Part One: Boldness of the Woke

Conquered peoples see their calendars altered, their feast days changed, their banners burned, their monuments toppled.

This also holds true for those conquered by subversion rather than conquest, by spiritual warfare rather than physical.

In our current day, it is 2024 C.E. (Common Era), and social media are wont to post homages to International Woman’s Day rather than Lady’s Day, or to Kwanzaa rather than Christmas, or to Pride Month rather than Lent. Vladimir Lenin established the first, and a Marxist activist named Karenga the second. Pride Month, not by coincidence, falls on days sacred to the demon-goddess Ishtar of Babylon, a bisexual hermaphrodite, patroness of the Temple Prostitutes of ancient Near Eastern religion.

Burning the American Flag is Free Speech, hence sacred, but defacing a Pride Flag is Hate Speech, hence blasphemy.

A season of toppling statues and monuments occupied the so-called Summer of Love, when the press enflamed riots, the politicians cheered, and the police stood aside.

Not just high and noble figures were pulled from pillars or torn from courthouses, not just images of Jefferson, Washington, Roosevelt and Columbus, but also the humbler figures of common entertainment, and cartoons for children old and young.

The question is not why it is being done. Conquered peoples continually dispirited and disheartened cannot combine against the effete elite despoiling them. The question is why is it being done so boldly, so baldly, and so badly?

No one and nothing was spared, not even well-loved science fiction yarns and fantasy. The Last Jedi renounced his vows, faded into nothingness, and died. Star Trek was lost in a swamp of diversity. Disney entered a strange world of sexual amorphism, so woke that even the dog was crippled.

Blue Clues celebrated drag queens to toddlers. Dungeons and Dragons was made wheelchair accessible. And Superman was overtaken by the Anti-Life Equation.

We return to the opening question: why is the cultural vandalism being done so boldly, so baldly, and so badly?

Let us divide the topic into three essays. For the first, today, we will discuss why the fraud of the Woke is so bold.

Part One: Boldness of the Woke.

The most bold example I can fathom is the subversion of Blue’s Clues. As a father who watched this show with giggling toddlers on his lap, the wokeness came as a shock and surprise to me, the sheer arrogance was startling. Blue Clues was a headhunter’s trophy, a boast, a parade of pride.


The show was selected for subversion because of its innocence and popularity. Similar attempts, with less success, had been tried with Sesame Street.

The boldness is meant to signal to the defeated that their defeat is complete: it is meant to rub our noses in our shame, and assure us nothing can be done to fight back. It is for this same reason that, after the 2020 election was deformed by ballot fraud, the fraudsters, even while publicly denying the crime, could not help but boast.

In a notorious 2021 article in TIME magazine by Molly Ball, she brags about a shadow campaign, that is, the conspiracy, against the voters voting for Trump. From this comes the famous bon mot of doublethink: “They were not rigging the election; they were fortifying it.”

But why say anything in public? Why provoke a public already poised for civil unrest, or even civil war? Why tell the voters their ballots are trash?

To promote despair. Kicking a man when he is down takes the fight out of him. He is robbed of the strength to stand. Vaunting over the fallen, flaunting one’s victory, is the very essential of how the cowardly prevail. If bullies do not make their fallen foes cowards as well, they fail. Sadism is a signal of pride.

The Drag Queen of Blue’s Clues was meant to be proud, to be open, to be blatant. It was in-your-face. It was a kick in the head of a prone foe.

This sad and sick display was not meant to show kindness nor charity toward the sexually dysfunctional, nor even to normalize the perverse. Even among sodomites, the sad souls pursuing the particular kink of cross dressing is microscopic. They are merely mascots, used as battleflags and banners to flaunt in the faces of the defeated.

They know they will fail if the forgotten man ever remembers himself. If the common man recalls his common courage, he will rally to the flag. For this reason, they must burn all our flags, even to the least pennant.

Hence, every normal act of life, admiring womanhood, seeking marriage and childbirth,  celebrating one’s homeland, must be made into excuses to accuse, to vex, to denounce.

Urine must be splashed in every crystal wine-cup, and vomit gushed on each silver-gleaming feast dish. No smallest scrap escapes, lest the hag-faced harpies fail in their mission.

To have children contributes to overpopulation hence to global climate catastrophe. To wed a woman is hetero-normativity, hence oppression. Forbidding infanticide is misogyny. Failing to castrate children is genocide. To wave the flag is  fascism. Whiteness is racism. Christianity is thoughtcrime.

You are to be guilty about everything, everywhere, at all times. Men racked with guilt do not fight back. No smiles in hell. No singing. No jokes. Joy is verboten.

Prisons are dreary for a reason: draining the prisoner of life and spirit is the core part of the process of imprisonment.

Any entertainment meant to provide the escape of the imagination must be poisoned at the source, lest the defeated find refreshment.

Games are not immune from this program of universal harpy despoliation. Indeed, the more imaginative, the more frivolous, the more innocent and unassuming is a game, the more it must be savaged by the harpies.

Hence when brass-winged Celaeno stoops to ruin the feast, she craps all over the candy first, and despoils the dessert dishes.  Men will draw their swords to save their daily bread and feed their family, but none risk bloodshed over frivolities.

Hence the attack comes here first.

The unwary see less at stake. For this reason, on this battlefield, in the struggle over popular culture, over schoolboy board-games, video-games, and past-times, the thing is blatant, open and silly. The scandal called Gamergate was merely an early salvo in the Culture War.

Another avenue of attack, the innocent role-playing game of Dungeons and Dragons of Gary Gygax, might serve as an example of how obvious the subversion is.

But let us reserve this topic for Part Two: Baldness of the Woke.