Mad Max: (not so very) Feminist Road


This is what a feminist looks like (in a post-apocalypse dystopian future).  Charlize Theron looks more like a feministed version of Tom Hardy in this movie.

This is what a feminist looks like (in a post-apocalypse dystopian future). Charlize Theron looks more like a feministed version of Tom Hardy in this movie.

Mad Max: Fury Road is out in theatres now.  It’s the feminist action movie that women have been waiting for, and the cishet white male society gets crushed by women in glorious 1.85:1 cinema screen ratio (even worse if you watch in 3D!).  And it’s the truth!  But, it’s only the truth if you don’t read the fine print.  The real truth of the matter is that Fury Road is not the feminist action flic that it’s been made out to be.

This is the long awaited installment to George MIller’s  Mad Max franchise.  This movie does have some explicit feminist messages, but don’t let that stop you from watching the film.  Really.  If you enjoyed the Alien franchise with Sigourney Weaver then you would probably enjoy this one.  I’m truly sorry to be the one to tell you this if you haven’t figured it out yet, but the entire Alien franchise was a feminist production about female agency and power.

Don’t listen to Return of Kings.  This is a good movie.  This movie is, more than anything else I’ve seen yet, not a rejection of men but an affirmation of the necessity of men and the historical failure of matriarchal societies. 

Feminism

The preeminently evil cishet white male is Immortan Joe (front, far right) who keeps women locked up inside the Citadel for endless rape parties.

The preeminently evil cishet white male is Immortan Joe (front, far right) who keeps women locked up inside the Citadel for endless rape parties.

Fury Road does carry a variety of dyed-in-the-wool feminist messages.  There is no escaping this fact.  The epicenter of evil white men is the Citadel, a sort of castle fortress built into the side of a mountain run by the most evil whitey of all: Immortan Joe.  The movie opens with a convoy from the Citadel chasing Max across the open desert and capturing him.  He’s taken to Immortan Joe’s mountain castle, the Citadel, and put into a cage with a metal muzzle strapped over his face so that he can’t talk or move.  Does this sound like a feminist smash-the-patriarchy wet dream yet?  It get’s better (or maybe worse, depending on how you look at it.)  Charlize Theron plays Imperator Furiosa, the bad bitch of Fury Road who drives a fuel tanker to Gas Town on fuel runs.  Max is dragged into the chase for Furiosa after Immortan Joe realizes that she’s not doing a fuel run.  I won’t go into detail explaining why Max was strapped onto the front of a alcohol powered hot rod, but suffice to say he wasn’t there voluntarily.   After much explosions and fire, Max manages to hijack the fuel truck with none of the women on board, but he doesn’t make it far.  Why?  Furiosa installed a timed kill switch which shuts down the vehicle if not overridden in a set amount of time.  This was another moment that really smacked with feminism.  It’s like Miller is trying to rub it in our face and saying that nothing works for men without women’s permission.

A world run by women

Furiosa smuggled a number of women out of the Citadel so that they wouldn’t be stuck having to birth rape-babies for the rest of their lives.  No exaggeration– that’s all these women were being used for.  The women were Immortan Joe’s property, and their only function was to make baby boys to sustain the patriarchy.  This is, apparently, what the world comes to when only men are left to run it.  Furiosa was compelled to smuggle out the women because she wants to redeem herself for having abandoned her responsibility of protecting and caring for other women, and the women who are being rescued?  The rescuees, on the other hand, were running on hope that there was something better in the world than being raped 30 times before lunch.

The feminist utopia they’re escaping to is called “the green place.”  All we know about the green place is that it’s where the great matriarchy lives, there’s water, there’s lots of plants, and there aren’t any evil rape-crazy white men.  In the movie, Furiosa drives right through the green place without even realizing it.  She drove straight through it without knowing it because it had turned into a lifeless gray bog.  After finally meeting the supposed great mothers on the other side of the bog, all five or six of them, in a new patch of desert, Furiosa is told all about how the water just “went bad” and everything died.  Mind you that the only place with water was back in Immortan Joe’s rape castle where all water was plumbed from the depths of the earth.

