Niall Ferguson: US pop culture beat Soviet. Ok, but will woke culture wreck America?

Some readers may wonder why I focus relatively much on woke entertainment. The personal motive is simple: I don’t like any propaganda in entertainment, and LGBT propaganda in particular is in conflict with my culturally conservative values, so I don’t hide my biases and “motivated reasoning” in this case. Woke people took much of the fun of ESO away from me. Now I’m grumpy. Not as angry as John Wick when someone killed his dog, but nevertheless in a relative state of occasional curmudgeonliness. I’m the first to admit that it’s dadaist mĕshuggāʽ, but we live in absurd times and it’s not as crazy as Mr Musk putting a chip in a monkey so that it can play Pong using its brain instead of a controller. My personal issues aside I feel motivated to convince more people that woke entertainment matters, on a global level. You too should combat it, ASAP, before this propaganda spreads even more, like stage IV cancer in every movie you rent, in every game you buy.

Let me refer to an authority, since a few of my 0 to 10 daily visitors are perhaps herd animals following authorities. Especially Davos-imperialists in the National Sheep Agency (NSA) may listen if I refer to Davos’ own in-house historian, the fabulous Niall Ferguson.

Ferguson writes in Doom (2021):

“One of the many ways America sought to undermine the Soviet Union in Cold War I was by waging a “cultural cold war.” This was partly about being seen to beat the Soviets at their own games—chess (Fischer vs. Spassky); ballet (Rudolf Nureyev’s defection); ice hockey (the “Miracle on Ice” of 1980). But it was mainly about seducing the Soviet people with the irresistible temptations of American popular culture. In 1986, Régis Debray, the French leftist philosopher and comrade in arms of Che Guevara, lamented, “There is more power in rock music, videos, blue jeans, fast food, news networks and TV satellites than in the entire Red Army.” The French left sneered at “Coca-Colonization.” But Parisians, too, drank Coke. Now, however, the tables have been turned.” (…)

“The work of Jiang Shigong and others make it clear that China today understands itself to be in a cold war that, like the last one, is a struggle between two forms of empire. Yet the book that provides the deepest insight into how China views America and the world today is not a political text, but a work of science fiction. The Dark Forest was Liu Cixin’s 2008 sequel to The Three-Body Problem. It would be hard to overstate Liu’s influence in contemporary China: he is revered by the tech companies of Shenzhen and Hangzhou and was officially endorsed as one of the faces of twenty-first-century Chinese creativity by none other than Wang Huning.”

ESO copies woke politics from real life. AI-infested CCP, in real life, copies a science fiction novel…

The Straits Times (2018):

China uses sci-fi to try to spark a tech boom

Variety in Aug 2020:

China Issues Guidelines on Developing a Sci-Fi Film Sector

“To make strong movies, the document claims, the number one priority is to “thoroughly study and implement Xi Jinping Thought.” Based on the Chinese president’s past pronouncements on film work, filmmakers should follow the “correct direction” for the development of sci-fi movies. This includes creating films that “highlight Chinese values, inherit Chinese culture and aesthetics, cultivate contemporary Chinese innovation” as well as “disseminate scientific thought” and “raise the spirit of scientists.” Chinese sci-fi films should thus portray China in a positive light as a technologically advanced nation.”

“In addition, the document honed in on China’s need to develop and control its own homegrown VFX and digital technologies to support the making of sci-fi content as tensions rise with the West over technology and internet control.” (…)

” … China’s lack of strong sci-fi is primarily due to a lack of innovative ideas and scripts, the document said. The country should focus on generating strong sci-fi scripts through talent incubators and prizes, and by urging film festivals to set up specific sci-fi film departments. The adaptation of sci-fi literature, animation and games should be encouraged to stimulate the production of new original content.”

“Elementary and middle school students should be made to watch “excellent sci-fi movies,” while universities should be urged to “strengthen the training of sci-fi related talent.””

Xi certainly thinks entertainment is important. But will China’s movies have in common with Hollywood’s woke movies that both are full of insufferable and cheesy propaganda? If so, then I put Beijing in the same bad taste category as today’s LA.

I watched maybe five minutes of Wolf Warrior, before turning it off.

The Road Home (1999) is very good, as far as I can remember now, twenty years later.

Finally, what’s the relation between entertainment aka popular culture and mass surveillance? If woke entertainment in America and Europe continues to lead Western culture away from moderate liberality and moderate cultural conservatism it will eventually contribute to a situation where rightwing elites are willing to physically combat leftwing corporate elites. FBI and MI5 etc will then increase their use of drones and mass surveillance to prevent further balkanization in the West.

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