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Cure

“Help! Let me out of this shitty movie!”

I’ve developed such an iron stomach when it comes to digesting rotten movies that it really says something when it takes me multiple sittings to make it all the way through one, as happens to have been the case with A Cure for Wellness. This plodding Judaic dud concerns a corporate creep (Dane DeHaan) who travels to Switzerland to retrieve an insane executive who is reportedly recuperating in a mysterious clinic. Switzerland essentially being a piece of Germany, the place is naturally being run by crypto-Nazi perverts with all sorts of deep, dark European secrets. Boringly perverted director Gore Verbinski and his collaborators are so determined to give the setting and characters an air of coldness and clinical inhumanity that these qualities, unfortunately, end up attaching themselves to the film itself, making it about as appetizing as a gore popsicle. Even the effort to liven things up with would-be shocks like sadistic dentistry, eels in a toilet, masturbation, and incestuous rape only make the movie more of a yawn-inducer. Even the Blu-ray menu is irritating, with its horror movie cliché of a little girl’s monotonous singing. Throw in the fact that this is yet another mean-spirited production of Israeli intelligence asset Arnon Milchan (opening with a shot of skyscrapers, to boot) and A Cure for Wellness goes straight into the biohazard bin.

2 out of 5 stars. Ideological Content Analysis indicates that A Cure for Wellness is:

3. Assimilationist, showing the inspiring ability of blacks and Indians to ape European dress and mannerisms.

2. Judeo-capitalist, casting a financial criminal as the protagonist.

1. Anti-white and pro-miscegenation. Early in the movie, a white woman makes a reference to a “twelve-inch” black penis, suggesting congoid sexual superiority. The pathology of a racially homogeneous community is conveyed by icy-eyed Europeans whose sterile paleness is amplified by their all-white wardrobe. National Socialist notions of racial hygiene are parodied as a form of isolationist inbreeding. The protagonist learns that the clinic occupies the property of a nobleman who determined that the only woman pure enough to bear him a child was his sister. Sad to report, we have now actually plumbed the cultural depth at which audiences are sufficiently debased to tolerate the casual horror of a father (Jason Isaacs) sticking his hand up his daughter’s crotch and then sniffing his fingers for the camera. Hitler is never explicitly referenced, but the entire backstory of fiendish medical experiments and fields full of emaciated corpses are intended to evoke the specter of the persecution of the Jews. A Cure for Wellness functions as “Holocaust” revenge porn, with the viewer expected to exult in the sight of a sheltered European girl (Mia Goth) cleaving her father’s skull with a shovel and riding into the night on a bike with the evilly grinning New York crook who has rescued her from the Swiss ethno-dystopia.

Rainer Chlodwig von K.

Shallows

Blake Lively plays Nancy Adams, a medical student who, following her mother’s death from cancer, treks to the same beach in Mexico that her mother visited while pregnant with her. Hoping to enjoy a little sentimental surfing, Nancy instead finds herself the victim of a shark attack and ends up stranded off the coast on a rock as the hungry monster circles her. The Shallows is an okay survival movie and goes by pretty quickly, the dramatic limitations of its essentially one-person story notwithstanding.

3.5 out of 5 stars. Ideological Content Analysis indicates that The Shallows is:

7. Propertarian! A would-be thief is physically removed by the natural order.

6. Pro-gun, if a flare gun counts.

5. Christ-ambivalent. Both good and bad Mexicans are shown with crucifixes.

4. Green. Sony Pictures hopes for “a greener world,” according to an end credits statement. Thinking of the environment rather than herself, starving Nancy opts to help an injured seagull rather than eat it. A hook lodged in the shark’s mouth could be interpreted as an indication that a revenge is being exacted by nature against humanity for some previous wrong.

3. Feminist. Nancy survives on her own, with little to no help from men. The film’s director, in one of the Blu-ray extras, claims that the shark is female; but the creature’s connotative presence onscreen is that of a predatory male, a giant, angry phallus pursuing a woman against her wishes. Poisonous jellyfish, with their dangling tentacles, mimic a threatening swarm of sperm cells that Nancy must avoid. End credits appear over shots of reddened surf, the menstrual coloring celebratory of the avoidance of pregnancy. Instead of raising a family, she will pursue a career as a physician. Her mother, it may be worth noting here, has been punished with cancer and death for procreation. Alternately, The Shallows can be read as a torture porn film masquerading as a women’s empowerment trip. Nancy’s tattoo and bizarre earring mark her as a typically damaged and self-mutilating young woman of her generation – and her carefree display of her body is sure to incense the girlfriendless members of the audience.

