Friday, March 23, 2018

Triple Event: Pacific Rim

"Go big or go extinct." This tagline is more of a philosophy than a teaser for a summer blockbuster; why? What was the great "victory" and solution to human survival in World War Z? Weakness, sickness, blending in and becoming invisible; those aren't American virtues and they certainly aren't capitalist virtues either, in fact, they aren't virtues by anyone's standards at all, they are vices and that's why the pro-socialist WWZ embraces them. Pacific Rim, on the other hand, is the exact opposite: when Stacker Pentecost (Idris Elba) is at his sickest from radiation poisoning years before, he rises up to make a last fight of heroic proportions and inspire everyone else to do the same. THAT is an example of American heroism and it utterly counters the,... "tactics," to put it nicely, in WWZ
I won't pretend to even begin analyzing everything within this symbolically and culturally rich film, but there are some important points Guillermo del Toro makes within Pacific Rim catapulting the film from an awesome action-blockbuster to a political manifesto, and the first of these points are the characteristics of the kaiju which establish them as agents of socialism:

1). The kaiju destroy cities: socialists, specifically the liberal branch of socialism referred to as "progressives," don't want technology and they certainly don't want big cities, which is where the kaiju always attack. Cities also attest to the power of the upper-classes, many of whom have built the towering skyscrappers creating the individual skylines of urban areas, and socialists want to destroy the monuments to wealth as much as the wealthy themselves (we see this in Christopher Nolan's The Dark Knight Rises).

2). The kaiju themselves are like dinosaurs, again, because that's the time-period progressives want to digress back to, when there was no technology, free market or monetary systems. (We see these themes in the pro-socialist films of The Lone Ranger and Gravity).
There are two important colors associated with Mako: blue--the tips of her hair--this isn't a great image of her, and I apologize for that--and red, the shoes she had when kaiju attacked and killed her family. Her blue hair is a compound symbol, meaning there is a symbolic meaning for her hair, and a separate symbolic meaning for the blue, so we have to combine the two meanings to make a complete thought. We know hair symbolizes the thoughts because our thoughts originate in our head and anything on our head then manifests what kind of thoughts we have or don't have. The color blue simultaneously symbolizes both wisdom and depression: because wisdom is the greatest treasure there is, it can only be bought with the greatest hardship, which is our suffering, so where there is wisdom, there is suffering, but hopefully, where there is suffering, there is also wisdom. So, Mako's suffering (the blue) is always in her thoughts (the hair) but she has tried to put the suffering (blue) as far away from her thoughts (her hair tips rather than the roots of her hair) as possible. Pentecost (Idris Elba) however, knows that she wants vengeance and vengeance is "an open wound." Why does she want vengeance? Her red shoes. When we see her as a little girl, she wears one red shoe and carries the other one; the color red symbolizes blood, because we either love someone/something so much, we are willing to give our blood for it, or we hate someone/something so much, we are willing to spill their blood to appease our wrath. The shoe Mako holds symbolizes her love (red) of her family (because we know they were killed and when she kills the kaiju, she says, "For my family!") and her hand in which she holds the shoe symbolizes her honor, so her honor binds her to avenging the death of her family by killing a kaiju on their behalf. The shoe she wears, however, symbolizes what drives her: our feet symbolize our will, because our will takes us in life where our feet take us in our day-to-day affairs; so, Mako wills (her shoe on her foot) to kill the kaiju (the red shoe) and it's this shoe which Pentecost gives back to Mako when he tells her she can co-pilot with Raleigh because he knows that is what has led her hard-work and dedication all these years.
Why is Mako Japanese? As in the film Battleship (which was also pro-capitalist) the Japanese are natural allies in the fight against socialism because--had it not been for the US police presence after World War II--Japan likely would have fallen to socialism/communism like so many of its Asian neighbors, and this comes across in Japanese films of the time. The US symbolizes Godzilla in that great saga of films: in the first, the Japanese admit that, had they been faced with the same decision as the US, they, too, would have dropped the bomb on Hiroshima and Nagasaki (the only way to destroy Godzilla is to launch a massive bomb into Tokyo Bay, which will destroy all the life in the Bay--like the atomic bomb killing all the people--but they have to or Godzilla will destroy all Japan); in later Godzilla films, other monsters like Mothra and Rodan, are a greater threat to Japan, and the Japanese actually seek out Godzilla to save them from these other monsters, which symbolize the spread of socialism throughout the Pacific Rim during this time. So, Mako being Japanese attests to the historical allegiance between the Japanese and Americans because they both managed to avoid socialism and built up strong economies and cultures without socialism. This is also why the last stand against the kaiju takes place in Hong Kong: Hong Kong has the freest free market in the world and proves the great advantage of capitalism (whereas places like the US have a crony capitalist system in place due to decades of corrupt politicians making deals that are not in the interest of the free market). 
3). The kaiju are clones, they are not individuals. Socialists abhor individuality. They might make statements that a transgender man has the right to think he's female if that is what makes him individually happy, however, the liberals use the disenfranchised political minority for support, not because they actually support them, and because the sexual minority of gays and transgenders helps create even more divisions in society, which favors an atmosphere for socialism to take-over.

4). Kaiju are marked with identifying "bar codes" (the phrase used in the film) to identify them, because they are more like the kaiju government commodities rather than valued and loved individuals. (We literally see a bar code on the back of #47's head in Hitman: Agent 47 even though he manages to establish his own identity and individuality in spite of efforts made to keep him from doing so).

5). After Newton drifted with the kaiju secondary brain, the kaiju come looking for him but when the kaiju finds him, it's not smart enough to figure out what to do with him, the way Newton was smart enough to figure out what to do with the kaiju brain. Kaiju, like socialists, are copy cats, because individuality and originality are never rewarded in socialist societies, rather, being as mediocre as everyone else is what is rewarded. (Consider how, after President Trump won the November 2016 election, Democrats are trying to find their own celebrity billionaire to run against Trump in 2020, because they don't have any ideas, they have to copy off everyone else's).
When Raleigh and Pentecost argue about Mako, Raleigh touches Pentecost's arm and Pentecost warns him twice never to touch him again; why not? Touching is a sign of intimacy with someone, but our arms--in this case, Pentecost's arm--symbolizes our strength, so Pentecost gets his strength from not having intimacy with anyone. When Pentecost tells Chuck that he will be his co-pilot since his father Herc has a wounded arm (the source of Herc's strengh [symbolized by his wounded arm] is wounded, that is, Chuck himself and how difficult Chuck is to get a long with everyone is the wound in Herc's arm because his son is his pride and job but also his embarrassment because Chuck is such a jerk) Chuck asks Pentecost how they will make the neural handshake and Pentecost replies that he doesn't take anything with him into the Drift, no fear, no memories, no rank, and that includes no intimacy, because when you are intimate with someone, you have a fear of losing them, and Pentecost is afraid of losing Mako. When he agrees to let her pilot with Raleigh, it's because Pentecost has said good-bye to her in his heart, knowing he will likely loose her OR seeing how desperate they are, that he himself will have to pilot a Jaeger and it will kill him.
Why does Pentecost die? We know a character never dies unless one, that character is all ready "dead," i.e., they exhibit certain traits or habits which the film condemns and does so through that character's death; the only other reason for a character to die is when they sacrifice themselves for the greater good, and we know Pentecost is doing that. Chuck, on the other hand, has basically been a jerk from the very beginning; however, we can say that because Chuck willingly sacrifices himself--he says it has been a pleasure working with Pentecost and understands they have to detonate the bomb that will kill them--his character finds redemption because of the sacrifice. One could say, "But Pentecost was dying anyway, he had that radiation poisoning, so it doesn't matter if he died being blown up or dying of cancer," and that's a point, however, consider Matt Damon's character Dr Mann in Interstellar: he knew he was going to die, but he didn't want to die alone, so he tried to kill those who had come to save him just so he could possibly get back to a dying planet (Earth) to die with others. It's our survival instinct to cling to life as long as possible; Pentecost transcended his death by making it count, and we can validate this with his bleeding nose. The face symbolizes our identity, and because the nose is the most prominent feature on our face, it symbolizes our character and honor within our identity. We see a lot of nose bleeds in the film, but when Pentecost's nose bleeds, it's a sign that he's a man of blood, both because it's his pilots that die in the clashes with the kaiju, and because he himself is willing to spill his own blood to save others; again, we can validate this because we see Pentecost taking yellow pills from a silver case each time his nose begins to bleed. The "silver box" symbolizes the Word of God Pentecost keeps in his heart (in Hebrew, the word "silver" sounds like the word for Word, which is why the Body of Jesus is often depicted in silver on Crucifixes, He was the Word made Flesh, and it's also the reason why you can stop a werewolf with something silver, you are giving the man turned into the wolf the "Word of God" and bringing him out of his animal appetites and back into his human senses). So, "Pentecost," which invokes the birth of the Catholic Church and the descent of the Holy Spirit upon the Apostles, takes the yellow pills (yellow symbolizes our dignity) he keeps in the silver box (the Word of God) and that prepares him for the act of laying down his life for others.
6). Kaiju scream really loud, just like liberals: neither say anything intelligible, but they can certainly scream.

7). Parasites are parasites, so just as the kaiju have parasites on their bodies, so they, too are parasites, just as liberals are parasites on the wealth and achievements of others.

