In several of my movie interpretation videos, I've documented the rise of propagandistic patterns

in recent storytelling.

The new intersectional ideal coupled with the revolutionary patterns so common in Hollywood

tropes have merged together to create quote unquote woke stories which use storytelling

tools to impose an upside down pattern of reality.

This happens through a desire to counteract the negative side effects of identity, such

as exclusion and oppression of margins.

And so although the aims are understandable, there are inevitable side effects of going down

that line.

In order to fight stereotypes and traditional hierarchies,

one creates characters and narratives which try to upend and counteract them. But what first

looks like just counteracting them becomes mainstream and even expected, creating stories

with upside down stereotypes. So a woman must systematically beat up men.

The exceptional must be better than the rule.

The outsider better than the one inside.

The margin must replace the center while remaining the margin.

Things become upside down when by social pressures and strange new taboos, these new counterintuitive stereotypes become an enforced, expected norm.

This is Jonathan Peugeot. Welcome to the symbolic world.

Many people have complained as they watch their favorite franchises being taken over by such practices.

There are too many franchises to enumerate from Star Wars, Men in Black,

James Bond to different comic book characters, video game series,

the latest being the new Enola Holmes movie on Netflix.

...