The women, clearly, aren’t going back to the Citadel.  One, because they would have to go back into Immortan Joe’s attack convoy, and, two, because they can’t take over Citadel on their own with Immortan Joe and the other men still alive.  The women folk’s grand solution (rolling eyes) is to load up their desert motor bikes and ride out across the great salt flats in hopes of reaching the other side and finding a new green space.  They didn’t even know if there was a green space on the other side of the salt flats.  Their solution was to ride their bikes way out in the middle of a salt flat desert and just hope that there was something on the other side.  Yeah, that’s shite for a plan.  Re-enter Max.  He convinces them to return to the Citadel and kill Immortan Joe by way of a trap set in a section of treacherous terrain.  The women’s solution and salvation wasn’t even their own idea!  It was MAX’S idea!  If a hyper aggressive patriarchy is what develops when men are left to themselves, then a hyper aggressive matriarchy develops a society that will kill itself with stupidity if left to manage things on their own.  If that’s the great feminist message that Fury Road is supposedly telling, then it’s a damn good joke, because I laughed like hell.

White Cosmopolitan Liberals: The Real Supremacists

The film is set in some post-apocalypse dystopian future where everyone speaks English with an Australian accent (except for Furiosa).  National Geographic “predicted” what humans will look like in 2050, and if this movie is a vision of the future then NatGeo is dead wrong.  This dystopian future is pretty fucking white.  I’m okay with this.  Even in the future after a major world-wide catastrophe white people are still in control.  I can’t recall seeing many non-white people in this film either– did all of the non-whites get purged during the planet’s catastrophic happening?  Seems to be the case…  Does Miller really want to tell a story about smashing cishet white male authority structures?  If that’s the story he’s telling then it’s not a great solution.  Deposing cishet white males and replacing them with cishet white females isn’t much of a social justice message.  It’s sort of exactly what Matt Heimbach wrote about a while back when commenting on how white cosmopolitan liberals are the real supremacists.

Replacing the old white men with young white women is exactly what happened: replacing one cosmopolitan liberal white authority structure for another cosmopolitan liberal white authority structure.  As Theron and the rape-surviving wives are triumphantly being raised on high to take Immortan Joe’s place, Max quietly excuses himself to return to wandering the desert wastelands, which is exactly what he was doing at the beginning of the movie when he was captured.  This is one of the few in-your-face-feminism moments of the movie where the great and mighty Womyn rises to power taking all of the poor and broken people with them in an act of compassion and charity.  It’s also one of the tried-and-true egalitarian messages so typical of Hollywood films, because God forbid that a movie come out in which men are explicitly empowered and presented as saviors of society.

Sequel?  More like prequel.

This is what happens when feminists and SJWs win.  They still lose.

This is what happens when feminists and SJWs win. They still lose.  Comic courtesy of Patri-Archie Comics

Furiosa and the team of rape survivors returned to the Citadel with Immortan Joe strapped to the hood of their hot rod as if he were some kind of wild game being taken to a DNR inspection station.  The women are now uncontested leaders of the Citadel.  That’s where the movie stops, but for the sake of argument let’s think about where it goes from there.  I don’t believe for a moment that the handful of women, Furiosa and the rescued wives, will be capable of running the Citadel in the happy dreamy feminist utopia fashion that we’re supposed to believe.  Just because the women took Immortan Joe’s throne doesn’t mean that everyone they’re supposed to be in charge of will stop being barbarians.

