she claims she doesn't even belong to her brother. This is what love is though, "belonging" to someone, being their's and intimately theirs. Ted doesn't want to be property, but he wants to belong to Tami Lynn, and he wants a child that will belong to him. What's the difference? Slavery is certainly an issue, but Ted being enslaved isn't an issue in the film, so the film makers are making an important point about the definition of "property" and how we all long to belong to someone and if that doesn't make you their property, what is it? During Ted's bachelor party, Ted, John and a group of guys are watching two grizzly bears have sex (I guess this is bear porn) and they are making lewd comments, especially about the female grizzly, and John says, "That's someone's daughter!" We generally don't think of animals as being the children of other particular animals, but John has made the point that, even though she is a female grizzly, she has a papa bear and a mama bear, and by engaging in extreme intercourse with this other grizzly (remember, this is a bachelor party) she's disrespecting herself and her parents, and when we disrespect our parents and loved ones, we are also disrespecting ourselves and vice versa, because that is the nature of "belonging" to someone, which is, in a very real sense, being their "property."
If Ted isn't a person, the film lets its characters "reason," but only in the very lightest sense of the word, then he's property, and not a person, and who wants to be property? (Please see the caption above). The reason this "property" argument is so strong with liberals is because they think anyone who has a job is the "property" of that employer. Now, I have a job that I hate and wish I didn't have to do it; that I remain in this job, however, is my personal decision because, right now, I would rather endure than not have a job; that's my exercise of free will. Liberals, however, deny that anyone has free will; I am a victim, they would argue, because I am a slave to money but if the government were there to take care of me, I could do anything I want (unless, of course, you have read history and know what that really means). This property argument is the real socialist bent of the film, because the 14th Amendment and the Emancipation Proclamation is quoted, just as in Speilberg's Lincoln, which was such a re-writing of history, Ben Affleck might have co-authored the script (please see Lincoln and the Masquerade Of History for more).
This is at the start of the film, and the impressive song and dance number just after Ted gets "married" by Flash Gordon to Tami Lynn. The scene isn't just an homage to famed choreographer Busby Berkely, it's also a political statement, just like the similar Berkely homage in The Kingsman the Secret Service: utopia is nice in art, but it doesn't exist in reality, and reality is reality, nothing else. We cut from this beautiful dance number to "One year later," and see Ted and Tami Lynn fighting about money and responsibility, all ready on the verge of divorcing. In other words, films depicting socialist utopias, like, say, Tomorrowland, can do so, because all the problems remain in the script, but the script doesn't reflect what really happens and so it's never going to be any more practical than a talking teddy bear or a big musical number.
So, in conclusion, Ted 2, has offensive as it is, seemingly strikes a liberal note, but only to show the audience, who otherwise wouldn't care about such issues, how devastating this cycle of entitlement has become, not only to the individuals who think they are benefiting from it (such as Bruce Jenner), but society as a whole. While I don't necessarily recommend seeing the film, it does utilize sophisticated devices that can keep you interested and which send a clear signal about the damaging self-sabotage America is committing today in the name of "justice," but you have to stay for the very end, because, without that end of the credits scene, the film goes liberal.
Eat Your Art Out,
The Fine Art Diner
P.S.-- There is a beautiful song in the film, Mean Ol' Moon, lyrics written by Seth McFarlane and sung--in the film--by Amanda Seyfreid, and on the soundtrack by Norah Jones; the pothead blaming the moon for the troubles she has had in love is the same as Tami Lynn and Ted blaming the government for Ted not being a "person." It's done well.