He was murdered.
Why does the film lead us to believe that German General Ludendorff (pictured above) is Aries, the god of war, and whose death will return men to being good and fair? Because it's a "two-for." By having "two" gods of war, Aries, the film makers can attribute two different "roles" for Aries in the modern world: one as the proud, nationalist German war-monger and the other is the aristocracy, because as Sir Patrick, the second Aries, is a member of the British aristocracy, or the upper-class. It really isn't important that Ludendorff is German, what's important is the Iron Cross Ludendorff wears around his neck (it's in the picture above, the black and silver cross around his neck).
So, what about Sir Patrick?
|When the film opens, we see a truck marked Wayne Enterprises delivering a secured briefcase to Diana Prince; where is she? At the Louvre, and we know that--not because of all the artwork--because of the glass pyramid we see the Wayne guard walking by (pictured at the top). Why is this important? Well, I never saw The Da Vinci Code, but supposedly the Louvre is the place where Mary Magdalene is buried (it's not, but the heretical book claims it is). Now, fast forward to when Diana and her gang defend that French village and she takes out all the top of the church where the sniper has been and then she stands on top of the church. We saw the "desecration" of the church in Magnificent Seven, and we see it again in Wonder Woman: the sniper must be an excellent shot to be a sniper, and as we have consistently seen in pro-socialist films, anyone who is good at what they do must die because their skill/talent is a gift from God and that gift validates His presence and activity among His children, how He chooses to reveal Himself. So the sniper is killed because he's an excellent shot (Charlie is a sniper, but he's lost his ability to shoot, so since the gun is a phallic symbol, Charlie is impotent, which is the only reason the film makers allow him to "stay alive" in the film, even though he's white and male). When Diana has taken out the sniper, she has destroyed God's creation--rather like Salieri in the film Amadeus and him wanting to kill Mozart because God gave Mozart such an incredible gift, then Mozart's death just left the world without Mozart and Salieri the patron of the mediocre. But Diana, standing at the top of the church, and having been in the place at the start of the film where the "pagans" believe Mary Magdalene is buried (because they believe she and Jesus were lovers and she bore Jesus a son), means that Diana is the NEW Mary Magdalene through whom the "new" church of socialism will be born (remember, this takes place in France and this is exactly what the French Revolution did with the Church). REMEMBER: the sword she uses is called, "The God-Killer," and then Aries tells her, "The sword isn't the God-Killer, you are." Literally, because whereas Mary Magdalene adored Christ and gave up her life of sin to follow Him, this new Mary Magdalene (Diana Prince) is going to kill and destroy Christ. |
There is another film with which the opening of Wonder Woman begs comparison, Edge Of Tomorrow (Tom Cruise, Emily Blunt). The "Omega" brain, which controls all the mimic activity destroying the world is located in the glass pyramid at the Louvre (yes, the same one opening Wonder Woman). We can take this as either being a confession on part of the Wonder Woman film makers that yes, Edge Of Tomorrow's Omega does symbolize the socialist revolution in the world, and it's going to be led by DC Comics, or even an unconscious admission because Wonder Woman film makers saw Edge Of Tomorrow and knew--even without articulating it--that they are the ones meant by the film's character of Omega. Why would Wonder Woman film makers do this? As Thranduil (Lee Pace) says in The Hobbit: Desolation Of Smaug, it's the very nature of evil to reveal itself. That which we, conservatives and Christians, consider "evil," the Left and Liberals consider "good," so they want to advertise their "self-righteousness," which conservatives see and understand to be their one-way ticket to hell (please see Beneath the Louvre: Edge Of Tomorrow for more). We also can't forget that we just saw a pyramid structure housing occult forces in King Arthur: Legend Of the Sword. The occult forces trying to destroy Camelot are housed within a not-so-subtle reference to the Illuminati, and we can definitely say the same of Wonder Woman and the Louvre's glass pyramid (please see The New Feminism: King Arthur Legend Of the Sword for more). And, last but not least, it was within a pyramid that the evil Apocalypse was buried, resurrected by the feminist Moira in X-Men: Apocalypse.
But there are also other issues. For example, we learn that Hippolyta, Diana's mother, formed her from clay. Have we seen that anywhere else recently? Yes, yes, we have: Warcraft. Medivh the wizard sculpts a giant golum to be a "servant," but it ends up being a weapon possessed by the demon of fel magic (which is symbolized by the color green in the film). Just as the golum is supposed to do what it's told, so, too, is Diana, and all of us; in other words, the film believes we are ALL made of clay and have no individuality or uniqueness (please see To Kill a Demon: Warcraft for more). Don't believe me?
When Diana is a little girl, running away from her mother on the island, she sees an armadillo (second image above); why? Of all the fantastic animals that could have been on this island, why an armadillo? Because from one egg, four genetically identical offspring are born, so they might as well be made of clay (please see this link at Wikipedia for more).; being identical, the armadillos supposedly have no individuality and that's a common feature of socialist societies, everyone is literally like everyone else, or forced to become like everyone else. The armadillo is by a set of stairs, and stairs symbolize the ascent to a higher form of consciousness, or we are supposed to transcend something tangible into the world of greater abstraction, so we are being invited to get into a deeper interpretation of why on earth, in the middle of nowhere and for no apparent reason whatsoever, there is an armadillo in Wonder Woman. But the film uses this same technique with another animal on the island: a cow.