If we extended this movie’s story another 50 or 60 years into the future it would probably look like Barter Town from Mad Max: Beyond Thunderdome.  Will women still be in power at that time?  Sure, but only because they have an army of men to enforce their decisions.  Enter Master-Blaster, the two who are really in control of Barter Town.  Don’t forget that Beyond Thunderdome ended with Max (played by Mel “fucking Jews!” Gibson) destroying Barter Town, freeing the children enslaved to Barter Town, and finally ending with the children establishing their own society in the ruined high rises of a city by the sea.  If Max is a feminist ally in Fury Road, then he’s the Evolian hero in BeyonThunderdome. The children in Beyond Thunderdome went on to live as men (and women) among the ruins with a happy, healthy, sustainable folkish community.  If that isn’t an Evolian future, then I don’t know what is.

Fury Road is not the feminist film that it’s been advertised as being.  The one thing that this movie has absolutely affirmed is that men and women cannot live in separated societies.  Was the hyper-aggressive male society of the Citadel barbaric and atrocious?  Yes. The Citadel was a nightmare, but it was sustainable.  Was the hyper-feminine matriarch alternative sustainable?  We don’t know, because it’s never shown to us in the movie.  The only thing we do know is that the alleged feminist utopia that we did see in the movie consisted of five or six old ladies riding around in the desert.  Does that sound “sustainable” to you?  This movie had the unfortunate circumstance of being made out of order.  This is not the movie that comes after Beyond Thunderdome, it’s the prequel for Beyond Thunderdome where Max saves the great masses of (mostly) white children from slavery to SJWs and feminists.  Is Fury Road a feminist action film?  Sort of.  But, it’s still a fucking awesome movie.  If you’re on the fence about seeing it because you “just don’t like feminism.” then don’t fucking watch it.  For everyone else with a critical eye and the capacity to enjoy an incredibly well made film, go watch it.  You won’t regret it.


  • Eric

    Come on Thomas. I haven’t seen the movie, but a woman with a shaved head kicking ass and dominating men is always a feminist political statement regardless of any other factors. This is truly a missed opportunity, because everything else about this film seemed promising, but if you want to make art in America, and it’s not soulless Michael Bay crap, then the Jew “patrons” in Hollywood make you advance their political agenda in some shape or form as a qualifier.

    • Georg

      She isn’t dominating anyone. Max packed her shit in tied to a car door and a half dead soldier. If she didn’t have guns, or Max, she would have been captured and killed and the women returned to their rape chambers.

    • I really think you should see the movie. The coolest part is that ALL OF THE VEHICLES ARE “REAL.” Every. Single. One.

      The blind gimp who plays a flame-throwing double neck guitar while being suspended by chains off the top of amp mountain on the back of something called “the doof wagon” was reason enough for me to see the movie. That alone was so freak’n metal. What made it even cooler is that it gave Miller a really awesome way to cut back and forth between diagetic and non-diagetic music in the film. Not only that, but it also let Miller give Immortan Joe’s attack party it’s own sublime Leitmotif. (sorry, I had to go “full film geek” on you for a moment there…)

  • tiberius7

    Yeah let’s keep supporting Hollywood so they get even more radical with their messaging. At least suggest pirating it if you’re so desperate to see muscle cars.

    • Let me know when you can pirate a theatre-sized silver screen, 3D projector, film reel, glasses, stadium style seating, etc… etc…. and have the space to set it up in.

  • Lew

    Excellent review. I agree with most it.

    The film actually has numerous anti-feminist elements. One obvious example is the overall portrayal of the lusty harem sex-slave girls. In one sequence that stands out in my mind where the Theron-Hardy driven war rig is under attack, the girls are shown screaming, crying and acting, well, acting like women often act. One of the girls tries to return to being a sex slave suggesting weakness and perhaps even cowardice on her. Another girl is shown nuturing the young war boy and forming a kind of romantic attachment to him.

    If the primitive, patriarchal society of the Citadel is repulsive and it is, there is nothing inherently feminist about that. It’s not unrealistic by historical standards. Primitive, patriarchal societies were often (not always) utteely repulsive. Patriarchal rule in and of itself does not guarantee anything good. Societies that crush women usually crush most men too.

