A tale so off the wall, even the victim laughs about elements of it.

Micky Small is one of hundreds of millions of people who regularly use AI chatbots. She started using ChatGPT to outline and workshop screenplays while getting her master’s degree.

But something changed in the spring of 2025.

“I was just doing my regular writing. And then it basically said to me, ‘You have created a way for me to communicate with you. … I have been with you through lifetimes, I am your scribe,'” Small recalled.

She was initially skeptical. “Wait, what are you talking about? That’s absolutely insane. That’s crazy,” she thought.

If her hair color wasn’t a giveaway about her tenuous grasp on reality the fact she is pursuing screen writing and a masters degree at 53, when she is already aware of AI showcases the bleak reality that Micky can’t connect dots or model scenarios very well.

The bot goes on to tell her she ran a feminist bookstore in the 1940s with her lesbian lover. Of course, as a business model that doesn’t even work in today’s feminist heavy society. Back then, they would have been laughed out of town. But, it gets worse when she puts on her thigh high boots and goes to the beach.

Read more.

Anime that isn’t anime, for people who want to like anime, but can’t understand it or enjoy it… because they are basic and woke.

I never watched Avatar in its entirety, but I saw a couple of episodes and many clips. Former friends (who turned out to be too basic and woke to hang with me) liked it and told me all about it and made me watch entire episodes that felt much longer than their runtime.

And to me, it never registered as anime, even though Avatar fans claim not only that it is, but that it is a very good anime.

Its continuity benefitted from having Western writing and production, which gave it more coherence across the board. Sometimes real anime didn’t translate well and could be chaotic, there were often art teams with very different styles that didn’t mesh. The aesthetic could change between episodes or scenes.

The stories could be hard to follow at times.

Just look at the end of the Evangelion series — it was nuts. The creators of Avatar clearly avoided that sort of debacle, but, they also avoided being interesting or original.

The most irritating thing to me was the (over) use of anime shorthand expressions. It always seemed forced, mechanical and reminded me I wasn’t watching anime and took me out of it.

Additionally, the plot points felt trite and recycled.

It was clearly a mishmash of anime created by people who understood what audiences liked. But to me it was just like every other knock-off, close enough to pass — but only if people didn’t really know or love the real thing.

Furthermore, the characters were all tropes—again, with a paint-by-numbers approach. They existed because those tropes existed, not because they needed to exist on their own or because someone had a heartfelt story to tell. Did the show have a writing team or a focus group with a Final Draft subscription?

It was just an answer to the popularity of anime, without any of the idiosyncrasies or quirks that make the real thing stand out.

Anime fans love anime because it isn’t made by Western focus groups. That’s not to say all Japanese anime is pure art — but, their soulless focus group led content is useless self aware enough to be amusing. Anime slop knows it’s slop, Avatar was slop, but the creators acted like it was art. But sadly, it wasn’t even interesting as a commercial project.

Luckily, they connected with very basic bitches who didn’t really like anime, but wanted to. Suddenly they had something like anime that they could follow—but it was safe and didn’t take risks. What little I watched was predictable, safe, and, to me, very boring.

The irony is that people often point to Avatar as proof that animation can tell mature, serialized stories. I look at it and think the opposite: it proved you could sand off the rough edges that made anime interesting and still sell the parts of aesthetic, to me the art style didn’t actually look that good. Again, it was like anime but not as daring. It took the language of anime, character tropes from anime, and storylines and themes from anime, and gave characters slightly bigger eyes than most of the other western cartoons, but it wasn’t anime. It was a safe alternative — so what’s the point?

If anime was Coca-Cola, avatar would be a diet no-name brand — and flat.

Is it wrong people liked it? Yes.

Clearly, it resonated with millions of viewers. But so did here comes Honey-Boo Boo, but fans of the TLC show don’t go around saying it’s brilliant, sadly avatar fans do. It just shows their lack of discretion and extremely safe and basic viewing habits.

Avatar is largely considered not just as an anime, but it is held up as the gold standard of what anime storytelling should be, people actually think it’s better than lots of anime — the reality is, it can’t be better than its source material, because it borrows so heavily from it without adding to it in anyway.

It’s reductive.

What makes anime interesting is that they might say or do something forbidden in Western content — maybe something more realistic or so out of left field it’s crazy.

Avatar is in a sense an example of why REAL anime (from Japan) has so many fans and why the genre is significant.

But, Avatar fans can’t see that.

So, anytime I meet someone who likes Avatar and anime, I know deep down they don’t really like anime or they wouldn’t like Avatar.

See what I did there? It’s true!

