Domestic Netflix subscribers and all those who are even a little familiar with the world of streaming providers know that at least 80 percent of their content is covert or, in many cases, open propaganda; it is about nothing more than the promotion of limitless variations created by the LGBTQ lobby - and yet to be created -, the exaltation of minorities, at the same time the negative portrayal and degradation of the majority, i.e. white, heterosexual men and women, the destruction of the concept of the family, and then with new content about filling it up: in a word, about the denial of normality.
The cultural projections of genderism and new movements such as Metoo or Black Lives Matter have also led Hollywood film production and the content offerings of streaming providers at the forefront of rainbow progression to new paths.
But it is not that the "human rights" partisans of the struggles of the suffragettes and the Black Panthers and the agents of hyperglobalism, following the operation of the Harvey Milk epigones, would adjust the broadcasting to basic social needs. Rather, it is about the fact that the power industry - hand in hand with the profiteers of culture and the tech world - has launched a campaign against reason. The sane, or if you prefer, the collective consciousness matured through millennia of mental and spiritual experiences, is forced today to fight an identity war with the social engineers of the brave new world.
Series of extinction events
Of course, LGBTQ films have been made since the beginning of film history, according to the narrative of the new story. In addition to works such as Priscilla, Queen of the Desert, Boys Don't Cry, My Home, Idaho, Cage of Crazy Women, and Brokeback Mountain, there are also plenty of biographical films that tangentially or deeply delve into sexual minority existence. Ed Wood, Rudolf Nureyev, Robert Mapplethorpe, and Frida Kahlo have also become part of the LGBTQ canon, as foreshadows of today's social transformation process. However, compared to the postmodern material melted in the furnaces of genderism, these films can hardly be called LGBTQ films today. In these works, the characters outlined in advance by human rights Dadaists and endlessly schematized spoke their own ideological creeds, but the fates of people suffering in flesh and blood and struggling with themselves were put on the cinema screen.
In today's LGBTQ films, life and reality are no longer present, only politics.
Similar to the previously listed films, in Károly Makk's 1980 Egymásr mezáve , what really mattered was who professed and proclaimed themselves, but the story itself, the dramatic tale. It's a shame to argue with anyone who denies this.
The obvious difference lies primarily in sensitization, dogmatization and, last but not least, availability. There is no escape from the dumping of LGBTQ films and series: the young generations nicknamed the Google generation or "digital natives" willy-nilly absorb the dissemination of knowledge that lasers gender dogmas and ultra-liberal views in their faces. And technology is getting everywhere.
This is how Netflix disenchants the anthropoid that socialized in the digital Mesozoic, the zoo of the 20th century, while LGBTQ propaganda resets creation and evolution.
One thing's for sure: the Cretaceous extinction event that ended the age of giant reptiles is a tepid, morning television matinee compared to what's to come.
Source: hirado.hu, 2022plus
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