    • just a passer-by

      I hope this won’t annoy you, but I ended up here by accident, as a feminist, and I agree that 1. weakness, panic and even cowardice are things that women do sometimes in reality, and I liked how there was not just Furiosa in the movie, creating the false impression that this is how we all should be, not everybody can be a superhero and many just don’t want to be butch (of course, in the movie world there is not much freedom of choice, but.. .you know) 2. being nice to the war boy was a good thing (I may just wonder if branding nurturing as an exclusively feminine thing is useful, after all, fathers exist and are important, we have no monopoly on it…) 3. “Societies that crush women usually crush most men too.” yes, they do.

    • just passing by

      comment nr 2 – to the one who said that the film is about the need of collaboration between the sexes – yeah, I like that too. Separatist matriarchy is an impractical nightmare, partially because hey, I am a heterosexual woman, and partially because the kind of people who categorize and morally judge others based on stuff they did not chose and which are not morally judgable (like a pebble – is it an ethical pebble? well, why don’t you divide it by zero to find out?)… these kind of people make horrible, toxic communities, and I’d never want to live in one, even if I sudennly lost my libido. People who are hurt and want to run from the world in small and cozy communities, okay, they have all right, but no ideology and no recruitment, please. So I liked how Max’s help was absolutely needed, and how they became allies. The one thing I missed was a kind of Margaret Thatcher (well, if necessary, translate this to a politician you actually hate) – given how restricted the cast was, it seemed like if you give a woman power, she automatically becomes a force for good, and this is not so in real life. Also, the women/plant symbolism was forced and stupid – I don’t know what’s going on in Mad MAx-land, but what comes out of _my_ uterus, without male collaboration, is just blood, not eco-utopia or world peace. Anyone who was bullied or abused by women knows that there comes no morality just inherently attached to these parts, one must work on being a good person, and these pedestals of born nobility were used against us (“women are too pure to vote”), but they were absolutely used by, say, abusers too (“I hurt you? what? can’t you see I’m one of the pure ones?”) Nature is not a mother, it’s a genderless, blind force.

    • Lew

      I’m probably in a small minority around here, but I don’t have a problem with feminists checking in if they seem grounded in historical, anthropological and biological reality.

      being nice to the war boy was a good thing (I may just wonder if branding nurturing as an exclusively feminine thing is useful, after all, fathers exist and are important, we have no monopoly on it…)

      Yes. Any man who is also a father will immediately understand that men do in fact have a nurturing side that is masculine in its own way. But the way I read the film is that women are branded as primarily but not exclusively nurturing. Furiosa is a kind of exception that proves the rule.

      A lot of the commentary about Mad Max has focused on the so-called “many mothers” matriarchy in the green place and the idea that matriarchy is just so wonderful compared to Immortan Joe’s patriarchy. There has been little discussion that I have seen myself on the idea Miller closely links to the matriarchy, specifically, motherhood. It’s interesting how Miller links his patriarchy Motherhood is a major theme in this film. There are the many mothers. There is the mother’s milk that provides nourishment. The harem are girls are forced to become mothers not just to submit to acts of sex. Furiosa shares an anecdote about her dead mother. I don’t think all those references are there by accident; it’s pretty clear Miller sees motherhood as something that is profoundly important in direct to contrast the feminist viewpoint that sees motherhood as a kind of slavery.

      We only see two fathers in the film, Joe and, interestingly enough, Max himself. If people want to build a case that the film is “anti-father” because Joe is the main father figure shown, I think they have to deal with Max’s flashbacks about his daughter. We don’t see it, but it’s pretty clear Max is tormented by the loss of his daughter. Joe is shown as a bad father, but that depiction is offset by the implication that Max was a good father and that being a good father to his daughter was the most important thing to him, another clear nod to traditionalism and traditional roles.

