The movement most damaging to creativity and storytelling in film has been the progressive movement to “empower” women.
Last Friday night, actress Alyssa Milano was trending on social media for a post in which she referenced what she calls “innate misogyny.” Milano took to Twitter to let the world know how offended she is that women sometimes need help, even if that woman is your own mother.
Milano issued the following statement: “Can we stop telling our son things like ‘take care of your mum while I’m gone.’ It’s insinuating that women can’t take care of themselves. And it’s *** bulls.
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On the face of it, these are the ramblings of an aging Hollywood actress, but closer examination of this tweet exposes the core problem of the far-left ideology’s mindset. In the minds of progressives, women in movies have to look as strong as men at all times, or it’s misogyny.
You may never have heard the term “Progressive Storytelling” before, but if you’ve watched any movie or TV show in the last decade, you’ve seen it with your own eyes. Thanks to diversity and inclusion mandates that ensure unqualified writers must now be part of major Hollywood productions, the floodgates have been opened to storytelling steeped in intersectional feminism.
The biggest casualty of progressive storytelling is the concept of heroes. Heroes don’t always need to have superpowers, but the idea of a hero is a selfless individual who is willing to sacrifice themselves for the greater good of those around them.
A hero is someone who is there when you need them. If a car breaks down on the tracks and a train arrives, a hero will risk their own safety to ensure the person inside is saved from certain doom. A hero can be defined in many ways, a person who gets the winning base hit, or someone who fixes a car someone uses for work, or someone who brings good beer to a party.
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This idea of heroes is “problematic” for progressives because we live in a world that needs to teach women that they don’t need a man to save them.
To take Solo: A Star Wars Story for example (Spoilers for those who haven’t seen the movie after 4 years). At the film’s climax, main character Han Solo is in a bitter battle with crime lord Dryden Vos (Paul Bettany).
In a film that was created to be an origin story for one of the greatest heroes in the entire Star Wars universe, Solo has his moment of heroism stolen by Qi’ra (Emilia Clarke) who kills the main villain all by herself with minimal effort. In her own movie’s biggest moment, Solo takes the edge off a strong, independent woman.
In the movie 2019 Shazam, our hero sees a woman being mugged and rushes to save her only to realize that she has taken care of the mugger on her own.
The conclusion of this scene is not that our hero learns to use his powers for good, the message here is “normal aged women don’t need your protection so wake up brother!” (actual line from the film).
How about the new Disney+ series “Moon Knight” where our main character is led by a strong female character named Layla El-Faouly who can clean up a whole room of men on her own while Moon Knight…stands there, amazed.
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We’ve all seen recent cinema where there’s a woman in distress and just as a male hero arrives to save the day, the woman has taken care of the problem on her own. Why? Because she doesn’t need a man to help her.
Progressive storytelling cannot allow a woman to be seen as weak, even if it is to the detriment of the story itself. Hollywood’s creative decision to prove to audiences that women are just as strong and powerful as their male counterparts robs its protagonist of the moment that cements his legacy as a cinematic hero.
Earlier I mentioned how selflessness is a key character trait of being a hero. Progressive storytelling, however, teaches women that the last thing they want to do is put the needs of others above their own wants.
In the movie 2020 Gretel and Hansel, the evil witch proves to be a mother figure to the young woman Gretel. The witch tells her that she has the power to shape her own future, but to keep that “power” intact she must abandon her younger brother who will only hold her back from her potential.
Now, a villain using satanic undertones to tempt a protagonist down a dark path in and of itself isn’t bad storytelling, it creates conflict that makes for a good story.
The problem is when your protagonist sides with the antagonist and embraces his message. When that happens, your hero becomes a villain and your movie has no one to back because evil has won. A character is no longer “the good guy” when adopting the anti-family ideology of a satanic cannibalistic witch.
This is why progressive storytelling fails.
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In a ‘women’s empowerment’ society, we celebrate women who reject the idea of motherhood in order to reach their ‘potential’. Whether it’s ditching your family to become the CEO of a company, becoming an unfunny actor of Saturday Night Liveor credit your abortion as a key factor in winning a golden statue.
When a person lacks morality, he lacks the ability to distinguish between good and evil. If you don’t understand good or bad behavior, you don’t understand the fundamental art of storytelling.
When films are created to support the far-left worldview, storytelling and character development will always suffer because progressive ideology is in direct contradiction to traditional values that create heroes and villains.
The far left uses cinema as a canvas to paint its broken vision of the world. As a result, audiences are left with an eye sore that many are moving away from, not towards.
Alyssa Milano’s tweet is easy to dismiss as complaints from a middle-aged leftist white woman who’s bitter about her reality as a D-list actress, but her mindset exposes the moral flaw in the minds of progressive women.
Female empowerment is a mainstay of progressive storytelling, but its injection into movies is anti-storytelling at its core.
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