It is increasingly clear that far too many Americans (and non-Americans) have fallen under the spell of the “multiverse,” a concept popularized in recent blockbuster films (though first introduced back in the 1961 comic book “Flash #123.”

Then there was “The Dark World” (2013) and the 2016 “Doctor Strange,” in which The Ancient One announces that, “This universe is only one of an infinite number… Some benevolent and life-giving; others filled with malice and hunger.”

First came the huge 2018 hit “Spider-Man: Into the Spider-Verse,” in which the evil Kingman can open portals to other universes and pull different versions of the teen hero (some who have not aged well) into our world. Then came two more Spider-Man films that “confirmed” the existence of the “multiverse.”

Then, in March, we saw the surprising success of “Everything, Everywhere All at Once,” the comparatively low-budget ($25 million) film that has already passed the $100 million mark in the 15 weeks since its release. This film too exploits the so-called multiverse, in which the lead character Tupaki and other people exist in multiple timelines and live very different lives in each.

Today, many of America’s youth, brainwashed by the craziest socialists ever produced at our “normal” schools (what teacher colleges used to be called), have no idea as to their real identity and thus are imagining genders that outnumber Baskin-Robbins’ ice cream flavors – but that is only a smokescreen that obscures the deeper illness foisted upon their tender brains.

Deprived of a sense of history, these children have been recruited by Pied Pipers of the New Hamelin to a total rejection of the society that has enabled them to eat, drink and be merry without having to work (while children in “developing” nations slave away to provide the raw materials for their cell phones, X-boxes and other electronic toys).

But they are unable to see the connection between their affluence (which they pretend to reject while remaining totally absorbed) and the inhumanity (including sexual exploitation) foisted upon “migrants,” “sub-humans” (like Uighurs), and one-armed, one-legged Congolese children who provide the cobalt for their precious EV and other batteries.

But whose fault is it that our children are so deceived but our own? Families who would never allow strangers to babysit their children send them off to “schools” whose aim is to separate them from any vestiges of their families’ histories and values.

That said, what to do now?

A major obstacle to bringing truth to the brainwashed generations is that words no longer have any meaning to them – truth has been twisted, censored speech, and mocked and defamed those who speak out against their evil deeds. Every word we use they counter with screaming mockery and demonization.

The answer should be obvious. As Frank Barnard explained a century ago, “A picture is worth a thousand (or ten thousand) words.” Half a century ago, Marshall McLuhan reiterated this principle with the immortal words, “The medium is the message (massage).”

Words will not convey the reality of this inhumanity that serves our privileged protesters.

This is a visual generation. So we need imagery to reach the brain-dead who are impervious to rational thought. And, to be effective, we might even want to use sardony and sarcasm thinly enough disguised that some will even think we are celebrating the ignominy of rich Americans living high on the backs of Third World children.

Let us make “mockumentaries” about the glories of the modern electric vehicle and of the solar panels and wind turbines they cherish that begin with valiant prose lauding the eight-year-olds in Congo who dive into open pits for cobalt and other critical metals and the sacrificial work of Uighur slaves who produce most of the world’s solar panels.

Maybe cartoons – or a new Zorro-esque movie could show the glorious work of Mexican cartels, aided by both Chinese “fentanyl scientists” and American politicians, who send hordes to trample on the homes and property of working class Mexican-Americans who have the gall to oppose this benevolent dictatorship. Such a movie would also show those dying of overdoses to be deserving of their fate. Kinda like Maoist propaganda films used to do.

We cannot win the battle for the hearts and minds of the disaffected with logic and reason – because they have been programmed to reject all logic and reason and instead to follow mantras and dare not to step one inch out of line. That’s what cancel culture is all about – oppressive conformity.

There is, of course, the danger that Gen Zers will be thrilled to see images of one-armed, one-legged eight-year-old Congolese children rather than shrink in horror at the inhumanity that undergirds their virtual unrealities. After all, the generation that demands we surrender all our guns spends hours every day killing scores of virtual enemies by every conceivable means.

Still, the Trojan horse was an effective strategy in days of yore, and we may have no better weapon left than that used by Jonathan Swift and others who dared not speak directly against the evils of their day.

Remember that in the classic film “War of the Worlds,” humans were powerless to defeat the invading aliens, but lowly bacteria wiped them out summarily. The injection of sardonic humor just might be the “virus” that eradicates the great disease infecting the hearts and minds of the “woke” generation and wins this possibly final battle for the soul of humanity.

Author

  • Duggan Flanakin

    Duggan Flanakin is the Director of Policy Research at the Committee For A Constructive Tomorrow. A former Senior Fellow with the Texas Public Policy Foundation, Mr. Flanakin authored definitive works on the creation of the Texas Commission on Environmental Quality and on environmental education in Texas. A brief history of his multifaceted career appears in his book, "Infinite Galaxies: Poems from the Dugout."