8). The kaiju destroyed their world and have come to earth to destroy it for us (we saw this in Warcraft with the fel "magic" that destroyed every place it went). I know liberals want us to believe that capitalists are the great enemy of nature, but again, this is well-targeted propaganda. In a capitalist society, when a company dumps toxic waste, for example, they are accountable to the government and the government can regulate them and hold force them to comply with standards; in a socialist society, the government owns everything and is not answerable to anyone, anyone, including the people, the people are powerless to get any change, so the kind of waste and environmental decay which was prevalent in the USSR (and still is in modern Russia) was just going to continue, whereas in the US, when there is the unfortunate accident or even intentional act of pollution, individuals like Erin Brockovich can stand up to the companies and force the government to intervene on behalf of the people.
Hannibal Chau is an interesting character, and because he's depicted by Ron Perleman, it's quite possible he links into Hellboy, however, I have not seen that film, so I apologize, this might be an incomplete analysis. "Hannibal," of course, refers to Hannibal Lecter from Silence Of the Lambs; why? Hannibal the Cannibal ate people, and is one of the most famous villains in cinematic history because of his "appetites"; "Chau" refers to Hannibal Chau's second favorite Chinese restaurant, so his second name, too, refers to something to do with the appetites (not to mention that "Chau" sounds like the American slang word "chow" referring either to "food" or the act of quickly eating, as in "chow down").  Just by looking at him, we can tell that Hannibal is a man of appetites, from his gold-plated shoes (again, feet symbolize the will, so his will is to acquire "gold," i.e., money) to his gold-colored neck tie (the neck symbolizes what leads us in life, like a leash, so instead of being lead by his dignity, like the yellow pills Pentecost takes, Hannibal is led by his drive for gold) to his tacky red suit that indicates he's willing to spill anyone's blood to get what he wants, which is gold. It's men like Hannibal Chau who have caused capitalism to be under such attack, because they truly embody the very worst of it, and this is why Hannibal dies the way he does, with that infant kaiju devouring him: that little infant symbolized Hannibal himself, so Hannibal's own appetites did him in: had he not been so desperate for money, Hannibal wound not have been down there and wouldn't have run into the infant kaiju, but his greed and arrogance caused him to be cocky and that's why he was eaten.
What about Hannibal's glasses and scarred eye? The glasses, while rose-colored, doesn't indicate that Hannibal sees the world in a friendly light; rather, because the lenses are red, he again, sees everything in terms of how it can feed his appetite for money and success; I haven't the slightest idea what to call it, but the lenses of his glasses have those black edges to them, like blinders, making his glasses almost like goggles, so that he can't see anything else except what is right in front of him. When he takes his glasses off, we see the scar over his eye; this symbolizes that what he has seen in life has scarred him and he intentionally chooses not to see things in any other light because decisions are easier this way. 
9). The kaiju are colonists: the act of settling in other places isn't inherently socialist--think of the ancient Greeks--however, all socialists are going to be "colonists" in the sense that they are desperate to spread "The Gospel of Marx" to every other corner of the universe as fast as possible; why? Because anywhere capitalism or the free market exists--like Hong Kong, where most of the film takes place--is going to threaten the existence of socialism because those living under socialism will know "something better and more free is possible" so they will revolt against socialism until they get a better life; it is, therefore, in the best interest of socialism to destroy any and all other capitalist societies as quickly as possible.

10). The kaiju are a matriarchal society. When Gipsy Danger drops into the breach and is about to melt-down, we see the "queen" looking at Gipsy Danger trying to figure out what is going on; we also see "queens" in Transformers The Last Knight (the home planet of Optimus Prime) and Ender's Game.

Pacific Rim: Uprising opens this weekend, and I can't wait, I know it's going to be a fabulous film, so I will get that post up asap!
Eat Your Art Out,
The Fine Art Diner

Team Darryl: After Thor

If you wondered what happened to Thor's roommate, Darryl (of planet Earth), here's a video explaining exactly what happened; things just don't work out for this poor guy.

Wednesday, March 21, 2018

Trailers: Tag vs Game Over, Man!

Please notice that, when the trailer begins, two of the characters have a conversation about the difference between Episcopalians and Lutherans; one character replies, "They're all fanatics," and then we go back to the wedding scene. The point is, Jerry, who has never been tagged and is literally the "target" of the animosity of those who are not his equals in the game is a "fanatic" because he's a Christian and because he's the best that has ever played the game. They didn't have to put this conversation in the film, and they certainly didn't have to put it in the trailer, even at the very start of the trailer, but they intentionally wanted to advertise that they will be insulting Christians (regardless of denomination) AND those who are good at what they do. This is what liberals do, and it's all that they do.
As funny as the trailer is, it also proposes some serious socialist problems which recently seem to dominate culture more and more,.... and more,....
So, what's the problem with a little game of tag?
Jerry is the best, so the best has to be brought down,... because that's only "fair." Anyone who has read The Fine Art Diner for any length of time knows my total adoration for game theory ("game" is separated into "game"--based upon rules allowing certain players to gain an advantage, such as tall players having an advantage over shorter players in basketball--and then "play"--which allows for "creative interpretation" of rules so that players at a disadvantage in "game", like the short ones, can get fouled so they can make free throws). TAG isn't about game theory, however, it's about games fulfilling their function (determining who is the best at whatever game is being played) and then deciding it's inherently unfair and needs to be "balanced," like with Thanos balancing the universe so it's "fair" (The Avengers: Infinity War Part 1). All the participants in TAG are white, heterosexual, middle-class men, the number one target of liberals' own game of "tag" (as in, "You're IT, and be IT we mean the enemy of all the people") and the film appears to be spreading that propaganda through two means. First, it's obvious the guys are competitive, and to liberals, "competitive" translates as "testosterone," which as any liberal will tell you is inherently evil. Secondly, the trailer highlights certain serious moments in life--the wedding, the funeral, the birth of a child--to show the game "interrupting" these serious moments; what does that accomplish?
I think those are Jeremy Renner's actual clothes. They look like the same clothes he was wearing at the introduction of the trailer. So, we have Jerry who has this "unlimited free will" in a supposedly "real life" situation. "Unlimited free will" is a term coined to describe how the hero of a story always manages to get things to work out the way they want them to (without reality interfering, like gravity, or not being in good enough shape, or being able to hold your breath under water for six minutes, or making a super-human leap across a building, etc.) and we can see it in this scene, for example, when Hamm's character desperately tries to tag Jerry but without even looking, Jerry is able to step aside and avoid being tagged by tying up his friend in a sheet that just happens to do exactly what Jerry wants, at the moment he wants it. Why is this important? Exaggerating the circumstances of the odds means that people will more willing to start rooting for the losers who get tagged all the time, and start going against Jerry because it "isn't fair" that everything works out so that Jerry wins and is able to establish himself as the best. That just isn't fair, is it liberals? So, there is lying going on, so that in reality, our real day-to-day world, we start revolting against genuine heroes who do extraordinary feats to demonstrate what is possible and give us new heights to aim for so we, in turn, can try to achieve that standard for ourselves. 
First, the new wife is obviously upset with this game, as the film hopes all good liberal women will be, so they don't allow their estrogen-gilded husbands to mimic such bad male behavior,... in any game, which goes for sports (they start small, then work their way up to bigger things). Second, by comparing their game of tag to these really important moments, the comparison belittles the importance of games (which are important because they teach people to lose or win gracefully, how to work on a team, how to develop their skills and talents, all things liberals detest and don't want as a part of a winning culture when they are determined at all costs to be losers). So, the others ganging up on Jerry, just because he's the best, is like the last Super Bowl when no one wanted the Patriots to win because they had won so many Super Bowls all ready: playing games isn't about achieving an artificial atmosphere of "fairness," playing games is meant to establish who the best player/team is, and it's the best who should win, not the saps who are lousy but want trophies anyway. And speaking of Tom Brady, that brings us to our second trailer, which I love!
Sure, they start out by complaining that they should be draped in diamonds--that's the wake-up call for ambition, to better one's lot in life, and get to a place where you want to be and you are proud of your accomplishments--then, when the hotel, i.e., their employer, is taken hostage, they don't say, "Good riddance! Let's help them burn the place down!" no, they take the honorable and masculine course of action and start kicking butt. After they succeed in saving the hotel, they are going to be utterly transformed and completely different, kind of like McFly in Back To the Future when he stands up to Biff and changes his whole course in life for the better.
Opening this weekend is Pacific Rim Uprising and I am so excited!!! I am definitely going to go see it and I will post on Pacific Rim next, just to jog our memories about what an awesome film this is and get us ready for the weekend. THEN, after Pacific Rim Uprising, I promise, it's Murder On the Orient Express, I can't wait!
Eat Your Art Out,
The Fine Art Diner

