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Woke Hollywood goes broke

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Well not yet, but they are not having a good year in what was supposed to be the rebound after the terrible C-19 years of 2020-21.

There have been multiple flops of expensive movies and not a lot of interest in smaller (lower-budget) movies that are supposed to be Oscar-bait.

I’ve only been to one movie this year and that was Top Gun: Maverick, which was excellent escapism, as movies are supposed to be. And it made a ton of money, just shy of $1.5 billion and counting.

But even with that, Everything Everywhere All at Once, and the other huge hit movie earlier in the season, SpiderMan: No Way Home (almost $2 billion), Hollywood struggled, with US revenue down to $6 billion compared to $11.3 billion in 2019 and one huge cinema chain going into bankruptcy.

There are any number of explanations as to why people are not going into the theatres, starting with the big one of streaming, which was already starting to hit them in 2019 but which took off during the lockdowns. It’s quite possible that people have got into a habit that they can’t be bothered breaking.

But that doesn’t really stack up as an argument in the face of those three blockbusters mentioned earlier. People obviously went out for them. Streaming has also been around for a decade, and especially doesn’t make sense when we’re talking about movies that are not intended to be blockbusters:

Here is the domestic box office for this year’s titles enjoying the most Oscar talk.

  • Till – $8.7 million
  • The Banshees of Inisherin – $7.9 million
  • TÁR – $5.1 million
  • She Said – $4.3 million
  • Triangle of Sadness – $4 million
  • Bones and All – $3.8 million
  • The Fabelmans – $3.5 million
  • Armageddon Time – $1.9 million
  • Aftersun – $756,000

The most shocking title on that list is The Fabelmans. Those of us of a certain age can remember when Oscar talk around a Steven Spielberg movie would have had people flocking to theaters, especially over Thanksgiving weekend (when Fabelmans opened). Spielberg guaranteed that magic cinematic experience we all crave.

While you could say those are “small failures” there have been big ones, and most of those have been Disney productions, starting with Lightyear and ending with the $100 million loss on Strange World (budget $180 million).

The reason is all the Woke bullshit in the storylines and the characters, as John Nolte explains by contrasting these modern movies with the stories and humans of a simple 1970’s movie like The Way of the Dragon:

Lee plays Tang Lung, and the movie opens with Lung, an unsophisticated rube from Hong Kong, arriving in Rome. At the airport, he’s treated rudely, gawked at, dismissed, laughed at… He’s not white. He wears funny clothes. He doesn’t speak the language. He’s an exotic Asian fish out of water, an obvious victim of prejudices, preconceived notions, and racism.

But how does Lee, who had complete control over the movie and his image, play it? Perfectly. Tang Lung doesn’t get angry, doesn’t lecture, and doesn’t demand respect. Instead, he’s humble, a little clumsy, funny, and utterly endearing. Not only does this approach make him relatable, but it’s also the perfect way to convey a message about prejudice and “othering.” Although Tang Lung is very different from us, we relate to him (who hasn’t felt outnumbered and out of place?) and come to respect him for his discipline, bravery, and restraint. Nothing is heavy-handed. No one lectures us. No one pounds their chest about how virtuous they are. No one shames anyone. It’s all done through good-natured humor, theme, and story.

By contrast, the modern movies preach, constantly, unsubtly, and in your face:

There’s no subtlety in woke, no subtext, no generosity. Instead, it’s smug, in your face, insufferable, and never believable. You can’t tell blatant lies about human nature and hold on to your audience. All of this takes us out of the story. It breaks the spell. Further, it insults us and our intelligence, which makes the moviegoing experience a negative one no one wants to repeat.

And so, like Disney, the Oscar brand is dead. Disney didn’t promote Strange World as a gay movie. Still, no one went to see it because we all know what Disney has become. Same with the Oscars. If there’s Oscar heat around a movie, it’s almost certain to be preachy garbage.

Americans have learned their lesson and now avoid this garbage. And it’s not just Red State America staying home. All these movies need to enjoy a respectable box office return is for ten percent of Hillary Clinton voters to show up. Most of these titles failed to attract one percent.

Yep, movies are so insufferable Hollywood has lost the left.

