Monday, July 18, 2016

The 4th Apocalypse: Ghostbusters (2016) & the Beast Makers

It's actually a classic venture capitalist scenario, like the original film, when these women are booted out of the safe-confines of academia and tenure and turn their dire circumstances into a positive benefit for themselves, and others. They are four women who have nothing but their own personal resources, and they go through the typical marketing problems of hiring help, getting a logo, slogan and channeling publicity to properly describe their market niche; they even have government competition. So, why remake Ghostbusters with an all-female leading cast? Because the original Ghostbusters was a great lesson in Entrepreneurial Skills 101, so a new generation needs to be taught the same lesson, especially women, who--ironically--have been taught by feminists that because the big bad world of business is so big and so bad, they need the government to protect them as they go out and prove they are just as good as men; Ghostbusters wants to show women that no, they don't need anyone but their own skills which pertains to their singularity as individuals. By the way, all the technical jargon you hear in the film? They went to MIT to check all the math and science, so it's all accurate and correct. On a different note, why were so many people angry about this film? Wealth re-distribution. Under the guise of "diversity," many artistic achievements are being given to minorities (like the female Thor, and black female Iron Man), and it appeared the same was happening with Ghostbusters: the original film with four men now being replaced with four women, and that is an easy angle (I know because I was certainly guilty of it myself); that's not what this is about, however. It's not about women seeing other women starting their own business in adversity, but women telling women that, just because other women are voting for a woman to become president, or are telling you that you should be a socialist, don't. Socialism doesn't help women. It never has and it never will, capitalism is what helps women to help themselves, and in turn to help the whole world become a better place, and that's what the film is about.
I am stunned as I write that Paul Feig's re-boot of Ghostbusters is a comprehensive argument against socialism in America today: it gets a bit messy at times, but it is consistent and thorough. The film lays out three cases against socialism in each of the three initial ghost sightings, and these three are instances we have visited from other films. Between class warfare, black enslavement and, yes, Satanic influence, Ghostbusters puts it all out there so we know about the ghosts from our past.
The top image is the real Aldridge mansion in Boston, the middle image is Gertrude Aldridge as she was in life, and then what she turns into in the bottom image. (We'll discuss the blue color around her below). Let's talk about the tour guide Zach. He informs the people on the tour that the house had every luxury available at the time, including an "anti-Irish fence." Why on earth would that be included? It's obviously ridiculous that a fence could keep out just people who come from Ireland or have Irish ancestry, and yet this is what people who are pro-amnesty think people who want a fence/wall built between the US and Mexico are saying: we want a fence to keep out Mexicans. It's not about keeping out Mexicans, it's about keeping out everyone who wants to enter this country without a proper background check to insure they aren't terrorists are trying to commit evil and foul deeds in this country. Then the tour guide talks about how Mr. Aldridge locked Gertrude in the basement and wouldn't let her out. This is a reference to a feminists complaint in academia referred to as "The Madwoman In the Attic" syndrome (which is also the title of a feminist work of literary criticism; no, it doesn't matter that Gertrude was locked up in the basement instead of the attic, because the basement is still considered a "marginalized" area of the house that isn't a livable area like the rest of the home). So Gertrude stands as a woman who has been wronged, even as she has been accused of murdering the servants (meaning, Mr. Aldridge murdered the servants but blamed Gertrude and then locked her up so she couldn't prove her innocence, because that's what terrible men do to women, or Gertrude had some kind of condition and, rather than understanding what she had, they condemned her to being locked away from society forever). So, this story of Gertrude (minus the slaughtering of the servants) is exactly what feminists today would cling onto as a "ghost from the past" of female oppression. The tour guide, Zach, is also a sign of bad capitalism when we later see him pick up the trick candlestick that he used for a haunting effect while on the tour guide (we see similar tricks employed in the trailer for Ouija: Origin of Evil, so there is fraudulence and deception). What happens next is something we should be expecting: Zach the white male tour guide gets locked up in the basement and nearly dies; why? Because he's a white heterosexual male (we don't have any reason to believe he is gay). We have seen countless white men be condemned for being the "power holders" in American society (please see Valak: The Conjuring 2 and the Demonizing Of White Men for more).  So, you can imagine that, as I am sitting there and watching all of this, I am confident it's going to be a pro-socialist film, not a film which is going to, instead, posit that socialism is the very cause of these hauntings and the ruin of the country.