2. Anti-racist. The viewer is teased into fearing for Nancy’s safety as she rides in the company of a Mexican stranger, Charlie, on her way to the beach. So friendly is this man that he even refuses to accept money for the ride. Likewise, two young Mexican surfers are employed as red herrings of a sort. They make no attempt to molest the beautiful, solitary gringa, and her brief apprehension that the pair might steal the bag she left on the beach turns out to be unfounded. The only negative portrayal of a local in the film is a drunkard who does, in fact, intend to make away with her belongings. Recent news out of Mexico suggests that The Shallows is probably overly kind in its depiction of this Third World country’s hospitality.

1. Anti-white. The “shallows” of the title are, of course, the waters around the beach; but this word could also refer to those naïve, bumbling Americans who, like Nancy, expect there to be Uber service in rural Mexico. White is associated with death. The antagonist in the film is a “great white”, and the stinging jellyfish glow white at Nancy’s approach. An exception is the wounded seagull, whose company Nancy comes to enjoy. Weak, dysfunctional whiteness, it seems, is the only acceptable kind.

Rainer Chlodwig von K.

White Girl

Just when you thought the movie industry had hit rock bottom, along lumbers White Girl with its Jewish jackhammer to get at the rock beneath the rock. Following on the heels of American Honey (2016), White Girl exemplifies a long tradition of cinema that seeks to shock the sensibilities with its exposure of the wild rites of the rising generation – a genre that stretches from the earliest juvenile delinquent pictures up through the likes of Over the Edge (1979), River’s Edge (1986), Kids (1995), Bully (2001), Spring Breakers (2012), and Heaven Knows What (2014).

White Girl is yet another foray into the demimonde of ugly people in ugly clothes engaging in ugly, loveless dances and lewd acts to ugly, afro-degenerated soundtracks – with the difference that this entry makes its anti-white agenda totally explicit. Purporting to tell the true-life experiences of some lowlife named Elizabeth Wood, the story follows an Oklahoma City slut (Morgan Saylor) after she moves to New York – ostensibly in order to “study” – but instead uses her parents’ money to buy drugs and get into trouble.

Gazing longingly out the window of her apartment at a group of loitering mongrels, White Girl announces, “I’m gonna go get some” and so sets out on an odyssey of debauchery that will occupy the next eighty minutes or so. White Girl falls hard for hat-backwards barrio banger Blue (Brian Marc), who tenderly screws her against a wall. After Blue gets arrested, he trusts her to get his supply of dope back into the hands of his ruthless supplier; but, being the stupid White Girl that she is, she instead hopes to raise money for his legal defense by trying to move the powdered product herself – with inevitably catastrophic results.

Not worth watching more than once, White Girl is a nihilistic film that thrives on shocks and not much else.

3.5 out of 5 stars. Ideological Content Analysis indicates that writer-director Elizabeth Wood should be institutionalized for her own protection and that White Girl is:

3. Media-skeptical. At the very least, White Girl presents a sobering picture of the species of undesirables who seek employment in the media. The idiot protagonist, the sort of lout produced by a lifetime’s ingestion of mainstream media poison, has gone off to New York to study writing and the “liberal arts”. White Girl’s sleazy magazine editor boss (Jewish actor Justin Bartha, playing a character with the distinctly goyische moniker Kelly), meanwhile, hopes to inflate the value of some worthless artwork he bought by spotlighting the artist (“Rambo”) with a special profile.

2. Pro-drug. The script halfheartedly makes a distinction between marijuana and harder drugs – “We just smoke weed every day, all day,” explains one of the mutts – but all drugs are inextricably linked with sex in the film. The title character falls in love at first sight with a street pusher, and plying women with cocaine or alcohol comes across as an expeditious means to satisfaction. Kelly gains instant access to White Girl’s orifices when he lays out some lines of cocaine and essentially rapes her with little resistance and no consequences. The movie appears to want to dissimulate about its intentions and provides a couple of scenes of morning-after horror and vomit for plausible deniability; but the association of sex with drugs is undeniable in the face of such moments as a young woman snorting a line of cocaine from a man’s penis.

