Norman Bates: Mother or Allah told me to
carve you up.
of you may have observed over the years – perhaps over the decades – that when
Hollywood releases a new monster movie that features rampaging “cage –free”
dinosaurs or other monsters, it is the reptiles and other hostile beasts that get
any sympathetic treatment. It rarely fails, whether it’s Godzilla or
man is usually the offender and sinner. This has been going on for decades,
ever since the first
King Kong film debuted in 1933 (actually, in literature, since at least the
19th century). It doesn’t seem to matter how horrible (or implausible) the
monster is portrayed –the number of its human victims who are crushed into two
dimensions or torn to pieces or chomped on is immaterial.
climbs the Empire State Building, only to fall from the
skyscraper after being attacked by airplanes with guns. Denham [the explorer
character who brings Kong to New York City] comments, “It was beauty
killed the beast,” for he climbs the building in the first place only in
an attempt to protect Ann Darrow, an actress originally offered up to Kong on
Skull Island as a sacrifice.
the very first time I saw the film, in an old movie revival house in New York
City years ago (in the 1960s), someone in the audience retorted, angrily and
loudly, “No! You killed him!”
Obviously, that audience member was fascinated by Kong, perhaps even in love
with the idea that Kong was “larger than life” – that is, larger than man. He
had somewhere, somehow, been taught to hold contempt for man and for himself.
retort has always stuck in my mind. It was a clue to something larger than a
film about an oversized ape going berserk.
The inspiration behind Muslim stabbing attacks?
theme has almost consistently been that when man encounters a monster, it is
man who is responsible for whatever evil or wrong-doing occurs (such as
violently inclement weather, global cooling or warming). It’s that, or he is
responsible for a monster’s existence. Whether it’s Mary Shelley’s monster,
Frankenstein (“the Creature”), or Godzilla or the Alien or the Predator, or Jurassic Park’s raptors,
the moral motif is that if man is terrorized or defeated by a monster, he
deserves it because he’s “so full of himself.” Man, the theme goes, must be
punished for simply existing and perhaps for just being curious. There is
nothing special about man. He deserves to be reduced from a sentient, rational
being in charge of his actions, his future and his happiness to a shivering gelatin
of protoplasm, or put to death, preferably painfully.
Islam is a man-created monster. Who or what set it loose to prey
indiscriminately on man? Men created Islam, using the lethal weapon of altruism; the moral
philosophy that it is one’s duty and moral worth, measured by the extent that
one is willing to sacrifice oneself and one’s values, and not only for the
“public good” (unless that includes the Islamic Ummah)
but also because an all-powerful, malicious ghost, Allah, said so. It’s your
duty to become some monster’s meal. That’s why you were created by Allah, to do
his bidding, at his vile whim and pleasure.
King Kong has become one of the world’s most famous movie icons, having
inspired countless sequels, remakes, spin-offs, imitators, parodies, cartoons,
books, comics, video games, theme park rides, and a stage play. His role in the different
narratives varies, ranging from a rampaging monster to a tragic antihero.
can be traced back as far as Homer‘s Thersites. The concept has also been identified in
classical Greek drama, Roman satire, and Renaissance literature
such as Don Quixote and the picaresque
rogue. Although antiheroes may sometimes do the “right thing”, it is
often because it serves their self-interest rather than being driven by moral
accounts for the fascination with monsters?
Muslim Aliens want you to make babies with them.
Your gender is irrelevant.
can’t just be that we have become so enervated by a culture that offers few
positive, soul-strengthening values that we welcome being scared out of our
wits, or cringing at blood-splattered gore, or seeing the irrational run amok
and triumph. Mary Shelley created the Frankenstein Creature as a literary
challenge, in 1818, in a time and era, in terms of a cultural spirit, as
far away from our time as earth is from Pluto. The Creature became the subject
of a 15-minute
film in 1910, not long after the successful debut of Rostand’s Cyrano de
Bergerac in 1897. Shelley even later penned a novel about a pandemic that
wipes out man, The
Last Man, set in 2073, surely a pioneer in a the literary and cinematic
are the real life monsters? Why do they get a sympathetic pass, and not man?
A 1910 movie depiction
of Frankenstein the monster
man-hating and man-eating creature, is any man who says or thinks that man must
sacrifice himself, for the “public good,” or for no reason at all. Ellsworth Toohey
in Ayn Rand’s The
Fountainhead is a monster. The collectivist, the career altruist, the
jihadist Muslim, is a dedicated antihero. If you are not willing to sacrifice
yourself or your values, the monster will sacrifice you and them for you.
Today, the monster is a Postmodern
nihilist. He is also a member of Antifa,
a consummate and violent movement dedicated to nihilistic chaos for the sake of
permanently disruptive chaos.
them look like the neighbor downstairs or the Muslim next door. They could look
like Norman Bates of Psycho
or as nondescript as any one of the 9/11 hijackers.
All human monsters are nihilists simpatico
in motive with their celluloid brethren. If
they can’t have what you have, or
are unable to achieve a value of their own, they are perfectly willing to
destroy what you have. They are the nihilists who wish to inherit the earth,
but they are neither meek nor humble, as neither Max Cady of Cape Fear
and Preacher Harry Powell of The Night
of the Hunter were not. They can be shy, retiring, and unassuming, or they
can be as brash, brutal, boastful and glibly talkative as Negan, the chief nihilist of The Walking Dead, the popular TV horror
series, and Richard Burton’s O’Brien, or as deceptively humble and soft-spoken
as Cyril Cusack’s Mr. Charrington in the Michael Radford remake of 1984.
come in all manner of disguises, as widely divergent as Barack Obama and
Hillary Clinton, not to mention the average, anonymous Social Justice Warrior
or ISIS jihadist, who wears a mask, not so much to hide his identity from the
authorities and avoid arrest, as to express his non-identity as an
interchangeable cipher. If you are assaulted, mutilated, eaten, beheaded,
chopped into tiny parts, and killed, they want you the victim to know that you
were terminated by literally nothing.
by all current monsters. And they often achieve those goals, but want to take you with them.