February 7, 2018
LIKE BEAUTY AND THE BEAST, the movie The Shape of Water — playing now at a theater near you — romanticizes sexual love between a human being and an animal. In this case, a deaf woman who works as a janitor falls in love with a creature taken from a South American river and kept in the government lab where she is working. Their affair is eventually consummated.
The Sexual Revolution finds new territory to conquer.
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The Shape of Water is brimming with anti-Heritage America cliches including: the denigration of the 1950’s (white) family; characters with authority portrayed as incompetent and/or evil white men with a sinister agenda; male patriarch frequently abuses power to detriment of others; the encouragement of women to engage in forbidden love (in this case, copulation with a beast); the token minority character who enables the rebellious tendencies of the female lead; societal norms of the time period portrayed as over-bearing and stifling; a repressed homosexual character who “can’t be themselves” because of the “close-mindedness” of the times; portrayal of American patriotism as nihilistic or satirical, etc.
You get the idea. Since the late 1960’s, Hollywood has been on a mission to erase from the public memory the stable economic and social reputation of post-World War II America with films like: The Stepford Wives, Revolutionary Road, Edward Scissorhands, Pleasantville, Far From Heaven and most recently with Matt Damon and George Clooney’s box office failure, Suburbicon.
A video from YouTube channel, 1791L, breaks down the social Marxist blueprint for this story piece by piece.
Hollywood is hell bent on its program of vicious social engineering.
Posted by Laura Wood in Uncategorized