      The death of Max’s daughter might explain why he was willing to give his blood to save Furiosa. He couldn’t save his daughter, so he saved Furiosa instead even though he really didn’t owe her anything. The symbolism in the scene fits that interpretation, I think, because Max passes or transfers his blood to Furiosa in order to save her life. And fathers, of course, pass on their blood to their children. Now, obviously, I might be reading too much into that scene. But reading the scene in that way, as Max seeking a kind of redemption by saving Furiosa when he could not save his daughter, makes a lot more sense to me than reading Max as just a “beta” white knight who “sacrifices himself for a woman.”

      The war boy Nux and Max are also linked by blood; that might be a symbolic nod to brotherhood or comradeship between men. The names Max and Nux are pretty damn close. The film has numerous references to mothers, fathers, and men joined by blood which suggests brotherhood; Immortan Joe’s alpha-warrior shouts out “I lost a baby brother,” Furiosa is devastated by the loss of her mother, and Max is devastated by the loss of his daughter. The importance of family in giving life basic meaning is a pretty obvious theme. There is so much traditionalism in this film it’s hard to know where to stop. It’s everywhere.

      3. “Societies that crush women usually crush most men too.” yes, they do.

      Joe treats the war boys at least as bad as he treats the women, and in some ways he treats them a lot worse. People focusing on how badly Joe treats the women and then reading that as some kind of broad statement that patriarchy as essentially about power and dominance for men are ignoring that Joe’s patriarchy does not empower men. It empowers a tiny handful of men while exploiting the rest of them.

      There is suggestion that Joe not only monopolizes the most desirable women, he monopolizes knowledge too. He keeps his harem girls in a special chamber with a door suitable for locking a bank vault. But behind the vault in addition to his prized females are all these books which one can infer are the source of his engineering and technical knowledge. Joe keeps for the knowledge himself. He does not share with other men. At one point, Nux the war boy calls a tree a “thing” because he doesn’t know what a tree is. Joe keeps the war boys, the males, utterly stupefied to make them better cannon fodder for his interests. Although, Miller also suggests ignorance and religious fervor go hand-in-hand.

      Nux tries to sacrifice himself for Immortan Joe two or three times. He fails and later sacrifices himself to save Max and the women. Another retarded interpretation moving around in these circles is the idea that Nux sacrifices himself for women and that’s all there is too it. He does sacrifice himself for women, except he was dying and near death anyway. Nux was going to die anyway. And because of that, Nux said himself early in the film he wanted to go out in a glorious end rather than just fading away. And he does just that. Nux dies in the way he wanted, except instead of dying a glorious death for Joe he dies to save Max and the women. The point is that Nux dies how he wants, in a glorious way and in defiance of Joe who never cared about him, rather than just “for women.” That is kind of redemptive.

      So yeah, there is a lot of shit going on in this movie. It is fundamentally about complementarity between men and women and sacrifice for higher values in a non-beta sense. The duel between Max and Furiosa brings that home. When Max wins the fight, he ends up in a position of total dominance on top of Furiosa with a gun to her head, kinda sexually suggestive in its own way — in a scene filled with sexual allusions, including half-naked women with exposed bodies, a pregnant woman and chastity belts.

      Max wins the fight and immediately, and he immediately tries to pull off in the war rig. That’s important detail because of it’s a piece of evidence Max is not a white knight by instinct. His initial plan after defeating Furiosa is to leave Furiosa and the girls to Joe. The problem is Max didn’t anticipate the clever girl sabotaging the war rig, so it won’t go anywhere without her. This is actually one point where I disagree with Thomas. I don’t think Furiosa’s sabotage translates to Miller is saying nothing works without women. I think the intended implication is more in the zone of look, this war rig won’t move forward unless Max and Furiosa work together.

      In the end, there are two movies here: one for retards like Eve Ensler’s audience and certain elements of MRA and MGTOW who don’t see anything but explosions and a kickass woman and girl power, and one for thinking people. The one for thinking people is about as traditionalist as they come.