The cow we see in the film is a species particular to India (the photo above at the bottom is the best I could find) so why India in a Wonder Woman film? Cows are sacred in India and are not supposed to be eaten; so why is there one in Wonder Woman? As a sub-conscious message that we should not be eating meat, either. Remember that awful Darren Aronofsky film Noah (Russell Crowe)? That film was saying the same thing: Noah told his kids, we eat moss, but they kill animals and eat the flesh, believing it makes them stronger, even though I just eat a handful of lichen and kick their ass. Wonder Woman is saying the same thing; why would socialists care about what we eat? The weaker you are the easier you are to control. The stronger you are, the harder you are to control because you can fight back and survive. This is one of the strategies of castrating men of their leadership positions in society: men who have been emotionally, psychologically, spiritually and socially castrated are far easier to control and brainwash then men who have a strong sense of personal identity and of their own masculinity.
Back to Diana.
At the start of the film, then, at the Louvre's glass pyramid, she's being packaged as the "new Mary Magdalene," but without a Jesus Christ, but then, with the armadillo, she's being packaged as one who must never know who she really is,.... really? Why is knowing who you are such a bad thing? Because if you are a socialist, you are not allowed to stand above anyone else, and Diana being "special" means she does stand above everyone else and one person being better than the others ruins the whole system; how? Individuality. So the film starts out embracing just being a clay doll, a member of society like everyone else, but then, when Diana goes to kill Aries #1, and even Aries #2, she announces, just as they do in The Iliad by Homer (and given Diana's extensive reading of erotica, all 12 volumes, we can be confident she read The Iliad), who she is and why she is killing them; why? Because that warrior, and only that warrior, was capable of killing that other warrior, so it was a mark of individuality,.. oh, wait, that's bad in a socialist society, isn't it? Yes, it is, they've just deconstructed themselves.
So what is the point of this?
|In the image at the top, we have Hobie Doyle (Alden Ehrenreich) from Hail, Caesar!; the second image down is the poster for the upcoming Kingsman 2: The Golden Circle and, the third image is Wonder Woman when the Amazonians have Steve Trevor tied in the lasso of truth which keeps him from lying to them. The last image is Napoleon Solo (Henry Cavill) in The Man From UNCLE wearing a cowboy apron because he's been cooking. What each of these images have in common is something to do with a lasso, which has suddenly become quite popular. In Hail, Caesar! Hobie is a real-life cowboy who gets a start in acting, and can do some pretty impressive tricks with a lasso.. Why is this important? Well, do we see either The Kingsman's Channing Tatum's character or Diana Prince in Wonder Woman do any tricks? They use their lassos to fight, but do they actually manage to make circles or something that would be recognized as a skill or talent apart from just whipping it around to encircle their enemies? My point is, Hobie, being a white, heterosexual male, and a real cowboy, uses his logic and skill to "teach" the lasso how to move, to recognize a set of tricks and then become better and better at doing them through practice. Tatum's character and Diana Prince, on the other hand, appear to just use the lasso to punish their enemies. We don't have to say that the lasso is a phallic symbol,... I think it would actually be better to say the exact opposite, because a lasso is,... excuse the expression, "limp." Essentially, Hobie knows "the ropes," but Tatum and Diana Prince are bringing the ropes "down," in a barrier sense, they don't want anymore "logocentric" structure to society which favors white males (but wait, you say, keen reader, Channing Tatum is a white male, and The Kingsman Secret Service was a pro-capitalist film; you are correct. Given the layout of the trailer for The Golden Circle, I think--and as always, I could be wrong--but I think The Statesman (the American cousins) are going to be portrayed as socialists, because all the actors in those roles are very liberal, even though the film itself will be pro-capitalist because we have the same film writer and director returning; I hope that clears it up). Just as we see the Amazonian in the third image using the lasso to make Steve tell the truth, all socialists basically want that: to make white men tell the truth about who they really are, which is the enemy of minorities everywhere, according to minorities.|
So, what about Napoleon Solo? If Hobie and his rodeo tricks are the norm, then how does Solo use a lasso? Kuryakin calls Solo "cowboy" throughout the film as a derogatory nickname, but we see him actually wearing a cowboy themed apron in the image at the bottom because Solo "knows the ropes" and how to get what he wants: for example, he knows how to get a rise out of Kuryakin when they are told they are going to be partners and they verbally spar to establish male dominance over the other; at the end, he knows how to get Victoria distracted enough that they have time to launch a bomb at her boat and stop her. While Hobie is the logocentric model--the white male rational mind-set which has established ways to do things and excels at those very things (rodeo tricks) which minorities don't (like the little boy in Logan who only had second and third place trophies instead of first place trophies)--we can see Solo as the "creative" model. Solo is, by all definitions, part of the establishment (white, male, heterosexual) but he's also a criminal. Solo wasn't born to wealth but he's managed to learn the ropes and make the ropes work for him, thereby protecting innocent people from becoming his theft victims. Socialists, on the other hand, make the lassos work against their enemies, not for a greater good.
At least, it's imperative to socialists that white, heterosexual men are seen as evil, and that they need to end their existence. Steve Trevor's legs getting stuck in his plane when we first meet him not only foreshadows his lack of sexual performance with Diana later in the film, but how white, heterosexual men themselves have gotten stuck in a downward-spiral in their standing in society. What has contributed to Steve's (the white man's) rejection of him by society? The plane symbolizes technology and achievement, and we can also see Steve's achievement in not only successfully getting the stolen notes of Dr Poison to the British, but also the medal he wins (after he's dead, Diana sees a photo of him standing by a plane and there is a medal on his jacket; we know from the medals Captain Salazar wears in Pirates of the Caribbean 5, the rodeo trophies in Logan, the demon-villain coming out of the corner behind a box of football trophies in Justice League, and Nebula accusing Gamora of just wanting to win, when she only wanted a sister in Guardians Of the Galaxy Vol 2, are the rolling accumulations of anti-awards and anti-winning and anti-above average with which the Left has squarely identified.
Does "above average" ring a bell?
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