#Arkhaven INFOGALACTIC #Castalia House
This is why you cannot give them an inch of ground. Ever. They will simply consolidate it and immediately launch their next attack from it. They do not negotiate. They do not compromise. An SJW can no more stop pressing for more social justice than a shark can stop swimming.
In a rare and totally not-at-all expected twist, the Thirteenth Doctor is a gay black woman!
Broadchurch star Jodie Whittaker is to be the first ever woman to play Doctor Who, it has been announced. The identity of the new Doctor was revealed on BBC One and on social media around the world after the Men’s Wimbledon Final today.
She will be the Thirteenth Time Lord and take over from Peter Capaldi who leaves the global hit show at Christmas.
New head writer and executive producer Chris Chibnall who takes over from Steven Moffat on the next series made the decision to cast the first ever woman in the iconic role.
Jodie Whittaker says: ‘I’m beyond excited to begin this epic journey – with Chris and with every Whovian on this planet. It’s more than an honour to play the Doctor. ‘It means remembering everyone I used to be, while stepping forward to embrace everything the Doctor stands for: hope. I can’t wait.’
Chris Chibnall, New Head Writer and Executive Producer said: ‘After months of lists, conversations, auditions, recalls, and a lot of secret-keeping, we’re excited to welcome Jodie Whittaker as the Thirteenth Doctor. I always knew I wanted the Thirteenth Doctor to be a woman and we’re thrilled to have secured our number one choice.
It’s got to be a little difficult to fake much enthusiasm for doing what every other SJW in entertainment has already been doing for the last 10 years. Personally, I look forward to the inevitable reboot when the initial fake audience generated by the SJW attention inevitably drifts away and everyone realizes that the traditional viewership has declined.
Now, personally, I don’t give a damn about Doctor Who. I haven’t watched it since I was in junior high and Tom Baker was the Doctor, and even then I thought it was pretty lame. And the actress is attractive, considerably more attractive than most of the past companions. But that’s all irrelevant, and the casting decision is chiefly noteworthy in that it signifies that absolutely nothing, no matter how classic or beloved, is safe from SJWs. We know we have reached Peak SJW when Heidi is remade, with the blonde Swiss girl played by a gay black transgendered Muslim.
Then the Star Wars sequels might not have been such barely mitigated disasters. He had some ideas, you see.
As noted in my cover story, Hamill has a lot of thoughts on how Luke might have been reintroduced differently in The Force Awakens. He could have come in during Han Solo’s climactic scene with Kylo Ren, receiving some sort of Force-telepathy distress call from his sister, General Leia, but arriving too late to save Han from death. Or, perhaps, he might have materialized in the snowy forest of Starkiller Base, where Rey duels with Kylo. On his first read-through of the script, Hamill recalled, he got excited when the legendary lightsaber wiggled portentously in the snow. “The moment in the forest, when the saber rattles?” he said. “I go, ‘Oh, baby, here I come!’ And then it flies into her hands? I said, What the hell, she hasn’t even trained!”
Likewise, after reading Rian Johnson’s script for The Last Jedi, Hamill said, “I at one point had to say to Rian, ‘I pretty much fundamentally disagree with every choice you’ve made for this character. Now, having said that, I have gotten it off my chest, and my job now is to take what you’ve created and do my best to realize your vision.’”
And that is one of the many reasons I will never see the sequels to the movies I loved so much as a child. Never to forgive, never to forget. But also, never fear. Faraway Wars: Embers of Empire is coming later this summer for all your revisionist space opera requirements.
Even classic chick flicks like Dirty Dancing:
The remake departed from the original in several significant ways. Most of the Dirty Dancing’s original themes — a hypocritical upper crust, social and class tensions, and frigid family dynamics — were watered down with heartwarming family reconciliations, interracial friendships, and empowered girls being empowered together.
Of course, they kept abortion sub-plot. Frankly, I’m only surprised that they didn’t have Baby get pregnant by Johnny, then have her father perform the abortion after telling her how proud he is of her decision to not ruin her college prospects by having the baby and marrying Johnny.
Now that fake reviews are affecting film and potentially film revenue, review trolls are suddenly a major problem and laws should probably be passed!
