The Shape of Water Reveals the Soul of Hollywood—Bestiality.
The Shape of Water Reveals the Soul of Hollywood—Bestiality.
By Brian Godawa
Sci-fi interspecies romance. A mute female janitor working in a 1960s top-secret government facility falls in love with an amphibious fish-man that looks like a modern Creature from the Black Lagoon.
Okay, so I have to give the Academy kudos for not giving the Oscar to the movie that celebrates adult sexual exploitation of teens. Instead, they opted for the movie that celebrates sex with animals.
That’s like kicking out Harvey Weinstein but keeping Roman Polanski.
And, it is entirely predictable.
An auditorium full of moral hypocrites, sexual predators and their enablers joke about how depraved they are, and avoid speaking truth to their power, while they award best picture to a Christophobic fantasy about sex with animals.
Please. Stop the madness.
Yes, I know they hinted at “the problem” by virtue signaling, but the Pharisees did not address it explicitly like they do with “other people’s sins.” Now, all of a sudden, they are sensitive and subtle. They were like a government agency that assures us they are investigating their crimes, “So don’t worry, we’ll clean up our mess.”
Yeah, right. While they arbitrarily destroy other men’s lives with mere accusations and think the fascist race for the guillotine is “justice”.
Their moral confusion is apparent in everything they do. It’s time for real change.
Social Justice for Animals
But, back to the movie, another abominable SJW hate-fest against a caricature of Christianity, and an elevation of the very paganism that leads to the sexual predation that Hollywood is consumed with. These are the same hypocrites who mock Christian men, like Mike Pence, for their honorable chivalric actions toward women.
Remember, the director, Guillermo del Toro, made the very pagan Pan’s Labyrinth that was a fantastical glorification of pagan blood sacrifice.
Well, he does it again in The Shape of Water.
The janitor is a lonely mute woman, Elisa, who works as a janitor at a government facility in the 1960s, a symbolic choice for the Cold War as a metaphor for “American paranoia” that supposedly leads to violent oppression of rights.
This is the stereotypical “Red Scare” narrative that worldwide panic was created by the vast right-wing conspiracy about an ideology called Communism that didn’t murder over 100 million people and certainly didn’t threaten us with all those big scary nuclear weapons. And, uncle Joe Stalin was a great guy too! Because we now know that 100 million weren’t murdered by Communism, but rather the paranoid fear of America!
So, the storytellers try to paint a theme about “civil rights” by making the protagonist a marginalized victim, who only has two friends, who just happen to be other marginalized victims in the social justice pantheon: Zelda, a black woman at work, and Giles, a gay artist next door.
So, the set-up is to equate her story with one of oppression and forbidden love. You know those evils that only Christian patriarchy create.
Which comes to the villain, another vile caricature of Christianity….
The Western Christian Patriarchal Industrial Complex
The head of the government research unit is Richard Strickland. Strickland represents the Christian worldview in this story as he quotes the Bible and refers to “the image of God” in the dialogue. He calls the world “sinful” and uses other cliché linguistic references that identify him as emblematic of the western Christian worldview.
At least in the eyes of the storytellers. What he actually is is a stereotypical caricature of Christianity. A demonized monster.
Here’s one mean-spirited spiteful exchange Strickland has to show just how evil and diabolical those patriarchal “Christians” are:
When he talks to Zelda and Elisa, he calls the creature, “that filthy thing” and an “affront” to decency. The creature is humanoid in shape (in order to draw on our emotions). And, Richard tells the two women, “You may think that thing looks human. But we’re created in the Lord’s image. You don’t think that’s what the Lord looks like, do you? He looks human, like me. Or like you, (Zelda). Maybe a little more like me.”
So, he’s also a racist. And, when he tells a comrade that his fingers were cut off by the creature, he qualifies it by saying he still has his “p***y finger,” so he is also a sexist pig, who holds his hand over his wife’s mouth as they have sex to keep her “silent.” And he tells Elisa in a twisted moment that her inability to speak turns him on. Because we all know sexists don’t want women to talk, just, you know….
He loves to torture the creature with an electric shock cattle prod. The creature fights back by ripping off two of Richard’s fingers. The diabolical “Christian” has them surgically replaced on his hand, but they rot into black gangrene throughout the movie as a symbol of his black soul.
At one point, a car salesman tells Strickland he is, “The man of the future,” telegraphing the theme that he represents what we are now.
But, the point is that the story incarnates the Christian worldview as the villain over which paganism must triumph. Because you see, this story is all about “the image of God.”
The Image of God
As in the Noah movie a few years back, Leftist Hollywood filmmakers really, really, really HATE the idea that man is in the image of God. Of course, evolution has something to do with it. In the evolutionary worldview, humans are just another animal in the great chain of being, and it is speciesist to say we are on the top of the food chain because we are special in some way.
That is why they depict villains who believe the “image of God” truth as being monstrous. They want to equate “the image of God” with oppression, because in the end, they believe that the notion of the Biblical God is evil. Their argument is that the “image of God” belief justifies reducing other creatures to slaves to be abused or vivisected.
