The popular creepy kid genre can be traced all the way back to The Bad Seed (1956), but really took off in the years that witnessed the introduction of the birth control pill and the legalization of abortion in conjunction with overpopulation propaganda, with Rosemary’s Baby (1968), The Exorcist (1973), It’s Alive (1974), The Stranger Within (1974), Devil Times Five (1974), I Don’t Want to Be Born (1975), The Omen (1976), and The Brood (1979) being notable examples. The purpose of such movies, when it is not simply to make a quick, exploitative buck, has frequently been to instill in deracinated women associations of anxiety and disgust with their own biological imperative, and The Prodigy (2019) is an especially noteworthy development of this tradition. I found it to be genuinely scary – even as I smirked inwardly at its gross subtextual purpose.
[WARNING: SPOILERS]
4.5 out of 5 stars. Ideological Content Analysis indicates that The Prodigy is:
3./4. Anti-gun and pro-choice in one fell swoop. You have to watch out for those meddlesome old white men with their guns trying to save children from being murdered by their mothers. BELIEVE WOMEN when they determine that their sons deserve to die.
2. Antinatalist. The Prodigy might as well have been titled Abort the Alt-Right: The Movie.
1.Anti-white. New parents John (Peter Mooney) and Sarah (Taylor Schilling) – who have the surname Blume but do not appear to be Jewish – seem to have the perfect suburban life until their unhealthily pale son Miles (Jackson Robert Scott) starts to manifest precocious intelligence while lagging behind in emotional development and social skills. He also has different-colored eyes like Nazi LARPer David Bowie, who is name-dropped in the screenplay. These are the film’s first clues that what devil-child Miles really represents are Jewish and globalist anxieties about the remaining potential for a resurgence of nationalism and fascism among peskily still-reproducing white people. One of the semi-autistic child’s first demonstrations of intolerance is when as a schoolboy he becomes jealous at the sight of a Mexican-looking boy working on a project with a white girl. Miles wants to be paired with the girl instead and attacks the other boy in deplorably savage fashion with a wrench. A not-so-insignificant establishing shot shows him attending Buchanan Elementary School – because everybody knows the antisocial influence that Patrick J.’s tutelage exercises over the kids these days.
A Jewish parapsychologist, Dr. Arthur Jacobson (Colm Feore), finally determines that Miles, who speaks in Hungarian while he sleeps, is the reincarnation of a misogynistic serial killer, Edward Scarka (Paul Fauteux), whose family had relocated from Orban Land to Ohio. Scarka, as seen in The Prodigy’s prologue, disrespectfully chopped off womyn’s hands and murdered them in his supervillainous hillbilly house of horrors. He was probably a Republican, too – the viewer just senses it. Hungary, in Jewish consciousness, is inseparable from its twentieth-century history of anti-Semitism and the “Holocaust”, and Scarka personifies the threat of retro central-European bad-optics nationalism’s reincarnation in Rust Belt populism and toxic masculinity. After Dr. Jacobson tries hypnotizing Miles in order to learn more about the malevolent Hungarian soul occupying his body, Miles threatens to accuse him of sexually molesting him – because, of course, that is what incorrigible young white men are doing these days – falsely accusing Jewish men of being pedophiles. Who needs the bother, amirite, sisters? Just #RESIST pregnancy and have an abortion.
Rainer Chlodwig von K.
Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.
Oh God! ANOTHER movie about creepy White kids.
There was another one that came out about a month ago, “Brighturn”, about an evil white kid with superpowers, I guess kind of like that old Twilight Zone with Billy Mummy.
Yeah, we get it, white people are evil and scary.
Hollywood’s flogging a dead horse at this point.
Give it a rest already!
Brightburn is supposed to be pretty gory and tough to take. Maybe I’ll force myself to watch it just to see what the big deal is.
The big deal is that all White people are serial killers and school shooters.
Where have you been all this time?
The moon?
Do you even HAVE a television?
Get with it dude.
Thanks. One of my favorite genres. I might even watch it. (I’m still recovering from Call me By Your Name. Homosexual Jew’s coming of age – ugh!).
Back to the young and possessed, I’ve alerted this one to you before, but as you know, repetition is the father of mastery:
Funny how in the movies only White people have evil powers.
It’s almost as though Hollywood bore some sort of animus towards them.
You also get some supernaturally evil blacks from time to time in movies like Blacula, Sugar Hill, Macumba Sexual, or The Serpent and the Rainbow.
The only one of those I’ve seen is Blackula and that’s a blacksploitation film for blacks, and they enjoy bad-ass bad guys. They usually portray the white villains as just plain creepy.
Get Out you should see post haste. Brilliant work of subversion, brilliant.
For an unsympathetic black protagonist you need a black director. Seen it a few times and it’s still good.
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