Saturday, March 17, 2018

Avengers Infinity War Part 1 Trailer #2

When The Avengers was first being promoted, I thought they released a ton of footage for their marketing push, and expected--as with most films--that we had all ready seen all the good stuff in the trailers and clips; that being in ancient history now, it's safe to say that any scene from any Marvel film is sufficiently high quality to make the cut into a trailer and they will keep all the best footage for the actual filming experience. The first part of Infinity War has been moved from its early May opening to April 27, which was a brilliant move on part of Marvel because that's my birthday, and nothing puts me in the celebratory mood like an excellent film opening! So, finally, the second trailer has been released and the first shot tells us everything we need to know:
The slow turning of New York City from upside-down to right-side-up is a device we just saw in Black Panther: when Erik (Michael B Jordan) first takes the throne after the defeat of T'Challa, the scene of the Wakandian throne room starts upside-down as Erik enters, effectively communicating to the audience that the world has been turned upside-down with Erik taking the throne. The start of The Avengers Infinity War trailer begins the same way, meaning that Thanos and Erik are the same kind of villain (throw in Ultron, too) because they both want to do the same to the world, turn it upside-down.
We know Thanos receives the Tesseract from Loki--darn him--and there are at least two, possibly three Infinity Stones on earth: the one Dr. Strange holds, Vision's Stone (in his forehead) and possibly a Stone in the mines of Wakanda which came on that meteorite filled with Vibranium (but this is speculation at this point, but that would explain why Wakanda is under attack with New York and London).  Now, the Infinity Stones hold power, but why does that make sense (trust me, this is symbolically important to walk through this)? We know each color symbolizes a virtue and vice (the above image isn't a true color representation of the stones, but for example, Strange guards the green stone, which both symbolizes new life and hope, as well as something which has gone rotten, decayed, so while Strange builds himself in the virtue of hope in his new life as a wizard [after the end of his life as a medial doctor] Thanos builds his vice of being rotten and thoroughly despicable; the Tesseract is blue because blue symbolizes both sadness and wisdom, because it is only through our depressing experiences in life that we can gain wisdom, however, instead of gaining wisdom, Thanos holds grudges and chooses to see the worst in people and situations; rather than lead him to contentment with what is beyond his control [which is what wisdom ultimately does] the perverse judgment Thanos denounces upon the universe causes him to act against it so he can make it "fair and balanced" by his own distorted standards; the yellow Infinity Stone giving life to The Vision is a sign of dignity, and The Vision--not being human--has a profound respect for life and people which Thanos obviously doesn't have since he wants to wipe out half of them, again, to achieve "balance" for the half of the universe he does seem to value [those who would be willing to be his slaves]) so the color and vice which each stone symbolize then become embodied in the stone: the heroes are the "living stones" who act out the virtues in every facet of their lives, whereas Thanos has hardened his heart with vice, and has, therefore, became a stone incapable of love (like the Grinch). So, in the trailer, when we see Thanos trying to smash Thor's head, or crush Spider-Man or pommel Captain America, it's a question of whether the power of cultivated vice Thanos has harnessed is greater than the habitual virtue each of our heroes exercise in their self-sacrificial roles as heroes. This is why each and every single sacrifice we make--and no sacrifice is too little or too big--is so important because in the increasingly self-entitled world, when we willingly sacrifice something, we don't balance the bad with the good, we overcome the bad, because it takes far greater will power to sacrifice than to go with the flow, and our own powers are built up so someone else's evil won't overcome us.
Why is Thanos purple? Purple symbolizes royalty and suffering: because purple was so insanely expensive to produce in ancient times, only the king or appointed members of the royal family could wear purple; as time went on, and depictions of Jesus became popularlized, purple became the color of Lent and the Passion, because our King suffered for our offenses and sins. When a villain, such as The Joker or Thanos wear purple, it's because they want to be royalty, and usually their sufferings have something to do with becoming wicked rather than becoming holy, and they take out their pain on others rather than helping others through their pain. In Black Panther, and even in the trailer above, we see T'Challa wear a long, purple "vest" because he is a good king who is willing to suffer for his people, rather than have his people suffer for him. Thanos, then, looks at himself as being royalty--the right to rule over others--but because we know that being capable of suffering is a virtue, we also know that Thanos will cause others to suffer for him; any sufferings or wrongs which Thanos has experienced in life will also be the "defining characteristic" of his entire being (just as we look at him and notice how purple he is, so his personal character won't be made of up victories and virtues, rather, his defeats, miseries and complaints, like all liberals). 
What part of "balancing" the universe translates to "turning it upside-down?" Wiping out half of it, then re-distributing it would do that. Well, which half is he going to wipe out? That's an easy question to answer: the half that will revolt. It's always the first task of a socialist dictator to purge their enemies, and Thanos is no different than Mao, Lenin, Stalin, Pol Pott, Castro, Kim, or any other socialist leader. They have to remove those who want to remove them, and in the case of Thanos, that's going to be at least half of the universe; the remaining half is how much he can easily control and enslave forever because they will be happy just to be alive and the chances are slim they will revolt, or so Thanos thinks. There is no reality in creating "fairness" or "balance" because we are not all created equal: there is no possible way that I am equal to the incredible skills of Michael Jordan or Peyton Manning, or that they are even equal to each other, but they also aren't equal to me because it's very unlikely they would be able to critique film and art the way I can.
Pro-capitalist films have done a good job of sizing up the pro-socialists with a few pen strokes: the ones who focused on what others had, instead of what they themselves had, and decided they wanted it for themselves (consider Blofeld in Spectre, or Vortigern in King Arthur Legend Of the Sword). While he will likely be a minor character in Infinity War, we can expect Loki, the god of mischief, to indulge his grudge against his brother Thor (going back to their first film) in Loki's relentless pursuit of revenge for having been graciously adopted by Odin instead of being left for dead.
So, the most anticipated film of the year opens on my birthday, that gives you about a month to get caught up on any of the films you haven't seen (including Black Panther; I have to watch Spider-Man Homecoming and Thor: Ragnarok on my end). If you are not sure which films you may need to catch up on, here is the link to all the films in the Marvel Cinematic Universe in chronological order and their "phase development" order as well.
Eat Your Art Out,
The Fine Art Diner