It had taken years — and the passionate support of Kirk Kerkorian, who financed the film’s $100 million budget without expecting to ever make a profit — for The Promise, a historical romance set against the backdrop of the Armenian genocide and starring Christian Bale and Oscar Isaac, to reach the screen. Producers always knew it would be controversial: Descendants of the 1.5 million Armenians killed by the Ottoman Empire shortly after the onset of World War I have long pressed for the episode to be recognized as a genocide despite the Turkish government’s insistence the deaths were not a premeditated extermination.
The Promise, which opens April 21, finally would bring the untold saga to a mass audience. But at the Toronto Film Festival premiere in September, producer Mike Medavoy watched the late billionaire’s carefully laid plans upended by a digital swarm that appeared out of nowhere.
Before the critics in attendance even had the chance to exit Roy Thompson Hall, let alone write their reviews, The Promise’s IMDb page was flooded with tens of thousands of one-star ratings. “All I know is that we were in about a 900-seat house with a real ovation at the end, and then you see almost 100,000 people who claim the movie isn’t any good,” says Medavoy. Panicked calls were placed to IMDb, but there was nothing the site could do. “One thing that they can track is where the votes come from,” says Eric Esrailian, who also produced the film, and “the vast majority of people voting were not from Canada. So I know they weren’t in Toronto.”
The online campaign against The Promise appears to have originated on sites like Incisozluk, a Turkish version of 4chan, where there were calls for users to “downvote” the film’s ratings on IMDb and YouTube.
I look forward to hearing SJWs cry about how terrible it is that film producers are making efforts to ID those campaigning against their films. Because, as we are reliably informed, identifying fake reviewers is a crime against humanity.
However, it does underline the fact that if you want to support the authors, developers, and producers making stuff that you enjoy, it is very important to leave reviews, the more substantive, the better.
Not that we didn’t know Disney was among the most evil and SJW-converged corporations on the planet, but it’s still a little remarkable that they’d rather not show the movie at all than sacrifice a few seconds of homosexual propaganda aimed at children:
Walt Disney has shelved the release of its new movie “Beauty and the Beast” in mainly Muslim Malaysia, even though film censors said Tuesday it had been approved with a minor cut involving a “gay moment.”
The country’s two main cinema chains said the movie, due to begin screening Thursday, has been postponed indefinitely. No reason was given.
Film Censorship Board chairman Abdul Halim Abdul Hamid said he did not know why the film was postponed as it was approved by the board after a minor gay scene was axed. He said scenes promoting homosexuality were forbidden and that the film was given a P13 rating, which requires parental guidance for children under 13 years of age.
“We have approved it but there is a minor cut involving a gay moment. It is only one short scene but it is inappropriate because many children will be watching this movie,” Abdul Halim told The Associated Press.
He said there was no appeal from Disney about the decision to cut the gay scene.
You literally cannot exaggerate an SJW’s commitment to convergence uber alles. It rivals on religious fanaticism, probably because it is, for all intents and purposes, their religion.
It was interesting and informative to watch a countdown show of the top 20 moments in Star Wars cinematic history. All of the top moments were from the first two movies, and the so-called “top moments” from the new movies – none of which I have seen – were almost uniformly lame. I had a hard time not laughing at the setup for the death of Han Solo, as all I could hear in my mind was Gandalf shouting “you shall not pass!”
Filmmakers really shouldn’t try to rip off great moments from other films. Sure, the visual is great, but it kicks the viewer out of the movie as surely as a poorly-timed product placement.
The only really good one was the fight between Darth Maul, the young Obi-wan, and Liam Neeson. Some of them, like Girl Luke and her Man Friday accidentally boarding the Millennium Falcon and recreating earlier flight combat scenes, were simply embarrassing.
So, I wasn’t inclined to bother seeing Rogue One anyhow, and the fact that Disney Wars is now fortified with feminism and multiculturalism only confirmed my indifference towards it.
Wait a minute, after thirty-nine years, it turns out that Star Wars is about race?