But there may be other things going on as well and they’re more to do with the general loss of trust in our institutions. Another recent flop was She Said, which is a drama about the downfall of the supreme POS and rapist Hollywood producer, Harvey Weinstein. The movie apparently was not driven by Woke and actually sounded like it was pretty good. So why did it flop? Variety magazine gives a bunch of reasons for the failure but I think they’ve missed some because they don’t want to admit to them:

  1. People don’t want to go to depressing movies in this depressing environment. They want to be distracted, as people were by Shirley Temple in the Great Depression.
  2. People are not impressed by journalists any longer (two female reporters are the heroes of the movie). The age of All The President’s Men is dead.
  3. #MeToo proved to be massive exercise in double standards and hypocrisy, especially with the resurrection of Joe Biden, and was well dead before this movie hit the screens. It also became a bit of monster itself so people aren’t interested in seeing it celebrated on screen.
  4. Hollywood, including a number of A-Listers like Brad Pitt and Jennifer Lawrence, enabled this monster for two decades as he sexually abused his way through the place. People aren’t impressed by the same place now trying to tell the story as if it’s some sort of bystander.

Woke can probably be fixed, but trying to use institutions like the MSM, politics, police (the FBI – hahahaha), lawyers, judges and courts – even the military – as places of heroes in movie storylines increasingly does not work; Top Gun worked because it actually celebrated the military, but that’s the last institution with good standing in the US, and even it has slipped a lot recently.

Ironically that’s because the people writing, producing, directing and acting in these movies have done so much to smear those institutions and tear them down in the eyes of the public.



And here’s a good example of why Hollywood may not make it back. David Mamet (The Untouchables, Glengarry Glen Ross) is one of the greatest living American playwrights, with a huge catalog of famous and celebrated plays (he’s more Broadway than Hollywood), with many accolades for his stories, characters and dialog.

And he’s effectively been shunned by his own community since he wrote an article in 2008 called Why I am No Longer a Brain-Dead Liberal, published in the Lefty, Lefty, Lefty magazine The Village Voice, which had loved him for years, just for extra salt in the wound.

Read Tablet magazine’s Fuck David Mamet to find out why good writing is vanishing from American theatre and film.


As 80 years go by

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I didn’t see the movie Casablanca until I was almost forty years old. Despite being an avid TV watcher in my youth I don’t ever recall it being on here in NZ.

Nor do I recall my parents ever talking about it. Perhaps it was just another piece of their wartime background, a bit of fluff they enjoyed and then forgot.

And even though my university had movie nights I never saw it advertised there. But eventually I did see it in a theatre as part of a classics weekend. Even then it feels like I missed so much on that first viewing. It’s a movie that can be viewed many times and little touches revealed each time.

Perhaps I would not have got it in my youth. It may be that you have to have had loss in your life to get it; loss of love, loss of life.

But having seen it and having seen many of the other “great” movies, including other Golden Age of Hollywood classics, and not being one who likes to rank any such thing – usually a Top 10 or Top 100 with no further assessment – I have to say that it is probably the greatest movie I’ve ever seen and I’ve watched it dozens of times by now.

So in honour of it being 80 years since it was released I’ll probably watch it again tonight and once more marvel at its genius.

Whoever edited this trailer for the 4K release of the movie is a bit of a genius themselves.

Written by Tom Hunter

November 28, 2022 at 9:41 am

Paul McCartney’s Strange Brain

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I and a couple of high school mates went through a Beatles phase in our late teens, a decade after the band had broken up. One friend even steadily accumulated every album of theirs. At the time we were saturated in disco which, like all show business, had started fresh and then been done to death. Punk was only just arriving in our little Kiwi world via record stores – radio stations often refusing to play it – so the Beatles were fresh and different. It was a more limited version of today’s kids resurrecting “old music”.

As such we also got into reading about the band and its members. Yet in all that reading I never found out about Paul McCartney’s rather amazing brain:

His father, who was frustrated by his son’s refusal to buckle down at school, couldn’t help but marvel at the way Paul was able to complete his homework perfectly while watching TV. It wasn’t just that he did the homework, said Jim, it was that he remembered everything about the TV programme too. McCartney’s teachers remarked on how quick at learning he was, and at the same time, how little he paid attention. Even when McCartney isn’t paying attention, he can gather a lot of information, whether factual, visual, or musical, apparently without effort.

The author of the piece is Ian Leslie but he is telling the story relayed to him about McCartney by a music journalist called David Wild: the video is at the link and the story is about Wild merely being on the fringes of McCartney’s world.

