https://youtubetranscript.com/?v=7D1ZSF5PqhU
So on one level, I see the mainstream storytelling as deeply just corrupt and so boring. Right. Like, you know, Foundation is one of the best sort of science fiction series that’s ever been. And I love science fiction. So they just come out with a new a new new foundation thing. And and they cast Jared Harris as as as Harry Seldon. And Harris was amazing and lots of things. OK, cool. This is going to be great. So you start to watch it and they’ve they’ve gender and race switched gal. And so you said, well, it’s it’s it’s a it’s a it’s a far future world. There’s no reason why the people are going to be any color that we can. So that doesn’t really matter, except for that it’s emblematic of the way that the culture that our stories are being told now. And especially if they make it an issue in the story, then it’s another level because it’s like, OK, until you made it an issue in the story, I didn’t care about this. But now I do care about this. Well, that’s the funny thing. So I look so I have this like, OK, I know that I know that something is going to be ideological once certain things start happening, probably. So you see Gal Tarkin and and it’s a brown woman instead of a white man. And like, OK, but it actually doesn’t matter to her role in the story has nothing to do or his role in the story has nothing to do with his race or his gender. So it’s like, well, I’ll ignore that. But then they introduce Salvar Hardin, who’s like the first heroic character, and they’ve also raised and gender switched him. But it doesn’t work. It doesn’t work because the thing that’s interesting about Hardin is he’s he’s this super agentic, assertive, masculine leadership rebel rebel character who’s whose whose key saying is violence is the last resort of the incompetent and he solves everything without using violence. That’s the whole element of his story. And then they change him, but they and they put a woman in his place and then they make her very violent and she solves everything by violence. And so they take this idea of toxic masculinity, which is being critiqued in the original character of Salvar Hardin, and they make it good so long as it’s a brown woman who is doing it. So the entire meaning of the story has now been inversed. But there’s no there’s no new meaning that’s actually transformative or powerful. Yeah, and it’s and this is something that if people want to like, people want to know, this is something that’s going to happen more and more is that there’s going to be if there’s going to be a lot of stories where the bad guy is the woman. This is going to be really important where the most evil, most bad guy person is the woman. And like, for example, in in in Falcon and Winter Soldier series, they had this this terrorist woman who is cruel, like would kill people, would do all these things. And and she was like the leader of a terrorist group. Like, how many leaders of terrorist groups are women? Like, come on, man, seriously. But OK, whatever. And so it’s like, OK, see, here she is. She’s like she’s like a kind of multi ethnic character, you know, that actress with the with the red hair. She’s kind of I don’t know. It’s hard to tell. And so it’s like, OK, it’s like multi ethnic character. And then and then they portray her with like the deepest sympathy that you could imagine. Yeah, I was just like, what? Like, are you serious? Is this happening on top of the Antichrist Christ pattern? The the the video of yours, probably the video of yours that I think has made the most impression on it, just like really was thinking a lot about it was the Montero and Wanda Vision video and the idea that that Wanda Vision is the story of the matrix stole told from the perspective of the matrix of the matrix. And you and you are seeing that, right. And it’s there’s something very strange about that. So we could dig deeper into that. But I wanted to to kind of root back to another point, which is you’re saying look for the narrative of the return of the king. I don’t see it right. I’m not seeing it. And and and like, you know, I pointed out Harry Potter as the story that kind of like most embodies a lot of the archetypal stuff that say something like Tolkien had. But but it it it’s not there yet. But it’s going to it’s going to it has to come. There’s no way around it. Like it’s but it’s because it’s even but it’s not going to come necessarily from the same sources. It’s going to come from a surprising place because because obviously that these these patterns of storytelling are going to just keep ramping up and keep, you know, the the one which is becoming so nauseating and like just so obvious is the idea like the antique. It’s it’s another interesting Antichrist pattern, which is that you have a male character, a male character that sacrifices himself. And so it’s like it’s a perfect story arc. But he does it in order to be replaced by a female character. And it’s like you can see it. It’s been happening for a while now. And it’s been small. Like you could see you could see it like little by little. Coming up. But now it’s so egregious and so obvious, you know, that it’s just painful to watch it. You just see it. It’s like you watch the story and like, OK, this is what’s going to happen. This is what’s going to happen. The Green Knight story was the ultimate like it was so interesting that at the end of I don’t know if you saw the Green Knight, but at the end of the movie, they reveal like that pattern. It’s like it’s insane. They have like an extra credit scene with it, which they didn’t need. But they put it there. It’s like a coda, which tells you this is what it’s all about. It’s about it. It’s about replacing the game. Yeah. But but like I said, it’s going to it’s going to play itself out. And at some point, there’ll be no there’ll be no other story to tell.