Sort of. You may not notice at first (I didn’t, until the second half of the movie), but in Rogue One there isn’t a single non-Hispanic white male among the large cast of heroes. The rebel band seeking to steal the plans for the Death Star from the Empire is led by a white woman (Felicity Jones), a Latino man (Diego Luna) and three ethnic Asians (Riz Ahmed, Donnie Yen, Wen Jiang), with advice from a black man (Forest Whitaker) and a droid (voice of Alan Tudyk). Among the rebels, non-Hispanic white dudes (for convenience, I’ll just call them white from now on) are relegated to the background, while the Empire is represented by brigades of sinister white men, led by Ben Mendelsohn and (the digital reincarnation of) Peter Cushing as Imperial officers. It’s as if the cast was meant to echo a Hillary Clinton speech in which she described her coalition as everybody but white males.
The casting was not accidental. The Empire is (now) a “white supremacist (human) organization,” Rogue One co-writer Chris Weitz Tweeted the Friday after Clinton was defeated in the election. Another writer for the film, Gary Whitta, replied with his own Tweet, “Opposed by a multi-cultural group led by brave women”—then deleted it.
Needless to say, this aggression will not stand, man. Look for a literary response to the nonsense from Castalia in 2017.
It’s also unsurprising to learn that SJW-converged Wired is up to its usual tricks. The reporter is evidently confused about the difference between “reporting” and “debating”, as can be seen in her impromptu debate with Mike Cernovich:
Hi Mike—WIRED is reporting on #DumpStarWars, which I see you’ve participated in. Any chance you’d like to chat about why you’re boycotting?
Star Wars writers hate Trump voters. Why give them money?
From what I’ve seen, what they really hate are white supremacists. You don’t see throwing alt-right/lite/west support behind the boycott as reinforcing the idea that trump supporters=white supremacists?
Buddy my wife is Persian, we have a daughter, the white supremacist stuff is stupid as hell.
To be clear, I wasn’t saying you were a white supremacist. But much of the backlash has focused on the idea that Rogue One is racist against white men. Are you saying that white supremacist sentiment isn’t a factor in the protest?
Nah that’s not it at all. I don’t see why this is hard to understand. Trump supporters are attacked. Giving money to people who attack them is pathetic. I am going to organize more boycotts.
I’m struggling to find evidence that Rogue One’s writers have been explicitly against anything but white supremacy. Could you point out an example?
What’s the matter, Mike? Why come you won’t make the argument I keep trying to stuff in your mouth instead of saying what you actually think?
Also, as it happens, the movie sucks:
Lobotomized and depersonalized, “Rogue One: A Star Wars Story,” the latest entry in the film franchise, is a pure and perfect product that makes last year’s flavor, “Star Wars: The Force Awakens,” feel like an exemplar of hands-on humanistic warmth and dramatic intimacy…. “Rogue One” offers an international cast that, along with Jones, Whitaker, and Mikkelsen, features Diego Luna (as the rebel captain Cassian Andor, who is Jyn’s main cohort), Riz Ahmed (as the band’s intrepid pilot), and Donnie Yen (as a blind martial-arts spiritualist). But it seems as if the condition for assembling this diverse group is not letting them say or do anything of note, anything of any individual distinction, anything of any free-floating or idiosyncratic implication.
Nick Cole, who has no small amount of experience with Hollywood celebrities as an actor on shows like Scrubs and The West Wing, explains why you shouldn’t listen to them.
Most celebrities, especially the actors, are literally professional liars. And when you begin to look at their lifestyle, from the unrealistic wealth you and I will never see, to the amount of divorces, drug and alcohol problems and lawsuits they accumulate, they’re not actually savory people. Not even really nice people in fact, unless they’re making videos about how they’re donating to some charity. They are literally bragging on social media about what a giver they are conveniently timed around some theatrical release for their next filth laden flop you shouldn’t actually be watching with your kids.
(Wow what a coincidence! That drug addict rageaholic actor Everyman who parties with the House of Saud and Russian hookers and whose wife fears for her and her kid’s life, shows up at the cancer ward to pretend to be something he’s actually not). And what makes it occasionally creepier than it really is, happens during elections when a celebrity team of Social Avengers gets together to push a flailing political candidate known for her legendary amounts of corruption, avarice, greed and general failings as a human being in order to tell you the other guy is literally Hitler. Disregarding the fact that Hitler was Hitler because he killed millions of people.
Celebrities are lying scum.