  • Lynda

    Matriarchy will always be a feminist fantasy. Has there ever, anywhere been a matriarchy? Or for that matter a democracy as imagined in the Jew Revolutionary ideologies? Granted there are matrilineal societies. Granted there have been successful political models of democratic self government (guaranteed by monarchies or limited to an elite voting class) – but none of these are the ideological matriarchies and democracies as imagined by Jew Revolutionary ideologies.

    For most people (everyone actually) , it will come down to the type of joke that asks ‘ ‘how many feminists does it take to change the light bulb, fix the tap, the car, the washing machine, make the wayward sons behave, load the camel, build the road, make the other hood pay up, fight off the bad guy?’ This will be answered (inter-ethnically) by three – one to fix the food, one to harrange the X no of men doing the job and one to tell everybody all about it on social media. Eia Ergo: everyone gets it.

    Multicultural humour can be a good thing.

  • Wait just a minute

    Thomas, I noticed you conveniently left out the part where THEY HIRED A FEMINIST, SPECIFICALLY THE ONE WHO WROTE “THE VAGINA MONOLOGUES”, TO BE THE CONSULTANT FOR THIS FILM.

    >”Vagina Monologues” author, Eve Ensler, served as a consultant on the movie, and she’s shouting out the film for its progressive character work.

    “I read the script and was blown away. One out of three women on the planet will be raped or beaten in her lifetime — it’s a central issue of our time, and that violence against women relates to racial and economic injustice. This movie takes those issues head-on. I think George Miller is a feminist, and he made a feminist action film. It was really amazing of him to know that he needed a woman to come in who had experience with this,” Ensler told Time.

    Indeed, our own review of the movie notes that the action blockbuster “takes a traditionally testosterone-fueled series and reimagines it as a kind of feminist manifesto with much on its mind.” Bold stuff, and Ensler details how Miller accomplished this task.

    “George was looking to create empowered women, not victims, and I think he accomplished that. I don’t remember seeing so many women of all different ages in any movie before. I was really blown away by the older women in the film who were just as good fighters as the men. I’d never seen that before. They all have so much agency and independence,” she continued. “Charlize’s character is also really fierce. But at the same time, she’s compassionate. And that’s a hard thing to pull off. All the women felt full in terms of their backstory. Even something subtle like their clothes in the film: they’re stripped down and vulnerable and objectified in the beginning. By the end, they have their clothes on. They’ve taken their bodies back and themselves back in some essential way.

    “And the journey of the film: women who are willing to give up enslaved comfort for liberation and risk death to do it. It’s the rising feminine rebelling against the patriarchy,” Ensler said.

    http://blogs.indiewire.com/theplaylist/eve-ensler-says-mad-max-fury-road-is-a-feminist-action-film-plus-watch-30-minute-interview-with-george-miller-20150511

    Even if this movie was 100% non-feminist (and it certainly isn’t), I STILL WOULDN’T SEE IT. Why? Because I’m not going to give money to any company THAT PAYS A FEMINIST A SALARY TO PUSH MORE AGENDA.

    I wouldn’t do it because I have values and principles, and they mean more to me than being entertained for two hours.

    I like this site a lot, and there are few places like this on the internet, but the frequent movie reviews don’t really have much to do with the cause. They’re simply you taking a movie you like and trying hard to relate them to traditionalist values.

    That’s fine, but maybe make another blog about that. I’d much rather hear about the sign making and ally rallying, the articles about improving one’s self and how to use one’s faith to survive a world like the one we live in. The recent obsession over movies doesn’t really help traditionalism in any way, it’s just a distraction, and frankly I respect what you’re trying to do, but escapism isn’t what the focus should be on.

    Anyway, the clear feminist involvement taints anyway you look at it. Even if you try to justify everything. If you liked the movie… fine. But it doesn’t change the fact that the intent was still there.

