Not-So Supergirl: Why Hollywood Hates Women
Why Hollywood's Supergirl Flop Signals a Rejection of Anti-Heroine Agitprop
MEDIA’S DISDAIN FOR WOMEN AND WHAT THEY REPRESENT
Hollywood and the global-corporate media complex have a unique disdain for women. In the 2026 film adaptation of the DC Comics’ character, Supergirl, she lives alone, is a drunk, hates society and only cares about her dog. She eats the defecation of strange animals (not kidding) and wears a trench-coat as a daily driver. It’s mockery and a humiliation ritual not-so-cleverly masquerading as a superhero film.
Warner Brothers, the owner of DC Comics and by extension, Supergirl, took a beloved character and turned her into yet another monument of insidious influence. The global-corporate message passed down through the Supergirl movie’s marketing is simple: Be selfish. Consume. Reject love. Reject life.
The new Supergirl film, according to some who’ve seen it, is nothing more than a dull-gray pastiche drawing from a disparate swath of better films like John Wick and Mad Max (two characters that I’d never have said would be inspirations for Supergirl). Defenders use the inspirational links to John Wick to justify the plot that is essentially about saving her dog. But the death of Wick’s dog wasn’t the inciting incident for the character’s turn; it was just a visual cue.
The true, narrative inciting incident of John Wick was the breaking of rules that his previous life was built upon. Everything in his world was about rules; those who break them suffer mortal penalties. The men who beat him, stole his car and killed his dog broke a vital rule. John did an “impossible task” for a particularly influential criminal underworld figure. John accomplished this task and earned his freedom, but the indiscretions performed against him marked all involved with death. John Wick merely became a vehicle for the delivery of justice based on the rules that all involved agreed upon. In Supergirl, she just wants to save her dying dog. Noble but not heroic much less superheroic. She’s no John Wick.
USING HEROES TO PROMOTE NOTHING
A persistent global-corporate emphasis on “queer” branding is astroturfed for ideological reasons and is as subtle as a creepy van with the words “free candy” scrawled on the side of it.
Even though only a tiny, fringe minority of people identify with this label, a significant portion of people on the press circuit of any big budget Hollywood film just happen to be obsessed with minority sexual ideology and will often ask questions to imply it’s something anyone else would care about. To be nice, most of the actors/actresses simply play along, but the results have a negative effect on the end product.
Hollywood-ites—who are mere mouthpieces for these globalist ideological interests—constantly emphasize how the pairing of men and women is “repressive” for women and how “toxic” it is for men to display traditional attitudes about labor, sacrifice, desire for family, honor, dedication to God and nation, but how it’s “brave” for women to espouse a desire to be violent, to devote their lives to the pursuit of money and to reject any maternal instincts. Women who express the natural instinct of wanting to be mothers are lambasted and derided. You’re not being a good enough corporate citizen, consumer!
In this sick new world, pair-bonding with a man is oppressive but pair-bonding with a corporation is liberating. Raising children is oppressive but raising pets is laudable. The naturally minimalist lifestyle of a man is “toxic” but a man pretending to be a woman and replicating female spending habits is “brave”.
Redundant actress Rachel Zegler remarked while on the press circuit for the recent Disney remake of Snow White—in which she plays the titular character—that the Prince in the original animated film was a creep. He saved Snow White’s life. In Zegler’s version of the movie, she has no romantic pursuit, but her character does attempt a communist-style revolution to overthrow the queen. Subtle. The movie bombed, by the way.
Supergirl actress Milly Alcock is currently doing the press circuit where in numerous interviews she espouses how proud she is that Supergirl is a “queer icon”, whatever that means. This is concerning. For a movie with a significant production and marketing budget, encapsulating your lead character as one that only a fringe subset of the population can relate to isn’t an attractive message. But as is plainly evident by now, the entertainment content of a piece of modern art is an unnecessary result of its output; what matters is how successful that art is at delivering or reinforcing the aforementioned social messages.
Global audiences are rapidly rejecting the agitprop produced by the west in favor of unironic entertainment that’s increasingly being produced in the east, in countries like China, Japan and South Korea. In the media made in these countries, universalist themes of heroism are translated through traditional avatars that are relatable across all ethnic groups, male and female. And it works. Where there are mass layoffs in the west in film and video game production, eastern development studios are growing.