I have to admit, I don’t pay celebrities any mind whatsoever, on the sound principle that I don’t listen to anything that anyone with an IQ less than half of mine says. I can honestly say that I am more inclined to pay heed to the opinion of my wife’s Ridgeback than I am to any opinion expressed by a Hollywood celebrity.
Celebrities are, by and large, a collection of shallow, low-IQ little people who spend their lives playing make-believe and pretending to be things that they are not. It’s nice that they can make a living that way, but one would do better to seek guidance by consulting the opinions of cosplayers.
I find it bizarre that after decades of Jewish control of Hollywood, and the resultant tidal wave of Jewish propaganda in which Americans have been inundated, we’re supposed to be concerned about the dangerous prospects of Chinese control of the entertainment industry:
The rise of Chinese investment in Hollywood is raising alarms in Congress, which could complicate studios’ ambitions to strengthen ties to the Middle Kingdom.
The latest salvo came in a letter from 16 members of Congress last week, which called for closer scrutiny of Chinese investment in the U.S. entertainment and media sectors. The letter cited the Dalian Wanda Group’s acquisitions of Legendary Entertainment, AMC and Carmike Cinemas, and warned of “growing concerns” of Chinese efforts to exert “propaganda controls on American media.”
Wanda has been on a buying spree, of late, announcing a merger between AMC and Carmike that would make it the largest exhibitor in the world. Earlier this week, news broke that Wanda plans to form a multi-picture alliance with Sony Pictures.
Rep. Chris Smith, a Republican from New Jersey, warned that growing Chinese investment could raise strategic concerns.
“Would we raise questions if Russia or Iran was buying large parts of U.S. media and entertainment companies? Of course we would,” Smith said in a statement to Variety. “Raising questions about Chinese investment is no different.”
I tend to suspect Chinese propaganda would probably be less anti-Christian, less anti-white and less anti-American than most of what we’ve seen out of Hollywood for the last 30 years.
Milo’s review of Grrlbusters stands in stark contrast to McRapey’s.
I’d have loved nothing more than to give Ghostbusters a glowing review. Seriously! Can you imagine a better troll? Extolling the virtues of a film that my loyal readership has been warring with social justice warriors over for months?
But I can’t. You see, I strive to be honest with my audience. I went into Ghostbusters with a clear and impartial mindset, like some tall, slim, and devastatingly handsome statue of justice. (But no blindfold. It would be a crime to cover up these eyes.)
Ugh, I don’t know what to tell you. Ghostbusters is terrible. It’s more obvious than the reading on an EKG-meter in Zuul’s bedroom. The only frame of reference in which this movie functions is as a meta-movie, in which the Ghostbusters franchise is treated like a vampire in a Hammer Horror from the 60s. The beloved franchise from our childhood with a stake driven through its heart, head chopped off, body burned and buried at a crossroads.
The overarching problem with Ghostbusters is that the script is a greater abomination to God than any of the demons and ghosts in the franchise. I’m sure they could have done a worse job, but they’d have to study Tobin’s Spirit Guide to summon a script from an even deeper circle of Hell.
Mostly, it’s a lack of intelligence. In the original movie, the bad guys weren’t actually the ghosts — everybody loves Slimer and the Marshmallow Man. No, the bad guys were the clueless bureaucrats in the government, who set off a supernatural crisis through bumbling and red tape.
In this film, by contrast, the enemy is all men, while the government ends up playing dad. Every man in the movie is a combination of malevolent and moronic. The chick ‘busters shame the mayor so much they end up getting government funding at the end. Like all feminists, they can only survive by sucking on the teat of Big Government.
I’ll skip over the vacuous and incoherent plot. You won’t understand it watching the movie and you won’t understand it reading my summary so who cares. This, unlike any movie I’ve ever seen before, seems to have been conceived entirely out of spite, with the result that its plot is largely irrelevant.
Read the whole thing there. I leave it to you to determine whose review is more trustworthy.
The only reason that anyone cares about this movie is because it is a symbol; it is a battleground in the cultural war. As Milo correctly noted, the movie is a standard bearer for the cultural Left. The mere fact that the battle is being waged, and that the movie is being widely panned and ignored, is a very good sign for we Western Civilizationalists, because it means the SJWs and feminists are finally meeting overt opposition.