American So Woke is a screenwriter, Hollywood outcast and political/social activist blogging about culture, politics, technology or whatever else interests him, from a nationalist perspective.

Ghost in the Shell: A Glimpse into a Future Globalist Hellscape

Ghost in the Shell: A Glimpse into a Future Globalist Hellscape

I’m not one for your typical film reviews. And, this won’t be one. You know where to go for that sort of mush.

Let me start by saying that I was the only person viewing Ghost in the Shell who laughed out loud when I saw the logos during the opening titles of not one, but two, Chinese film financiers backing this movie brought to us by Paramount Pictures and DreamWorks Studios. Sadly, these are predictable bedfellows for American studios to financing films with Chinese and Indian (e.g. Reliance Entertainment) money.

Although this film didn’t have too much in the way of overt politics to throw in my face, at least where the plot or dialogue were concerned, it did show me quite a bit about the future. Sure, there was the leftist trope of the big, bad corporation overstepping just about every ethical and legal boundary you can imagine in the name of growth, but that’s standard fare in Hollywood.

What was most interesting to me was this futuristic Japan where you had a whole cast of characters who weren’t Japanese. It seems the open borders mentality has reached the shores of this Japan. I don’t think this was an accident in casting either to make it appeal to an American audience. I’ve seen that before.

This version of Japan is populated by lonely, miserable people with no families to speak of, or broken ones, and virtually no cultural connection to one another.

A white man is the chief villain and also runs Japan’s most powerful corporation, Hanka Robotics (read: Robocop’s OmniCorp). He’s also not very clear about his evil plan. I left the movie confused about what his ultimate endgame was.

White garbage men play would-be assassins who’ve had their cyber-enhanced minds hacked by a white terrorist to do awful things.

Another white executive of Hanka Robotics is trying to convince the black president of the African Federation to join the 73% of the world who has opted to enhance themselves with Hanka’s powerul tech, including an enticing sales pitch that has enhanced children learning fluent French…in seconds.

Seeing a pattern here yet?

Seems like whites have infiltrated and assimilated into all levels of Japanese society…as bad guys.

The whole world, as presented, simply struck me as a globalist’s paradise. Barely human corporate employees doing the company’s open borders bidding in pursuit of growth. A multicultural Japanese society with no cohesive identity to speak of, simply moving from one disposable pleasure to the next.

Don’t get me started about how utterly ridiculous Scarlett Johansson looks as a short, stocky crime fighter. Whenever I saw her from behind, she looked like Moe from the Three Stooges. Seriously. Laughable.

One of the few upsides of this film was the depiction of robotically-enhanced humans. This theme is something we will confront violently, as a species, very soon. Some say we’re already there. We just haven’t put these devices into our bodies en masse yet.

Whenever I see cyborgs on screen, I immediately picture all the greats throughout history. I recall the very rich tapestry of mankind and its accomplishments. Every. Damn. Time. This haunts me. I wonder, will it all be lost so we can merge with the Internet?

But hey, we’ve got beautiful Blade Runner-esque scenery to gawk at, right? So, who cares about borders and a national, or human, identity?

The Cancer of Censorship

The Cancer of Censorship

That Time The Left Danced On Its Own Grave

That Time The Left Danced On Its Own Grave