There’s a sage line in the 1972 Western classic, Jeremiah Johnson, written by the great John Milius. An old mountain man (Will Geer) says it to his former green mentee turned brutal Indian fighter, Jeremiah Johnson (a superlative Robert Redford), “You’ve done well to keep so much hair when so many’s after it.”
Conservative writers don’t need Paramount or Disney money to turn the cultural tide back to the right.
What changed Johnson from a man at peace with the wilderness into a deadly Indian stalker was their slaughter of his native woman and her son. He’d just wanted to be left alone and raise his family, until hostile forces attacked his way of life in obeyance to their unnatural beliefs. So, Johnson hit them back hard. Much like conservatives did the Left last November — politically but not yet artistically. Traditionalist art has been banned, bashed, and banished for years. The time has come for its renaissance.
Conservatives could easily live without modern entertainment garbage from the progressive bubble factory. They have two millennia of literary treasures to appreciate, and more than a century of cinematic art. And they’d been doing that for some time, as demonstrated by the box-office figures. Moviegoing has precipitously declined this century, with last year showing a five-percent drop to 71-million attendees from 2023. And the reason why is no mystery — ignorant leftwing — driven movies.
Hollywoke took away real men’s Westerns and real women’s romantic comedies while mutating their fairy-tale, science-fiction, and action favorites into anti-white feminist-transexual fantasy. That feminism and transgenderism are mutually exclusive if men can become and beat women is a contradiction the ignorant leftist filmmakers never considered, so anxious were they to embrace the latest academia-spawned idiocy. They’re not artists, they’re activists who have neither respect for the source material nor any conception of storytelling.
Evidence of the above appeared last month with the now official devolution of a once brilliant franchise into a progressive joke — Star Trek. Twenty-five outstanding motion pictures were added to the prestigious National Film Registry in December, among them Star Trek II: The Wrath of Khan. The website trekmovie.com rightly justified the inclusion. “Over the decades, The Wrath of Khan has often been held up as a standard for both the Star Trek franchise and beyond, with Ricardo Montalban’s Khan Noonien Singh considered one of the greatest movie villains of all time.”
Soon afterward, it was announced that the series Star Trek: Discovery has not only been canceled but deleted from Star Trek canon. Although for me there is no Star Trek outside the original series and its six feature film sequels, I was dimly aware of the woke horror sullying Gene Rodenberry’s vision. I actually mocked the series finale’s appearance by Democrat loser and constant whiner Stacey Abrams as the President of Earth, to the awe of the cringeworthy predominantly female audience. It really did go where no man had gone before, or ever would.
Even sci-fi fandom couldn’t take the abuse. According to giantfreakinrobot.com, “The show was made with the goal of erasing all Trek that had gone before, and it set out to do that pretty quickly. By season two, however, the people at Paramount realized this was a horrible idea and not what anyone wanted. So, they came up with an excuse to send the show so far into the future that it couldn’t do any more damage. By then, they’d already done a lot.”
What Paramount people also didn’t, and don’t, realize is they can throw all the money they have at something and call it Star Trek, and it will still be an alien entity. Because they don’t hire good writers like series creator Rodenberry, Klingons creator Gene L. Coon (Errand of Mercy), time warp creator Harlan Ellison (The City on the Edge of Forever), Tribbles creator David Gerrold (The Trouble With Tribbles), pon farr (Vulcan mating madness) creator Theodore Sturgeon, horror master and Psycho author Robert Bloch (Wolf in the Fold), or me.
Writers who understood what the feminist hacks simply cannot. That Star Trek was not about alpha women showing up beta males in a future universe the current franchise stewards could never have conceived — nor believable women survive. It was about real men as they’ve always been — adventurers, explorers, scientists — challenging space, the final frontier. And about the friendship bond between three of them — Captain Kirk, Mr. Spock, Dr. McCoy — who would sacrifice their lives for the others, and in certain instances did.
Both men and women loved those guys from 1966 until today. This is what made Spock’s death in Star Trek II one of the most memorable in movie history. And Stacey Abrams’ entrance in Discovery so laughable.
Conservative writers don’t need Paramount or Disney money to turn the cultural tide back to the right. We need only the talent to communicate what makes real men and women God’s creations, and their eternal motivation. Which Dr. McCoy beautifully explains to Mr. Spock at the end of Requiem for Methuselah in a manner beyond most screenwriters today, and without any expensive special effects.
“You wouldn’t understand that, would you, Spock? You see, I feel sorrier for you than I do for him (Kirk). Because you’ll never know the things that love can drive a man to — the ecstasies, the miseries, the broken rules, the desperate chances, the glorious failures, the glorious victories. All these things you’ll never know. Simply because the word ‘love’ isn’t written in your book. Goodnight, Spock.”
READ MORE from Lou Aguilar:
Heroes and Zeroes of 2024 (Trump Reelection Edition)
The post Real Men and Women: The Key to a Cultural Renaissance appeared first on The American Spectator | USA News and Politics.