Sunday, March 11, 2018

Ready Player One vs I Feel Pretty

Yes, that is the DeLorean from Back To the Future; why? First, Ready Player One is filled with references to pop culture form the 1980s; second, just as Marty (Michael J Fox) was able to go back to the past and change the future, or go into the future to change the present, so Spielberg wishes to go back to the 1980s and wish away the Reagan, Thatcher and Gorbachev administrations as if they never happened. In other words, once again, we have liberals trying to re-write history so there was never a fall of communism: if we just change the textbooks, we change history, liberals think, and to some degree they are right,.... but I can't count that low to tell you how small of a degree that is. If you think I'm being delusional about how delusional liberals are, just watch this final trailer which has been released, and then you will see how terribly tragic the liberals are.
So, everyone goes to the oasis in the film to become someone else; why? They aren't happy being themselves. Why? They can't deal with life. Why not? They don't want to. Why not? They prefer to be victims and live in a false utopia rather than take action and make the world a better place. The oasis basically amounts to a drug addiction, because it appears they spend all their time there and don't do anything else, and what they do in the oasis isn't helping anyone, including themselves because IT'S NOT REAL. Again, check out the trailer below to have a disturbing reality check on the total lack of a reality check in this film, which perfectly mirrors the liberal mental disease.
It's important to note that Wade Watts wears glasses in his mundane, day-to-day reality called "reality." Why? Glasses symbolize the ability to see on a deeper level (or they can symbolize that a person misses what is obvious to everyone else, but since this is Spielberg's hero, that's a doubtful interpretation). Wade removes his eyeglasses to put on the virtual reality "glasses," thereby consciously trading his gift for seeing the real in "reality" for the fake in the oasis.
Now, what does Wade Watts (the supposed hero of the film) do when he gets to the oasis? Sadly, no one clued him in that it's totally politically incorrect to be a white male with blue eyes and dig females,... oh, wait,.... Steven Spielberg just undermined all the "talk of diversity" his side of the political spectrum sponsors by having his cartoon-ish leading male (yes, leading male, not leading female or leading transgender or leading pan-sexual, etc.,) be a white, heterosexual male,... with blue eyes. He can choose to be anything he wants, and Wade chooses to be the "very enemy" of the liberal party: a white male, and the "source"--as liberals propaganda keeps trying to convince everyone--of all humanity's and the world's problems. But here's the "deeper" issue: Wade would rather be a cartoon character than his own self. We all have issues, we have all had problems and crises in life, that's why it's called LIFE, but in general, conservatives call it life, learn the lesson, pick themselves up and move on, whereas liberals just sink and cry like babies until someone comes along and picks them up and starts feeding them lies. This is possibly the saddest film any of us will ever watch because it's such a horrific reflection of what is really taking place in what is left of a liberal mind (after all the drug abuse and indoctrination). 
It's trending at a "sluggish" $35 million opening, so Steven Spielberg once again appears to be striking out at the box office. Ready Player One is definitely going to be liberal, but what's so hilarious is a brief--as in, 1 second brief--shot of how the final battle in the film takes place. The film is interesting because it takes the worst aspect of liberalism and tries to spin it to make it somehow,.... virtuous?
So, why is the theme song for Willy Wonka playing in the background? Spielberg obviously wants to take the Christian metaphor of heaven--with the overcoming of the appetites of vice and the difficulties of exercising virtue--and turn it into a socialist platform, which is what all liberals do; Ready Player One will be no exception.  Okay, so, what's so dramatic about this trailer?
And this is the real kicker: if these sorry and self-deceptive kids aren't drowning in an illusion of grandeur and self-righteousness all ready, the virtual reality glasses they are wearing, were made by the same company they are fighting against! Wow, does this mirror the reality of liberals fighting on social media against the very companies and free market which created their computers, laptops, smartphones, tablets and blue-tooth! AND NOW they are glorifying their hallucinations with Spielberg's film and bathing in their trickery as if they are pulling one over on us. The oasis isn't an "oasis," it's a fool's paradise, and the only places in the US that look like the world at the start of the trailer are those places where Democrats have been in power: Detroit, Chicago and now California, which used to have the sixth largest economy in the world,... now it's going to compete for largest debt in the world. 
In the trailer, we see the top image, of a bunch of kids from "the rebellion," wearing their virtual reality glasses, but thinking they are actually the soldiers you see in the next frame (bottom image). What is this? DELUSIONAL. This isn't about "virtual reality," this is about mental illness and not being able to discern the most basic differences between reality and illusion. What's happening in this film? Spielberg encouraging youth to go to war with big business, and trying to convince kids that their thoughts are bigger than the massive amounts of guns and ammunition the conservatives are storing in preparation for the Second American Civil War. Spielberg thinks he's being Lincoln with this film, that's why he made Lincoln first (and that was totally trying to rewrite the history of the Civil War). This isn't even about wearing the proverbial "rose-colored glasses," rather, about choosing to be ignorant. There is no other explanation for it. Did you notice how everyone in the oasis is like a cartoon? This actually hearkens back to Blade Runner (the original, not the sequel) and the choice Deckard makes.
Spielberg just doesn't seem capable of not falling into the pit the liberal agenda insists as the cause of all evil in the world: white men. Mark Rylance portrays the genius who invented the oasis. Why not a black woman, Spielberg? This is your political ideology, do you not buy into it? It doesn't seem that he does.
Obviously, when Wade talks about the oasis, he refers to what America was for most people when they came here: you can make of yourself anything you want to be in the US!!!! And so many people did and have. But this is what liberals and conservatives diverge: conservatives believe that you take your skills, your talents, your gifts, mix them with hard work and a vision for something better (a better nutcracker, a better window washer, a better computer, a better snake candy, etc.) and with the free market, you are rewarded, thereby improving your life and the lives of others. Liberals believe that you change the world by pointing out what you think are everybody's faults and then bullying them with character assassination and terms like "racist!" and "sexist!" until you acquiesce to their demands and that's how they "better" themselves and society,... except they still aren't happy, then they have more demands, because they don't care about any of the things their agendas claim, they care about having "power," and whenever anyone gives into their demands, they feel that rush of power and they don't want to let go of it. This is how "victims" become "bullies."
Anyone who has read this blog at all knows what a huge fan I am of game theory: the examination of rules in games to establish power bases and creativity to interpret rules for the benefit of the underdog, except I'm not using game theory in Ready Player One,... or am I? We all know that liberals have employed the "rules" of political correctness for decades now to limit what everyone can think and say, and unfortunately, those constricting rules have established a substantial power base for their constant abuse of anyone they want. In other words, the "game" in Ready Player One is the liberal political game taking place in their protest marches, decisions in California to give universal income, decisions of presidential candidates and what students are taught in school at all levels (among a myriad of other strongholds liberals have managed to take over). I don't want to have to watch this film--I think I would rather walk through Chernobyl without a radiation suit on--but I have to know how bad the cancer known as liberalism really is. Trust me, this is the beginning of a the liberal start to another civil war, but instead of being just in the US, it's likely to be international. 
In Blade Runner, when Deckard sees the unicorn, he's realizing Rachel is the "perfect woman" because she's not really a woman: he can make her do whatever he wants (demonstrated in their kissing scene) because she has no will of her own, she has no destiny of her own and she has no sense of dignity because she's a robot. When Deckard runs away with her at the end, and finds the origami unicorn, that's the moment Deckard himself becomes a replicant (a robot) because in uniting with a woman who has no individuality, he has abandoned his own individuality, and in the terms of the 1980s Cold War, that was called "defecting." Deckard becomes a communist because he doesn't want the burden of free will anymore. That's what appears to be happening in Ready Player One, the dissolution of the real self in favor of the replicated self. Now, let's look at Amy Schumer's new film (yes, yes, I know she's an outrageous liberal, but I couldn't find any liberal values in Trainwreck--quite the opposite, she upheld conservative values--and with I Feel Pretty, she appears to be doing the same again):
Now, we can say that Renee becomes delusional about her personal appearance once she hits her head, OR we can say Renee awakens to the reality that she is a beautiful person,.... the reality each and everyone of us wants to awaken to (as the trailer attests when the pretty girl has low self-esteem issues and we can't understand why on earth she would have low self-esteem ever). Nothing about her changes except her appreciation of who and what she is for being who and what she is and she is no longer a victim of her own delusions that she isn't good enough, and once she awakens, she is able to awaken others to what a beautiful person she is as well.
To get a better look at these stills, just click on the image and it will enlarge. The name of the gym where Renee has this realization is called SoulCycle (the name on the girl's shirt in the bottom image); this is imperative to understanding what takes place in this scene, so keep it in mind as we progress through this discussion because this is a fabulously done sequence in terms of the symbol investments made. First, we see her on an exercise bike (the soul-cycle), she literally, is spinning her wheels not going in where (true, it's a stationary bike, but it's an important player in this sequence so it transcends the role of a mere exercise bike to become a "soul cycle"); that's when she falls and she hits her head on the bike of the person next to her (someone else's idea, i.e., the idea of society's standards of beauty and femininity), getting her hair caught in the bike ("hair" symbolizes our thoughts, because our thoughts originate in our head, so the hair or anything we wear upon our head manifest the thoughts a character has; the bike spokes are yellow, because that symbolizes dignity, so Renee has the idea that her dignity is dependent upon other people's standards of beauty and what "pretty" is) and, in order to "free herself" Renee has to "let go of some of her hair," (her thoughts she has taken from society about beauty) meaning, she rips that hair out, and hits her head on the stationary bike she was on but not getting anywhere. That bike is a vehicle, and vehicles (planes, trains and automobiles) are the symbols of the Holy Spirit; why? Because we are or are not the vehicles of the Holy Spirit depending upon our life choices and, again, this place is called SoulCycle, so the bicycle she's on is not only a symbol for her soul, but also the cycling of the soul and the cycle she's leaving and the next one she's going into, and the soul is the domain of the Holy Spirit. Then, we see Renee has passed out, she's entered a state of "mini-death," her mind has shut-off and she's passed out. Then she awakens, and her head--the origin of our thoughts--lies on the white towels: white symbolizes faith, purity, innocence, the virtues, so in her mind, she's starting over after this "mini-death" with greater faith in herself as a person and a more innocent understanding of what beauty is and how she embodies (literally) that ideal. Then, in the bottom image, we see her "reflecting," because mirrors symbolize the "reflection" of our soul and what we meditate upon interiorly. The woman standing behind her wears a yellow T-shirt; why? Yellow is the color symbolizing our dignity, so the woman has her own sense of dignity; Renee, on the other hand, wears a pink top and blue pants. Pink is the first stage of love that has yet to fully mature to the point of being willing to shed one's blood for what one loves (the deep love the color red can symbolize), but there is love for herself that has just started (contrast this with the red shirt she wears when she complains about people just looking at pictures of singles on websites and no one looking at the profiles; here, the color red symbolizes her anger over the state of the situation in which she finds herself). So, the pink shirt symbolizes the first stage of love, but her pants are blue: blue symbolizes both depression and wisdom, because it's from our sad experiences that we gain wisdom, so from Renee's anguish about how life is, she gains a new "standing" in life ("standing" and reputation is what the legs symbolize) and she's going to share her wisdom with others. The room in which Renee has this realization is also all white, so here we see her acting in faith of this new-found, proper self-love which God wants us all to have (not necessarily to enter bikini contests or start sleeping around, but so we can be a witness to others about the joy in our heart; as Padre Pio said, sadness separates us from God, so we are to try and be joyful as much as possible). 
That is the kind of contagious attitude of which each of us needs a big helping. We don't gain happiness changing who we are ("If only I were a woman instead of a man!" or, "I'm neither male nor female, and I'll be happier once the rest of the world adapts to my needs!") we gain happiness by understanding who we are, then accepting it and then by realizing we are a gift to the world, to make the world a better place, even if that's only for one other person. This is the purpose for which God created us, His own oasis called His Sacred Heart in which we discover that we are more than we ever thought possible.
But not without Him.
Eat Your Art Out,
The Fine Art Diner