    It doesn’t change the fact that “Furiosa” is portrayed as a stong independent womyn who don’t need no man and it’s portrayed constantly:

    -She holds on to Max with one arm while he’s dangling
    -She takes out a guy twice her size (Nathan Jones)
    -A woman screaming “WE ARE NOT OBJECTS!”

    Again, if you liked the action of it, that’s all well and good, but sometimes we can try to make things fit simply because we become attached to them. I know I’ve done this in the past as have a lot of people. But we need to see things for how they are.

    If you still don’t believe here’s one more quote for you:

    The Immortan’s “the last fascist, feudal moron,” says production designer Colin Gibson. “For me, he was the last white man on Earth, and partly the reason for why we were screwed.”

    http://www.usatoday.com/story/life/movies/2015/05/18/george-miller-mad-max-fury-road-comics-exclusive-preview/27518457/

    • Lew

      A pretty superficial way of looking at it. The harem girls would have been captured, beaten and returned to slavery or fucked to death if it wasn’t for Max and Nux. And no, not all of the women are depicted as strong. The obese women who create the mothers’ milk are treated like cows. The crones can fight, but as Thomas points out, their society is a complete failure. And I notice Ensler didn’t mention the scene I alluded to above where the harem girls scream like little girls while Max, Furiosa and Nux take care of the bad guys, 2 man, 1 woman. It’s Max who hits on the plan to attack the Citadel which ultimately installs Furiosa in power. Furiosa is a kind of outlier woman. They do in fact exist as the examples of Joan of Arc, Elizabeth, Victoria show. Max doesn’t take a share of power because why would he?

      And yes, the patriarchy of Immortan Joe is very ugly. We live in a culture where the absolute worst traits of women are encouraged. The problem is not the women but the culture and especially the people who run this culture’s opinion-shaping institutions. What do you think a culture or social scene that encouraged the worst traits of men would look like? In point of fact, in lots places throughout history, patriarchy in practice has looked exactly like Immortan Joe’s world. Men can be savage and brutal when not restrained by law and civilization. When given the opportunity to act on their worst impulses, many do. Acknowledging that reality is not in any way a concession to trash like Ensler or Gibson. It’s just a matter of historical fact.

    • Eric

      Hey man the Vagina Monologues is a traditionalist book. Since we’re moving the front line back another hundred meters, it should be noted that Jew Ensler’s book doesn’t mention chicks with dicks , and is thus transphobic!

      Again, I haven’t seen it, but the trailer alone is enough to make a judgement. Portraying a woman with a shaved head as a protagonist/good guy, except in cases where she’s going through chemotherapy, is a political statement against men and even against women who like relating to one another in ways that aren’t completely warped. You ever play those old beat em ups like Streets of Rage from the 80’s, where the transvestites, mentally depraved, and junkies are the bad guys you’re supposed to beat down? Well now they’re the good guys, with lots of Jew-prescribed pathos.

    • Lew

      A person determimed to so so can read anything into a work of fiction. Clearly only the self-deluded can’t see that like Mad Max, The Illiad and The Odyssey are anti-traditional works chock full of proto-feminist themes, blatant emasculation and Homeric white knighting.

      Achilles shows clear beta-like behavior when he leaves the battlefield and shirks his duty to his fellow Greeks and King over a woman. And when we first meet Odysseus we find him weeping like a little girl because he misses his wife and son so much. No real man could ever want to just go home and be with his wife and kid.

      Moreover, Helen of Troy manipulates 1000s of Greeks and fighting and dying all because she wanted to cuckold her rightful husband with a Trojan prince. Finally, Homer shows the goddess Athena fighting alongside the Greeks, helping and inspiring them, while plotting strategy, while the male god Ares is shown to be a bit of dimwit and not useful any real brainwork, only mindless killing.

      I think people really need to stay away from the blatant propaganda in Homer.

    • Eric

      The Illiad and the Odyssey are an outright attack on men who let their base urges control them and make them do stupid things.