What they don’t realize is that the Bible commands man to treat their animals humanely, and in fact, it is evolutionary theory that reduces all creatures to the circle of life, which is eat or be eaten. It is evolutionary theory which relativizes morality into ever-changing subjective feelings or molecules in motion—which justifies all brutality. For if morality is not objectively true, but merely a social construction, then all appeals to objective morality are delusional, and only power matters. Only the strong survive, period. Yet they think they can then judge other beliefs, like Christianity or the “image of God” as being immoral or wrong, AFTER they have destroyed all right to do so.
It would be laughable, if it wasn’t so evil in its ramifications on our world. People actually believe that the stripping of morality from human reality does not lead to humans behaving in heinously immoral and violent ways. The logic is irrefutable. If you promote man as an animal without transcendent morality, then man will ultimately behave that way.
But, there is something deeper going on here than evolution. Evolution becomes just another vessel to carry the far-left wing postmodern philosophical attempt to erase all distinctions in our understanding of reality. In this view, all distinctions are fascist attempts to control. So, distinctions between genders are social constructs of control, as is sexual orientation, as is ontological being. In this “progressive” view, there is no distinction between human and animal, therefore humans are NOT exceptional, NOT in the image of God, any more than any other creature.
It’s actually quite similar to the animal rights religion that argues that a human is-a-rat-is-a-pig-is-a-dog, etc. It is the attempt to morally relativize the value of humanity, which is to say, demote humanity to “equality” with all other species. Therefore, humans have no right to subjugate nature or exercise control over it. This is why I think Del Toro links “Christianity” to fascism. He apparently thinks that the Christian belief in human exceptionalism as created in God’s image is unjustified oppression. Sexual congregation with the creature in this movie represents the ultimate “unity” that humans have with animals.
Animal rights, environmentalist earth religion, paganism, “sexual freedom” all derive from the same spiritual sewer of the denial of man created in the image of God distinctly from the rest of creation.
And, this isn’t just a parable about embracing or accepting “the other.” Yes, that is a part of the theme here. But, “the other” in this case is not other humans who are different, it is other species of animal that are different. We can all agree that differences in race, ethnicity, sex, and other human traits should not keep us from accepting “the other.” But, this movie is equating those human differences as the same as species differences. This is about the image of God in humans AND animals, not the image of God in all humans.
The Black Lagoon creature is humanized in the movie by showing him as smart, capable of language and emotion, loving music, and of course having sex with Elisa.
But, Strickland says it’s “ugly as sin” (another caricature of Christian language). He says that the natives in the Amazon “worshipped it as a god,” which he mocks in the face of his power.
“The primitives throw sacrifices of flowers into the water,” he says with a chuckle. And then, he mocks the natives who were not able to stop the mighty oil drilling to take over their area. Okay, stereotype #10 and #11, the western Christian worldview is insensitive to other religions, and is a shill for “Big Oil” money as they also pollute the planet and bring on the enviro-apocalypse.
Elisa tries to get the creature out of the facility with the help of Zelda and Giles. The evil “Christian” Strickland tries to stop them by shooting them.
But, in a messianic subversion, the creature heals itself with miraculous powers and kills Strickland. But, not before Strickland utters words of amazement, “F**k, you are a god.”
Okay, so here is Del Toro’s paganism subverting Christianity. The mocking evil “Christian” who looks down on pagan primitives and their gods is forced to “bow” before the creature’s divine presence before being dispatched with.
The creature is not only humanized, it is deified with messianic identity, who then resurrects Elisa (rapid evolution) into a new “water breathing” creature so she can live with him in the ocean. And, have sex with him.
Why do I call this pagan? Because at the heart of paganism is earth worship. But, earth worship is not merely environmental politics, it includes the elevation of nature as being superior to man, and indeed as having just as much “consciousness” or value and dignity as man.
In paganism, humans are not in the image of God, they are not stewards of the earth and its creatures, they are merely part of that circle of life, subservient to it.
In paganism, the Biblical idea of human dominion of the earth is intrinsically oppressive. There can be no proper dominion over nature, because humanity is not superior to it in any way.
So pagan stories like the “Shape of Water” portray people who believe in “God’s image” as oppressive and evil and nature ends up destroying them. Because there is no ultimate difference between animals on the great chain of being.
If Neanderthals could mate with modern humans, then humans mating with other animals is simply an expression of the oneness of nature in that great chain of being. This is nothing like the morality tale of “Beauty and the Beast”.
The cunning brilliance of the movie lies in its sci-fi fantasy genre that allows the storytellers to portray “forbidden love” in an analogical way that allows them to humanize animals. Surely, we could not say that the Creature from the Black Lagoon is “just an animal!”
But, despite the desperate attempt to humanize animals and place them on the same plane of existence as humans, they are not human. And, it is not morally acceptable or entertaining to have sex with them. Do I really have to say this?
Bestiality is one of the final taboos that is eliminated in a civilization in decline. Once sexual freedom is made into a religion, pagans must shame all sexual taboos because they represent external societal demands that violate absolute personal freedom and autonomy (including incest and adult sex with children—already in process).
It’s just the logical consequence of such thinking. And, it explains why the most morally corrupt institution in America, the most saturated with sexual predation, the one that promotes hatred of Christianity and absolute sexual freedom would vote the highest honor of praise to a moral fable that justifies sex with animals in opposition to Christianity.
Editor’s Note: Brian Godawa is a Hollywood screenwriter and best-selling author of biblical fiction. This post originally appeared on his blog, Thus Spake Godawa.
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