Friday, March 2, 2018

"I Accept Your Challenge!" Black Panther & the Villains Of the Left

The reason Wakanda is so important is because they mine vibranium, the hardest metal known which was discovered when an asteroid filled with the metal hit Africa. "Vibranium" suggests the word "vibrant," meaning, it's "filled with life" and the things which make life "good" and desirable; given the high-living standard of most Wakandans, this seems totally legit. So, the quest to obtain vibranium isn't so much about obtaining a single metal, rather, the qualities of life which give life quality and hence, vibrancy, a sense of being fully alive and maximizing one's potential. But if getting vibranium, and hence, quality of life, is the pursuit of the film, avoiding slavery is the simultaneous "fleeing" of the film and each character faces the dichotomy within their lives and the film's agenda for them. T'Challa and Nakia not only face this as individuals, but then also as a couple towards the end of the film: how to teach others what vibrancy of life is and then hold onto it, rather than falling for cheap imitations of life. For example, in the end credits scene, when T'Challa and his sister have traveled to Oakland, the kids playing basketball see T'Challa's,.... "spaceship," for lack of a better description, and one of the kids immediately suggests to the others to take it apart and sell it for profit. The little "thief-in-training" doesn't understand what the vibrancy of life is, and unfortunately, the little "thief-in-training" reflects the grown-up professional thieves, known as socialists, who want to steal the vibrancy of life from those who have worked for it and sell it as a dream to those who don't know any better, like those kids playing basketball.
If I am correct, and the film is definitely pro-capitalist, then why are there so many liberals praising the film? THEIR UNDERSTANDING OF LIBERAL IDEOLOGY ONLY GOES SKIN DEEP, in other words, they don't understand sufficiently what they have been told to support, so seeing a black man who actually goes against everything they have been taught to yell, shout and get angry about, literally goes unnoticed to them because they don't understand what they have been told to protest and vote against. That the film has done so well, and continues to do so well, clearly demonstrates that the majority of people identifying themselves as "liberals, progressives or Democrats" really don't uphold that agenda, not when it's presented to them in a real-world statement regarding villains and heroes (of course you can argue that a Marvel super-hero film isn't a "real-world statement," however, the horrible things Erik says, and those things which motivate him, are clearly coming from the Left, there can be no question about it, and likewise, those sentiments driving and sustaining T'Challa are clearly coming from the Conservative position, so while Marvel might not be a "real-world statement," there are TONS of examples in the film of actions and calls to action by the Left incorporated into the film's primary narrative to at least acknowledge the real-world influences). 
Over the years, Hollywood elite have bemoaned the growing attraction of block-buster super-hero films, for at least two reasons: first, those films generally support traditional, American values (and values supported by traditional audiences around the globe as well) and, secondly, those elites weren't lucky enough to be asked to be in the most recent block-buster. Black Panther has an incredible cast and delivers an incredible message, proving that these super-hero films aren't just for "mindless escapism," rather, a genuine forum for true dialogue surrounding today's most pressing issues.
In trailers and clips for the film, we see the man at the top image--wearing the greenish suit and sporting that huge disc in his mouth--and we can't help but wonder, "What's his role in the film?" then, when we see the film, and that he's really only a "silent" member of the King's council, we realize he's more of an elaborate prop character, meant to convey the exotic-ness of the Wakandan culture,... or is he? Through masterful storytelling skills and simple but efficient communication with the audience, we see the man in the greenish suit is a true symbol of Wakanda. We know the mouth symbolizes our appetites, and that huge disc practically prevents the man from eating anything; why? The tradition of Wakanda has been to be silent about their technological advances (another symbolic purpose of the disc in the man's mouth: silence, as in a "gag order," which is only loosened at the end when T'Challa visits Oakland and makes his UN announcement) and this is why Wakandans have that "identification bar code" tattooed on their inner, bottom lip, as an identifier that they are under the gag order not to say anything and they adhere to it. The man also has artificially elongated earlobes; why? They spy on other countries--hearing their secrets--but make the world believe they have no secrets of their own to hear. Technically, ears symbolize our ability to hear the truth, and we can say this carries over to the symbol of the mouth in Black Panther, because if they can't hear the truth, neither can they speak it, and this fine line of truthfulness threads its way through the entire film (don't believe me? Remember, when T'Challa is at the UN in the mid-credits scene, he says, "We all know the truth," but this is the first time in the film the truth has been able to be heard and spoken at the same time, and the journey of the film was T'Challa and Wakanda getting to this point; please remember this, because we will pick this thread back up by the end of this post). But the mouth, as we know, also symbolizes the appetites: just as the man's mouth is artificially elongated by the artificial disc, so Wakandans believe they have artificially righteous appetites by not taking anything from the rest of the world (consuming, taking in, they pretend to be a third world country, but accept no international aid) but they also don't help the world create a genuine appetite for their technology, wisdom and truth the vibranium can teach the world. What about the colors of the man's suit? He does wear a suit, a Western-style suit, not African, and the pants and jacket are a strange blue-green with his shirt being a yellowish-green. That he dresses like men in the US or Europe, means that's the attitude towards those countries Wakanda has taken (not sharing their technology) and this has been the way they have carried on business with the outside world, by NOT doing business with them. The blue-ish hue of the jacket and pants suggests that the Wakandans have seen this as an act of wisdom--they have practiced this silence for centuries--but the green undertones belies that they know there is something rotten about it; the yellow accent of the man's shirt suggests dignity, the Wakandans take great pride in their accomplishment and their "hidden identity" but, again, there is a green undertone to the shirt suggesting they know their dignity is based on something rotten, i.e., a lie.
Enter Nakia.
Nearly every time we see Nakia in the film, she wears green; why: green symbolizes that there is either hope through new life, or that something has died and turned rotten. The man in the green suit symbolizes the "death and rottenness" of Wakanda which threads its way throughout the story, whereas Nakia--as a young woman of child-bearing age--symbolizes the future of Wakanda which brings life and real hope to the Wakandans and all those Wakanda will help through the advantages they have. Now, if you think this means Wakanda is going to participate in "wealth redistribution," I understand why you think that, but it's incorrect (and the way the Black Panther suit with "energy redistribution" validates what I am going to say, but we will discuss that below): Wakanda is close to a communist society when T'Challa returns home to become king: think of the final fight between Erik and the civil war at the end of the film; Everett has to keep a plane loaded with weapons from "crossing the border" of Wakanda; why? Because communist societies build walls to keep people from escaping the country (think of China, Berlin, Vietnam) whereas the US is going to have to build a wall to keep people from coming into the country. Communist societies don't share anything with the world, they keep everything to themselves, whereas the US is probably the most generous country in the history of humanity because we give aid to everyone all the time, and this includes everything from food to technology to medical supplies to clothing and military aid. So Wakanda is turning away from a kind of communist ideology towards the role of a world-wide superpower, because after Wakanda opens its bank of technological advancements, they are going to be an international leader in the world. That's why it's important Nakia becomes the queen of Wakanda: she will be the symbol of generosity and freedom which was lacking in the old, communist regime of Wakanda.
In the pre-viewing post, analyzing trailers and clips, I made a mistake: I suggested we weren't going to be seeing any Barack Hussein Obama in the film; he's everywhere in the film; he IS the film's villain, Erik Killmonger (Michael B Jordan), because so much of what Killmonger orders echoes what Obama himself did, or at least tried to do; however, Black Panther doesn't just finger Obama as a terrorist of civilization: Hillary Clinton is indicted as well. The rest of this post contains all the film's spoilers, so PLEASE, if you haven't seen it, do yourself a favor and see the film, then come back and read the post because it will be well worth it!
Let's start with Hillary Clinton.
Everett Ross (Martin Freeman) of the CIA and Ulysses Klaue (Andy Serkis) are really the only two white people in the film (sure, there's the museum director, Stan Lee's obligatory cameo and some entourage muscle, but for the most part, this is it). The limitations of the white representation helps to draw out the dichotomy of good and evil: Everett is diplomatic and serves the greater cause while Klaue serves only himself. This isn't because they are white: we see the exact same dichotomy between Erik and T'Challa; this is a choice each person makes for themselves regardless of what their skin color is. We know this, but the film makes a dramatic point of telling us, and especially to a pre-dominantly black audience. This is why the image at the top--Klaue's feet handcuffed to the chair--is the most important visual image of the entire film.
We know that feet symbolize the will, and the color black--the color of Klaue's shoes--symbolize death, and given that Klaue is an obvious villain, it's the bad death, meaning, Klaue's will (his feet) is directed towards being dead to things of the spirit (the virtues) and alive to things of this world (in his case, greed). So, Klaue's feet being chained play off the numerous references to "slavery" throughout the film: Klaue has made himself a slave to his own greed, and that abuse of his free will (choosing to be a slave rather than to be free of worldly things) is a choice confronting us all. But it gets worse. Those chains are meant for hands, so it's not just Klaue's will (his feet) which are enslaved, but also his honor (the symbol of hands), in other words, Klaue has no honor since he has chosen to be a slave. This is radically important, but this is the film's true definition of slavery, and why T'Challa is so disappointed in his father for acting dishonorably towards Erik after Erik's father's death. Any person can be a economic slave, as the slaves exported from Africa were, but still have their free will and honor; any person can pretend to be free, like Erik who chose to become a Navy SEAL and graduate from MIT, but Erik chooses to be enslaved to his will to hate and his insatiable appetite for revenge (more on this below). It's the human condition, the film tells us, to choose between freeing ourselves with our decisions, or enslaving ourselves with our appetites.
