There was a time when movies and television were just entertainment. They shared stories about characters, and we sat down to enjoy them for an hour or two.
But the Left ruins everything by politicizing each aspect of our lives, including movies and television. Now, what you watch has to be a political statement, complete with 'coded' lenses.
This writer has heard of the ALIEN franchise, but had not heard about ALIEN: EARTH, a new television series based on the iconic 1970s sci-fi classic.
And she'd never heard of film critic Sara Clements, who says the new show has a 'queer-coded' lens:
Clements writes (spoiler warning):
Where previous entries in the Alien franchise focused on the invasion of the monstrous into human space – xenomorphs breaching the boundaries of ships, of bodies – Alien: Earth reverses the equation somewhat. The hybrids are the invasion: human minds inside new shells, designed not for survival, but for servitude. It’s here that the show’s queer and trans allegories (unintentional or not) come to light. The process of hybridization is referred to as “transitioning.” Like many trans experiences in the real world, especially with body dysmorphia, these children are forced to suppress their feelings, retrain their movements, and learn to act “normal” in bodies that don’t match their sense of self.
This is not a metaphor for metaphor’s sake. It’s baked into the story’s core. In one devastating scene, Nibs (Lily Newmark) looks at herself in a mirror and sees a fractured reflection – an adult shell with a child’s sorrow staring back. The show doesn't shy away from this dissonance. These are children denied the chance to develop, moulded into perfect tools for someone else’s dream. That dream belongs to Boy Kavalier, who believes he’s building the future of humanity. “If they don’t stay human, then what did we win?” asks Dame Sylvia (Essie Davis), a scientist caught between maternal guilt and professional duty. It’s a question that lingers like acid in the gut.
Sure, Jan.
This is why ALIEN: EARTH will flop. Just like Disney's 'Acolyte,' dubbed the 'gayest 'Star Wars' ever' by showrunner Leslye Headland, was a massive flop and ultimately canceled.
The entire post reads:
It’s just like breathing, drinking water, or enjoying a nice breeze: totally normal human things, except now we’re slapping a special label on them so someone on X can write a 47-tweet thread explaining why 'The Fast and the Furious: Tokyo Drift' is a metaphor for queer liberation.
Soon, we’ll discover that liking pizza is 'aromantic-coded.' Owning socks is 'poly-coded' and walking your dog is 'sapphic-coded with a side order of fries and extra ketchup.' Because why let a perfectly ordinary human experience be ... Ordinary?
Nah, let’s file it under an identity spreadsheet and pretend it’s a revolutionary act.
Spoiler: Being queer is fine. No coding needed. Watching a movie doesn’t make you part of a secret club. You just ... Like movies.
And if you happen to be queer, that’s just who you are. No plot twist hidden in your Netflix history.
She's 100% correct, but the Left insists on 'representation' in movies, as if audiences want to see themselves reflected on screen.
We do not. At least not the normies. We want interesting characters with intriguing plots.
The Left wants a movie to be a mirror that reflects their existence in a cultural minority.
Like locusts, they move from beloved franchise to beloved franchise to destroy it in the name of 'diversity.'
Ye gods, indeed.
And if Sara got 'queer-coded' out of that, it's kind of revealing, no?
The Left won't tolerate people enjoying things for the sake of enjoyment.
BOOM.
So refreshing!
Not.
YUP.
Because reasons.
That it is.