It was a MOVIE, Dammit...

I say to you, My Minions, that of all that exists in Creation, the most-dangerous things of all are these: Communists, Mental Patients, Feminists, and Social Justice Warriors, and usually, they all happen to be the same people.

Oh, and a movie review, too.

The Overlord attended a showing of the Wonder Woman movie yesterday. As superhero movies go, this one wasn't too bad. I'll give you a quick evaluation of the movie as entertainment before I get to the point of this missive, which is political and, naturally, exposing the dumbass of those who insist in putting politics into their comic books.

I took five things away from this movie, yesterday:

1. If you went to be entertained by a compelling story, go somewhere else. The story was rather lame, and while the heroine was compelling (but not because she's a heroine), the entire movie is simply an excuse to put a hot Israeli chick into a short, leather S&M outfit. Normally, this would not work; however, when you look like Gal Gadot, it might be the best 2 hours of your life.

2. If you expected an epic adventure full of exciting characters, portrayed by exceptional actors and actresses who may bring some of your most-cherished childhood idols to life, this is not the movie for you. Most of the cast seems to be simple window dressing for a hot Israeli chick in a short, leather S&M outfit. The other characters are just there...you never learn who they are, you hardly learn just what it is that makes them either foil or an aid to Wonder Woman (except "they're bad", "they're German", "oh, look an American Indian mysteriously and inexplicably wandering the battlefields of World War I Belgium"). More on this in a second.

3. Despite all the feminist hoopla, I found very little "feminism" of the prevalent sort in this movie. That is to say, Wonder Woman is not a screeching fucktard with a runaway menstrual cycle continuously crying about how hard it is to be her. We find a Wonder Woman who is fascinated by babies, discovers ice cream, and has a sense of fashion (short, leather S&M outfit, aside) that is NOT a deliberate exercise in either gratuitous cockteasing followed by withholding of sex, a deliberate exercise in obscuring her feminine form to avoid "eye rape", nor as a means of projecting "empowerment". In fact, other than a few snide jokes that could be applied to many other circumstances in Life, I found very little man bashing (in dialog, in action, it's a different story), which was fucking refreshing.

There was some sideways dialogue about slavery and the futility of marriage, but it passes quickly, and usually has a forced-ironic tinge to it that makes it almost a joke to today's limited Snowflake mentality.

4. Did I mention Gal Gadot is a hot Israeli chick with a killer bod, who's easy on the eyes, and definitely worth $14.50 plus $6 for a medium Coke just to look at for two hours? My God, this woman is incredibly beautiful.

5. The Action Scenes were actually pretty good. The special effects were "just right", and Wonder Woman kicks ass. In fact, if I had to compare Wonder Woman to the recent Captain America movies, I'd say Wonder Woman out-Captain Americas Captain America. In fact, I'd go as far as to say that Wonder Woman might be the second-most kick-ass character in modern media, today (Agent Melinda May of "Marvel's Agents of Shield" is much more of a badass, and while WW can kick ass and take names, it's her gentle and naive nature that makes the kick-ass stand out even more).

If you asked me today to rank this movie among my 100 All-Time Favorites, it wouldn't make the list. It might come in around 1,053, or, so, and that by virtue of Gal Gadot, alone (did I mention she was a hot Israeli chick with a killer bod and was easy on the eyes?). Frankly, I'm surprised she managed to summon up enough acting skills to make Diana, Princess of the Amazons, a half-way compelling character when it wasn't all about how good she looks. She deserves accolades, considering the comic book character, herself, is fucking dreadful.

Probably because DC comic books, and the characters in them, typically sucked ass when I was a kid. For the longest time, Wonder Woman, once a Nazi-slaying, Red-White-and-Blue American Weapon of Justice, became -- through terrible writing and poor art -- a caricature of a caricature, and a shallow one, consumed with her menstrual cycle (I'm exaggerating...a bit), biological clock, and nesting instincts. Most of the DC comics I grew up with had this fatal flaw: the characters were incredibly lame, and they did the same incredibly lame things, over and over and over again. Creativity was sorely lacking in the 1970's/80's at DC. It's why the Marvel franchises did so well, and continue to do well in CGI form: the characters are far more compelling.

I mean, just devote 5 minutes to the thought experiment "Wolverine versus Aquaman". I rest my case.

Anyway, let's get back to what is wrong with this movie, or really, to be more specific, what is wrong with many of the people who review this movie from a political standpoint. No need to link to any of the reviews (because they're repetitive), I'll just give you a quick rundown of the three-most-common subjects surrounding the Wonder Woman Movie that always get mentioned, and which, it seems cannot be avoided in today's totally obsessed with bullshit culture.

