Posted by G.S. Luthra Posted on 30 October 2023

Woke Censorship Butchered Comedy as the Entertainment Industry Continues to Produce Garbage

What is considered funny these days, or is it even acceptable to crack jokes? Well, in certain countries like China, it all hinges on governmental approval. Regrettably for comedian Nigel Ng, his jests at China’s authoritarian regime resulted in a ban across all Chinese social media platforms. Ironically, Ng’s skit hinted at the very cancellation he faced. This isn’t the first instance of China resorting to extreme measures; they levied a hefty fine of 13.35 million yuan (roughly 2 million dollars) against Shanghai Xiaoguo Culture Media Co. The web of censorship extends further, with even an AI-generated “Seinfeld” episode taken down due to a transphobic joke. However, some jokes are seemingly permissible, especially those aligning with certain agendas. For instance, the Barbie movie featured risqué jokes and expletives, yet faced a ban in the Arab world. Meanwhile, “fact-checking” is gaining traction in places like India, but comedian Kunal Kamra is challenging its implications. Those in the comedy business are understandably dismayed, as their livelihood depends on the ability to evoke laughter without constantly watching their backs.

Cartoons have long been subject to censorship for various reasons such as profanity, drug references, sexual content, alcohol use, and excessive violence. However, the threshold for censorship seems to have lowered, with anything capable of offending even a few individuals facing potential bans, resulting in significant financial losses for creators. Moreover, productions originating in the West could be silenced simply for offending religious sensibilities in other regions.

Censorship isn’t a novel concept; countless movies, shows, and media have encountered it due to objections from certain individuals or groups. In the past, a strong conservative Christian influence in America dictated what was deemed acceptable, leading to ridicule and censorship of content depicting criminals triumphing over law enforcement or violating religious doctrines. In a supposedly free society, such limitations should be obsolete.

Nowadays, entertainment often promotes secularism and rebellion against established norms. One could argue that both sides manipulate society to gain dominance, but history demonstrates the profound influence of those in power on the masses, and as times change, so do trends.

Differences in cultural perspectives often lead to varying perceptions of entertainment; what may be considered repugnant in Japanese entertainment could be deemed acceptable in the West, and vice versa. However, outright cancellation of individuals or expressions solely due to their differences crosses a line.

The question remains: where do we draw the line, and what defines acceptable humor and entertainment? Ultimately, it depends on who wields power, plain and simple.

Amazon’s catalog epitomizes this complexity, listing titles like “Manga Diary of a Male Porn Star” and “Breasty Beauties,” yet blocking “The Liberator Code Book: An Exercise in Freedom of Speech.” Furthermore, they prohibit items like β-NMN supplements, Japanese anime figures, and the Flipper Zero portable device. While companies face pressure to cater to consumer demands, they must also navigate the risk of litigation for selling potentially harmful products, whether physically or emotionally.

Regardless, the pervasive influence of politically correct censorship adversely impacts everyone, including corporations.

 

Politicized Entertainment

Catered to the Woke mob comes at a price as seen in the laughable line of gay Superman (got canceled), and Batgirl being so bad even Warner Bros. had to the pull the plug despite spending nearly $100 million into making it. Marvel’s Avengers movies did well despite some flaws, but its super heroine flicks, along with the shaming of male superheroes, has led to dwindling sales, resulting in Marvel letting go of Woke producer, Victoria Alonso, who said “X-Men” is obsolete because it contains “men”.

Fans oppose seeing their favorite heroes turned into metro-sexual social justice warriors protesting with signs against climate change, and traditionally White characters colorized to support diversity. The Batman, an otherwise good movie, was stained when Catwoman, portrayed by a Black actress, confronts Batman about white privilege.

Disney’s acquisition of major film studios has ushered in an era rife with movies brimming with anti-male propaganda. Before Disney’s takeover of Marvel in 2009, superhero films boasted strong male protagonists who exhibited heroism through acts of courage, strength, and all the quintessential traits expected of a superhero. While supporting characters and love interests occasionally played a role, they never overshadowed the superhero, who remained the central figure triumphing over daunting challenges. However, over the years, a trend of emasculation has steadily crept into superhero cinema, gaining momentum with Disney’s stewardship of Marvel.

With each successive film, male superheroes have been diminished to caricatures, often portrayed as buffoons subordinate to characters who wield greater influence over the narrative. These influential characters typically belong to minority groups, including women, who assume leadership roles despite being cast as sidekicks or supporting members. This trend is evident in The Avengers series, where numerous female characters, some devoid of superpowers, are depicted as equals to demi-gods, capable of holding their own in combat. A notable instance occurs in Avengers: Endgame, where Spider-Man, depicted as a bewildered and emasculated youth, entrusts the Infinity Gauntlet to Captain Marvel, a woman, while the female characters unite to confront the enemy.

In Thor’s cinematic journey, he undergoes a symbolic emasculation, from being exiled to Earth and stripped of his powers to grappling with personal and physical challenges. Thor Ragnarok injects humor where it feels out of place, symbolized by Thor’s loss of hair reminiscent of Samson’s tale. Furthermore, Thor’s defeat at the hands of a female antagonist, coupled with the loss of an eye, echoes Illuminati symbolism.

Subsequent Thor sequels portray him as a flawed character, transitioning from a godlike figure to a flawed mortal grappling with personal shortcomings. Similarly, Wolverine evolves from a solitary figure guided by his principles to a caretaker for a Spanish-speaking girl in Logan, reinforcing Disney’s political agenda amid contentious issues like immigration.

Disney’s acquisition of Lucasfilm and subsequent Star Wars releases mirror the same pattern of humor, minority representation, and emasculation seen in Marvel films. The depiction of a female Jedi and attempts to replicate Darth Vader with a physically unimposing character underscore Disney’s commitment to a “woke” agenda at the expense of traditional masculinity.

Disney’s focus on promoting a “woke” narrative undermines traditional masculinity in cinema, relegating confident and assertive male characters to the status of misogynists.

Some artists have quit as they feel publishers are breaking away from the authenticity of established characters. Others, like Chuck Dixon, don’t even blame Woke-ism for destroying comics as he commented about the industry, “You’ve got to go along. You’ve got a lock step. You’ve got to march along with the rest. You’ve got to raise your fist in anger with everybody else — even if you don’t feel angry because you don’t want to be… you want to conform and that’s what this is about. It’s about conforming.” Dixon elaborated, “It’s about bending the knee and in order to keep their jobs a lot of the people in charge — particularly [Marvel and DC] — conformed because you can’t be speaking out; you’ll lose your job.”

He felt that it was a combination of bad decision making, lack of care, and removing talent from production that ruined the industry. Comic writer, Mark Millar, believes the comic industry is at its worst ever.

Now AI-generated content has opened the door for streamlined automated art, but how will the quality stack up?


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