1. Anti-white. Whatever claim White Girl might have to being a cautionary tale is forfeited by the flippant choice of celebratory ape music about pimping white flesh to play during the closing credits. A Jewish triumphalist proclamation of victory in the face of ubiquitous European degeneracy, White Girl is nothing if not an expression of ethnosadism. Zio-prostitute Chris Noth of Sex and the City infamy puts a gentile face on the sleazy lawyer archetype in his role of George, the unscrupulous attorney White Girl hires to represent Blue. In one telling moment, a drop of wine trickles like blood from the corner of George’s mouth – a projection to the effect that whites, not Jews, are the vampires that prey on America. “It’s a really fucked up system,” this character explains. “You could have a white kid stab someone to death and he’ll get less time than a black kid caught with a miniscule amount of drugs. This is the way it is.” One of the movie’s objectives is to get across the propaganda meme of “white privilege”, with White Girl seen to escape unharmed, suffering no repercussions after precipitating what is likely the end of Blue’s career. He goes to prison while she, unperturbed, is accepted back into the fold of the “college” life. White Girl, unsurprisingly, was produced by a rats’ nest of ethnics including Ariel Schulman, Orlee-Rose Strauss, and Gabriel Nussbaum – all of whom, one can only imagine, are deeply concerned about the plight of white girls worldwide. Another producer, Christine Vachon, made The New York Observer’s list of “The New Power Gays” – homosexuals being Jews in spirit and politics.

Vachon

Kosher Lunch

Chris Noth

Chris Noth 2

Rainer Chlodwig von K.

space

The appropriately odd-looking Asa Butterfield is cast as Gardner Elliot, the first human being born on Mars, in an ultimate emo romance fantasy that might just as well have been titled The Perks of Being a Mars Baby. The loneliest teen in the universe, Gardner, orphaned when his astronaut mother (Janet Montgomery) dies giving birth to him, is restricted to the planet of his birth because his heart and bones, having developed in the gravity of Mars, are unsuited to life on Earth. Consequently, he lives and mopes among the scientists living on Mars but strikes up a touching internet correspondence with Tulsa (Britt Robertson), an alienated high school girl living back in the States. Eventually, after surgical modifications allow Gardner to make to journey to Earth, he of course rejects being grounded by NASA and hatches a plan to escape, meet Tulsa, and track down his father, about whom he knows nothing. Robertson is too attractive to be convincing as a high school outcast, but does create a tear-jerkingly irresistible chemistry with Mr. Butterfield, who is perfect as the quintessential socially awkward Gen-Z outcast hothouse flower. Gary Oldman, too, is commendably present as the complicated elder statesman of the Mars program. A sweet film, and heartily recommended to angst-ridden teens of all ages.

5 stars. Ideological Content Analysis indicates that The Space Between Us is:

5. Class-conscious. Blue-collar Tulsa steals a BMW, confident that the presumably wealthy owner can afford the loss.

4. Family-ambivalent. The horror of Sarah Elliot’s childbirth scene is arguably antinatalist; but the film is largely concerned with the hole left in young people’s lives by the absence of conventional family structures.

3. Green. The exposition suggests that the likelihood ecological catastrophe on Earth could serve as a motivator for colonization of other planets. Wind turbines, meanwhile, illustrate the availability of alternative energy sources.

2. Capital-ambivalent. Sam’s Club, Tulsa explains, is like shopping a million stores at once with a trillion dollars to spend. In other words, she appreciates the cheap goods that neoliberalism has made available to the consumer. Gardner becomes ill during a visit to Las Vegas, however, when he is confronted with the dark side of globalization. Gaudy imitations of world cities thrown together in one neon hodge-podge disorient him and prompt him to observe that these things are not supposed to exist side-by-side. During this same sequence, Gardner appears to be horrified at the sight of a mulatto child.

1. Sexist! The Space Between Us seems at first glance to be promoting feminism with its depiction of a valiant female astronaut leading a trailblazing Mars expedition. It quickly undermines this deception, however, by having her turn out to be secretly pregnant, demonstrating that men and women bring different liabilities to the workplace.

