Big Budget American Rape

Darth Vader is a big black dick raping the galaxy. The hard plastic shell of his costume mimics an erection, and Vader carries a large and imposing physical stature. Don’t believe me? His dickhead helmet is a dead giveaway. Vader represents the kind of toxic masculinity that’s become a popular point of critique after the jump to Progressive light-speed post-1960.

While Vader eventually meets his emasculation when the mask comes off and he’s revealed to be a fat white doofus, Lucas permits Vader to carry the credibility of power and dread for two-and-a-half movies, perhaps mimicking the white man’s “reign of terror” until a kind of genocidal emasculation was put into motion, in media and academia, by second-wave feminism and the sexual revolution.

Even still, Vader is permitted to be a free roaming force for quite sometime, years between movies, until the Progressive payoff at the end of “Return of the Jedi” (1983).

Contrast this with the near immediate emasculation of Vader’s modern replacement in “The Force Awakens” (2015) and we get an accurate read of the progress “genocidal emasculation” has made since its genisys.

To contrast the imposing Vader, his beta-male replacement appears weak and small; his costume has a soft look to it, and his helmet still looks like a dickhead- but this time, a thin and sad dickhead. In contrast to Vader, Kylo Ren is a flaccid penis.

And while Darth Vader was able to rape the galaxy for two-and-a-half movies before meeting his fatal emasculation, it came as no surprise that only halfway through Kylo’s first movie, in a scene of social justice pornography, Ren’s sad penis helmet comes off revealing the ugliest actor possible, and he fails at attempting to force rape our beautiful heroine.

If you think I’m imposing a rape metaphor, lets take a closer look at the scene. Ren has our girl-power cliche character tied down to some kind of future chair. He tells her that he can “take whatever [he wants].” He then uses his force powers on her, she resists, and he runs away frustrated. Cue SJW high-fives.

Later on he tearfully confesses his lack of strength. Cue more high-fives.

Welcome to big budget American Rape.

The only point of commonality between real rape and American Rape are the letters. Anything else is as distant as a real event compared to the TV movie; all similarities are coincidental.

American Rape is about narrative and identity. Retaining a veneer of institutionalized victimhood for a class who are otherwise the world’s aristocracy. Rape stems from the biologically programmed immorality of male sexuality, something all men are burdened with. Subsequently, taming such sexuality is a task that no man can be entirely trusted with. Male sexuality is forever aimed at all women equally, like a loaded gun, making all men potential rapists while all women are potential victims.

Women say rape is about power because white men are powerful, and only white men commit rape. This has become a hallmark of American Rape. The feminist radio silence on the migrant rape epidemic in Europe is clear indication of this; migrant rape is real, and American Rape isn’t. Migrant rape doesn’t fit the American Rape narrative, and American women only care about American Rape.

In times of doubt, we can look to the blessed mother independent woman, Saint Harper Lee, for Progressive guidance, reading from her scriptural tome “To Kill a Mockingbird” (1960). Lee makes three claims about rape, together which build toward shaping the foundation of American Rape.

If you didn’t go to a Government school and weren’t taught from the Progressive bible, “To Kill a Mockingbird” hinges on a white woman making a false rape accusation against a black man. If you’re a good Progressive, and I know you are, alarm bells should be going on in your head as you know that only white men commit American Rape, but Saint Lee first focuses our attention on the accusation itself, making sure its clear that it should carry no penalty for the woman:

“I say guilt, gentlemen, because it was guilt that motivated her. She has committed no crime, she has merely broken a rigid and time-honored code of our society, a code so severe that whoever breaks it is hounded from our midst as unfit to live with. She is the victim of cruel poverty and ignorance… She was white and she tempted a Negro. She did something in our society that was unspeakable: she kissed a black man. No code mattered to her before she broke it, but it came crashing down on her afterwards.”

(Emphasis added)

Lee is able to take liberates in her rationalization of the false rape accusation by exploiting the race narrative which she knows will invalidate any criticism she may have otherwise received. If you like Mockingbird, you’re supposed to, if you don’t like Mockingbird, you’re a racist.

Her use of the word “merely” after the quick assertion that Mayella has “committed no crime” is perhaps the most disturbing part of the passage. “Merely” is reductionary and diminutive in nature as Lee wants the focus taken off the accusation.  Despite the potentiality of ruining lives and wasting time, it was really no biggie.

Lee wants the emphasis on rationalizing why a woman might make a false accusation, and, as it turns out, it’s because she’s actually the victim! And, furthermore, the victim of institutionalized racism and social flaw; she had no choice, it wasn’t her fault, and she deserves sympathy.

Sympathy is reserved for everyone in “To Kill a Mockingbird” but white men. White men deserve no sympathy. They are just too damn sexy and didn’t want to take ugly little Harper Lee to the sock hop in high school. Wait, what?

Even if the fake rape accusation shouldn’t be prosecuted as a crime, Lee wants the reader to know that her stance on real rape is unflinching:

“You know rape’s a capital offense in Alabama,” said Atticus.

Jem was shaking his head. “…maybe rape shouldn’t be a capital offense…”

Atticus dropped his newspaper beside his chair. He said he didn’t have any quarrel with the rape statute, none whatever…

So, if we’re keeping score, according to Harper Lee in a book read in every single Government High School in America, a false rape accusation is forgivable because of reasons and an actual rape conviction should carry the penalty of death.

Death. The price of stolen female sexuality should be death.

Our benevolent saint explains the problem- evil male sexuality. Watch as she carefully groups immorality with heterosexuality:

“There is not a person in this courtroom who has never told a lie, who has never done an immoral thing, and there is no man living who has never looked upon a woman without desire.”

Finally, Lee’s agenda is clear: all men are infected with immoral sexual desire, rape should be a capital offense, and a false rape accusation is really no big deal.

So, with a bit of reordering and clarification: if male sexuality is equally immoral and pervasive then all rape accusations should be taken seriously, a rape conviction should carry the penalty of death, and if the accusation is found to be false, the woman who made the accusation is actually the victim of institutionalized whatever.

Civilization isn’t possible without holding rape as a severe crime against humanity carrying severe consequences. Even temporarily stripping the act of immorality, and putting aside the personal devastation the victim faces, rape is antagonistic to a strong, family-driven society and using Civilization as our morality, rape must be of the highest taboo.

Big budget American Rape is exploiting this taboo for social power and emotional support for a group who are greedy cultural aristocrats, and there is big money to be made when the narrative of American Rape is made into a consumer product.

But the question remains: the more laughably cartoonish American Rape becomes, the bigger the bubble grows, and what happens when it bursts?

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One comment

  1. abyssalplainsman · July 8, 2016

    Fantastic article.

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