Fat Kafkatrap

Alpha Geek Daddy Warpig shares news of the latest SJW kafkatrap disguised as entertainment.

Netflix's trailer for its new series, Insatiable, is facing a backlash across social media for its apparent "fat-shaming" plot.
The series stars Debby Ryan as Patty, a high school teen who has been bullied because of her weight.
But some viewers have criticised for the way it appears to tackle the issue.
Ryan wears a fat suit for the role, while her classmates are seen calling her "fatty Patty" and making jokes about her in the trailer.
"Don't watch shows where people wear fat suits. Don't watch shows where they try to turn fat phobia and hatred into a joke," one viewer tweeted.
As I've written before, there is no way to please SJWs. They are tantrum-throwing toddlers in pasty, soyfat adult bodies in perpetual search of a father figure to finally tell them "no".

Schadenfreude bonus: B- list hollywood SJW Alyssa Milano draws the lardmob's ire for playing a bit role in the anathematized show.

Milano tweet

When there are no normies in blue checkmark Twitter, the Left will waddle the web. Every feminazi that is not bullycided gets up and shrills. The shitlibs it shrills get up and shrill.

And unlike Romero zombies, SJWs are more than eager to feed on each other. Don't bother taking their bait. Just sit back, take in the internecine struggle session sparked by a vapid TV show, and laugh.

Nethereal - Brian Niemeier


Eat the Universe Indeed

Bleeding Fool reports that failing legacy comic book publisher Marvel Comics is ostensibly reaching out to fans by offering a slate of sub-G4 tier programming, including a barely Marvel-themed cooking show.

Eat the Universe
The two on the right look like they just discovered Heather Antos' boiled bunny in that pot.
Ever since Marvel Senior Executive Sana Amanat proclaimed that Marvel was becoming a “lifestyle brand,” more and more evidence of what she was referring to is coming to light. The latest is the recent embarrassment in the form of a cooking show. That’s right. Marvel Comics is now streaming a cooking series that everyone can binge. It’s called “Eat the Universe” and it has nothing to do with Spider-Man, X-Men, or really comic books at all other than the occasional jokey reference to some long forgotten characters or merely naming the recipe after a character.
"Becoming a 'lifestyle brand'" is how once-successful corporations troll their remaining customers.
Marvel Entertainment is the Youtube channel, which has 7.9 million subscribers. The premiere episode of Eat the Universe posted April 7, 2018 and only has 54K views and 108 comments. The series was launched the same day that Marvel New Media announced an all-new schedule of digital series featuring a variety of programming for Marvel fans. These new digital series include relaunched versions of This Week in Marvel and Women of Marvel; and new series like Earth’s Mightiest Show, Marvel’s Voices, Marvel’s Eat the Universe and Marvel’s first-ever scripted podcast Wolverine: The Long Night for fans to enjoy (if they’re willing to pay the $4.99 monthly subscription fee to Stitcher.com). None of these seem to really be my cup of tea, but I will eat my hat if any of them turn out to be a hit.
I'm not sure BF's skepticism is warranted. Marvel's YouTube channel clearly has its finger on the pulse of comic fandom if it's playing a science fiction classic like Battlefield Earth.

I'd insert a Battlefield Earth quote, but I don't know any Battlefield Earth quotes.
Kidding aside, the premiere of Eat the Universe generated 54,000 views. Meanwhile, this charming colonial LARPer's amateur video about roasting a rabbit over a campfire garnered more than twice as many views in slightly less time.

“Marvel New Media is focused on nurturing a more intimate and approachable relationship with both our super fans and casual fans by embracing and refreshing Marvel’s fundamental brand attributes, and by redefining how those fans experience the Marvel Universe across all platforms,” said Dan Silver, vice president, head of platforms and content for Marvel New Media. “As we launch and expand these new digital series, we will be introducing fans to a whole new perspective of the brand to reflect the core values of Marvel, our heroes, and extending into the real-life Super Heroes that inspire us every day.”
The words of a man who knows he's babysitting a division of a subsidiary of a megacorp that's losing billions at the box office. He's painfully aware his job could be performed by a pecking bird toy positioned to click repeatedly on a corporate bullshit generator.

At this point it's impossible not to read "Eat the Universe" as a tacit admission that the inmates in charge of Marvel's asylum know they're devouring the brand's seed corn. The West's formerly vast treasury of twentieth Century cultural capital has been exhausted. Will we see new pop culture touchstones arise to take the thrones abdicated by the Big Two comics publishers, New York SFF publishing houses, and every Hollywood studio?

I doubt it. The sea-to-shining-sea social cohesion that engendered the dominance of American entertainment icons is unlikely to return within the lifetime of anyone reading this post.

New stories and new ways of telling them are definitely on the way, though. In fact, they're already here. If you prefer action, chills, and fun to "reflecting core values", pick up my complete Soul Cycle adventure series for Kindle.

The Soul Cycle - Brian Niemeier


EU vs Google


ZeroHedge reports that the EU is doing the job America's DOJ won't do: bring antitrust actions against Google.
Shares of Google parent Alphabet are in the red on Wednesday morning as European Union antitrust regulators unveiled a record €4.3 billion ($5 billion) fine against the tech giant for allegedly anti-competitive practices related to Google's Android operating system. The wide-ranging probes into Alphabet have been a primary focus of Margrethe Vestager, the bloc's famously aggressive competition commissioner, since she was first appointed to the role in 2014.
Wednesday's fine follows a then-record 2.4 billion euro ($2.8 billion) levied by Vestager last year over allegations that Google's search feature unfairly benefited its comparative-shopping service.
When small-souled globalist technocrats fight each other, the world wins.

It's embarrassing, really. The worst Google is facing here in the US is James Damore's class action lawsuit. However, while Trump's obstinate bureaucracy can't be bothered to tackle the tech oligarchs that are strangling American public life, GEOTUS may have factored into the EU's decision-making process.
Of course, the size of the latest fine is certainly notable, and begs the question: Is the bloc using these fines to retaliate against the US tech industry and President Trump for his refusal to grant a permanent exemption to the EU from the US's tariffs on aluminum and steel imports? Like China, which is also employing similar "stealth" retaliatory measures, the bloc also has a massive trade surplus of roughly $150 billion with the US.
If the EU is slapping Google with a five billion dollar fine in retaliation for Trump's tariffs, it either means 5D chess is real, or the President's mere existence has whipped his enemies into such a frothing rage that they're turning on each other in their impotence.

And the EU is hitting hard.
While the fine is immense by most standards, it'll hardly dent Alphabet's profits. To wit, the company earned $5 billion every 16 days in 2017 based on its reported revenue of $110.9. But the size of the fine is a secondary concern for Google: What's worse is an accompanying order that will force Google to allow phone manufacturers to choose non-Google apps to be pre-installed on Android phones. For app developers, this could be a huge opportunity, considering that 80% of the world's smartphones run Android.
The Justice Department should strike now and force Google to fight on three fronts. They won't, but ZeroHedge hints at how Trump himself could turn up the heat on the tech giants that hate him.
While antitrust investigations of Alphabet in the EU date back at least eight years, the bloc launched its investigation of Android in 2015 following a complaint from a lobbying group. Seeing as this fine is nearly double the previous one, it begs the question: will Vestager go for broke and slap Alphabet with an even larger fine when the EU renders its judgment on its probe into Google's AdSense service, which the EU claims was used to block other rivals in online search advertising?
Perhaps that will depend on how Trump responds: whether he backs down on his aggressive EU trade policy - unlikely - or doubles down.
That's not even a false binary. Trump can goad his enemies into eating each other simply by doing nothing. And it will be beautiful. Stock up on popcorn.

P.S. Congressional Republicans' inaction against Big Tech, apart from a bit of kabuki theater for the plebs, is smoking gun proof they want to lose. The real electoral interference isn't Russian bots buying anti-Hillary Facebook ads. It's Facebook itself, plus Google, Twitter, et al. actively muzzling Republican voters.