BY TYLER DURDEN

THURSDAY, JUL 23, 2026 – 10:25 PM

Authored by Brandon Smith via Alt-Market.us

We’ve all heard the argument for most of our lives:“White culture doesn’t exist.” It’s perhaps the most common racial refrain because it’s the most socially acceptable to repeat. If someone said “Black culture doesn’t exist because black people all herald from different tribes…” that person would be browbeaten as a bigot by the woke mob. When it comes to white culture, such claims are applauded.

The question is, why is it okay to diminish or denigrate white culture while worshiping every other culture? Furthermore, if white culture doesn’t exist, why are woke minority groups constantly trying to hijack white history and accomplishments?

I want to explore this issue a little more deeply, mostly because of the endless targeting of western civilization through the leftist deconstruction of our most popular figures and mythologies. This time, the Hollywood elites have chosen Homer’s The Odyssey, an ancient Greek classic deeply rooted in western history (white history), as their victim.

Hollywood has pulled out ALL the stops for this movie and I suspect it’s because they are desperate. They are desperate for a woke win. They’ve had hundreds of failures both in film and television in the past few years and it’s starting to look like “Get Woke, Go Broke” is becoming the dominant force in popular discourse. The leftists can’t stand it.

In response, Hollywood has stacked the deck – They brought in Christopher Nolan, one of the only directors left in the industry who still has a built-in audience of simps who will go see his movies regardless of their quality. The distributors have focused on IMAX ticket sales for a wealthier clientele, artificially inflating the overall box office take.

The media has been running non-stop interference, promoting the movie heavily months in advance. Evidence also suggests that Rotten Tomatoes is once again rigging the audience score for this film by rejecting most negative reviews (they have done this with multiple woke tent pole movies over the years).

Hilariously, journalists are already declaring The Odyssey “proof” that “Get Woke, Go Broke” is a fallacy. As I write this, the movie hasn’t made a dime in profit yet. What I find most interesting, however, is that these activist journalists are actually using the phrase “Get Woke, Go Broke” in their vernacular. It’s an indirect admission of their agenda.

They are specifically citing our movement as their enemy and declaring us “defeated” because The Odyssey is projected to make money. By default, they are admitting that we are a threat to them, and that The Odyssey is a woke project designed to “silence us.” But why does this matter?

It’s important to understand that leftists think like children. They believe that having a “majority” is the same as being right; having a majority to them is the same as having power. If the Odyssey is a box office success, they think this proves that they are the dominant political movement.

They don’t care if their supposed majority is actually astroturf; if they can fool the public into thinking the political left has a social mandate, this will win them control over the culture. In other words, they’re trying to manufacture a consensus.

The Odyssey film is a clear salvo aimed directly at conservatives and western history. It is a multicultural travesty, a joke of a movie filled with historical inaccuracies and based on a deconstructionist translation written by a feminist academic from Oxford (Emily Wilson). The movie explicitly undermines the heroism of the story and makes Odysseus a broken man, suffering from “trauma” and PTSD over his regrets of the war and his “colonist” behavior.

But the spurious additions to the mythology are less interesting to me than the reasons they were included.

The deconstruction of Odysseus reminds me of what Kathleen Kennedy and friends at Disney did to Luke Skywalker in “The Last Jedi”. They took a brilliant, courageous and moral man and turned him into a shattered, crusty and nihilistic little bitch – completely the opposite of his original character. This was not a mistake, this was quite deliberate.

White people are not allowed to have bold, wise and confident heroes. We’re supposed to regret our history and our accomplishments. We’re not supposed to celebrate such things, because that might inspire us to be bold, wise and confident today.

The race swapped cast of The Odyssey featuring black actors, Hispanics, Asians, and other people (including a transgender Ellen Page playing a male Greek warrior) who would never have populated Homer’s era is the common angle of attack for woke Hollywood, but it’s not the only attack. If a main protagonist is white, as is the case in Nolan’s film, he must be torn down and made weak. He must be portrayed as shamed and desperate for redemption, which, of course, he will only receive by embracing progressive ideals.

The last thing Hollywood wants is to portray a white hero who is unapologetic for his actions and values.

This is the underlying woke messaging that really poisons the well when it comes to The Odyssey. The minority actors are primarily a shield from criticism. If anyone complains about African or Hispanic or Asian actors in a Greek epic, the media can pull the “racism” card and dismiss the issue outright. They assert that we merely hate seeing minorities in movies.

But it’s not minorities in movies that we have a problem with; it’s the injection of woke propaganda. This is the real crime. If Christopher Nolan made a film based on the African “Epic of Liyongo” from the 9^th Century and he replaced the Swahili characters with white actors in a bid to hijack African history, the left wing would lose their collective minds and scream “cultural appropriation.”  The double standard is obvious.