Rainer Chlodwig von K.

batman-the-killing-joke

This animated adaptation of Alan Moore and Brian Bolland’s 1988 graphic novel presents a much darker universe than the nineties TV show Batman: The Animated Series that this reviewer remembers watching at the tail end of his childhood. Batman: The Killing Joke is by no means a juvenile outing, and contains some decidedly adult content, themes, and insinuations. The story concerns the origins of the Joker, but Joker enthusiasts may be disappointed that the Clown Prince of Crime does not appear until half an hour or so into the program. Before that, the screenplay is preoccupied with the complex relationship between Batman and his protégée Batgirl. One of the most bizarre of the Batman storylines, The Killing Joke gives viewers a sensitive Caped Crusader who worries about the nature of his “relationship” with the Joker and even offers to “rehabilitate” him and maybe collaborate – even after Joker has shot and possibly even raped Batgirl! The ending, too, is a bit of a head-scratcher, and likely to be a conversation-starter after viewing. The idea of the Joker and Batman having a laugh together might seem too insane to consider until one begins to understand the characters as a pair of Judaic archetypes.

4 out of 5 stars. Ideological Content Analysis indicates that Batman: The Killing Joke is:

6. Anti-bankster, literally depicting a banker as an organized crime figure.

5. Anti-nuke, referencing the danger of nuclear holocaust, which, as one character puts it, could be ignited by a flock of geese appearing as a blip on a computer screen.

4. Family-ambivalent. Viewers are treated to a touching father-daughter relationship with Batgirl and Commissioner Gordon, but the Joker’s origin story, in which the financial and psychological strain caused by his wife’s pregnancy and death precipitates his downfall and transformative madness, is arguably antinatalist in character.

3. Pro-gay, perpetuating the homos-are-a-girl’s-best-friend convention.

2. Pro-miscegenation. “I don’t understand why you’re having fishing troubles when we are in the middle of a lake,” Batgirl’s gay friend tells her as he gestures toward a table full of young men including a bespectacled, intellectual-looking congoid. “What do these guys have to do to get your attention?” A white man and black woman are shown studying together in a library – marking race-mixing as the preference of the sophisticated – and a black floozy is also shown caressing the face of a white bad guy.

1. Sexist! The first act of Batman: The Killing Joke is concerned with young heroine Batgirl’s frustration with the limitations placed upon her by her mentor. She aspires to take more active part in Batman’s crime-fighting, but Batman views her as a rookie whose inexperience represents a dangerous liability. A burgeoning feminist, Batgirl objects to him “getting protective and sitting in judgment”, and confronts him with her previous understanding that they were supposed to be partners. “We are – but not equal,” Batman tells her, laying the bat-smack down on that uppity ho.

Rainer Chlodwig von K.

trainwreck

Sow-faced Jewess Amy Schumer impersonates a white woman as a slovenly, arrogant slut in Judd Apatow’s romantic comedy Trainwreck, written for the screen by the slob herself – and she shows a surprising range as an actress, managing fairly touching moments as a woman whose floozy ways conceal more substantial emotional needs. Absurdly, the star writes a bevy of men into the script – even muscle-smothered wrestler John Cena – who of course find her implausibly irresistible. Schumer plays a journalist doing a magazine story on sports doctor Bill Hader, whose nice guy ways and patience are tested when Schumer begins to resist the pull of love and romantic commitment to him. Colin Quinn is a breath of freshly polluted air as Schumer’s cantankerous, ailing father, and even LeBron James is shockingly competent as an actor in his supporting role as one of Hader’s celebrity patients. Unnecessarily gross as one would expect from an Apatow joint, Trainwreck nonetheless has its vomit-flecked charms for those willing to take the proper sanitary precautions.

Three-and-a-half out of five stars. Ideological Content Analysis indicates that Trainwreck is:

9. Pro-immigration. An African nursing home orderly (Method Man) mentions that he was a doctor in his home country, reinforcing the idea that immigrants are underappreciated, underutilized, and highly skilled workers.

8. Pro-slut. Hader remains devoted to Schumer even after learning what a biohazardous tramp she is. “Don’t judge me fuckers. I’m just a sexual girl,” she explains. “I am fine. I am in control.”

7. Pro-drug. Schumer gives a box of drugs to vagrant Dave Attell. During the prelude to a sexual encounter, a minor (Ezra Miller) snorts what appears to be cocaine. “We think it’s Ritalin,” Apatow says during his audio commentary, but the director also acknowledges that “it could be anything.” “We should celebrate! We should go out!” Schumer declares in a deleted scene. “We should get drunk! […] I feel like you don’t really know someone until you see them drunk.” Binge drinking leads to a romantic dancefloor kiss.