Fat lot of good it'll do them when the Democrat Party pulls out all the stops in its metamorphosis into the anti-white, anti-law and order, anti-peace party. Leftist insanity will drag Republicans kicking and screaming across the finish line. Hopefully they wise up and start fighting back before insane Leftists drag them somewhere less pleasant.

Nethereal - Brian Niemeier


The SJW Turkey Shoot

Princess Tumblrina

You used to be able to take it for grated that when a studio announced a new TV show, they made the announcement assuming that the creators were dealing in good faith. Back in the 80s, a new Saturday morning cartoon being greenlighted meant the network execs were confident the show would appeal to its audience.

That audience consisted of two demographics: a) kids who would enjoy the story and characters and b) those kids' parents, whom the TV networks and the toy companies counted on to shell out money for actions figures based on the IP. Relevant to our purpose here, b) relied on the show seeming harmless enough to fly under parents' "bad influence" radar.

Since two-earner households became the norm in the 70s, parents have sought to compensate for neglecting their kids by bribing them with cheap plastic trinkets. There's a concurrent tendency to overcompensate by vetoing toy purchases that bear the slightest whiff of impropriety. I'm not complaining. These factors provide a reliable barometer for propaganda, as we'll soon see.

These days, to assume that any of the crumbling media giants would release a new offering in the hope of turning a profit, you'd have to be utterly ignorant of recent debacles in video gaming, trade science fiction, comics, and Hollywood. Attempts by social justice warriors to flay these industries and spread propaganda in their skins have led to prominent consumer revolts against the SJWs.

If you remain skeptical that multibillion-dollar corporations would voluntarily go kamikaze into mountainsides in the name of intersectional theory, take a look at this post's header image. The picture on the left is a promotional still from Netflix's new She-Ra series. If you don't remember She-Ra, it was a He-Man spinoff that flipped the main characters' sexes. The show never took off as big as its predecessor because its creators failed to acknowledge that girls have different coming-of-age fantasies than boys. It goes to show that even going back tot he 80s isn't going back far enough.

Even without the explanatory cartoon, the picture above is a dead giveaway that Netflix is remaking She-Ra for reasons other than a profit motive. They have the original 1980s series as an object lesson in what not to do, viz. projecting male power fantasies onto girls. A She-Ra reboot intended to be successful would have started by making the character design more feminine. Instead, they doubled down and gave the title character boyish features and a masculine head-to-shoulder width ratio.

Netflix She-Ra 1Netflix She-Ra 2

The picture on the left is how the She-Ra reboot was marketed starting last year. The picture on the right is actual artwork from the show. A normal person will immediately see why reactions have been overwhelmingly negative. The main character looks like a gender dysphoric Dennis the Menace.

There's no use trying to dismiss this kind of Charlie Foxtrot as a well-intended misstep, not with millions on the line. It's an open secret that Netflix has been in precarious financial straits for years. Not surprising when management knowingly turn their streaming service into a Ponzi scheme. The con works by leveraging your company to the hilt to buy up all the talent. In theory, you'll end up as the only game in town and can pay off your debts with the sweet monopoly profits.

An unwritten rule in Hollywood states that one studio in every generation tries the same grift. It nearly killed Sony in the aughts, and it did kill RKO. Netflix is doubly screwed because in addition to racking up debt like it's going out of style, they've been effectively cooking the books by depreciating their digital library much more slowly than anyone else in the business. The FTC and the IRS haven't figured out a way to close the loophole yet, but I wouldn't bet on them giving up and going home.

Netflix's only way out of the hole they've dug is to attract more subscribers. The fact that they're vomiting out a reboot of an unsuccessful 80s kids' show that appeals only to Sapphic cat ladies proves they've drunk deep of the SocJus spring and have entered a nosedive aimed straight at Normieville.

The formula--one might more aptly say ritual--is now well-established. An SJW converged entertainment company on the skids announces a new project based on an established franchise with some degree of American cultural cachet. They build up buzz as one might expect for an honest product launch, only to deliver a crude and twisted parody of the original.

