MR. SPOCK: Beauty is transitory, Doctor. However, she was evidently highly intelligent.
CAPTAIN KIRK: Kirk to Enterprise, five to beam up. I don’t agree with you, Mister Spock.
MR. SPOCK: Indeed, Captain.
CAPTAIN KIRK: Beauty … survives.
Star Trek (the Original Series), “That Which Survives”
The geniuses who created and enriched the original Star Trek series were supreme artists. As such, unlike the people behind the endless pale, politically correct imitations that began with Star Trek: The Next Generation, they understood the irreplaceable contribution of female beauty to the human adventure. And they communicated this with sublime writing and acting. At the end of the third season episode, Requiem for Methuselah, Spock watches over a desolate Captain Kirk, who blames himself for the death of a beautiful female android he had fallen in love with. Dr. McCoy enters and explains the facts of love to Spock.
You wouldn’t understand that, would you, Spock? You see, I feel sorrier for you than I do for him (Kirk). Because you’ll never know the things that love can drive a man to — the ecstasies, the miseries, the broken rules, the desperate chances, the glorious failures, the glorious victories. All these things you’ll never know, simply because the word “love” isn’t written into your book.
In the 21st century, Spock is far from the only person who wouldn’t understand the connection between feminine pulchritude and male enterprise. For that link has been deliberately severed by the feminists and liberals now dominating the media. Precisely because they fear and loathe real female empowerment and masculine inspiration, they find it easier to neutralize both by erasing beauty from screen and print. They mask the erasure under the guise of “fat positivity” and “trans” respect, but the intention remains clear. Eliminate the catalyst for traditional relationships that leads to the nuclear family and ensures Western civilization.
His Sports Illustrated Swimsuit cover will forever be a grim reminder … “Get woke, go broke.”
What the progressives fail to grasp in their feminist-beta male bubble is how little influence they have on real men. Such men created the space the Left presently occupies with superior product like Star Trek, Star Wars, Marvel Comics, and Snow White and the Seven Dwarfs. Leftists couldn’t come close to recreating these, can only mutate them into girl-boss fantasy junk.
Real men used to simply ignore liberal media propaganda, but no longer. They’ve been pushed too far. They correctly view the attack on the pretty women they always admired as an assault on them, and they’re striking back in a way the Left has never known. Liberals sowed the wind, and they’re reaping the whirlwind. Which is what just struck the iconic magazine Sports Illustrated. (READ MORE from Lou Aguilar: Reality Bites the Left)
The woke editors at SI learned nothing from the disaster that became Bud Light. Like the advertisers for that now ridiculed beer company, they tried shoving a “trans-woman” model (Kim Petras) down their overwhelmingly male consumers’ throats — in the once prized annual swimsuit edition. The move followed several blatantly obese SI swimsuit models such as Tara Lynn. A press release for Sports Illustrated Swimsuit gave the standard virtue-signaling blather. “Sports Illustrated Swimsuit continues to redefine the cultural conversation around beauty by celebrating a diverse group of women.”
Normal men and women don’t need to redefine the cultural conversation around beauty, They know it when they see it, and Kim Petras ain’t it. Consequently, last week, Sports Illustrated fired its entire staff after publisher The Arena Group missed a $3.75 million quarterly payment to the license company that owns the magazine. Too late, the morons behind SI’s far left turn found out the hard way what Bud Light did earlier — men are back, and hell’s coming with them.
Speaking of real men returning, one of them is the original hardboiled American detective legend, Sam Spade. AMC is presenting the first season (six episodes) of Monsieur Spade, featuring the great Clive Owen as Dashiell Hammett’s immortal hero from The Maltese Falcon. Co-created and co-written by Tom Fontana (the excellent Homicide: Life on the Streets) and Scott Frank (the superior MCU picture Logan), Monsieur Spade features Spade living in the South of France in the early 1960s.
The series is of course darker and slower than the novel, and John Huston’s classic 1941 adaptation starring Humphrey Bogart, but the sight of an old-school tough guy going through his paces in a non-woke manner is more refreshing than any recent screen fare. So is the snappy film-noir dialogue, like the exchange between Spade and his housekeeper when he tells her to keep the door locked in the future. “Locking the door always invites trouble,” she says. “This trouble needs no invitation,” answers Spade.
The compelling first episode opens with Spade looking for the father of Brigid O’Shaughnessy’s daughter, which instantly hooks a lover of the book and movie like me. Brigid was the femme-fatale who Spade sent to jail at the end of The Maltese Falcon (archaic spoiler alert), and naturally a seductive beauty. Unlike Kim Petras. His Sports Illustrated Swimsuit cover will forever be a grim reminder to the former employees of the old Vulcan proverb: “Get woke, go broke.”
READ MORE from Lou Aguilar: