American girl.
By: Jay Dyer
Suicide squad is who they call to counsel the people leaving that shit movie. Possibly the worst superhero film yet, it even rivals the likes of Spawn, Catwoman and Ghost Rider. At least there was Nic Cage, but here, only a confused and garbled CGI wasteland that is as messy as the single mom tats emblazoned every scene. Nothing in this movie makes sense, much less is the plot even coherent, as a selection of “the worst” of America’s convicts are chosen to become Task Force X, a microchipped hit team to take on the “meta-humans” (X-men, yawn) and the extra-dimensional entities that possess two paper-thin characters.
Side note – the film is adapted from my old essay, United Skanks of America.
This film is one of the few instances I can think of where the overt propaganda is actually more interesting to spot than the film itself. Will Smiff plays a “hitman” baby-daddy whose only concern is scoring 2 million dollars to buy his daughter’s attention. Yes, all those noble baby-daddies are really just striving for ghetto release so they can become responsible parents. Next, a hot chick plays a psychiatrist babe-turned skank who, after falling in love with the joke that is “The Joker,” morphs into the average American skank, graffiti’ed to the hilt with thug-style sleaze. In this sense, Harley Quinn makes sense as a representation of the mental illness that plagues the young western female, as evidenced in their body-defacing obsessions and self-mutilation.
As Matt Forney writes:
No girl has ever improved her looks with a gaudy mural injected under her skin or a piece of metal dangling from her nostrils. There’s no man on Earth who has ever thought about his girlfriend or wife, “Man, you know what would make her even sexier? A butterfly emblazoned just over her ass.” Yet despite this objective reality, thousands of girls continue to mutilate themselves at an astounding rate, to the point where more girls now have tattoos than men.
Indeed, nothing captures the full throttle ruination of the western female than this slut character which drives the ridiculous simulacrum of a plot by seeking to be reunited with Joker Leto. Since Grant Morrison is an open fan of Crowley, chaos magick and summoning entities through sigils, I am curious which god he offended to have the legions of suck demons inspire his advice to Leto. That is the only explanation. The Crowleyan elements of this film are really the only noticeable “esoteric” themes, with the Joker now being apparently bi-sexual (perfect embodiment of the ruined western male), and the planetary sigils that adorn Cara Delevingne’s headdress. From here, you can divine the rip off of a rehash semblance a story – a giant garbage vortex has opened up over a city with the intent of destroying humans who no longer worship the entities as gods. The giant garbage vortex was actually filmed when in reality it opened up over New York the night this film premiered.
Faith, the lard ass Hillary-hero.
Originally, the skank squad was formed through the machinations of Reagan (presumably based on the Latin American death squads) and now, even Obama plays a positive role in the storyline from the comic. Indeed, comic books have long been tools of propaganda, from World War 2 Americanism to Cold War absurdity, comic books have been a staple in the establishment-promoted anti-establishment toxic culture. The sad fact, as I have been arguing for a long damn time now, is that the increase in corporate government control of entertainment realm only results in the degeneration of artistic creativity. I can wait for the 5th version of the plot of Ghostbusters-Avengers-Ghostbusters-Suicide Squad, but can you? Aside from this, the other amazing, little-known tidbit is that since the market for comics is generally teenagers, the script was written by a teen – how else would an ancient goddess lithely intone, “You don’t have the balls!”?
Nowadays, comic books are the tip of the queer spear in promoting transgender “heroes,” fat acceptance heroes that promote Hillary, and the absurd reversing of racial and gender roles (such as Thor becoming a woman and Iron Man a black girl – LOL). The cultural degeneration and toxification is a symbiotic relationship – as the west devolves at lightning speed into a troglodyte, Morlock genetic experiment, the comic book world then comes to reflect that gluttonous, scooter-bedeviled psych ward in its “art.” Since comic books now drive the film industry’s big blockbuster productions, blockbuster films continue to foist the Disney-Degeneration of social justice warriors rabidly attempting to quell dissent. Meanwhile, the self-devouring ouroboros of the left is its own punishment and destruction. In sum, don’t waste your time, as it’s all chaos, and no magic. However, if you liked John Leguizamo’s farting clown in spawn, you’ll probably love the ebonics-speaking crocodile in this garbage.
The comedy gold of the farting clown.
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