6. Pro-gay. Homos, Schumer explains, are “people”, and she objects to what she diagnoses as her father’s homophobia. In a wisely deleted scene, sports talk among seemingly heterosexual men leads to an orgy of homoerotic beer-spraying and sucked hot dogs.

5. Trainwreck receives a (dishonorable) honorary mention as an anti-gun film in view of the shooting incident that occurred in a theater during the film’s release – prompting its star to enter into collaboration with her cousin, Senator Chuck Schumer, to lobby for stronger anti-gun laws.

4. Anti-Christian. “I let Tim and his [black] brothers tag-team me on Christmas morning,” confesses repulsive Bridget Everett. “And you know what? It was wonderful.”

3. Pro-miscegenation. In addition to the above anecdote, Schumer’s buddy Vanessa Bayer lusts after dysgenic unions.

2. Anti-white. “Babe Ruth was awful,” scoffs the protagonist’s father. “How could you be a superman when you never played against a black guy your whole life? Every twelve-year-old kid in the Dominican Republic right now could probably beat Babe Ruth.” Somewhat tantalizingly, the film, like Schumer’s stand-up comedy routine, flirts at times with race realism in its implicit acknowledgment that friendships tend to form along racial lines. The writer-star milks humor from her character’s goofy attempt to use a photograph of a black waiter serving her in a restaurant to prove that she has black friends. While Trainwreck at times appears to be skewering the hyper-sensitive absurdities of political correctness, it actually takes sadistic pleasure in the discomfort PC totalitarianism creates for whites who struggle for footing amid the constantly shifting requirements for white debasement and verbal self-policing. “We’re really making fun of white people here,” Apatow clarifies for those in doubt during his audio commentary. Most ridiculously, the film features a scene in which blacks are bothered by whites talking during a movie.

1. Pro-marriage. Opening with a woman’s memory of her philandering father’s breakup with her mother, Trainwreck concerns itself with a very real challenge confronting millennial singles: the problem of creating healthy and lasting adult relationships in the absence of successful parental models. After avoiding commitment all of her life, Schumer concedes that all along she has actually envied the comfortable but unerotic stability of her sister’s married life.

Rainer Chlodwig von K.

burroughs

Burroughs: The Movie (1983), one of this writer’s favorite documentaries, makes for a must-see viewing experience in its extras-packed Criterion Collection Blu-ray release.

 

Unaccountably lionized murderer, heroin addict, pedophile, absentee father, allowanced wastrel, and “novelist” William S. Burroughs receives the star treatment in Howard Brookner’s 1983 film Burroughs: The Movie. “He’s up there with the Pope, you know?” gushes unashamed Burroughs groupie Patti Smith. “You can’t revere him enough. One of the greatest minds of our times, you know?” This is typical of the bizarre affection inspired by the eccentric writer, who gave Brookner unusually candid access to his life and was generous with his time in cooperating with the production of this entertaining documentary. Others appearing in the film include Terry Southern, Herbert Huncke, and Burroughs’s assistant and “son” James Grauerholz. Crooked-mouthed creep, brain damage evangelist, and NAMBLA alumnus Allen Ginsberg, who for a time was Burroughs’s lover, offers various reminiscences and characterizes Burroughs’s killing of his wife as a kind of assisted suicide (for a dissenting account, viewers of the Criterion release have recourse to a recorded conversation between Brookner and Burroughs biographer Ted Morgan).

Twitchy-faced Burroughs, whose incoherent mutterings published under the title Naked Lunch were included on the American Library Association’s list of banned and challenged “classics”, is imagined by his admirers to be some species of anti-establishment rebel; but, beginning with EMI’s inclusion of the notorious reprobate on the cover of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (glamorously, right next to Marilyn Monroe), Burroughs has repeatedly been promoted as a countercultural icon for gullible youth through collaborations and endorsements from entertainment industry figures like Iggy Pop, Debbie Harry, Dennis Hopper, Gus Van Sant, David Cronenberg, R.E.M., U2, and self-pitying Nirvana belly-acher Kurt Cobain. He was even introduced as “the greatest living writer in America” when he appeared on Saturday Night Live on NBC in 1981, and his books, furthermore, are published by international giant Penguin.