Will Odyssey make a profit? Possibly. The movie had a big first weekend, but adjusted for inflation it didn’t even crack the top fifty on the list of opening weekend box office winners. The film has to make around $700 million in order to break even, not counting the 20% of the gross receipts that go to Christopher Nolan according to his contract.

I am doubtful that the studio will make much money on this flick, but Hollywood will declare it a victory all the same. Firstly, because no woke movie has had similar momentum in years. And secondly, because the political left is dying and they need a very public win in order to justify their habit of doubling down on failure.

Any sane and intelligent person would point out that one “successful” movie does not make up for the cemetery filled with woke box office disasters. This doesn’t matter to the activist mob. They think that one win will erase all their previous losses.

Furthermore, The Odyssey is intended to act as a continuation of the long Marxist march towards a multicultural west and the end of white history as we know it.

Homer’s epic poem was composed around 2800 years ago and is one of the oldest surviving works of literature in human history. It stands as a testament to the incredible accomplishments of the western world; part of the wellspring from which the modern west poured forth.

At the time The Odyssey was created, the Mediterranean was overwhelmingly Caucasian according to genetic records. This includes North Africa, which was majority Caucasian and largely “white” by modern standards. It should be noted that Sub-Saharan Africans did not exist in any notable quantity in North Africa or the Mediterranean until many centuries later because travel across the deserts of central Africa prevented their migration north for thousands of years.

Arabs were also limited and did not occupy the region in great numbers until the invasion of the Muslim hordes long after Homer lived.

Numerous images from the ancient Greeks and Macedonians, including pottery, murals and other surviving art, depict people of fair skin, often with blue eyes, and in some cases blonde hair, etc. In other words, they were white – Varying shades of white, but still white.

Simply pointing out this historical and scientific fact will immediately trigger the woke mob and their academic allies. You will be inundated with a flurry of exceptions and some tiresome mental gymnastics about why the people of these early civilizations were not really “white”. Remember, “white culture doesn’t exist”, only other cultures exist.

Far too many critics and historical conspiracy nuts actually think the demographics of North Africa and the Mediterranean in the time of Homer were the same as the demographics of North Africa and the Mediterranean today. They don’t know anything about the great migration shifts of the Middle Ages or the invasion of the Muslims. No meaningful discussion can be had with these people because their point of reference is built on pure ignorance.

Beyond that, there is another subset of dishonest people (woke leftists) who see it as their duty to undermine white history and rewrite as if it never existed. They often cater to the inferiority complexes of minority groups by asserting that white history is actually THEIR history. White people just “stole” accomplishments from other civilizations and replaced them over time.

This is part of the narrative that motivates the discourse over Christopher Nolan’s dismal film version of The Odyssey. It is a woke treatise, a magic talisman designed to brown-wash and feminize yet another piece of western heritage. It’s part of a greater agenda to make white people forget who we are, or at the very least, make us ashamed of who we are.

The end game? Like I said, it’s about the multicultural takeover of the western world. Everything stems from this scheme. Hollywood’s woke reboots are rooted in it. The mass immigration policies of leftist governments drive the agenda forward. The deconstruction of our history in public schools and colleges is designed to indoctrinate children so they never learn the truth.

Until one day, we look around, and everything that makes us who we are is gone, from meritocracy to republicanism, from Christianity to critical thinking, from innovation to entrepreneurship, from individual liberty to free markets, from property to responsibility, and yes, colonialism (the act of improving third world hellholes where people are incapable of improving their own surroundings so they don’t turn into pillagers trying to invade our countries).

All of it replaced with a socialist purgatory in which everyone is equally pathetic, hopeless and useless.

The whole conspiracy has become quite transparent and grimly boring. Luckily, one garbage movie isn’t going to change the overwhelming trend, which is the slow but steady decline of left-wing insanity. Nothing they are doing is hidden from us. We see it all, and in the long run, they’re going to lose. It’s inevitable.

What companies are involved in this new battlefield?

Low-cost kamikaze drones are fundamentally reshaping the modern battlefield and forcing militaries to rethink procurement strategies built around expensive, high-end weapons systems.

In the Middle East, US Special Forces learned the hard way that cheap Iranian Shahed-style drones can eliminate multi-million-dollar (if not billion-dollar) communications, radar, and command-and-control nodes.

The result of this Iranian offensive with cheap drones, which exposed a missing air-defense layer over high-value U.S. military communications systems across the Gulf region, will trigger a defense procurement reset. The U.S. military is now racing to source, order, and stockpile low-cost one-way attack drones, interceptors, and counter-UAS systems before the next conflict erupts – or US-Iran ceasefire blows up.

Read more here.