The Cult of Black and white Cinematic Symbolism (Part 19)...Superfly vs. Solo vs. A Wrinkle In Time...why did these flicks fail?

“Solo: A Star Wars Story”, was released on May 28^th, 2018, and is the latest installation of the “space western/opera” that is the “Star Wars” movie franchise. “Solo” was directed by Ron Howard, produced by Lucasfilm, and distributed by Disney.

Now, the plot to this flick takes place 10 years prior to the events of another Star Wars film, “A New Hope”, and it explores the early (mis)adventures of Han Solo and Chewbacca. Basically, Han and “Chewy” are involved in pulling off a heist in the criminal underworld, where they meet a young “Lando Calrissian” (originally played by Billy Dee Williams in “The Empire Strikes Back”), and who’s now played by Donald Glover.

And family, I was gonna’ write a bit more of a preamble as to why I made a decision to never see another Star Wars flick after seeing “Empire”, but I just gotta’ get this out—I saw “Empire” or was taken to see it in my pre-teens. And even at that young an age, Lando Calrissian turned me off. Cause even in my preadolescence, I understood that when he betrayed Han Solo and turned him over to Darth Vader and his minions, I immediately knew, this is some bigoted B.S.

Decades later, Donald Glover, playing the young Lando, has been scripted as a “pansexual”. And for those who don’t know, a “pan”-sexual (pan is the Greek word for “all”), is a person who’ll fornicate wit’ anything that’s got a pulse. Man, woman, child, farm animal, whatever.

Now, the textbook definition of a “pansexual”, or an “omnisexual” (remember the freemasonic credo: “Ordo Abcao”, meaning “order out of chaos”) is a person who is emotionally or sexually attracted to someone regardless of their “sexual” or “gender” identity. But let me show you why this is a thinly-veiled attempt to mainstream “pedophilia”.

Understand that freemasons worship the “goat god” “Pan”. And mind you, this is where the fable of “Peter Pan” comes from. And if you notice in the picture (left), Pan is known for playing the “Pan Pipes”—and this is where the mythology of the “Pied piper” comes from. Also, Pan is almost always depicted as being with a young boy, or young boys, again, like Peter Pan. And the real (hidden) narrative of Peter Pan, or the god Pan, is how he’d lure boys into the woods with music from his pan pipes, and once they’re deep in the woods, he’d have his way with them. Additionally, the god Pan is noted for, and has an (infamous) statue of him engaging in an act of bestiality (The statue portrays pan “mating” with a goat. And mind you, pan’s mythology is where the vernacular term, “horny”, comes from).

Oddly enough, I didn’t mean to segue into this topic—but at this juncture, you may be asking yourself, why’s whitey mainstreaming the mores of “pedophilia/gender confusion” now?

And if you’re a Black man or woman reading this, you should understand that ALL of this non-sense is directly aimed at US.

But in regard to the question of why whitey’s doing this, there’s a three-fold answer, and it’s as follows…

Reason#3:

white fascists know that “trauma” is the only way homosexuals can reproduce themselves.

Now, you may be thinking, what the heck does trauma have to do with this insidious equation? Welp, if you wanna’ talk about how homosexuals “create” other homosexuals, then you have to take about what precipitates anyone calling themselves a queer, and that’s the trauma that made them that way. And don’t take my word for it, look into the life of anyone who calls themselves gay, and you’ll find the trauma (usually childhood molestation) that came before their identifying wit’ that lifestyle.

And the same goes for pedophiles.

Now, am I saying that every gay person is a pedophile?

NO.

But just like the homosexual, the person engaging in pederasty, 99.9% of the time, was preyed on by a pedophile themselves. And if that’s not the case, again, with some investigating, you’ll find this person suffered some sort of severe childhood trauma.

And whitey’s contribution to “traumatizing” the proletariat, is the introduction of the “trans” movements: “transgenderism”, “trans-racialism”, and soon to follow will be “trans-humanism”. And all this serves to do is destabilize the minds of the public (especially the young public), ‘cause whitey knows the best way to control any organism or organization, is through a process, or myriad processes, of throwing them into chaos.