The article itself points out that McCartney has talked about how he came up with the famous song, Eleanor Rigby, and especially the name. But as Leslie points out, the gravestone pictured above is in the graveyard of a Liverpool church that both McCartney and Lennon knew well, having walked through it many times as young teenagers, but it was not until the 1980’s that some fan discovered this:

When McCartney found about this he dismissed it, at first. Later on, he conceded that he may have subconsciously picked up the name from the gravestone. I can understand his reluctance – he knew his own story! – but really, it’s not even a question. Of course he got it from the cemetery. The idea that he coincidentally landed on the name ‘Eleanor Rigby’ – for a song about a woman who “died in the church and was buried along with her name” – is wildly implausible.

Strange how the human brain works isn’t it? But read the whole article and watch the video for more examples of how McCartney’s works, especially in the form of music.

Written by Tom Hunter

October 12, 2022 at 6:23 am

‘Decadence vs. Vitality’

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With the onset of the Great Chinese Snot Pandemic in 2020 one of the things I decided to do was finally get into reading a number of books that had been collecting dust around the house, but also watching three great TV documentaries that were fifty years old.

These three were related, in that they were driven by the BBC, and in one case its American cousin, PBS. They were:

Civilisation – by Kenneth Clarke (1969)
The Ascent of Man – by Jacob Bronowski (1973)
America – by Alistair Cooke (1973)

All three programmes made it quite clear from the start that they were the personal view of each man, and as such I think they can be forgiven for the things they missed or perhaps paid too little attention too. But that is true of all stories.

Recent events have caused me to look in particular at this final section from the last episode of Alistair Cooke’s America. As the man himself says in the opening:

A wise historian usually stops twenty or thirty years before his own time because, like the rest of us, he can’t see the wood for the trees.

Watch it and see what you think about the key question: Is America in its ascendent or its decline? That question still stands, but most of his observations remain brilliantly prescient.

Just three years earlier, Kenneth Clarke had discussed much the same thing, at least by implication with his starting point or Rome.

Civilisation does require a modicum of material prosperity — enough to provide a little leisure. But it requires confidence far more. Confidence in the society in which one lives, belief in its philosophy, belief in its laws, and confidence in one’s own mental powers. Vigour, energy, vitality: all the great civilisations have had a weight of energy behind them. People sometimes think that civilisation consists in fine sensibilities and good conversation and all that. These may be among the agreeable results of civilisation, but they are not what make a civilisation, and a society can have these amenities and yet be dead and rigid.

Written by Tom Hunter

October 3, 2022 at 3:57 pm

Posted in History, Reading, Movie, Music Reviews, USA

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That’s not funny!

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The cartoon Dilbert has been around for about three decades. It always had a specific audience in mind and that was anybody who had ever worked in a corporate or government environment. That was because such people were the ones most attuned to the insanities and inanities of those worlds, particularly the meetings they involve and especially the ones involving senior management.

If you’d never worked in that world you likely didn’t get the humour, which was gentle and poked fun at the endless stream of ideas that constantly sweep through the worlds of corporations and governments, many of them being ideas far removed from the objectives of increased revenue, reduced costs, increased productivity and, of course, profit – or in the case of government, running things competently and not at a continuous loss that screws future generations.

The eponymous character is an engineer, chosen because often they’re often the most based people in an organisation, since the stuff they design and build has to work in the real world. But engineers often find themselves at odds with marketing, advertising and HR people, not to mention that good old senior management.

The cartoon has done pretty well over the decades, spreading around the globe and becoming known to denizens of the non-corporate world as the issues Dilbert and friends cope with emerge into everyday life as well.

However, clearly there’s a limit to which ideas fun can be poked at any more. Clueless, amoral managers, marketers, and advertisers pushing crazy shit is one thing as a target, but Woke World is quite another. And so, inevitably:

Here’s the cartoon that triggered it.

Written by Tom Hunter

September 26, 2022 at 2:23 pm

Dem Rangz of Power

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Oh Dear. Exactly as expected by Semi-Fascists, Amazon’s new prequel of The Lord of the Rings – titled The Rings of Power, is not going well with audiences:

The Irish Times: The new hobbits are filthy, hungry simpletons with stage-Irish accents. That’s $1bn well spent.

