Political Correctness Nazis Stomp Their Jackboots as Milo Yiannopoulos is Booted from Twitter

[rangerrebew]

Political Correctness Nazis Stomp Their Jackboots as Milo Yiannopoulos is Booted from Twitter

July 20, 2016| by Donn Marten

The wave of alarming attacks on free speech in late stage in late stage Obamastan have claimed another victim. Breitbart’s tech editor Milo Yiannopoulos has been permanently exiled by Twitter for tweets deemed to be incompatible with the star chamber of those pushing a crushing forced diversity that stifles offending voices. The ban came after complaints from Leslie Jones who is one of the main characters in the feminist reboot of the 1980’s classic “Ghostbusters” who whined publicly over unflattering tweets deemed by some to be racist and sexist.

According to the Hill “Twitter permanently bans right-wing commentator Milo Yiannopoulos”:

http://downtrend.com/donn-marten/political-correctness-nazis-stomp-their-jackboots-as-milo-yiannopoulos-is-booted-from-twitter

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[mountaineer]

Here's what got him banned:

Teenage Boys With Tits: Here’s My Problem With Ghostbusters
by Milo18 Jul 20163,292


I’d have loved nothing more than to give Ghostbusters a glowing review. Seriously! Can you imagine a better troll? Extolling the virtues of a film that my loyal readership has been warring with social justice warriors over for months?

But I can’t. You see, I strive to be honest with my audience. I went into Ghostbusters with a clear and impartial mindset, like some tall, slim, and devastatingly handsome statue of justice. (But no blindfold. It would be a crime to cover up these eyes.)

Ugh, I don’t know what to tell you. Ghostbusters is terrible. It’s more obvious than the reading on an EKG-meter in Zuul’s bedroom. The only frame of reference in which this movie functions is as a meta-movie, in which the Ghostbusters franchise is treated like a vampire in a Hammer Horror from the 60s. The beloved franchise from our childhood with a stake driven through its heart, head chopped off, body burned and buried at a crossroads.

The overarching problem with Ghostbusters is that the script is a greater abomination to God than any of the demons and ghosts in the franchise. I’m sure they could have done a worse job, but they’d have to study Tobin’s Spirit Guide to summon a script from an even deeper circle of Hell.

Mostly, it’s a lack of intelligence. In the original movie, the bad guys weren’t actually the ghosts — everybody loves Slimer and the Marshmallow Man. No, the bad guys were the clueless bureaucrats in the government, who set off a supernatural crisis through bumbling and red tape.

In this film, by contrast, the enemy is all men, while the government ends up playing dad. Every man in the movie is a combination of malevolent and moronic. The chick ‘busters shame the mayor so much they end up getting government funding at the end. Like all feminists, they can only survive by sucking on the teat of Big Government.

I’ll skip over the vacuous and incoherent plot. You won’t understand it watching the movie and you won’t understand it reading my summary so who cares. This, unlike any movie I’ve ever seen before, seems to have been conceived entirely out of spite, with the result that its plot is largely irrelevant.

Let’s focus on how this movie will be interrogated by audiences: its style and politics. The weak, Twitter-style feminist quips come off as lame, unfunny, and resentful. This is especially puzzling in light of the women in the original movies, who captured the range of tough broads one finds in New York City.

Janine even acted as a Ghostbuster in the cartoon series, without it being hailed as a revolutionary act of feminist girl power. What we are left with is a movie to help lonely middle-aged women feel better about themselves after being left on the shelf. It’s an overpriced self-esteem device for women betrayed by the lies of third-wave feminism.

Despite pandering to the kind of woman who thinks misandry is a positive lifestyle choice, Ghostbusters is remarkably unkind to its female leads. Abigail is repellant and fat. Holtzmann is a clownish, lip-syncing drag queen. Erin is a forgettable, low-rent Jennifer Aniston clone. Patty is a two dimensional racist stereotype by even the most forgiving measure.

Patty is the worst of the lot. The actress is spectacularly unappealing, even relative to the rest of the odious cast. But it’s her flat-as-a-pancake black stylings that ought to have irritated the SJWs. I don’t get offended by such things, but they should.

Ghostbusters, the film acting as standard bearer for the social justice left, is full of female characters that are simply stand-ins for men plus a black character worthy of a minstrel show.  ...

The rest is at Breitbart

[geronl]

Milo is a vile Trumpturd