HOW GLOBAL CORPORATISM MADE “ANGRY WOMEN” THEIR MASCOT
The best way to destroy a society is to decouple its men and women. Powerful people know this. We are currently living in a world where being highly unlikely to contribute to the gene pool rewards you with a whole month of celebration. The incentivization structure of modern society isn’t subtle and is perpetually impressed upon us: consume, go into debt, don’t breed (adopt an animal instead), love is a hindrance, degenerate sex is acceptable, religious faith is laughable, etc.
But try as the elites might, I believe that they’re failing at dividing us. I understand that statistics are indifferent data, and the data says that men and women are increasingly decoupling, which is concerning. However, in my everyday life, I see male/female couples everywhere. And they’re happy. And these are younger people in the town I live in. It may not bode well against the global-corporate campaign to divide and conquer as it seems that Gen Z and younger generations are rejecting modernity and following their instincts. They seek the entertainment of older generations; they want physical media and the true social networking of physical third places; they want REALITY. They don’t want download codes for games/music/movies; they want physical discs, albums, media in general. They’re rejecting algorithms in exchange for real, tactile human conversations. This is the natural immunity response to elites wanting to turn us against each other.
Women are told that they should be angry—and even violent—in resistance against the crimes of the past(?) and supposed crimes of the present… as long as those crimes are the ones they’re intended to be angry about. A quarter-million young women in the UK actually being raped by hordes of foreign savages is meant to be dismissed. Vague accusations of “inequality” and supposed denial of “women’s rights” are intended to mobilize women for the political gain of our elite masters. Women are told to embrace that which is likely to repulse men, in regards to fashion and behavior and mire themselves in lifestyles of artificial decadence and self-destructive over-consumption. Essentially, be a slave that celebrates their position as yet another malleable identity and be accepted into the fold.
As the Joker would say, “It’s allllll part of the plaaannnnnn.”
GLAMOUR IS NOT NECESSARY, BUT BEING LIKEABLE IS
Captain Jack Sparrow was selfish. Ellen Ripley was afraid. Sarah Conner was a skeptic. Han Solo was a materialist. Superman defied the will of his loving father. Dorothy Gale was ungrateful. John McClane was jealous of his wife’s success. These are all character and their flaws, but somehow these same characters became aspirational icons and helped define their respective generations.
Many would say that these characters are “attractive” in a variety of ways. Dorothy has always been seen as sweet and affable and Superman as the traditional model of masculine power and grace, but none of them are especially glamorous. They don’t need to be. In heroic tales, beauty is typically a visual cue of a character’s internal discipline and physical prowess. Brad Pitt’s Achilles was understandably a specimen of physical near-perfection to justify his legendary status.
Heroic tales feature conventionally attractive characters who are embodiments of health and beauty. They’re conceptual avatars; vehicles of personality types. Only in comedies or horror movies can heroes be unusual or even monstrous-looking. Supergirl is a character of the typical superhero mold. Her current cinematic adaptation attempts to subvert her origins and turn her into a gaudy and laughable modern representation that appears to be summarily rejected by those who’ve already seen the movie. The people who produced the film clearly have a disdain for the source material and think of characters like her as mere carriers for the social disease they wish to propagate. But there is another way. In a near-future article, I’m going to present a case for a truly inspiring Supergirl film story that would rally global audiences behind her.
WHY THE ELITES HATE WOMEN
The truth is this: women are hated in this deranged new media world because they represent the ability to create life. This in and of itself is a superpower. It’s a power relegated only to God but is also something that men and women can achieve when they work together and not just to produce a living organism but a healthy, happy child that is the living embodiment of both of the parents. In creating life and passing down love to our children, we get a glimpse of the divine.
I believe that true evil exists in the world, and we don’t need to concoct dark mythologies about ghosts, demons and far-off malicious entities to explain it: evil exists in human hearts and there are people who think life itself is a problem to be solved. These types hate women for their ability to bring life into the universe. Over the last decade of learning about the lifestyles of men like Jeffrey Epstein, Sean Combs and others, these are no longer theories of conspiracies; they’re verifiable fact.
The way that elites consumed by evil use symbols, stories and language to craft narratives that divide us use our own culture against us. Supergirl was created as a symbol of hope, light, life and love. It only makes sense that she’s being revisited, repackaged and presented to us as an unrecognizable specter. This shoddy shadow of Supergirl is meant not to revivify old ways of divine instruction but to insist upon an insidious new way of thinking where division is unity, diversity is uniformity and life itself is a mold to be sanitized.
If you want to “fight the system”, the best way to do that is to embrace love and life and resist those who tell you otherwise.
SARJ OUT
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