Reason#2:

Lando Calrissian’s pansexuality is “queer baiting” for the negro nerds who watch Star Wars movies.

whitey understands the demographic(s) of the Black men who watch this particular sci-fi flick. And more than likely, the brotha who’s paying to see these movies is indulging in the holy trinity of american male social engineering, which is: reading comic books (graphic novels included), playing video games, and watching super-hero movies. And whitey’s goal with negro nerdom, is to produce Black men who are immature and effeminate, ‘cause they know a nerdish negro is more than likely a closeted homosexual anyways, and he’ll be more willing to conform to the white fascist status quo, than a strong-minded heterosexual Black man would.

Reason#1:

whitey figures the best way to make anything, up to and including bi-sexuality, homosexuality, and even “pedophilic pansexuality” “cooler”, is with the invaluable social currency of “Black street cred”.

With that in mind, Issa Rae, the modern-day mammy, I mean, Black woman behind the HBO series, “Insecure”, has a new show slated to hit the airwaves, about the (mis)adventures/ “sex-capades” of a bisexual Black man. And we already know about the queers of the FOX TV show, “Empire”.

So, the pansexual Lando, is just one more sexually “fluid” and morally nebulous character to throw on the same trash heap as the ones on the aforementioned shows. Cause like I’ve said before, the “gold standard” of social currency is “Black street cred”, and whitey’s working at “light speeds” to get as many of these sexually confused types in our cultural construct of Black cool points, so they can appear (post-haste) on a TV screen near you.

Now, with all that said, the movie “Solo” flopped at the box office, for some of the aforementioned reasons, but mostly because of a troubled production history, too much cinematic competition, too many Star Wars flicks coming out too close to one another, and mostly because of a general disinterest in the early life of Han Solo.

And I can hear someone saying right now, wait a sec’ bruh, over the last Memorial Day weekend, “Solo” was america’s top-grossing film, with box office receipts of $103 million dollars. True, but it was a failure in comparison to the other recent movies in this franchise, namely: “Rogue One”, which grossed $155 million in its opening weekend, and “The Last Jedi”, which took in $200 million during its opening. And I even saw one person on their YouTube channel say that they’re suffering from “Star Wars fatigue”, in regards to why they wouldn’t pay to see this flick. But I think there’s another reason this movie didn’t do as well as expected, and I’ll explain what that is at the end of this post.

The movie, “Superfly”, is a remake of the 1972 “Blaxploitation” film of the same name. Only instead of the main character being named “Priest”, this movie’s star, Trevor Jackson, is named, “Young-blood Priest” (that took some imagination, didn’t it? *lol*).

Now, for those of you under 30 who’re too young to remember the original, or for anyone who hasn’t seen the original, the plot goes like this: Priest and “Young-blood” Priest, are two dope dealers, the original Priest was from New York, and Young-blood is from Atlanta, who see an opportunity to get outta’ the drug game before their premature demise, by pulling one last heist, that’ll set them up fo’ life.

So, let me just say straight off—this is one flick I’m NOT gonna’ see for a number of reasons, but mostly cause of this—and this might be a “spoiler”, but it’s in the trailer, so they didn’t even get that right—the original Superfly, as morally repugnant as it was, had a redeeming quality that came by way of the movie’s soundtrack. Mind you, Curtis Mayfield created the whole of the original movie’s soundtrack (pic above), and sonically, it provides a cautionary tale of what happens to street pharmacists like the “Priests”.

One great example of this is Curtis’ song, “Freddie’s Dead”, and some of those lyrics are:

“Everybody’s misused him, ripped him off and abused him, another jug-head plan, pushin’ dope for the man…”

And beyond this, at the end of the original Superfly, Priest beats up a bunch of crooked white cops and drives off in his Cadillac. That speaks to the sentiment of the 70’s film genre, wrongly titled “Blaxploitation” by the NAACP (and if you don’t know what that acronym stands for, google it), cause these films (“Buck Town”, “The Spook Who Sat By the Door”, “Three the Hard Way”, etc.) were actually “uplifting” to the esteem of the Black community. Cause we got sick and tired of seeing ourselves portrayed as dehumanized, deflated and defeated butlers and slaves. This new flick doesn’t have any of that quality. And, like I mentioned earlier, in the new film’s trailer, “Scatter”, Young-blood Priest’s mentor, turns on him. So, we went from fighting whitey, to ultimately fighting (and turning) on each other.

But ultimately, this flick failed for the same reason Solo did—and I’ll also explain that at the end of this post.