Klaue wears a predominantly blue suit; why? Blue symbolizes wisdom and sadness, because wisdom can only be purchased through our struggles in life. Klaue indeed exercises some kind of wisdom in this scene: he is the only foreigner who has made it out of Wakanda, and seen the marvels therein. It's his depression, however, which has led him to the line of business in which he trades (this is, after all, a business suit) and that business is stealing and murdering.
What about Klaue's left arm? The Marvel universe has a thing for left arms: Bucky Barnes (the Winter Soldier) had a mechanical left arm, and Thanos (who we properly meet in Infinity War) wears the Infinity Gauntlet on his left arm. Why? If you do a simple search on Google of "witchcraft and the left hand path," it will detail for you the history of witchcraft and Satanism using the "left hand path" to identify their "activities." It's not a coincidence that the political Left--liberals, progressives and Democrats--also identify themselves as "the Left," or "Left-wing," or that films in recent years have compared the political Left with witchcraft and Satanism (Warcraft, Godzilla, The Conjuring 2, Independence Day, Sherlock Holmes, Devil's Due, Ghostbusters [the remake], The Mummy, Gods Of Egypt and King Arthur Legend Of the Sword, to name those I can remember off the top of my head) and in Marvel having bad guys indicative of the socialist order having "left arm problems," Marvel has joined this list. So, how does Klaue embody the socialist order? Yes, he appears to be a business man and appears, therefore, to be a capitalist, however, his left arm with its Vibranium "cannon," is unnatural, and that is the signature of socialism: to destroy  the natural order and replace it with the artificial (like replacing a natural family of a husband, wife and child, with two husbands and an adopted child, for example). Further, the name "Klaue" is meant to invoke "claw," the animal claw, because Ulysses Klaue has reduced himself to an animal, which is exactly what socialists want to be: animals, with no conscious to shame them, and no free will to burden them (they want shame-free slavery to their appetites). The obvious rebuttal to this observation is: "So, what about T'Challa taking on the traits of the Black Panther? He becomes this animal, does that make him a socialist?" and the answer is no, but we shall discuss this topic below because it requires us to really examine what is going on with the character.
In the middle image, where Klaue speaks to Everett, I put in a red arrow indicating the open wound across his forehead. This is an interesting "compound symbol," because the face, the head, the forehead and the wound all have their own symbolic representations. If we interpret the gashing wound just on its own, it becomes a spiritual wound, a wound which is basically self-inflicted because of the poor decisions Klaue has made throughout his life (and because he dies in the next one or two scenes, we know these are accurate observations because a character never dies unless they are "all ready dead," and that is "dead in the spirit" so they aren't able to live life fully). The scar is on the forehead, so we could interpret that to be Klaue has developed a spiritual wound making it impossible for him to see the consequences of his actions (the forehead represents our ability to "foreshadow," and understand what is going to happen in the future). Then again, we don't have to limit the wound to just the forehead, we can, instead, interpret it as being on his face; since the face is the seat of our identity, we can say that Klaue's "true identity" reveals itself in this scene as being a man who will sell out others for his own sake (Wakanda) and his a bit crazy (the wound on his head, his intellect is damaged). However, we could also say Klaue has "lost face," and that would appropriately refer to Klaue being foolish enough to make a deal to sell Vibranium to the CIA (Klaue mentions this when he and Erik arrive at the plane). Then again, we could simply observe the wound to be on Klaue's head, and since the head is the governing function of the body, we then observe that Klaue has lost control over himself. There is not a single one of these interpretations which are invalid, they each provide their own unique spin on this simple detail of the gash across his forehead, and, we can now use it to compare to Everett. In spite of T'Challa being difficult about wanting to take Klaue back to Wakanda, Everett uses diplomacy, showing Everett isn't just concerned about himself, but understands the needs of others as well; likewise, Everett is able to get more information out of Klaue then Klaue probably realizes he's giving, providing Everett with some power Everett knows how to use to his advantage. Lastly, we come to know more about Everett's character as a result of this scene, because there is more to know. Everett doesn't wear very dramatic clothing because he's not a dramatic character, he wants to fit in rather than draw attention to himself, but he doesn't hesitate to save Nakia from the bullets when Erik starts firing shots in rescuing Klaue. 
We learn, through two different scenes in the film, that T'Challa's uncle, N'Jobu, who was living in Oakland, California, was assisting Ulysses Klaue in obtaining vibranium to sell as weapons; N'Jobu, then, was committing treason, and we see this in the real life of Hillary Clinton, presidential nominee, who sold uranium to Russia for their weapon development. Just as N'Jobu's son, Erik Killmonger (Michael B Jordan) was left, so, too were the "children" of Hillary Clinton, those who had voted for her, and as Erik reeks havoc on Wakanda, so, too, have the "disenfranchised children" of Hillary, upset she didn't win the election. We'll go deeper into this in just a moment, but to get a better understanding on the political turning of the screw Black Panther achieves, let's turn to how the film draws our attention to Barack Obama and his actions on the world.
There is absolutely NOTHING more masculine than a man fighting another man to the death for the right to rule. ABSOLUTELY NOTHING. Why do we have these scenes? Because of all the "toxic masculinity of white men" which has been circulating the news and especially college campuses, where more and  more liberal schools offer indoctrination for helping their white male students overcome the effects of their white male toxic masculinity. Well, Black Panther makes a statement loud and clear: masculinity isn't reserved for white men, all men are masculine, regardless of their skin color, and all men have testosterone, regardless of their skin color; mess with white men, you mess with black men, too. The film makes it clear that a king who can't fight isn't a king, and when M'Baku challenges T'Challa before T'Challa can be crowned, M'Baku has legitimate reasons for challenging T'Challa (there is more on M'Baku below), one of those reasons being that T'Challa couldn't even save his own father, so how can T'Challa protect Wakanda? The issue of a man being able to protect is especially important given the king of Wakanda has an all-female body-guard (more on them below as well). The king must be able to protect in order for other Wakandans to do their job, this is the whole reason for the king also being the Black Panther, so he can protect. Traditionally, this has been men's primary role in relationships: to protect those he loves who cannot protect themselves; however, we have advanced so far, there are many options replacing men, so a man's need to protect isn't felt as desperately as it has been in the past. Black Panther points out, however, that there are growing threats in the world against justice and civilization itself, and men protecting the order of justice and civilization is being threatened with the simultaneous attack on those men who would stand up to protect it.
Now, what's going on in these scenes?
There are two primary symbols which we need to explore: the rocks and the water. Like most symbols, rocks posses both positive and negative attributes: for example, the rocks symbolize the kingship of Wakanda in that the king must be steadfast and his heart solid in his beliefs and understanding of his role as king; on the negative side, if a king permits his heart to become hardened like a rock, he will fail, himself and his country. So, the test of manhood for the throne comes down to the king's heart: does he have a solid heart, or a heart dehumanizing him (again, we also see this in the coronation ceremony when the king is buried and he has a vision, but we will discuss this below). What about the water? The water provides the means by which a man knows what kind of heart he has. Now, we should not, under any circumstances, ignore the Christian symbols: when the reigning king has the power of the Black Panther removed from him, this is clearly an allusion to Jesus Christ suspending His Divine Nature (being God) so He could suffer and die as a mortal does. The water in which the "contestants" for the throne of Wakanda battle invokes the mystery of Baptism, especially when Jesus was Baptized and the Holy Spirit came down upon Him, just as, when T'Challa defeats M'Baku, T'Challa is then crowned king as Jesus was crowned the Son of God. Okay, on a more mundane level, water symbolizes the first of three stages of inner-reflection on the hero's journey to successfully completing whatever his task is. T'Challa has to SEE HIMSELF and what Wakanda really is, and he has to be willing to become one with Wakanda. When Erik throws T'Challa over the side of the waterfall, that symbolizes the second of the three phases, because there is mist/fog symbolizing what is being hidden; sure, T'Challa's fate as he falls over the edge of the water, but also T'Challa's fate in terms of the king he will become and the actions he will take as king; without Erik's challenge to the throne, and T'Challa's "good heart" (as his father points out to T'Challa when T'Challa takes his mystical journey to visit the kings before him) means these moments of reflection (the challenges he has to overcome in the water, then the mist/fog of the waterfall) will form the man T'Challa will become (this is finalized in the third stage of reflection: snow; when his mother, sister and Nakia are taken to T'Challa and he's half buried in the snow, this is the moment of his final reflection and he's born anew; again, more on this below). 
When we first see Nakia (Lupita Nyong'o), she's been "kidnapped," along with many of females and at least one young boy; why? This incident references the real life 2014 Chibok schoolgirls kidnapping by the terrorist organization Boko Haram in Nigeria. While Obama could have ordered an attack on the group and Navy SEALS to man a rescue operation, instead, he did nothing but launch a Twitter hashtag campaign called #BringBackOurGirls. While the tragedy took place in Nigeria, it was felt strongly here, in America, because we have a tradition of helping when terrible things like this happen; to see our president set back and act utterly helpless, compounded the tragedy and enraged conservatives that he would promote victim-hood and helplessness over the defeat of these terrorists.
Enter T'Challa.
What do masks symbolize? Masks don't necessarily symbolize anything--unless the mask itself is of a symbol--rather, masks reveal the true nature of the person wearing it. In the image at the top, T'Challa wears the mask of the Black Panther; why? He is the Black Panther, in his heart, that is who he is, the ultimate symbol of protection and kingship. In the center image, we see Erik putting on an ancient mask he stole earlier from the museum, just before blowing up the Intelligence Headquarters in South Korea to extract Klaue from Everett's custody. Erik's mask is of an animal or even a demon, take your pick, but that reveals who he is in his inner-most being.This is why, after their respective crownings as kings, T'Challa sees what he sees, and Erik sees what he sees.