The opening scene and first "haunting" takes place at the Aldridge Mansion: this sets us up to expect a really heavy anti-capitalist argument: it was built with every avaiable luxury at the time and was incredibly expensive and lavish; but the title of the book written by two of the heroines, Dr. Erin Gilbert (Kristen Wiig) and Abbey Yates (Melissa McCarthy), Ghosts From Our Past: Both Literally and Figuratively, means that is what the film will present us with, and--just like the villain Rowan North (Neil Casey)--those past ghosts will be used against us. The mansion tour guide (Zach Woods) describes how the daughter of the owner, Gertrude Aldridge, murdered all the servants one night by stabbing them to death. Again, this would look to be an obvious case of anti-capitalism, however, this is a ghost from the past, and the film that perfectly demonstrates this is The Legend Of Tarzan.
Each of the women are highly individual, and yet, they are similar enough that women can find one of them with which to identify. Abbey is like the stay-at-home mom who is great at a particular field of interest but maybe hasn't really made something of it yet; Patty is like women who work a regular, boring 9-5 job while Erin is the woman trying to get ahead in academia. Holtzmann,... is that woman who doesn't really fit in anywhere. What we have are four women who take what they love and are interested in and decide to make a living out of it. It also saves New York City and the world from total destruction, and that's an important point, because when we do what we love, we are keeping the evil--and I do mean, "evil"--forces of socialism away; how? When we love someone or something, we are willing to sacrifice for it, and each one has sacrificed something in order to pursue the lead they have in paranormal investigation. What we haven't seen in any other film that I can recall is, at the end, Holtzmann makes a toast and reveals how, because of this tiny company, she not only has friends, but a family. Not all of us are lucky enough to say that about our co-workers, but it's wonderful for those who do, and that's a reason not to abandon a system that allows for so much freedom and flexibility.
On a different note, why does Abbey have such a difficult time with her wanton soup? It's Chinese food. As Abbey says at the end, "All I want is balance," she doesn't want too many, but she also doesn't want a container with one wanton either. The Chinese being communists don't have balance and they certainly don't have customer service; wondering why Abbey doesn't order from another place? Because in communism, you don't have a choice and there is no one to complain to about anything.
On still a different note, the reason why Erin was haunted by the mean old woman who lived across the street for a year is because Erin never did or said anything nice to her. Like Dorothy in The Wizard Of Oz hating Miss Gulch, kids don't make an effort to do or say nice things to mean old people. Erin could have done something to help the old woman be nicer, but didn't, and the old woman standing at the foot of Erin's bed for a year is a sign of how easy it would have been; think of how Erin approached the ghost of Gertrude Aldridge and was speaking to her; that's what Erin should have done with her neighbor. Remember, Erin and Abbey became friends during the time of this apparition appearing to Erin, and when Erin and Abbey come out of the dimension warp (I have no idea what to call that thing Abbey gets sucked into when Rowan-as-the-logo grabs her and takes her in with him) with snow white hair, it's to remind us of the mean old lady story (old ladies have white hair). Erin did for her friend Abbey what she should have done for the mean old lady across the street but didn't. Erin was probably too young to understand, but Abbey was there for Erin during that time, so it was time for Erin to be there for Abby. 
In the newest version of Tarzan, Leon Rom (Christoph Waltz) is the architect of a devastating plan to enslave nearly the entire Congo for work on the railroad for the King of Belgium. Undoubtedly, things like this happened in the Victorian Age, that's why we can call it "the Victorian Age" because there are well-defined values, cultural beliefs and attitudes which characterize the people of that time; that doesn't mean they are shared with the values of today. Just as Americans of today can't be held responsible for Leon Rom's actions and atrocities, neither can the country be held accountable for the (fictitious) murders committed by Gertrude Aldridge. The next case, however, is even more compelling.