Ava Duvernay’s movie, “A Wrinkle In Time”, was released on March 9^th, 2018, and is based on the 60’s surrealist novel of the same name, written by Madeleine L’Engle. And like Solo, this movie was distributed by Disney Studios.

Now, the movie’s plot goes something like this: 13-year-old maladjusted middle-schooler, Meg Murray, the flick’s main character, is troubled behind the disappearance of her father, Alex, who vanished in the midst of his studies in astrophysics. Meg and her mother, Kate, believe Alex was transported to another world while trying to solve the question of humanity’s existence. So, Meg, along with her mom, friends, and an assortment of “Wizard of Oz-like” people/creatures, set about the nearly impossible task of finding her father.

This flick costs between $100-130 million to make, and it grossed $132.1 million. Meaning, this film was a “mega-flop”. And in accordance to this post’s theme, this movie bombed for the same reason as the other two.

So, let’s get to that reason…

What Disney Studios should have learned about america’s movie-going audiences, especially after the success of the “Black Panther” film is this: people want more REALISM, and less escapism in their movie-going experiences.

Now, you might be thinkin’, wait a sec’ bruh, how you gonna’ call the “Black Panther” movie realistic? Wakanda ain’t real.

Here’s how—what made the Black Panther movie so successful, besides the special effects and all, was the “Killmonger” character. When Killmonger says, “There’s 2 billion (Black) people all around the world that look’s like us, but their lives are a lot harder. Wakanda has the tools to liberate ‘em all.” That immediately grounded the movie in a stark reality, that immediately steeped the film in a realism that enraptured audiences worldwide.

And that ain’t just the case for Black folks, cause “The Dark Knight’s” Joker (Heath Ledger), brought the same element to that Marvel Studios movie.

So, when you talk about a young Han Solo flying around in a spaceship, being a futuristic “swashbuckler”, or Superfly’s drug-funded, hyper-opulent lifestyle, or A Wrinkle In Time’s pre-adolescent Meg, exploring different dimensional worlds to find her father, movie studios should understand, the modern day movie-goer can’t relate to that crap. Thus, they’ll turn a deaf ear and a blind eye to it everytime.

Now, for one sec’ let’s just focus on Superfly and “Wrinkle”.

Movie studios should get the message that the Black Diaspora realizes how Young-blood Priest’s drug operations, no matter how well laundered his money may be, is a mockery of us knowing that the only thing that comes from that lifestyle is death or jail.

As for Ava’s “Wrinkle”, what she’s really saying throughout this film is that she wishes she was the flick’s main character: a bi-ethnic Black girl, who has a white father.

PERIOD.

So personally, I’m glad these flicks failed. Cause behind these flops, maybe film studios will realize what audiences really want from a modern day movie. But it’s in whitey’s nature to think he knows it all. Thus, we can expect more of these cinematic fowl-ups in the future.

And like Sam L. Jackson said in Spike Lee’s movie, “Do the Right Thing”: “That's the double truth, Ruth.”

Later…

MontUHURU Mimia

P.S.

Here’s a vid with A Wrinkle In Time’s director, Ava Duvernay, and the movie’s star, Storm Reid, who plays “Meg Murray”. Now, I want you to concentrate on how Ava tries to hide facts about the film and herself, but then reveals them as true through her responses. Ava says, “This movie’s not about a girl trying to find her father…”, then she talks about how she watched this movie as the, “12-year-old Ava, (being) all the things that I hoped and dreamed that I wanted to be.” Meaning, what she really hoped and dreamed she'd be, is the bi-ethnic Black girl, with a white father, like I mentioned earlier. But it also speaks to Ava’s (past and future) endeavors to move time and space to get to the affections of the man she really desires. A white man. And Disney Studios banked on the fact that “Wrinkle” would ride the coat tails of “Black Panther’s” success, but there was only one problem, Black Panther was about bringing our people together, not indulging in some hyper-anglophilic fantasy that would fulfill a deep longing to be with some white person. And that’s why “Wrinkle” flopped with a thud. 

P.P.S.

Here’s Curtis Mayfield’s song, “Freddie’s Dead”, off the original Superfly movie Soundtrack. And trust me fam, ya' betta' off listenin' to the whole album, 'cause the whole record’s dope.