LIKE BEAUTY AND THE BEAST, the movie The Shape of Water — playing now at a theater near you — romanticizes sexual love between a human being and an animal. In this case, a deaf woman who works as a janitor falls in love with a creature taken from a South American river and kept in the government lab where she is working. Their affair is eventually consummated.

The Sexual Revolution finds new territory to conquer.

— Comments —

Kyle writes:

The Shape of Water is brimming with anti-Heritage America cliches including: the denigration of the 1950’s (white) family; characters with authority portrayed as incompetent and/or evil white men with a sinister agenda; male patriarch frequently abuses power to detriment of others; the encouragement of  women to engage in forbidden love (in this case, copulation with a beast); the token minority character who enables the rebellious tendencies of the female lead; societal norms of the time period portrayed as over-bearing and stifling; a repressed homosexual character who “can’t be themselves” because of the “close-mindedness” of the times; portrayal of American patriotism as nihilistic or satirical, etc.

You get the idea. Since the late 1960’s, Hollywood has been on a mission to erase from the public memory the stable economic and social reputation of post-World War II America with films like: The Stepford Wives, Revolutionary Road, Edward Scissorhands, Pleasantville, Far From Heaven and most recently with Matt Damon and George Clooney’s box office failure, Suburbicon.

A video from YouTube channel, 1791L, breaks down the social Marxist blueprint for this story piece by piece.

Laura writes:

Hollywood is hell bent on its program of vicious social engineering.

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