One of my favorite parts of the film is when Patty (top image) has become a Ghostbuster and is running, saying, I should go back to the subway, it wasn't a perfect job, but it was a good job. We could say that Patty is meant to bust the "sloth" interpretation we see at the DMV in Zootopia, because she is certainly nothing like that. Why is it that her Uncle Bill (played by original Ghostbuster star Ernie Hudson) owns a funeral parlor? Because Uncle Bill has "put the ghosts to rest," so to speak, and "buried the hatchet," to continue "so to speaking." In the original Ghostbusters (1984) Winston wanted a job with a steady paycheck; in the new Ghostbusters, Patty wants a good job, not a perfect job, but a job where she can help and put all that non-fiction she's read to good use. When Uncle Bill shows up at the end wanting his hearse back, he complains that he has two funerals that weekend; why? He's thinking of customer service. Patty's also thinking of customer service and how she and the Ghostbusters are going to save NYC from future threats without a vehicle. So both Patty and Bill are thinking of how they can help and do for others, not how others can help them or do for them, and this is the key, not only to happiness for us all, but also success. Now, why are some of the ghosts depicted in blue light? Blue, as we know, is the color of sadness and depression; it is also linked with wisdom, because the greatest human treasure is wisdom, because it costs suffering and sadness in order to acquire. The ghosts we see in blue are those who are sad and depressed, but who never acquired wisdom, because--like the socialists today--they want someone to pay for what they have suffered (like Rowan wanting others to pay for him having been bullied and not good at anything).
Patty Tolan (Leslie Jones) works for the New York City subway; she makes polite small talk to people passing her, but they don't acknowledge her; when a mysterious man appears at her ticket booth and tells her, "When the Fourth Apocalypse comes, laborers like you will be the last to be led to the slaughter," she can tell he's a nut. He walks around the corner, and--that being where he shouldn't be--Patty follows him and sees a ghost wearing convict's clothes. Frankly, this is an incredible way of reminding audiences about the "underground railway" (the subway) run by Harriet Tubman (Patty) for escaping slaves (the convict, because it was against the law for slaves to runaway from their masters). Please, bear with me for just a moment and, like the film, I will pull this all together into a comprehensive plan. The third ghost sighting is,...
This is not a good image, and I do apologize, it's not nearly as menacing as it was in the film. This creature is clearly a demonic dragon. Why does it appear at a rock concert for a band called The Beast Makers? Because it's invoking The Beast, as in, Satan. Not all rock music is satanic, but this rock band is clearly using their music to summon The Beast and the audience loves it; why do we have this scene? How many musicians are using their music to support the liberal cause? Because people listen to their music, they are using their celebrity influence to urge their fans to support the liberal agenda that Satan himself could have written? Why are they called "The Beast Makers?" Even if the devil doesn't exist, the left is willing to create "The Beast" for its followers to worship in place of God; why? As we have noted countless times, liberals don't believe in God (part of their platform) and so they want people to believe that we are animals--not created in God's image with a soul--but animals who live and die, eat and exist to serve the state. So the band "The Beast Makers" not only intend to make a Beast for their followers to worship--like the Golden Calk Aaron made for the Israelites in the desert--but also to make their followers into beats, because that's what liberals want us to believe: we are animals. Something imperative happens in this scene, and it's something that made me think it was going to absolutely be a liberal film--and I think kept a lot of people from going to see it, but made liberals go see it--and that is Patty (second image above). Abbey (McCarthy) jumps into the audience and they "carry her" to where the demon is so she can zap it; Patty is going to follow, but when she jumps, no one catches her; she gets up and says, "I don't know if that's a woman thing or a race thing," and as she's walking, the demon perches on her shoulders. How often have we heard about sexism and racism in America? When we see this demon perch on her, the film makers are telling us that the kind of act Patty has just made (just the act, not Patty herself) is satanic. She has blamed something on someone else, rather than taking charge of herself and walking on her own to where the demon was, she blames others for her bad decision. Would you jump into a crowd of strangers and trust them to catch you? Especially if they were heavy metal rock fans dressed in,... well, you know how they dress at concerts. Would you? We know the head--the area that