I don’t watch modern western TV, but for a few exceptions. However, when I saw the trailer for the new FX series Shogun, I was intrigued.
Shogun, originally an historical novel by James Clavell, tells a story of assimilation by a westerner in the land of the Rising Sun and the importance of Japanese nationalism in the face of sneaky (((Jesuit))) merchants. The second is probably the most important story Japan could hear at the moment as their increasingly jewed government prepares to open the floodgates to niggers in a bid to present the killing blow in their long struggle. As we all know, “the jew fears the samurai.”
I sat down with all the skepticism I could muster to take in a viewing of the first few episodes, acquired in the spirit of Sir Francis Drake.
I was rewarded with a taste of the media’s latest wave of soft-selling the Overton window shift, now to “non-wokies,” the same crowd who celebrate Dune, Part 2 and Opprnheimer as a thumb in the eye to woke Hollywood.
This is the pilpul, a false dilemma between the “ultra woke” and the “lesser woke.” Ultra woke make Captain Falcon, She-Hulk, and even Barbie, in an effort to both test the waters of support for their extreme and radical (((Protocol))) ideologies, but also to establish the “extremist” position that will allow the “moderates,” still well beyond where most were even five years ago, to seem reasonable by comparison.
Dune, Part 2 did this subtly with the elevation of Chani from a woman aware of her role as a consort in the original story, one based on medieval trade and nobility, to a 20th century style woman, semi-liberated, and scolding her man for daring to take on a political marriage and perpetuate such antiquated patriarchal concepts. Oppenheimer retreads the tired “WWII was awesome” ground that the jews have been pushing since the war was actually taking place, this time with gay for pay Cillian Murphy as the titular communist jew in charge of the atomic weapon program. Both films have been celebrated by the mouth breathing punditry of the Nerdrotic and Critical Drinker variety.
Then comes Shōgun, with the built in illicit elements, an accurate, if unnecessary inclusion in Clavell’s novel, as I later learned. I’m certain that FX, a Disney owned network, will crank them up as far as they dare. However, the other subtle changes are barely visible to the naked eye. It finally hit the surface when, after I had screened part of the original 1980 miniseries, a scene stuck out as a “current year” adaptation.
In the original miniseries, John Blackthorne, a White sailor, refuses to surrender his gun to the samurai taking him to their lord. In a stroke of defiant brilliance, showing that Blackthorne is resourceful and adapting to their code and system, the White man hands the gun over to the consort assigned to him by a higher ranking lord, ordering her to defend them with her life. The move is daring and also compassionate - the woman had recently lost her husband and their newborn son to feudal politics when he insulted his Regent’s rival while attempting to defend his Regent’s honor in the face of false allegations.
In the remake, the consort devises the plan, ordering Blackthorne to give her the gun so she can defend them. She then levels the firearm at the samurai, daring anybody to try and take the weapon. Blackthorne now looks foolish and headstrong. The woman is his savior.
No doubt, this will go over the heads of many “conservatives” who will watch the show. They’re opposed to feudalism. They’re opposed to proper patriarchy. And they’ll find this modern attitude in the woman as refreshing and entertaining, calling a “stand by your man” moment, what in truth is a subtle “girl boss” moment.
The subtlety has been around a long time. From WWII propaganda to holohoax nonsense, to Indiana Jones vs the Nazis, to Blazing Saddles and All in the Family. They trot out the extremists: commies, hippies, nihilists, femtards, and then their “less extreme” counterparts to drag the sheep along.
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