“Solo: A Star Wars Story”, was released on May 28th, 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”.
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.
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.
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 9th, 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.”
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.
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.