the demonic dragon is over Patty--symbolizes the thoughts and thought processes of a character while the shoulders symbolize the burdens. The image in the middle above, then, communicates that those "shouldering their burdens" of racial/sexual discrimination  are being brainwashed by satanic influences into what is causing those burdens; we all have burdens in life, and we can either let the devil sit on our shoulders and blame others, or we can accept the Cross and use our burdens to free ourselves and others. As discussed above, there are two primary colors used in the film denoting the supernatural: blue and green. Green, as we know, has a positive meaning and a negative meaning: the positive is a sign of rebirth and hope, while the negative is a sign that something has gone rotten (like food in the fridge you have forgotten about). The green demon, and the green "cloud" swallowing New York City in the bottom image reveals that the evil forces circling the home of Wall Street and the world's financial capitol are rotten. a heavy metal band concert for a group called The Beast Makers who have Ozzy Osbourne as their front man (yea, Ozzy the "Prince of Darkness," from Black Sabbath who bit the head off the bat and other animals). The green beast which is unleashed is meant to be THE BEAST of the Apocalypse, like the character Apocalypse from X-Men Apocalypse and the Four Horsemen from Now You See Me and the sequel. Why do this? Because these three sightings are the foundation of the plan of the liberal party to destroy the county, just like Rowan North wants to destroy the world in the film. And the book Ghosts From Our Pasts is the "playbook" being used.
I couldn't find an image of the film's villain, Rowan North (Neil Casey), but these are two of the forms he takes after he has electrocuted himself. Why does he posses Kevin (Hemsworth)? Because he is a white male. Yes, North was also a white male, but not a white male who was noticed. When Rowan refers to Kevin as an "upgrade," it's not just the better physique he's acquired (through theft, Rowan didn't want to do the work to build up his own body when he was alive, but he's perfectly happy to "take" and "possess" (like a house) the body of someone else) Rowan is also talking about a job promotion, up from a janitor at the hotel to a receptionist at a business. Rowan is a common bully, and like so many others, he has turned to socialism so he can "legitimately" bully those he believes has bullied him. Further, Rowan North makes Kevin do things he normally wouldn't do, which makes the destruction in NYC look like Kevin--a white heterosexual male--did it. Why, after abandoning Kevin's body, does Rowan choose the company's logo? Because it's the company's logo, and this is the specter of socialism (yes, just like the Bond film Spectre, because Rowan is a bully who commits all this evil just to get back at those he thinks hurt him). Socialism hates privately owned business, so by destroying the city, Rowan makes business look like the ones who destroyed NYC, especially a business made up of four women who went out on their own and risked everything they had to do it. Please note, however, that there is a small detail Rowan added of his own: the red bow tie which isn't a part of the company's logo. We know that red is the color of blood, because we either love something/someone so much, we will spill our red blood to save it, or we hate something/someone so much, we will spill their red blood to avenge our wrath; Rowan is obviously wrathful against NYC, and so, because the neck symbolizes that by which we are led in life, Rowan is being led by his anger to do this, no greater altruistic statement or purpose, just anger, even though the bow tie makes him look more civilized as he does it. Lastly, the name "Rowan North" might have different meanings, but it sounds like "rowing north," as to Canada, or the Nordic countries, where there is socialism.
The first "ghost from the past," is Gertrude Aldridge who murdered the servants decades ago. None of us are responsible for what Gertrude did, but the liberals are using this "ghost from the past" to justify overthrowing capitalism now. None of us alive today are responsible for slavery or for the misery the slaves had to endure while enslaved, but liberals are using that "ghost from the past" today to justify the terrorism being committed by "Black Lives Matter," and demand "reparations." This is difficult to quantify, but it's likely that most Americans don't believe in the devil, Satan or hell, at least not the way Americans did as early as the 1950's, but The Beast is being resurrected now to help the liberals break down barriers between sin and virtue (drug legalization, for example, and the self-destruction it brings), between right and wrong (the profound corruption and lying being spread in government and the lack of justice in the Obama Administration), good and evil (abortion, promiscuity, adultery and gay "marriage" being celebrated by the liberals).  This is important because it validates another recent liberal film we saw: Independence Day.