The first time T'Challa is crowned King of Wakanda, he is given the purple, heart-shaped herb to take on the powers of the Black Panther; why? Purple is a color we see used throughout the film, and we will discuss it more below (in the next series of images) but for the moment, purple symbolizes kingship. Why is it in the shape of a heart? Because it's from the heart that courage, wisdom and a desire for justice (not revenge) comes; to drink or eat something means you are taking it in and making it a part of you within your soul (not just your body). After he drinks the liquid to give him the powers, he is covered up from head to toe with red gravel/dirt; why? This is an awesome compound symbol at work. People aren't usually "buried" unless they are dead, so T'Challa, now that he's king, is expected to die; die to what? Himself, so he can be the embodiment of Wakanda and all the virtues of the Black Panther; ironically, dying to himself means he will become T'Challa more than before T'Challa died, because any weakness and sin will be washed away, and only the pure essence of T'Challa's being will remain (imagine that T'Challa's soul is water, and there is oil [sin] in the water; when all the oil is removed, there is only the water, that is, his pure soul). The gravel with which T'Challa, then Erik, is buried re-enforces the idea of the king's heart being a solid rock, and the king being dependable for his people--rather than Erik's heart being hard as rock with desire for revenge. The rocks are red because the king is expected to give his blood for Wakanda, the ultimate act of love, just as the members of the Dora Milaje are. There is just one more facet of the ritual to consider: the praising of ancestors.
Why do the Wakandas keep saying, "Praise the ancestors?" For one, it's a sign of gratitude, and gratitude is something we never see from Erik; two, it's a recognition that someday, they, too, will be ancestors, and they had better do deeds worthy of future generations so they will be praised with other ancestors (so there is a system of "good debt," that is, recognizing that those currently living owe a debt of gratitude to those who came before them, and it is with their gratitude they are to repay the debt). In terms of modern US--because films reflect the social context in which they are created and marketed--it's the conservative Americans who "praise the ancestors," aka, the Founding Fathers, for providing us with the Constitution and the government we have, the same government and Constitution which socialists are desperately trying to overthrow, because socialists don't "praise the ancestors," socialists curse them, as they curse everyone who is not on their side. We see this same "kind" of remembering of those who came before you in The Dark Tower: "Remember the face of your father," is meant to not only invoke the love your father has for you, but all that he did to help you grow up and mature (and for those who grew up without a father, for example, because he didn't meet his responsibility in helping to raise you, it's meant to invoke, remember what it was like to NOT see the face of your father, so don't cut-out on your obligations like he did, because you have experienced what that is like).
So, once "buried," T'Challa enters a spiritual or mystical state in which he sees the past kings and his own father; why? It suggests there is both a continuity with the past--the past isn't just something we can re-write and change to fit our whims--and a breaking with the past that comes with the crowning of the new king. When T'Challa enters this state, he wears a gleaming white tunic; why? We can call that his "wedding garment," because he's being wedded to Wakanda. We know the color white symbolizes the highest virtues: purity, faith, innocence (from rage and other sins) as well as fulfilling your soul's capacity for virtue. T'Challa sees his father, because that is where T'Challa's heart is, filled with an understanding of his responsibility and duty to serve others. On the other hand, when Erik goes through this ritual, he returns back to his Oakland apartment where he grew up and he has an awkward discussion with his dad with whom he doesn't seem to have any kind of bond, and this is important: Erik isn't particularly sad that his father was murdered, and he certainly isn't concerned that his father committed treason against Wakanda, or was aiding dangerous terrorists, or tried to kill an innocent man; socialists are never concerned with details that bring the light of truth onto their self-righteous narratives. Erik used his father's death as a vehicle for his own greedy designs; why? Because those are the type of people attracted to socialism and the retribution they have decided they deserve. So, we have T'Challa with his sense of duty and responsibility and we have Erik with his sense of entitlement and revenge.
These scenes do something else: they validate the existence of the soul. Regardless of what religious system to which one does or does not subscribe, these mystical experiences are meant to illustrate the existence of the soul, to which socialists do not subscribe; why not? Socialism cannot admit the existence of God because the government takes the place of God, and the government may demand individuals do or not do something which would contradict the precepts of various religions, so a socialist government will always ban religion so the government can take that place and issue their own commands. In providing us scenes where we see the soul interacting with other souls (and because these are past kings who greet T'Challa, we know they are the souls of those kings) the film makers boldly state that socialism is inherently contradicting the law of immortality to which all people are subject for eternity.
T'Challa takes control, he takes the lead and he puts himself in the line of fire and danger, rather than playing golf, partying with celebrities or posing for photo ops. T'Challa is a leader who puts his country before himself, unlike Obama who put himself before his country and tried to teach everyone else to do the same (more on this important topic below). Why is this important? For at least two reasons: first, T'Challa exhibiting such prominent leadership skills highlights that Obama was NOT a leader, and that Obama's weakness is not a trait to be emulated by anyone, including black people, just because Obama is black. Second, black people have choices, and choosing not to be a victim is one of them. Now, you may argue, the only reason T'Challa went to save those girls was because his intent was to extract Nakia, and freeing the kidnapped girls was merely a by-product.
That's not what happens.
The symbolism for purple weaves itself throughout the narrative, from T'Challa's suit when it receives energy to T'Challa's clothes, the purple heart-shaped herb providing the king with the Black Panther strength and the priest who guards over that power. Why? In ancient days, the color purple was excessively expensive to produce, so only a king could afford to wear the color, hence, purple because a sign of royalty; after the spread of Christianity, and Jesus the "Suffering King," the idea of the king being one who would willingly suffer for his people became a popular and understood role of the royal leaders. So, purple symbolizes greatness achieved through suffering. Now, when a character, such as The Joker (Jared Leto) from Suicide Squad wears purple, that's a sign the character wants to be treated like royalty expressly to avoid suffering. Purple, then, becomes a symbol of shallowness and the gaudy, because one lacks wisdom because there is no spiritual development or the desire to mature and grow.
Now, we can discuss the "purple heart-shaped herb" which gives Black Panther the power, strength and courage to defend Wakanda. Why is in an herb and not some other plant? Herbs serve not only medicinal purposes, but also add a "spice" to whatever it is one is eating; this goes back to vibranium and the idea of "vibrancy" in life, to have a spicy, well-tasting dish one enjoys eating (as their portion in life, not just one time). On the other hand, the medicinal qualities of herbs clearly suggests that partaking of the Black Panther herb will heal the one it enters into, and this includes sin and other impurities of heart. So, what about Erik? Why didn't the herb "heal" Erik when he took it? Free will. There was the opportunity to accept healing, twice for Erik, but both times he rejects it. The first time is after he is given the Black Panther herb during the coronation ritual, and he goes back to see his father; Erik briefly sheds some tears, and tears are important, because--in the English language--the word "tear," for water coming out of one's eyes, also sounds like the word "tear," as in to tear a piece of paper; in the images above this one we are currently discussing, we see Erik wearing the mask of the animal, and it was possibly for Erik, during his coronation, to "tear away" that animal mask and assume the true role of the Black Panther,.... but Erik couldn't become Black Panther because he was all ready that animal-demon we saw earlier in the film. The second time Erik refuses healing is at the end, when T'Challa has defeated him, and T'Challa takes Erik to see the Wakandan sunset; listening to Erik, T'Challa is moved to pity and tells Erik, "Perhaps we can still heal you," and yes, T'Challa does mean "heal" as in fix the bodily damage, as they did earlier with Everett, however, Everett's wounds were far more severe and they were healed without any problems; "Perhaps," rather, refers to healing Erik's heart, and T'Challa sees the good in Erik's heart for that fleeting moment because of the good within T'Challa's own heart. It's a sad truth that, whatever someone sees in someone else, they see because they reflect their own heart and motivations onto that person: Erik sees only bad in people because there is really only sin and anger within his own heart for him to be able to filter and organize his life experiences through. T'Challa sees good in others because of the good within himself. So, when T'Challa suggests healing to Erik, T'Challa means healing Erik's heart of the anger and insatiable hunger for revenge which has driven Erik his whole life. Erik refuses. This is the second time Erik employs his free will to choose to not be healed, which means, that Erik has been a slave to his "sickness" the entire film, just as we saw Klaue chained to his chair in the image towards the top of the post, which is intentional on the film's part: Erik wants to be buried in the ocean instead of living a life of slavery, but that's because Erik doesn't understand freedom, and he doesn't understand freedom because he has never wanted freedom, he chooses to be enslaved to his dark side, and so Erik dies a slave. Tellingly, Erik commits suicide; why? Because Erik has been self-sabotaging himself the entire film: it doesn't matter who was or who was not there for him, because he would have chosen to ignore it and failed to be grateful, choosing instead, to continuously kill himself throughout all the potential moments when he could have experienced conversion and made a real, meaningful change, in his own life and the world. Sadly, this is exactly what we see in the lives of those who choose to join the socialist movement.
