I’ve long written that feminism has been one of the vilest ideological evils of modern times. It began by fracturing the Christian nuclear family, the greatest obstacle to the feminist mothership, Marxism. Telling women the lie that marriage and motherhood were subservience led to broken homes and the legal slaughter of 68 million unborn babies since 1973. Soon, corporations and institutions began replacing men in the workforce with a mandatory female quota, which gradually filtered into politics and the arts. All of this culminated in a historically unique force — bat-dung crazy liberal witches and their beta-male toadies in charge of mainstream culture, most significantly Hollywood. But after only a quarter of the 21st century of destroying what men built over the whole 20th, the real Hollywood witch hunts may have started.
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Netflix gave the beloved C. S. Lewis Christian fantasy franchise to radical secular feminist director Greta Gerwig (‘Barbie’).
An article in Vanity Fair last week laments that the current mass purging of executives by entertainment companies — such as Netflix cutting a thousand jobs or six percent of its workforce — disproportionately hits women. Article writer Rebecca Ford sees this as a bad thing. “With so few women in greenlight positions already, the loss of three influential leaders is a sting to both Hollywood and audiences alike,” Ford wrote. “The consolidation of power into fewer hands (with most of those being male) is not without consequences.”
Ford’s first statement is wrong on every count. There were too many women in decision-making positions in Hollywood, all with the same agenda — male heroes down or out, female heroes in. Down included Luke Skywalker, Han Solo, Indiana Jones, and James Bond, all wretched morose shadows of their former dashing selves. Out included Mad Max, Black Panther, and John Wick, excised or sidelined from their own franchises and replaced by absurd heroines.
See — better yet, don’t see — Furiosa: A Mad Max Saga, overseen by Warner Bros. co-CEO Pamela Abdy — fired; Black Panther: Wakanda Forever, overseen by Marvel Studios Executive Producer Victoria Alonso — fired; From the World of John Wick: Ballerina, overseen by Thunder Roads Partner President Erica Lee — not fired but working on a male-led John Wick spinoff. Every one of these films not only bombed but killed or almost killed their once lucrative franchises.
Ballerina may have destroyed something else — Ana de Armas’s career. Simply because feminist execs no longer know what to do with a smoking hot ex-Bond Girl, other than try to make her into Bond. So normal men and traditional women who would love to see de Armas as a feminine lead in an action film or romantic comedy avoided Ballerina like the plague.
Rebecca Ford’s second statement, however, is correct. Returning decision-making power to men will have consequences, positive ones if they’re real men. If they’re anything like the tough studio moguls of the last century who had one agenda — make good pictures. The idea of obnoxious asexual girlbosses beating up men, or diverse women putting white males in their place would have disgusted them not only aesthetically but commercially. They wanted boys and husbands in the theater seats with their girlfriends and wives, not empty chairs intended for shrieking single harridans who know the plots and protagonists are ludicrous.
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Twentieth Century Fox head Alan Ladd, Jr. greenlit Star Wars in 1973 after Universal and United Artists passed on it. Ladd knew firsthand the value and impact of a brave male hero saving a community from overwhelming villainous forces. His dad played Shane, still the greatest Western icon of all time. Ladd, Jr. would have listened to Kathleen Kennedy’s plan for a new Star Wars trilogy making Luke and Han despondent dying losers, and her “The Force is female” blather, then had her thrown her off the Fox lot. Instead, his successors bowed to Kennedy and her coven. The force became female in the entertainment industry, and progressively destroyed it.
It’s not that women can’t write good films. It’s that feminists can’t. When men ran the studio system, some of the greatest movies ever made were scripted or co-scripted by women, several of them with their husbands, which is the anti-feminist point. They include Frances Goodrich with Albert Hackett (The Thin Man, It’s a Wonderful Life, Father of the Bride, Seven Brides for Seven Brothers), Ruth Gordon with Garson Kanin (Adam’s Rib, Pat and Mike), and Phoebe Ephron with Henry Ephron (Desk Set). Fay Kanin and Michael Kanin wrote my pick for the best romantic comedy ever, Teacher’s Pet (1958).
The huge difference between these women writers and the modern breed is that in all of them the male lead is more than a match for the strong, smart female lead. So, men and women can enjoy both parties in the form of William Powell and Myrna Loy, Spencer Tracy and Katharine Hepburn, Clark Gable and Doris Day. The same goes for the tough guys in all the studio classics co-written by a woman: Joel McCrea in Foreign Correspondent, Dana Andrews in Laura, Humphrey Bogart in The Big Sleep, John Wayne in Rio Bravo. Not only can’t feminist auteurs write or produce pictures starring the likes of McCrea, Bogart, or the Duke, they would melt down at the thought of it.
In fact, Hollywood is melting down now because of the latest feminist folly. Netflix gave the beloved C. S. Lewis Christian fantasy franchise to radical secular feminist director Greta Gerwig (Barbie). Top among her many anti-Lewis offenses is having the Christ-figure lion Aslan voiced by Meryl Streep. Now Netflix insiders are reportedly in panic mode over fan backlash and, to no one’s surprise, horrible test screenings. Plans for future installments of the franchise have been scrapped. And a company executive had the ultimate embarrassing defense: “But Aslan now sounds male.” Hiring a man never occurred to them. Hopefully firing Gerwig will, along with the rest of her coven.
“Christianity was the glue holding Europe together,” said Cork. “It’s retreat has left the continent prey to a militant religion.”
“They’re fanatics, Cork. That makes them fearless. I had to deal with both those facts in Sandland.”
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“You know what the most common name in Britain is?”
“I’m guessing it ain’t Basil Rathbone,” said Tristan.
“Muhammed.”
From The Camelot Trail, coming out November 17th in print and e-book.
READ MORE from Lou Aguilar:
Five Spooky Books for Halloween
Real Men Don’t Vote Democrat
Hollywood’s Liberal Movies Are Flopping, but the Message Isn’t Getting Through
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