Ghostbusters and Peak Feminism

At this point it has become rather clear that as a tentpole blockbuster film that was supposed to relaunch a franchise Ghostbusters has performed way under expectations and is heading to be a loss for Sony, forcing it’s supporters to scramble to find any way possible to justify the film as not being a failure. General straw-grasping now revolves around cobbling random revenue streams vaguely related to the film to justify that it isn’t a money sinker, which any reasonable person will see as just posturing to maintain whatever shreds of confidence is left in the brand.

The underwhelming performance of Ghostbusters is rather apparent in the lack of grassroots buzz. There are no Ghostbusters memes popping up from the woodwork of the interwebz, nobody is talking about it (except for how it failed), Sony certainly isn’t jumping for joy and even the SJW crowd is moving on, finding the next better bandwagon to jump on.

So much for marketing the film on the feminism angle, and manufacturing the narrative that criticism of the film generally come from sexism.

The failure of Ghostbusters to perform despite heavy SJWing give some interesting insights to the limits of how far the progressive left can sell their brand of feminist Kool-Aid in popular culture. Despite a heavy liberal media blitz attempting to frame all criticism of the film as coming from the domain of sexist manchilds, along with astroturfed support from critics, the film still failed to perform.

You can’t polish a turd, even if you layer down the feminism thick.

The failure of Ghostbusters isn’t due to the fact that they tried to do it with an all female cast, it failed because feminist ideologues in control thought it was a good idea to subvert a beloved work of American pop culture for their own aims, thinking they can make money spiting in the face of half of the population while they are at it.

While other SJW subversions of American popular culture such as Star Wars were more subtle with their redefinitions of classical American creative works to fit the feminist imperative, Ghostbusters was about as subtle with it as a bull in a China shop, thinking it could ride roughshod over the audience while ham-fistedly beating everyone over the head with feminist empowerment.

As such Ghostbusters 2016 is an interesting case in the limits of feminist social justice, being an intellectual property that is virtually impossible to screw up had the studio just played their cards straight, rendering it a good platform for judging how far SJWing can be taken. The difference this time versus SJW redefinition of other franchises was that this time the SJW wasn’t quiet about their redefinition of the genre.

While the progressive movement has been extremely successful in achieving their aims through subtle subversion and pressure, the actual level of support they and their ideas have in the general population becomes rather apparent the moment they try to go loud with it and force everyone to see things their way the way they tried with Ghostbusters.

Essentially, the progressives have reached Peak Feminism, a point beyond which the BS gets so extreme that even most Blue Pill people will not down the Kool-Aid.

This has happened several times before, feminism will attempt to push the boundaries of it’s host culture, seeking ever larger concessions and becoming ever more overbearing until they finally cross a line where they become so divorced from reality that the general population rejects it.

A good case study in this would be the failure of Feminist Initiative in Sweden which suffered severe electoral defeats after they misjudged just how far they could tote their misandrist Kool-Aid.

Locally AWARE, the mainstay feminist organisation hit peak feminism and lost a lot of support from the public after a series of run-ins with National Service trying to dictate what songs could be sang or why National Servicemen shouldn’t receive benefits.

In a similar vein local race activist, Sangeetha may be reaching her own version of peak feminism/SJW as well as her belligerent antics are leave her increasingly alienated, even from fellow progressives.

Peak feminism happens because feminists mistake silence from the majority as endorsement of their views, with the various SJW witch-hunts on thought criminals who defy progressive dogma giving them a false impression of how far their influence lies.

They don’t realise that there is a growing undercurrent of discontent with feminism that doesn’t just come from Red-Pill antifeminists, but also from average folk who feel that there is something wrong with the whole SJW/feminist movement but can’t quite put their finger on what exactly it is but don’t dare to voice out for fear of the lynch mob.

Until something like Ghostbusters happens and suddenly everybody realises that if this is feminism, they don’t want to have anything to do with it. The tide can change for SJWs/feminists quickly, and often they are caught by surprise because they have spent so much time in their echo chambers that they don’t realise just how little real support they have.

The public is fine with female Ghostbusters carrying on the legacy of the original franchise in a way respectful to the characters and spirit of the original, but what they got instead was a feminist shit show vandalising a beloved work of American culture with a rather clear message that there is no place for men in modern feminist appropriations of iconic cultural works.

And the SJWs wonder why the film failed.

The funny thing is that feminst/SJWs are unlikely to learn from their mistakes and think that if anything, even moar feminism/SJWing is needed.

The potential of peak feminism something that every Red-Pill social insurgent needs to be aware of and exploit if he wants to be successful in fighting the creep of regressivism in his soceity, this does not even have to be on a big scale but within your own circle where you have to face progressives such as at work.

Sometimes the best way to combat feminism/SJWism is to let the enemy get overconfident with their activities, thinking that they have the idealogical battle-space locked down and are free to operate as they please. Very often you will find that instead of resisting them directly with facts and logics, it is often easier to agree with and amplify their assertions, rendering the absurdities of their ideology clear for all to see and inducing peak feminism/SJWism.

The best part of this stragety is that you don’t even need to defend your own position, as you are using the weight of your opponent’s movement to carry them to their defeat. As a social insurgent, you need to learn how to use peak feminism/SJWism to your advantage wherever you are.





  1. This was just a really bad movie, and the supposed feminist angle was laid on so thick and was so poorly done that it was more farce than feminism, and really bad not funny farce at that. The fact that the movie made as much money as it has is testament to the strength of the Ghostbuster brand and mega theatres. The brand clearly pulled in millions hoping for a fun couple of hours before those that suffered through this dog could get the word out that its best to wait for it to hit cable so you can change the channel.
    Clearly Sony and the Cast played up the misogyny angle out of all proportion trying to drag in a few more victims into paying to see the film, and the actors preferred to play it up rather than admit they participate in a real dog, and that none of them was able to rise up with an individual performance over a really bad movie that made it any better. The movie was bad, and the acting was bad. Just one big stinker from start to finish.
    This movie started with a bad concept, which was badly executed, and poorly acted by 4 female actors who have done far better work, can poor Chris Hemsworth. I would assume he’s made a mint on his Thor character. Why he let himself get dragged into this mess is beyond understanding? Hopefully it was a really big paycheck, and to be fair he’s too well established to be hurt by this disaster.
    Its too bad because the Ghostbusters brand was probably a multi-billion dollar brand, but not anymore.

    Liked by 1 person

    1. Chris was the best part of the movie, because he seemed to be the only character aware of how bad it was and hammed it up.

      The movie was feminist from it’s inception, borne out of the manipulations of Amy Pascal and Feig to steer the franchise to be a pulpit for their vehicle for their idealogical leanings.

      It does prove that there is only so far you can market a film based on the premise that it is a yay for feminism before everything falls apart.


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