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One must still have chaos in oneself to be able to give birth to a dancing star. -Nietzsche

  April 23, 2014

Celebrating Brutality

Hypermodern with every trendy trope: token minorities, blond girl with mulatto romance, menacing wheelchair kid, historic asiatic jew stereotype perpetuated by liberals, with all characters flatly defined by their means of special treatment, whether race, disability, or unconventional sexual proclivities, living for festivals of pointless song and dance tripe treated seriously as if containing some hidden substance.

Glee parades in the death of Western Civilization by replacing culture and meaning with noise and empty action. After dumbing down standards and lowering the quality of the population so Beethoven is no longer understandable and classic literature has too many words and not enough pictures, they offer a glimpse of a sci-fi future where mindless music and psychologically deranged people gyrate in united narcissistic glory.

Glee appears to be neither parody nor self-aware, made for an audience already prepared by media saturation to think its setting of decline is normal, needing no artistic premise for its naked gruesomeness. Where von Trier's Melancholia is a carefully crafted movie depicting humanity's apocalypse, Glee is a prolonged snuff film with unnecessary torture, blasphemy, violent sadomasochistic anal rape, and depressing nihilism celebrating civilization gone decrepit and soiling itself hourly as it goes through its death throes seeking relief from the brutality of its grim suicide.

While perhaps a visionary look at an impending future of Huxlian death through trivial amusement, or Vonnegut's vision of the Handicapper General using pop music to suppress thought and spirit, Glee is crude, ugly, and promotes the idea of world where only submission to banality will be possible, with no heroes or alternatives to restore health and sanity.


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