After 20 minutes of this Lord of the Rings spinoff I’m having flashbacks to that EastEnders episode with the fightin’ villagers and donkeys walking the streets

The Scots get it too in The Rings of Power. Stand-ins for the dwarfs, they are portrayed as aggressive and argumentative. It gets to the point where I expect Durin, prince of Khazad-dûm, to whip out a deep-fried Mars bar. Every other “mad Jock” cliche has already been ticked off

With the predictable results, as documented by NotTheBee:

Amazon Prime Video blocks new “Rings of Power” reviews for 72 hours to prevent “trolls” from commenting as fans cry foul about the series


These fucking morons have learned nothing from the total failure of Star Wars or the massive success of Top Gun: Maverick. The latter movie – which was a pretty simple meat and spuds storyline well executed and acted – is at $1.4 billion+, and with yet another $6 million chart-topping weekend in the bag, more than 12 weeks after its release, is now closing fast on the top ten of all-time box office earners, and that’s without the Chinese market that pushed all the superhero dreck of recent years by a $1 billion each time.

I’ll let The Dark Herald explain why Rings Of Power is such a loser:

You would have to have had the hubris of Morgoth himself to take on this project.

As a writer, I would have been terrified of it. If the producers had come to me to finish the Unfinished Tales by Tolkien plus some original pastiche based on the Appendixes, I would have told them. “Look, I’ll require two years prep time before I write word one. I’ll need to completely immerse myself in Tolkien’s work to the exclusion of all else. Then I have to spend a lot of time with Tom Shippey and other scholars, plus a Catholic priest with three doctorates who is really into JRR’s work. And at the end of the day, it still won’t be Tolkien, just so you know.”

Who would take this on? Bad Reboot that’s who.

The inarticulate slaughterer of every franchise where they press a diseased foot is their bread and butter. Their mode of operation is now predictably obvious. Being completely incapable of creativity themselves, they select anything at all that might have an audience, invade and metastasize, then give it a Bad Reboot treatment. This consists of a Feminist Heroine’s Journey combined with a bunch of mystery boxes to lure foolish audiences along. Be sure to break the bank on flashy effects scenes.

I spent some time in sales, so I can see what Jar Jar Abrams’s school of non-writing is. It is sales technique disguised as writing. That’s it. That is all that the Abrams Mystery Box school really is. It’s just a hook with nothing attached to the hook but the next hook. It’s just one long sales pitch trying to keep you watching despite the fact that there is in fact nothing to watch.

Let me assure you now, there is nothing to watch here.

Amazon have pissed $1 billion up against the wall with this effort and even a company as large and powerful as they are will only tolerate so many failures in one division, as the folks at the various divisions of Warners are discovering, Between the Firing of Brian Stelter and the Cancelation of Batgirl, Warners is Seemingly Ditching Leftism and Wokism

  • CNN+ gone just weeks after starting up, losing hundreds of millions of dollars.
  • Multiple CNN “stars” being fired.
  • A finished movie, Batgirl, simply trashed after costing $90 million
  • Multiple writers and others dumped.

You love to see it.


Written by Tom Hunter

September 6, 2022 at 1:33 pm

Escaping from the rest of us.

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Cool Pic. Very 2001ish. HAL’s unblinking red eye is in that small, black rectangle at the end.

It’s only one line – but a memorable one – from this report in The Guardian about various billionaires spending lots of money to prepare for something bad that may happen.

Prepping is no longer for Low Rent nutters…

Eventually, they edged into their real topic of concern: New Zealand or Alaska? Which region would be less affected by the coming climate crisis? It only got worse from there. Which was the greater threat: global warming or biological warfare? How long should one plan to be able to survive with no outside help? Should a shelter have its own air supply? What was the likelihood of groundwater contamination? Finally, the CEO of a brokerage house explained that he had nearly completed building his own underground bunker system, and asked: “How do I maintain authority over my security force after the event?” The event. That was their euphemism for the environmental collapse, social unrest, nuclear explosion, solar storm, unstoppable virus, or malicious computer hack that takes everything down.

It’s as if they want to build a car that goes fast enough to escape from its own exhaust

What’s really funny is that this group of the mega-rich actually invited this guy, Douglas Rushkoff, a self-described “Marxist media theorist for advice on where and how to configure their doomsday bunkers“, to advise them about their plans – apparently not caring that he would include all this in a book and then an article in every Lefty Luvvie’s fave news site, The Guardian (well, not every one of them – the True Believers only read Jacobin).