1. Wonder Woman Feminist Icon - according to which end of the political spectrum you identify with:

From the leftist point of view, WW is (finally!) an example of the power of Woman, a shining role model for young girls, who embodies the Feminazi bullshit convention of "empowerment". In other words, Wonder Woman does what you, puny real-life female, wish you could.

WW is intelligent (she speaks hundreds of languages); she is physically strong and yet retains the air of femininity. She can rock a ball gown and simultaneously be the Average Man's BDSM fantasy (which is Wonder Woman's origin, actually: her creator was a Harvard psychologist with a BDSM fetish who lived with both his wife and mistress). She is remarkably sensitive, with a strong streak of justice and humanity in her, and yet is still an avenging demigod possessed of incredible and limitless power. She kicks the living shit out of Men, but it's for their own good. Probably the best "feminist" quality about WW is that she doesn't need no man to save her, and yet, (momentarily) pines for the handsome young First Love of Her Life who dies in an heroic act of self-sacrifice (Greek Tragedy sensibilities!), and then, we're led to believe she spends the rest of her days in a lonely solitude, single-mindedly pursuing her intellectual interests from the heart of Paris....until it's time to do some of that Right-the-Wrongs shit, and she dons the short leather skirt thingy, again.

Because that always happens in Real Life. Or would, if only men were enslaved.

(Too bad she missed Charlie Hebdo, Bataclan, St. Denis,  and a dozen other French slaughters performed by non-Frenchmen of a certain religious faith.)

From the Feminist viewpoint, then, she's everything the feminist pretends or aspires to be, but pretty much fails to become, because self-righteous fucking cunt. A strong, intelligent, good-looking, independent, and most-agreeable, woman of confidence.

We find in her male love interest, Captain Steve Trevor, another feminist ideal: a good-looking, passionately principled and courageous man, who is so old-fashioned and so not-obsessed-with-poontang, that he actually gets quite uncomfortable when WW suggests they sleep together (and that's just lie down next to one another) without the benefit of marriage. In the end, Trevor is simply a means of facilitating WW's journey towards the fulfillment of her ultimate goal, the destruction of the God of War, Ares, and then he dies in the pursuit of his own ultimate goals.

They are separate, and yet, indivisible; they have their own lives, and yet must work together to ensure those lives have meaning; She is the disinterested-unless-she-wants-to-be-interested Yin to His interested-but-solicitous-of-her-feelings-and-in-awe-of-her-female Yang.

We get the idea that she's sad about this (Trevor's Death), but somehow manages to get on with her life. As if he's served his purpose, which was to "help" her "make it" to her final destination, and having arrived, he's little more than a pleasant memory in a photograph.

If you're one of those inbred, web-footed Bible-Thumping jerkoffs, then WW is a slut running around in a leather skirt, doing a Man's Job. Women belong in the kitchen making sammiches and doing laundry. End of story.

She's either the Ideal or the Harbinger of the Apocalypse, depending on which way your stupid bends in a stiff breeze.

2. The Diversity! OMG, the Diversity is AWESOME! - if I have to read one more line with the word "diversity" in it, I will strangle someone.

"Diversity" is a topic too fraught with stupidity to wade into in this context, and frankly, the people who shout this word from the rooftops as if it were a noun, verb, adjective, and occasionally punctuation, are too fucking dumb to complain about. It is a sad fact of life that the world is obsessed with notions of "Diversity" to the point where the word has lost all meaning and impact, and has come to be associated with it's complete opposite, which is "segregation", but that's a discussion for another day.

What the "Diversity"-mongers mean when they say "WW is a such a diverse movie" is, simply, there's someone other than White Males in it.

In the case of this movie, the "Diversity" is there for the sake of it. It's gratuitous. The Diversity manages to do less of anything than the Main Characters do. Again, they are set decorations, a visual virtue signalling. Here's some examples of the "Diversity" in WW:

a) Paradise Island is the home of the Amazons. They are all female. A Few of them happen to be black, and it's intimated that some of them actually hold some office of power or responsibility (the Black Ones). However, since these characters are here for show, we don't get to learn anything about them or what they do. Except be black, I guess.