      You can’t just ignore that Eve Ensler was the “adviser” for that movie. A jewish dyke who made a career out of literally talking out of her twat oversaw the entire development of the film. If you think it doesn’t have any feminist implications in it, you’re out of our mind. I haven’t seen it, but all you need is common sense to know that.

      I looked up the summary of the movie and can tell you the reality: in a post-apocalyptic society, all of those women would stick with Joe and be loyal to him, not take leading roles in bringing him down.

      Now, I know the movie’s supposed to be fantasy, but don’t be surprised if the 20 something year old alterno-chicks that watch that will get drunk at a bar afterwards and try to throw a punch at you for “looking at them the wrong way”. “Ass-kicking chicks” were background characters in other Mad Max films, but most women didn’t watch them , so it didn’t matter. This one is marketed specifically towards a female man-hating dyke audience. It sets a bad example for women, plain and simple.

  • Wait just a minute

    Also, I wanted to address this comment you made to another poster:

    “Let me know when you can pirate a theatre-sized silver screen, 3D projector, film reel, glasses, stadium style seating, etc… etc…. and have the space to set it up in.”

    Are you so weak-willed that you would give your money to these people, just for a more lavish and cushy experience? You would give your money to them, for 3D movies? for stadium seating? 3D glasses? All the while knowing exactly who it goes to? I guess I’m disappointed. I just really expected more self restraint from you.

    BTW, even if you’re thinking “Well I’m giving the money because I like the director.” I know you wouldn’t be naive enough to think he’s getting even a majority of the money. The studio IS owned by Warner Bros. after all…

    Well anyway, I still respect you, but I hope this fixation passes, maybe write about other hobbies? Maybe talk about hobbies that directly improve your life in reality?

    Thanks for your time.

  • Lew

    Eric, Here are some comments by Ensler. It’s clear she sees major propaganda value in the film. She is also cherry picks what’s actually in the film. Women are not portrayed as equal in Mad Max. They’re portrayed as sex slaves and failures when cut off from help from men. The exception is Furiosa. The typical American movie-going moron might not see that, but that is what’s there no matter what Ensler says.

    You were an advisor on Mad Max: Fury Road. What did director George Miller ask you to do?

    He wanted me to work particularly with [the actors who played] the five wives. Because I’ve spent a lot of time in places like Bosnia, Haiti, Afghanistan and Congo, he wanted me to give them context about what happens with women who are trafficked and enslaved and raped.

    There has been a debate over whether it is a feminist film.

    People sometimes don’t know what feminism means. To me feminism is not that complex. It means women are equal. We have equal roles, equal rights, equal pay.

    If you look at this film from an objective point of view, women are equally capable of fighting. Women have equal desires. Women are independent and have agency over their own lives. They exist without men.

    To me, what was very exciting about this film was the range of women characters and the range of ages. They weren’t relegated to one role. To me that’s feminism.

    What do you think of the way women are portrayed in other films?

    I haven’t seen many films in my life where women are portrayed as equally capable of defending themselves and other people.

    This is an action movie. Do I go to action movies? No. But I do believe those films have an enormous impact on mainstream culture. To see a film where women are capable fighters and capable of determining their own destiny to me is significant.

    You think it will have an influence on people who watch it?

    I do. I’ve already heard from so many women who are happy to see women not portrayed as pathetic.

    I also love the older women in that film – that was brilliant. When do we even see older women in movies? The older women get, the more amazing they get. And in culture, they get more and more erased. So that alone was significant

    • Eric

      You might have a point if this man-hating bulldyke was just an outside commentator. I think a key adviser to the film, however, has the right to assert its propaganda value-since they were key in creating it. True, they got her on board to advise on “human trafficking”, but they could’ve picked a million other people who actually seriously fight against it. They picked Ensler because they wanted cultural Marxism in the film, and Furiosa is a representation of this.

This is what a feminist looks like (in a post-apocalypse dystopian future).  Charlize Theron looks more like a feministed version of Tom Hardy in this movie.

By: Thomas Buhls



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