Of course they don’t care because their wealth insulates them from anything this guy might say “back home”. Still, it means he can write about his obsessions by leveraging off their obsessions:

Never before have our society’s most powerful players assumed that the primary impact of their own conquests would be to render the world itself unliveable for everyone else.

Eh? I’ll grant you that the IT world sucks up an incredible amount of energy – for a time the global BitCoin insanity was gobbling more power than nations the size of Argentina – but it’s traditional industries and agriculture that’s getting the blame for despoiling our world. The former for at least two hundred years if William Blake’s “dark Satanic Mills” is anything to go by. It’s a good bet that these assholes are totally behind the WEF, insects as food, ESG Investing, electric vehicles and “de-carbonising” the economy.

But like all good Marxists Rushkoff doesn’t see that because he’s onboard for most of those things and doesn’t see how badly his beloved Toiling Masses are going to be screwed by the flipside of his Scientific Inevitability. The disasters heading our way, starting with energy deprivation in Europe, stem from things that Rushkoff supports and which these guys have the wealth to be insulated from – but he blames them.

Having said that I did appreciate his social, human advice – which they scoffed at, and in doing so revealed perhaps their major weakness, which is that they don’t seem to really have a fucking clue about humanity.

One had already secured a dozen Navy Seals to make their way to his compound if he gave them the right cue. But how would he pay the guards once even his crypto was worthless? What would stop the guards from eventually choosing their own leader?

The billionaires considered using special combination locks on the food supply that only they knew. Or making guards wear disciplinary collars of some kind in return for their survival. Or maybe building robots to serve as guards and workers – if that technology could be developed “in time”.

I tried to reason with them. I made pro-social arguments for partnership and solidarity as the best approaches to our collective, long-term challenges. The way to get your guards to exhibit loyalty in the future was to treat them like friends right now, I explained. Don’t just invest in ammo and electric fences, invest in people and relationships. They rolled their eyes at what must have sounded to them like hippy philosophy.

I did have to laugh. Any professional skilled in the use of violence is probably going to want more than just access to food and water; he’s probably going to want access to the wives and any other females linked to these clowns – and that’s while things are good. When the supplies run low the “billionaires” will need to stop talking about “their” bunker and perhaps even make themselves scarce – and hope they haven’t put on too much weight.

The thing is that Rushkoff is right on that last part, although I was surprised to see him keep it micro, making only a slight reference to what I would think is his larger point as a Marxist; about expanding partnership and solidarity to a large collective in order to meet future challenges.

But these clowns can’t see that, for all the smarts that have made them fantastically rich. They also can’t see human history either, which offers the answer. Clans and kinship based groups will do well. Relationship based groups will do well. Some random former billionaire surrounded by 12 militaristic types…

It’s also a good example of how capitalists, especially the richest ones, really don’t get that Capitalism is a cooperative effort, but then Business has always been a frenemy of Capitalism.

He calls it Silicon Valley escapism – The Mindset – but read the whole thing.

Tory Power Stances

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I always love it when one of the American blogs I read makes reference to the British TV comedy series, Blackadder.

Now admittedly they’re keying off these photos of various grandees in the British Conservative Party which in turn was die to some recent snarknews from the UK site of the Huffington Post.

Which the blog immediately associated with this scene.

The stance has been around for several years.

Why do Tories keep standing like this? [Metro – 4/30/2018]

I guess it’s part of their heritage.

That’s from the episode, Sense and Senility, (which seems so appropriate now for America) and reading that Wiki entry I see there is a section added about power posing, complete with a 2018 link to (of course) The Guardian, who never miss a chance for a shot at the Tories.

Fair enough too in this case. Plonkers!

A few years ago friends visited us in NZ from the USA and their three teenagers had never seen the show so it was funny to hear them saying, “That’s Mr Bean” (Rowan Atkinson) and “That’s ‘House'” (Laurie). They enjoyed it though.

The episode I showed them was not the one pictured here but the first one of the third series, dealing with …. politics. It’s become a family tradition that after each NZ and US Presidential election we sit down to watch “Dish and Dishonesty”, which I swear to God has become a more accurate take on politics with every passing year. Don’t believe me? Check out the scene of Blackadder entering Baldrick’s MP Candidate application.

Written by Tom Hunter

July 28, 2022 at 11:01 am

Less killing

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I recently came across a fascinating graph of war deaths across history and societies. The graph is shown below.