But then again, they're on an Island full of Amazons. Which to judge from the opening sequences, seems populated by a few thousand leathery-skinned lesbians with swords and bows, and one hot fucking chick. Yeah, some "Diversity". Where's the distinction in that, unless it's all about color, and isn't judging a person's value by their skin tone, umm, racist?

b) The Villains are all white. Ares, the God of War, takes the form of a British politician; General Ludendorrf, obsessed with winning the war for Germany, is likewise, Whiter than a Lightbulb. Both are portrayed as inherently sick and twisted individuals, who's motives are so obviously sick and twisted that they don't need much in the way of explanation.

The female villain, Doctor Poison, is a disfigured white chick (we never learn HOW she was disfigured), who is an obvious stand-in for the accomplished woman of the Right: she's a brilliant chemist, twisted by her deformity (or her Conservatism, natch), who is a slave to the White Man's War Machine, and who's greatest accomplishment is nought but a fleeting testament to the evils of Mass Destruction by Mass Production, developed in the service of Men. She, emerges, near the end, as a victim of the Military-Industrial Complex, but it's hard to find any sympathy for a character so one-dimensional, and after being force-fed such a puerile premise.

Why, after her role as symbol of the evils and dangers of Capitalism and Conservatism to Womyn is served, she disappears. We don't even find out what happens to Doctor Poison. She's just never appears in another scene after the scars are revealed.

Even Robin Wright, who is a pretty good actress, couldn't make this character interesting.

c) WW's companions are a mixed lot, and a puzzling one. There is Steve Trevor, the handsome, upright eunuch who is a spy, and somewhat ambivalent about it and his role in this war; there is the drunken, Scottish sniper -- right down to brogue and kilt -- tormented by the memories of the people he's killed (PTSD. Perhaps a shot at "American Sniper"?) who ends up shooting absolutely no one. Then there's the gratuitous Muslim, a con man, who comes to admire the female WW, almost worships her,  and considers her a hero worthy of his respect, because that's what happens in a society that practices clitorectomy. All the time.

The most puzzling of all was the aforementioned American Indian. This guy just shows up out of nowhere  in the midst of a battlefield, for no reason anyone can discern, and then gives a (thankfully short) lecture on how the White Man stole his land. Seriously, find a new tom-tom to pound.

We see some scenes in a train station that include Indians, Sikhs, I think I MIGHT have seen some Africans, in Army Uniform, being taken to the Western Front of World War I. None of them has any dialog, they're just scenery. Of all the "Diversity for the Sake of Diversity" bullshit, I have the least problem with this, for it's at least historically accurate. What we think of as The British Army of both World Wars was actually an army drawn from the four corners of the British Empire.

The rest of the people in this film are so fucking white, it's beyond belief. After all, it takes place in London, Paris, and Belgium, in the midst of a war fought by mostly white people. WW is white, for God's sake.

I guess this is the level to which the devotees of "Diversity" have sunk, nowadays: having exhausted every alternative to actually raising The Diversity to prominence on the basis of achievement or Cultural Enrichment (excuse me, that's now Cultural Appropriation), we're supposed to be so happy we could shit because a person of color got .2568 seconds on screen. Maybe even two lines of dialogue, and if they had more, it was to complain about how fucking hard it is to be The Diversity to an audience that is well-aware of the double standards of Affirmative Action and Political Correctness.

Seriously? Fuck off.

3. Was Gal Godot the "right" choice for WW? - Most of these questions have to do with Gadot's Jewish heritage, and Israeli citizenship. She was born and raised in Israel, after all. Many of those asking this question (really, this is the question that concerns you the most?) are really engaging in the time-honored liberal tradition of Antisemitism, only they attempt to cloak it in other terms: Diversity (see above), the Israeli-Palestinian Conflict, even going as far as to have arguments over whether Jews are to be considered White or People of Color.

Depending on your politics, Jews are either White because they represent traditional Judeo-Christian values and ethics, or they're People of Color simply because to be associated with anything "White" these days is to be accused of complicity with the Devil. Naturally, I'm sure the same people just as easily make the opposite argument when that suits their (political) purposes.

The majority of the "opposition" to an Israeli WW is really just another means of opposing Israel, and in a way that doesn't cost you anything. It's another form of Virtue Signalling,

One wonders what the problem would have been had they cast a Greek Actress to play an Ancient Grecian Amazon from Classical Grecian History and Literature?

Because I can guarantee you the complainers would have taken issue with that, too. It's their job to complain, to never be satisfied, even when they've won. If they couldn't complain, these fucktards would have nothing else to do all day, would be as interesting as bread mold, and have no purpose at all. They'd aimlessly wander the streets, probably getting hit by traffic and fouling the sidewalks -- instead of the internet -- with excrement.

Go see it. It's a fun two hours.