What follows is crucial. In fact, it's the whole point. The converged corporation fans initial murmurs of normie dissatisfaction into a full-fledged backlash. Conveniently, the company will have hired a race hustler masquerading as a writer or a LOOK AT ME!!! LGBTQ+ mascot to headline the project. Those who complained have unwittingly stepped into a kafkatrap wherein the production's SJW fellow travelers in the media can snipe at normal people with their victims caught in a crossfire.

The memory hole is a defining feature of the social justice cult. Because the cult's ideology is totalitarian and progressive, it must constantly disavow its own past. Since the cult recognizes only two broad categories of people: "Us" and "not us", perpetual loyalty tests are deployed to separate the reprobate from the elect.

Companies like Marvel, Disney, and Netflix now exist only to broadcast these identity tests to the SJW hivemind. When you publicly oppose the latest assault on truth and beauty, you identify yourself to the collective as an outsider and therefore an enemy.

Much like Global Thermonuclear War, an SJW Turkey Shoot is a chump's game where defeat is guaranteed by virtue of agreeing to play by the stated rules. Don't waste your time trying to answer the SJWs' accusations. The only logical response when you find yourself in a crooked game is to flip the table.

Don't give money to people who hate you. Support independent creators working hard to bring you honest entertainment instead of smug civics lectures.

Nethereal, the first installment of my thrilling Soul Cycle space adventure series, is available now for just 99 cents. Check it out!

Nethereal - Brian Niemeier




Lately I've been getting questions about Kishōtenketsu, the four-part story structure of classical Chinese, Japanese, and Korean literature. My Twitter friends sent along a useful post explaining the concept.
Let’s start with the word itself. It’s made up of the names of the four different acts of the structure:
  • Ki : Introduction
  • Shō : Development
  • Ten : Twist (complication)
  • Ketsu : Conclusion (reconciliation)
The first act is self explanatory. It’s where we’re introduced to the story and we get to know the characters taking part and the world they live in.
Similarly, the second act also doesn’t require much explanation. This is where we get to know the characters a little better. We learn about their relation to each other and their place in the world. This is where we develop an emotional connection to the characters.
The third act however, the twist, is where things get a bit complicated. I’ve seen this act referred to as complication, and while I don’t think that’s technically correct, I feel it’s a better name. Calling it a twist brings with it associations to plot-twists as we know them from more traditional western narratives.
This isn’t necessarily the case here. It can be, but it doesn’t have to. However, it’s often something unexpected, and usually unrelated to what’s happened in the first two acts.
Finally, the fourth act is about the impact of the third act on the first two acts. This is why I like the term reconciliation. The third act will affect the situation presented in the first and second act, and in the fourth act the state of the world in first and second act is reconciled with the events of the the third.
You can see how cultural differences between East and West come through in each culture's preferred storytelling methods. Kishōtenketsu emphasizes developing a cast of characters over focusing on an individual protagonist. The Eastern approach is also more concerned with reconciling the story's events to the status quo ante.
I mentioned earlier that Kishōtenketsu is a story structure without conflict. This doesn’t mean there isn’t any conflict in stories told through this kind of story structure, only that it’s not built into the structure by default.
Let’s compare it with the three act structure:
In the first act, a conflict is introduced. In the second act the conflict is escalated, and in the third it is resolved. As we see, the conflict is an integral part of the structure as a whole. That’s not the case in Kishōtenketsu. In none of the four acts is a conflict a requirement.
This holds true even for the third act. The complication doesn’t have be something that the character struggles against – but it can be.
Properties like Star Wars grounded in conflict-driven Western storytelling conventions already face a major handicap in more conformist, social harmony-emphasizing Eastern markets. Disney isn't doing itself any favors by also making its products horrible.

Related: Some reviewers have said that the beginning of my first novel Nethereal uses a structure similar to Kishōtenketsu. It's only 99 cents right now, so give it a read and see for yourself.