It’s from a book called The Better Angels of Our Nature (2011) by Stephen Pinker, a celebrated atheist and cognitive psychologist at Harvard University who is a big advocate of evolutionary psychology and the computational theory of mind, focusing on language.

But in this book Pinker branched out to look at larger issues, largely because he feels that modern society is increasingly under attack by pre-modern beliefs that he had thought were being buried. He wanted to make another demonstration of why our modern societies are better than historic ones by looking at the simple statistic of warfare and war deaths (also murder and other violence) and how these have been reduced over time by philosophical and material progress.

Better Angels theorises that violence in human societies has generally steadily declined over time, and identifies six major trends and five historical forces of this decline, the most important being the humanitarian revolution brought by the Enlightenment and its associated cultivation of reason

Some of the data is pretty extraordinary and I’m a little surprised that the Maori “Musket Wars” are not listed there since the estimates of 20,000 – 40,000 deaths over a thirty year period, starting with a Maori population of 100,000 easily puts them onto this graph at between 670 and 1,300 deaths per 100,000 people per year.

It should be noted that many on the Left are not as happy with Pinker as they used to be when he was only bashing Christians in particular and religion in general and that this dissatisfaction started with “Angels”:

such as whether deaths per capita was an appropriate metric, Pinker’s liberal humanism, excessive focus on Europe (though the book covers other areas), the interpretation of historical data, choice of methodologies, and its image of indigenous people.

Well of course; this is part of the Modern Left’s general move away from Western thinking on a whole variety of issues, including even the basic Western Epistemology of objective truths that can be discovered via rational thought and observation.

Written by Tom Hunter

July 22, 2022 at 11:30 am

Hairy Maclary goes feral

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Whether as a parent or grandparent, many Kiwis will have read the Hairy Maclary books to children over the last three decades, enjoying the fun of the rhyming language.

There’s also all of Hairy’s friends, Hercules Morse (“as big as a horse”), Slinky Malinki (“Blacker than Black”) and Scarface Claw (“the toughest Tom in town”) among them.

Well guess what sports fans? The American disease of Wokeness continues to arrive here, now with the message that all those characters are not Diverse enough (Equity and Inclusion to be named later):

… a study from Perth in Western Australia has taken aim at several children’s books including Hairy Maclary, suggesting they “perpetuate outdated stereotypes”.

The study by senior childhood researcher Dr Helen Adam of Edith Cowan University looked at several books including …

Critical Theory got its start in literature of course, tearing down everything it could as it “de-constructed” great works from Austen to Tolstoy, so it’s not surprising that they’ve chewed down into children’s books and finally got to the most isolated nation on Earth.

“Oh for goodness sake,” Dodd told RNZ. “I have actually got a female… I’m just looking at the pile of books I’ve got on the table at the moment… I’ve got Susie Fogg [A Dragon In a Wagon] and also, one has to remember that lady dogs have certain times when they’re not supposed to be out gallivanting anyway,” she added.

Woah there! Introducing biology into the argument? That’s a fail right from the start. Clearly Ms. Dodd is not familiar with her Critical opponents, who are turfing biology out the window along with every other “norm” they can.

She’d have been much better off mocking these assholes. Fortunately someone else decided to do the work for her, complete with the picture at the top of the post, with a wonderfully accurate rendition of Hairy in our bold new world. You wanted Diversity? You’ve got it:

With Hercules Morse at the gas and the wheel,
They were all set up now to break in and steal.
With a bang and a crash, they smashed through the glass,
The alarm’s shrill blare meant they had to be fast!
Straight for the till, all nasty and sneery,
Cash into a bag, went Hairy Maclary.
But the whole haul of ciggies of course,
That was the prize for Hercules Morse.

BTW, this isn’t going down well with a small group of the Left; The NZ Left are too busy cancelling Hairy Maclary for woke dogma to help you right now.

Well yes. that’s true. The author is “Bomber” Bradbury, angry as usual that all this woke shite is diverting people away from The Truth Of Marxist Dialectics. But you have to love the self-deception involved there as he headlines his article with a cartoon he’s used several times and which was first created over a decade ago during the GFC.

Identity Politics theory is entirely a construction of the Left over the last fifty years, and the only times I’ve seen the Corporate sector appropriate it has been when outfits like Gillette, Nike, Disney, Hollywood and many others employed it, DIE (Diversity, Inclusion and Equity) and its bastard child “Woke” to actually attack that portion of their own customer base that is traditional and conservative.