Hidden in plain site brazen genocidal symbolism in Marvel's End Game

[Kornee]

Anyone who has watched the (currently) all-time runaway blockbuster success of Disney/Marvel's End Game - the finale to the original largely whitey Avengers franchise lineup, will likely have missed the imo sinister import of the closing scenes.

Firstly, a parade of all female superhero(ines) signalling the batten has passed from former male chauvinism themed superhero genre.
But at the very end, a further progression from that intermediate transition is signaled. A (CGI aged?) whitey Chris Evans as Steve Rogers, poignantly - and imo entirely Disney execs insisted - hands over his iconic shield to a young and virile 'next gen' black Captain America.
The closing moments have whitey Steve Rogers happily dancing/smooching with his WWII era whitey British sweetheart. How cute. A final 'nostalgic tribute' to a fading fast bygone demographic.

Kalergi Plan ring a bell with anyone else here but me?
The above observation is entirely my own with no input from any other source if one even exists. So clearly an idiosyncratic personal paranoia - or not?
Maybe in for another torrent of either foul mouthed hissing and spitting, or irrelevant 'balanced' deflectionalism (yeah - my made up word). Whatever.


It is however a prevalent theme among the alt-woke (another made up term by yours truly) that certain high ups in The Tribe are compelled by their own occult belief system to put forth their plans in plain site, yet also cryptically.
Evidently a strange Karma-cleansing kind of ritual. 'We told ya' - your problem if you couldn't see it coming!

[C C]

Shouldn't be any problem introducing new (and proceeding with existing) characters that are non-white, non-male, non-straight, culturally non-European, etc -- or having an entire cast constituted of such. Most would thumbs-up that kind of diversity and wish all the success to it.

So the usual "Woke" criticism in this context apparently applies to the transformation of old, established fictional characters to a different race, ethnicity, gender, sexual orientation, etc than what they originally were.

Those trans-Woke complaints may key in on how the studios thereby hypocritically demonstrate that they actually have little confidence at the box office in new hero figures that are non-white, female, LGBT+, etc to generate outstanding revenue. Instead, they feel social justice consciousness must ride on the shoulders of long-proven, moneymaking characters.   

In the entertainment industry, the "Go Woke, Go Broke" meme has more validity with respect to cinema than television. The average program of the latter has such low ratings, anyway, compared to the old days (especially on cable, streaming) that a network will irregularly keep a struggling SJ agenda show around for two or three seasons just for political piety purposes. (When normally any series ranked that low would receive the ax after the first season or before it even concluded.)

Marvel and Disney are so globally popular that the superhero shift to transracial, transethnic, transgender, and trans-orientation identities should finally break the usual(?) "Go Woke, Go Broke" consequences of that in the movie business. For several years, there's probably been incremental pressure building behind the scenes that Marvel needs to be the spearhead for trans-Woke, that only it has the clout or momentum to finally demolish the hesitancy of audiences and deliver non-mitigated profit.

So it's a groundbreaking decade coming up, with the late Stan Lee's empire flexing its muscles to deliver.

[Kornee]

Sure you can make an argument Disney/Marvel are merely taking the lead in 'correcting a historical lack of true diversity' in cinema -> society at large.

I don't think that's the true picture. Apart from what was pointed to in #1, we see in Avengers: Endgame, a slovenly, drunken, pot-bellied whitey Chris Hemsworth as Thor (Nordic whitey mythical icon), a whitey Mark Ruffalo as Hulk finish up with a withered right arm, and of course whitey Tony Stark aka Iron Man die. With Don Cheadle comforting him in his dying moments. Apparently poised to be replacement - although it now seems a female Iron Man 4 is to be the go.
There was just one whitey female death, but chances are some mystical BS will have her 'resurrected' for a future epic.

Anything at all comparable to that reflected for any of the black actors/actresses? No. All of them portrayed as extremely noble icons.
Folks can choose to believe whatever. But just the symbolism coupled to the title itself - Endgame - tells me a very different, disturbing yet long predicted story.

[C C]

[...] we see in Avengers: Endgame, a slovenly, drunken, pot-bellied whitey Chris Hemsworth as Thor (Nordic whitey mythical icon), a whitey Mark Ruffalo as Hulk finish up with a withered right arm, and of course whitey Tony Stark aka Iron Man die. With Don Cheadle comforting him in his dying moments. Apparently poised to be replacement - although it now seems a female Iron Man 4 is to be the go.

There was just one whitey female death, but chances are some mystical BS will have her 'resurrected' for a future epic.

Anything at all comparable to that reflected for any of the black actors/actresses? No. All of them portrayed as extremely noble icons...

In American television over a span of many years, it's the Black male characters that inevitably get selected to be killed or die. Even in instances where maybe the actor voluntarily decided to leave a series, the showrunners go for the demise angle rather than another exit explanation that would keep the character alive. 

In Rizzoli & Isles it was Lee Thompson Young (Barry Frost); in CSI it was Gary Dourdan (Warrick Brown); in Hell On Wheels it was Common (Elam Ferguson); in 24 it was Roger Cross (Curtis Manning), etc. The latter even commented on the widespread phenomenon in an interview. 

There are so many instances I couldn't remotely remember them all.

The studio suits seem to have a fetish for Black man funerals, as if in the bizarre logic of their progressive capitalist appropriation and manipulation of left values, it provides some soothing balm for their overt white guilt or pretentious hand-wringing. ("Look at how much he was loved by his colleagues!") When from the perspective of African-American viewers (if not the overall Black audience, too) it's like: "What hell, what the hell... it's always the Black guy. WTF."

[Kornee]

In American television over a span of many years, it's the Black male characters that inevitably get selected to be killed or die. Even in instances where maybe the actor voluntarily decided to leave a series, the showrunners go for the demise angle rather than another exit explanation that would keep the character alive. 

In Rizzoli & Isles it was Lee Thompson Young (Barry Frost); in CSI it was Gary Dourdan (Warrick Brown); in Hell On Wheels it was Common (Elam Ferguson); in 24 it was Roger Cross (Curtis Manning), etc. The latter even commented on the widespread phenomenon in an interview. 

There are so many instances I couldn't remotely remember them all.

The studio suits seem to have a fetish for Black man funerals, as if in the bizarre logic of their progressive capitalist appropriation and manipulation of left values, it provides some soothing balm for their overt white guilt or pretentious hand-wringing. ("Look at how much he was loved by his colleagues!") When from the perspective of African-American viewers (if not the overall Black audience, too) it's like: "What hell, what the hell... it's always the Black guy. WTF."

Sure that kind of thing happened a lot in the past. But....
I won't stir a hornet's nest by again posting a link to that infamous collection of choice 'we hate you and will have you all killed off' quotes.
However, that and many similar such, and realized in actuality converging policies e.g. selectively targeted mass immigration, that shapes my perspective on Disney/Marvels Endgame box office smash hit.
Enough said. Let everyone enjoy their favorite cinematic experiences.