Archives for posts with tag: MTV Films

Katy_Perry_Part_of_Me

MTV Films’ latest project in the controlled demolition of civilization follows popular candy-coated nut Katy Perry on her California Dreams Tour of 2011, “a year filled with tremendous success and personal heartbreak” for the twinkly star. Along with seemingly interminable adulation from friends and toadies, the viewer is treated to Perry’s bouts of depression as her long-distance relationship with Russell Brand disintegrates. Even so, to be granted entry into the world of Katy Perry is to be plunged into a dazzling phantasmagoria of lollipops, hearts, balloons, confetti, and sexy, garish costumes.

“I feel a real connection to fairy tales, and I think that in some ways I live in a fairytale,” the singer confides, and one quickly sees what she means when confronted with so many sissy prancers ducking, gliding, and kicking around the stage in their candy cane pants. Even freaky Russell Brand, when he meets his lady backstage, looks embarrassed to be seen mixing with this lot of dubious company. Too much hagiography begins to wear on the viewer’s patience, and Perry minus the whorish makeup and the wardrobe is actually rather an uninteresting individual; but Katy Perry: Part of Me does feature some impressive concert cinematography and grotesque visuals aplenty.

2 out of 5 stars. Ideological Content Analysis indicates that Katy Perry: Part of Me is:

10. Pro-miscegenation. Interracial couplings can be glimpsed among her backup dancers.

9. Corporate. Brand sends Katy a text message with a picture of a McDonald’s restaurant and suggests they name their firstborn Ronald.

8. Anti-Christian. Katy’s conservative Pentecostal upbringing, which forbade her to watch The Smurfs or eat Lucky Charms, definitely started to cramp her style as she discovered her inner freak. “I felt like I was never even allowed to even think for myself, and having any kind of feminist live-on-your-own independent spirit is just, ugh, the devil!” (cf. no. 5) Today Perry’s beliefs appear to drift more toward permissive New Age nebulousness: “I really do believe in God[, even if I] probably don’t believe in all the same details that my mom believes, but I have a spiritual relationship with God, and it’s one-on-one, and it’s continually evolving.”

7. Pro-drug. Katy be “sippin’ on gin and juice”.

6. Family-ambivalent. Perry is close with her grandmother, and her parents are generally supportive despite not approving of all of their daughter’s output. She is unprepared, however, to have children of her own.

5. Underachievingly feminist. “I kinda want to be a leader, but, you know, then there’s all those responsibilities.” Still, California girls like Katy are naturally “fine”, “fresh”, and “fierce”.

4. Multiculturalist. The film goes to great lengths to portray Katymania as a messianic and postracial phenomenon and opens with a series of webcam effusions from teen admirers of various races and orientations who say that Perry has shown them that “being weird is okay.”

3. Pro-gay. Perry’s breakout hit, “I Kissed a Girl”, occasions a lesbian smooch from View host Whoopi Goldberg. Among the fans who receive screen time are some Japanese drag queens.

2. Pro-wigger. One must, one supposes, muster something resembling admiration for a songwriter who rhymes “peacock” with “beyatch”. “West coast, represent!”

1. Pro-slut. In addition to her salacious booty-shakery onstage, Perry’s lyrics tend to be of the tawdry “let you put your hands on me in my skintight jeans” and “I wanna see your peacock” variety.

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Homosexuality has for a number of years been more or less accepted by the mainstream media – and, following them, the public – as an “alternative lifestyle”, its victory in the war for equal footing with heterosexuality so sure, such a fait accompli, that, had Oscar Wilde been caught with his velvet trousers down a mere number decades later, he would, rather than having entangled himself unnecessarily in a humiliating legal debacle and been branded with the mark of Victorian ignominy, have been lauded as a cultural hero and offered his own lightweight daytime talk show.

The ascendancy of the forces of sexual egalitarianism has been so crushingly complete, in fact, that, having overrun and occupied their enemies’ fortifications, they now seek not only an unconditional surrender on the part of the ex-establishment, but punitive reparations, permanent privileged status, and immediate implementation of an array of social experiments on the scale of collectivization under Stalin, calling for the totalitarian indoctrination and regimentation of future generations in the service of their cause.

It is not enough for homosexuality to be tolerated. It must be embraced and celebrated, endorsed in the public schools, be subsidized and pampered and have its leaky asshole licked. Gays, if a baker refuses their business when they want him to make them a wedding cake, no longer have to endure the harrowing inconvenience of locating another bakery, but immediately turn to the ACLU for social retribution. Fast food chains must champion sodomy or else face the wrath of the overlords of “progress” in markets like Chicago and Boston. Ideological Content Analysis has no moral objection to homosexuality in itself, but does demur when a movement pretending to advocate mere tolerance turns instead toward de facto coercion.

It is not sufficient for gays to be gay; everybody and everything must be gay in the new Socialist States of America. Statesmen and judges and fry cooks and basketball players must be homosexual allies, as must the Boy Scouts and even the clergy. In Europe, where cultural Marxism is even more firmly entrenched than in America, gay “rights” have already mutated into a means to authoritarianism, with priests in Denmark ordered by the government to perform homosexual marriage ceremonies on demand.

Now the pedophiles want their turn. NAMBLA, the North American Man/Boy Love Association, remains a largely reviled fringe lobbying group, though not without its shadowy following. In recent years, however, a movement toward compassion for those afflicted with the pederast’s compulsion is emergent. Not many years after molesting the young star of his horror film Clownhouse, director Victor Salva was welcomed back into the fold of the Hollywood mainstream and allowed to direct youth market films like Powder and Jeepers Creepers. A sympathetic 2004 film, The Woodsman, follows a child molester’s attempt at redemption after serving a prison sentence. More recently The Atlantic published a candid personal narrative by sexual degenerate David Goldberg, “I, Pedophile“, in which the author panhandles for sympathy on account of his I-can’t-help-it complicity as a patron in the child pornography industry.

These examples are arguably innocuous; but if the normalization of pedophilia that is plainly afoot follows the same trajectory as the now triumphant gay “rights” movement, then what, one wonders, does organized pedophilia have in store for western civilization? That open promotion of pedophilia may be the next major civil “rights” crusade is suggested by the most intensely repugnant trailer of this or any other year, that for Jackass Presents Bad Grandpa, the latest bid by MTV Films and Paramount Pictures for the imperiled soul of America: a naked campaign ad to pervert and subvert everything that tentatively remains decent in America.

The trailer, which features a little girl in a talent contest stripping off her costume to reveal adult lingerie underneath and who then performs a pole dance as the grandfather, with masturbatory enthusiasm, flings dollar bills at her, militates against the culprits, MTV Films and Paramount Pictures (assets of Zionist-run Viacom, Inc.), receiving any further business from moviegoers with any lingering sense of the good and traditional. Your humble reviewer, for one, certainly will not be patronizing their product, and a full-scale boycott of these corporations’ anti-American output may be in order if the scheduled release (as of a biological warfare agent) of Bad Grandpa proceeds as planned.

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