So, the reason the purple, heart-shaped herb is "heart-shaped," is because the herb has to have "good material" with which to work: it obviously doesn't work on someone who distorts their free will, like Erik, making him sicker because that's his understanding of what power is, because that's what his heart hungers for; T'Challa, on the other hand, will continue to find strength, wisdom and all other virtues because that is what his heart hungers for so he can do the right thing in the world. Finally, as we have been discussing, the "purple, heart-shaped herb" is purple because of suffering. "It's difficult for a good man, with a good heart, to be king," T'Challa's father tells his son before his son awakens; what is left unsaid, but what the film shows us, is that it's impossible for a bad man, with a bad heart, to be king, because that man is a slave. When a good man, with a good heart, becomes king, he has to continuously undergo suffering--for the betterment of himself and the good of his people--and being only a "man," and nothing more, it becomes difficult to constantly live in a state of suffering. 
We know, dear reader, that women of child-bearing age--which Nakia is, symbolize the motherland, the land which gives birth to us. All of the girls in those cargo jeeps are of child-bearing age, so all of them symbolize the "motherland" of these different African tribes, and even of the world; in other words, this scene foreshadows what T'Challa does at the United Nations in the mid-credits scene: in freeing Nakia from the kidnappers, T'Challa frees Wakanda from the gag order, and freeing the other girls from the kidnappers frees the other countries and nations as well. This is why T'Challa's decision to share Wakanda's resources and knowledge with the rest of the world isn't a socialist action: it's a populist action, not meant to put the whole world under the rule of the European Union, or George Soros, the Rockefellers, Illuminati or whoever it really is trying to merge all the world's countries into one and end our individual identities as sovereign countries. The technology is going to help people excel so they can better protect themselves, not digress into mediocrity and victim-hood (which is what socialism wants). T'Challa wants the world's citizens to be one family bound by love, not bound by power, nor tyranny, authority or the international socialism. T'Challa hopes to reach out to the people of the world and touch their individuality, their genius, their curiosity, their capacity for creativity and their dignity as humans, so that respect of life and individuality will spread throughout the world and end the spread of the very real political aims of establishing international socialism.
But back to Obama.
There are at least three more references to Obama's Administration in the film. The first is when Erik, after supposedly killing T'Challa and becoming king, orders vibranium weapons to be sent to Wakandan war dogs throughout the world so they can begin carrying out acts of terrorism against the United States, Great Britain and European countries. During 2010, Obama's shipping of guns to Mexico became known as the "Fast and Furious Scandal,"  and we can even cite Obama's disastrous "Iran Peace Deal" in which he gave money to Iran, a known terrorist country. But this leads us to our second point,....
"Refugees," come up in the film when T'Challa discusses what Wakanda can do to help others in the world, and T'Challa notes, "Refugees being their problems with them," and between Obama and Hillary destabilizing Syria, they sent those refugees throughout the world to destabilize other countries, just as Everett Ross (Martin Freeman) pointed out how Erik was doing what he was trained to do. "Well, then, if the CIA trained Erik to do those things, it can't be pinned on Obama, that's an American problem!" Absolutely. Nearly every country--including fictional Wakanda--has trained military and intelligence personnel proficient at such political manipulations which they employ on behalf of their respective countries, not on behalf of individuals taking over governments for themselves to achieve a greater theater for global war, which is what Erik attempts in the film, and what Obama and company were trying to do for international socialism. This leads us to our third, and perhaps, saddest point of comparison.
"Ask not what your country can do for you, but what you can do for your country," Democratic President John F. Kennedy told Americans--and the whole world--inspiring people to patriotism and unity; during the eight years of the Obama Administration, Obama encouraged through speeches and legislation to encourage belligerence and self-entitlement, so people would only be concerned with what their country was going to do for them. Additionally, Obama and members of his administration took every opportunity to stoke conflict and clash between economic classes, educational classes, generations, the sexes, various special interest minority groups against the conservative majority as well as snide comments to anger sides against each other over social issues (gender neutral bathrooms, the Trayvon Martin shooting, and countless riots across the country (Ferguson, Baltimore, Brooklyn, LA to name a few and, of course, Oakland, where Black Panther partially takes place). Throughout the entire film, Erik Killmonger uses racially charged language and, like Obama, charges people for crimes based on their skin color, not on their individual innocence or guilt. The division and violence we see between Obama and Erik takes place in two female characters' deaths.
Erik's "girlfriend" Linda (Nabiyah Be; she's unnamed in the film, but she helps him at the museum and to break out Klaue from the CIA) is grabbed by Klaue and used as a human shield when Klaue realizes Erik plans to kill him; "I'm sorry," Linda tells Erik, and he shrugs it off. Linda assumes Erik will "deal" with Klaue so Linda can go safely, but Linda has fulfilled her purpose for Erik and can't be of use to him anymore--Klaue has far more value to Erik--so Erik kills her while killing Klaue, sacrificing her for his own agenda. On the other hand, when the civil war in Wakanda breaks out, Erik himself grabs one of the female warriors of the Dora Milaje and uses her as a human shield, threatening to kill her if any of the other Dora Milaje members try to hurt him; what does that warrior do? "Wakanda forever!" and she sacrifices herself, knowing her fellow warriors must kill Erik or he will destroy their country. When W'Kabi is cornered by his love Okoye and she threatens to kill him, he asks, "Would you choose Wakanda over me, my love?" and she responds, "Without question." The loyalty and patriotism to their country is seen in countless examples throughout the film and is what every person throughout the world is called to emulate, not the selfishness of Erik or Klaue, because their actions lead to exactly what we see happen in Wakanda: civil war.
Erik, and his real-life counterparts, socialists/communists and feminists, constantly yell and scream about inequalities of power, but you never hear them discuss the greatest power there is: love, and the fruit of love, forgiveness. Remember, Erik is a clear metaphor of the Black Panther Political Party which was born in Oakland, California, just as Erik was; but the film contrasts the power-hungry and self-serving Black Panther Political Party with the self-less and pure-hearted Black Panther king and leader of Wakanda: they are meant to mirror the other in vice and virtue, just as Barack Obama was meant to be a King T'Challa for his people, but instead became an Erik Killmonger.
Socialists will, of course, look at this first mid-credits scene and say the entire film is pro-socialist because they don't have a vocabulary reflecting reality: T'Challa says "share" not "give," meaning, that Wakanda will retrain possession and ownership of their technology, they aren't going to just give it to anyone who comes up for a hand out. It's also important to note the important details of the end of the film and this mid-credits scene: when T'Challa takes his sister to Oakland, one of the little boys wants to steal parts from T'Challa's "spaceship" to resell for his own profit, whereas T'Challa intends for Wakandan resources to be offered to help those who will help themselves, that is, teach and educate those in disadvantaged areas, don't just give them stuff the way the Left and Democrats do, and there certainly isn't anything about giving these kids weapons, the way Erik would have done. This scene, at the UN, is meant to establish that Wakanda is going to become a leader in the world, rather than, for example, Obama's style of "leading from behind," and not being a "great nation," rather, helping the world by being an impoverished nation of farmers; instead, T'Challa makes the difficult choice to become a target of people like Obama and Hillary because T'Challa wants Wakanda's greatness to be the world's greatness, that everyone will be lifted up and succeed as much as they possibly can, not--as the socialists want--for everyone to be torn down in an effort to make every person as mediocre as possible (please consider the "means to equality" in this newest update to Fahrenheit 451).
Now, let's consider this in relation to a very specific word used in the film: redistribution. In contemporary vocabulary, when "redistribution" is used, it generally means, take from those who have a lot, and give to those who hate those who have a lot. In Black Panther, we see "redistribution" employed in a different context: energy. The Black Panther suit Shuri designs for her brother "redistributes energy": when T'Challa takes a hit, the suit organizes that energy and then allows him to recycle that energy. This is easily a Christian tenet: when someone curses you, you bless them. T'Challa doesn't fight individuals, The Black Panther fights evil, and when T'Challa is hit, his strength of character and cultivated virtue allows him to destroy the evil trying to overcome him, and this is exactly what each and everyone of us has to do. THIS IS WHY THE BLACK PANTHER SUIT TURNS PURPLE WHEN THERE IS "ENERGY REDISTRIBUTION" TAKING PLACE: THAT ENERGY IS ACTUALLY SUFFERING, BUT BY DYING TO HIMSELF (the suit is black, so that's a symbol of death) THE BLACK PANTHER GAINS GREATER POWER TO DEFEAT EVIL WITHIN HIMSELF AND IN THE WORLD.
We see this in the subtle way debts are paid back in the film. When Everett takes a bullet in his spinal cord for Nakia, T'Challa recognizes he owes Everett a debt for saving his love, so T'Challa gives life back to Everett who saved Nakia's life. Likewise, when M'Baku challenges T'Challa's leadership, T'Challa recognizes that M'Baku is a good leader and his people need him, so instead of killing M'Baku so M'Baku won't pose a threat to T'Challa's throne in the future, T'Challa urges M'Baku to yield so T'Challa can pay back leadership with a leader.
T'Challa is going to help the world by showing how Wakanda became great, so others can become great as well,... there is absolutely NOTHING socialist about that at all.
The truth is, all of us have access to the purple, heart-shaped herb which gives the king the powers of the Black Panther: it's called LIFE. When T'Challa says, "I accept your challenge," he knows it could mean death for him, but he also knows that he and he only can be the king and choose what kind of king he will be, and each of us is the king of our own free will; people like Erik abandon free will to be slaves to circumstances. The trials, sufferings and obstacles which we encounter on a day-to-day basis is the drinking of that same herb, and either we will be healed by those sufferings, or we will choose to become sick with hatred, envy and lies, and use our powers to destroy others and ultimately ourselves. I am thrilled the film has done so well: it suggests that people on both sides of the massive and growing political divide in the are seeing the film and embracing its message. We still have a long ways to go, but perhaps this super-hero will accomplish what the others have failed to realize: unity.
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The Fine Art Diner