Kevin the receptionist is a much more complex character than critics are noting. For example, when he applies for the job and Erin is obviously very attracted to him and checking him out, feminists would be outraged if such a thing happened when a woman applied for the job and a possible male boss was checking her out. Ghostbusters seems to say, and rightfully, that women are attracted to men, too, just as men are attracted to women; so we can't complain when men do it to women, because women do it to men, too. Why is Kevin such a terrible receptionist? He just is, but what is more important is, after Rowan decides he doesn't want Kevin's body anymore, Abbey yells, that they need to get their receptionist back, so in spite of Kevin's horrible performance, they aren't going to let anyone treat their receptionist poorly. Given that he has been so terrible, it would be easy for them to let Rowan toss Kevin to the side and the Ghostbusters not care what happened to him, but he is a person, and he is more than just the skills he has (or, in his case, doesn't have) or what he does (or doesn't do) for the company. For all his "lackings" he is a part of the family they have created and they are going to keep him.
There are three films which we can link to liberals calling upon Satan to help them defeat conservative Christian Americans (yes, you read that correctly, that is exactly what I meant to say): Independence Day, The Witch and The Legend Of Tarzan. In Tarzan, Tarzan is likened to a spirit in the trees; when he has stolen a handkerchief from Jane (Margot Robbie), she calls out, "My father is a professor, I don't believe in spirits," which translates, I don't believe in the Holy Spirit; given the terrible depiction of Christianity in the film (yes, all Christians are meant by those accusations) we can say with confidence that the film condemns Christianity. In The Witch, the young girl Thomasin signs away her soul so she can belong to the devil's commune, and in Independence Day, a symbol borrowed from a film called Devil's Due stands in for a "friendly" alien who wants to save humanity from the aliens invading (please see A Controlled Dive: Independence Day for more). On the other side, films such as Warcraft, Devil's Due and John Carter link liberals and socialism directly to Satanism. And now, there is another film linking socialists and liberals to Satan.
Andy Garcia portrays the mayor of New York City, and if the way the mayor behaves doesn't convince you that this is an anti-socialist film, I can't imagine what will. He wants the government to do what is obviously better being managed by the private sector, i.e., the Ghostbusters, and doesn't want to give them credit. Likewise, when they have saved the concert hall from possession, he starts defaming them because they are drawing attention to the problem which he hopes he can keep covered up. Lastly, in addition to the lies he tells (or has other tell on his behalf) like the Obama administration blaming terrorism on global warming, so the mayor tries to blame the destruction in NYC also on global warming, denying what everyone saw with their own eyes. Now it's important to remember that initially Abbey's logo idea for the company is, "If you see something, say something," which Erin points out is the logo for terrorism. That the Ghostbusters are an anti-terrorist group, in NYC, fighting the socialist ghosts from our past, is truly a war on terrorism the film does a great job of bringing out. 
In conclusion, it's shocking, it's surprising, but it's refreshing: a film that could have, even should have been pro-socialist, could not have been more pro-capitalist. That's encouragement, ladies and gentlemen, that the left doesn't have the hold on the country and the media that they would like us to think they do, so take heart, and even if you don't see the film, know that the plans for the sequel are all ready happening and it's one we can look forward to, rather than dreading. In spite of global socialism resurrecting ghosts from our past to use against us today, we have learned the lessons from history, and we won't be overcome.
Eat Your Art Out,
The Fine Art Diner
All the ghosts Rowan wants to release are violent and vengeful; coincidence? I think not. Since he's been in office, Obama has released more than 6,000 prisoners and we see the chaos Rowan intends the malevolent ghosts to perform on his behalf to be a bully to the living.