The movie Whale embodies all the horrors that the West wants to export with fire and iron - racial quota, gender quota, Christian hatred, and self-annihilation.

The glamor of the Oscars, which once saw better days, has now worn down a lot thanks to the persistent mine work of "sensitization" that holds the criteria captive. Hollywood's kosher seal has become a symbol of inverse quality assurance for conservative audiences: it is now guaranteed that any film that sweeps the prize is not meant to satisfy mass demand, but an increasingly hungry ideology.

He does not want to entertain, but to reeducate the mind by colonizing it. It is ironic that the costs are paid not by ideology, but by the "slave" masses, and the similarly captive audience at the Oscars applauds with tears in their eyes at the unscrupulous indoctrination. The (whale) king is naked and masturbates at 270 kilos.

It bothers the force that for reasons of conscience - no! "The West is Unchanged" won four statues this year .

It's really a shame that the Russian-Ukrainian war was the reason for the prize loss rather than the conscience of the jury, even though this work really conveys value, even if it has been reworked many times.

Erich Maria Remarque's work, published in 1929, is one of the most successful World War I novels, which has been translated into almost every language, and the American film made of it won the Oscar the following year. Then came the second British-American adaptation in 1979, which received both a Golden Globe and an Emmy Award.

The situation is unchanged in East and West

This year, the absolute winner was the Asian quota sci-fi that won the seven statuettes (Everywhere, everywhere, always), about which the Index writes :

"It's a little surreal to think that a movie that includes sausage-fingered people, kung-fu champion Jamie Lee Curtis, vibrator combat, and tactical anal plugs—not to mention the all-absorbing bagel—won the best..."

But this time it will not be about that, nor about Remarque's eternal classic, but The Whale , whose male protagonist was also awarded an Oscar; the latter work embodies all the horrors that the West wants to export with fire and iron - racial quota, gender quota, Christian hatred and self-annihilation.

The only understandable Oscar for the five-act chamber drama is the one awarded for the best make-up, since it must have been a chore to put the hair costume on the main character every time, thanks to which Brendan Fraser could play the role of the extremely overweight literature teacher who devours himself.

However, "the sensitizing message drowned in an industrial amount of kitsch" - as Márton Jankovics writes - did not come through during the two hours of torture.

" The musically supported sentimentalism of the whale (...) is not boundary-pushing, rather it is witheringly conventional and simply manipulative, which shows that Aronofsky does not trust not only the acting, but also the story itself or the viewers' empathic abilities. That's why he shoves heavy emotional crutches at them and guides them through the plot with gentle aggression so that they don't accidentally lose track of what they're supposed to feel. Because the dramaturgical end goal would obviously be to gradually see the person behind the stigmatized fatness. (…) However, he does not allow compassion to build up organically, rather he tries to force it out.”

And that's exactly the point: violence disguised as sensitivity. The rape of normality, which today is not nearly satisfied with acceptance and tolerance; far from it. It demands love, and not just any kind: unconditional love.

"However, from a dramaturgical point of view, it is a much more elementary problem that, beyond the martyr narrative, he cannot credibly draw his central character either: Charlie, who is unable to stop drinking, builds his motivations from rough platitudes, gradually adding information about the trauma that broke his life in two, which started him down the slope. While the characters often philosophize about the existence of God, literature, or even their feelings for each other, we hardly get any meaningful details about what spiritual pressures and pains drove him to this sad dead end. This is not helped by the repetitive phrases like those from the school essay on Moby Dick, which analyzes the whale metaphor that gives the film its title. By the end, Charlie turns from a concrete person into a symbol, a mythical victim of society and himself, which works exactly against the original, humanizing goal."

Sure. Sensitization has set in, but so much so that we can smell it here.

However, there is still hope for us, mostly because all the paragraphs quoted above come from the opposition press.

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