The contradictions of the Burroughs persona are on display throughout, the patrician features and gentlemanly manners masking an ultra-degenerate who insists, “I don’t like violence,” but constantly talks and writes about it and delights in showing off his collection of guns and exotic weaponry. Burroughs, as captured in the film, speaks with relish of his dream of death squads that will hunt down and kill heterosexuals who oppose the establishment of a “Gay State”. For all of this, however, the film remains a bit of a whitewash, making no mention, for instance, of what Jim Jarmusch diagnoses in his audio commentary as Burroughs’s hatred of women. “Burroughs would have been a great CIA agent,” Jarmusch also observes, which, if true, says little about the moral caliber of that agency’s personnel. Curiously, Burroughs actually interviewed for a position with OSS founder William “Wild Bill” Donovan himself. Criterion’s Blu-ray release of Burroughs: The Movie is altogether a fascinating portrait of one of the most contemptible human beings who ever lived.

Rainer Chlodwig von K.

 

 

inside-out

Pixar puts the spotlight on the squabbling, anthropomorphized emotions inside an eleven-year-old girl’s head in Inside Out, with Amy Poehler voicing Joy, the positive force who has a challenge in reining in the Fear (Bill Hader), Anger (Lewis Black), Sadness (Phyllis Smith), and Disgust (Mindy Kaling) of Riley (Kaitlyn Dias), a girl whose family moves to San Francisco, leaving her feeling alone without her friends back in Minnesota. The lightning-paced obnoxiousness of the action should please children, but the briefly glimpsed dream image of a bisected dog may be disturbing to younger viewers, while the death of Riley’s imaginary friend Bing Bong (Richard Kind) is likely to leave them feeling bummed.

Three-and-a-half out of five stars. Ideological Content Analysis indicates that Inside Out is:

4. Pro-family, perpetuating heteronormative tyranny.

3. Green. Riley’s eco-conscious mother is eager to recycle.

2. Pro-miscegenation. Riley’s mother, briefly irritated with her husband, muses, “For this, we gave up that Brazilian helicopter pilot?”

1. Homophobic tinfoil! “Congratulations, San Francisco! You’ve ruined pizza!” scolds Riley’s Anger in a moment only likely to fuel the heterofascist hate of the #Pizzagate conspiracy theory nerds by connecting homosexuality with pedophilia. “What kind of a pizza place only serves one kind of pizza?” Riley’s mother asks. “Must be a San Francisco thing,” she stereotypes.

Rainer Chlodwig von K.

doctor-strange

Benedict Cumberbatch (BBC’s Sherlock) stars as Marvel’s Sorcerer Supreme in this decent supernatural action-adventure adaptation. A brilliant but arrogant surgeon whose hands are ruined after a car accident, Strange treks to Nepal in the hope of finding a means of recovering his manual dexterity, only to find instead that a world of occult knowledge and power awaits him. Tilda Swinton appears as “The Ancient One” who mentors him. She, along with Strange’s big brother adept Chiwetel Ejiofor and antagonist Mads Mikkelson, does a good job of keeping a straight face while delivering gobs of earnest mystical gobbledygook; but the team of screenwriters has also wisely peppered the script with irreverent observations from Doctor Strange, who, like the viewer, experiences the occult side of reality as a newcomer and serves as his own comic relief. With action choreography and a concept similar to The Matrix, fans of CGI-heavy special effects extravaganzas ought to be satisfied. One does, however, wish that sexy Rachel McAdams (True Detective season 2) had received more screen time as Strange’s love interest.

3.5 out of 5 stars. Ideological Content Analysis indicates that Doctor Strange is:

4. Anti-gun, with a physician mentioning “a drunk idiot with a gun” as a recipe for bodily injury.

3. Pro-drug. Stan Lee, in a cameo, is seen reading Aldous Huxley’s Doors of Perception and exclaiming, “That is hilarious!” There is, too, a psychedelic sensibility to Doctor Strange’s visuals – Strange, on first experiencing the otherworldly, even wonders aloud if he has been dosed with psilocybin – and sitar flavors the music that plays during the end credits.

2. Multiculturalist. Only after sitting at the feet of black masters and enlightened bald women are white men permitted to save the universe.

1. New Age. As in The Matrix and any number of other martial arts movies, eastern wisdom is sold to impressionable western youths as a means of attaining preternatural fighting prowess and impressive occult powers. Strange is instructed that he must forget everything he thinks he knows – abandon the European achievements of reason and scientific knowledge, in other words – in order to find that which he seeks.

Rainer Chlodwig von K.

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