The Creator – What They Won’t Tell You That They’re Telling You

Today’s movies seem to be more of an exercise in the purpose of propaganda than the art of entertainment. It used to be, many films whisked you off to places we couldn’t usually go. Now, more and more movies take you to where an elite cabal wants you to go in your head because they are taking you there in reality.

The Creator

When I first saw the studio trailers for The Creator, I was stunned by the powerful imagery and careful wording poured out for viewers to imbibe. Several threads are ubiquitous: Artificial Intelligence (A.I.), the nuclear bomb having been used again, the take-over of affairs by robots, who goes to heaven, and the right to exist are among them.

These themes are played heavily these days in all forms of media. A.I. is constantly hammered as a burgeoning opportunity, as much as a distrusted threat looming over us. Jordan Peterson has, this year, become one of many warning of the eclipse of human society by A.I. and robots. Oppenheimer, the movie, riveted audiences by burning into their consciousness the horrors of a nuclear blast to the tune of nearly one-billion in revenue. Thus, a lot of people saw it. All the hullabaloo over LGBTIQA+ isn’t about them. It’s about inclusion—or more really about people being forced to accept any and all variations that “create themselves” to be just as legitimate and equal, no matter how destructive it is to the whole of existence. This movie packs these themes into a wallop that would KO Mike Tyson were he a thinking man instead of a boxer.

The Story Plot

The Creator is dystopian film, set in a future world annihilated by a war between humanity and triune digital foe of A.I., robots, and simulants. The movie depicts, New Asia is conglomeration of Asian cultures that have accepted this new digital world and seem to be the perpetrators of its continuation. There is an overt police state depicted, where “the machines” carry out police and military realities. Simulants are the humanizing side of the machine world. Every attempt is made to normalize the machines as persons—imbued with the potential for rights and an expectancy that personhood and equal inclusion should be achieved.

This “new world” is depicted as infiltration and neutralizing reality by “the West,” which is personified as America. The machines represent this existential threat to humanity as a whole. Thus, the characters are thrust into a war for survival. One character has an epiphany that things are not how they have been presented to get people to take sides and fight.

Joshua, played by John David Washington, is a former soldier who is sent to destroy a weapon that can continue the power of the machines. Alphie is a simulant—a robot with realistic human faces—played by Madeleine Yuna Voyles, who is the story’s ultimate weapon. The movie is an interplay between a conflicted soldier (Washington) and the young female simulant (Voyles) embroiled in a conflict that poses a zero-sum game outcome.

During the seek-and-destroy mission, where Joshua has a change of heart, a paternal relationship materializes between Washington’s character and the simulant girl (Voyles). Soon, Joshua’s commissioning force declares him a traitor. What’s interesting is that while this operation is going on in an enemy nation, the U.S. Military is able to place Joshua and Alphie on a most wanted list that the enemy nation turns out a manhunt for. That is an interesting twist. The pair are joined by a rag-tag militia of “machines” and people who are hell-bent on destroying America personified by this war against the machines. 

The machines are involved in all sorts of purely human activities based on religious thinking, fun, and the like. Robots are dressed in Buddhist garb, funeral and burial observations are filmed. They entertain a human’s search for meaning, where all these human things contribute to bolstering this search or numbing from it. Yet, the machines are the good guys. They do not have the “evil intent” of humans. The military/police class do their tasks supposedly without prejudice, avarice, or evil intent. The dichotomy between being involved in all sorts of purely human things and being vacant of evil is convenient

In Conclusion

This movie is powerful, especially for the current generation who do not have the power of reason or a long history of understanding. Cinematographically, The Creator is as exceptional as anything Marvel or Star Wars. The views are a mixture of natural vistas augmented by CGI inclusions. But what makes this film pungent is its employment of juxtaposition and nuance. The script is as powerful as the imagery. The thread of robots doing better than humans is a common theme. The slavery vss. freedom issue plays into a machines vss. human context. Every effort is made to humanize and normalize A.I., robots, and stimulants. I noticed the conflation of “off” and dead (as in killed) being imposed.

Through scripting, the actors deliver propagandic implications to an audience devoid of discernment who are looking for answers in a real-world that is going mad. This movie pours Coleman fuel on a culture already smoldering of mass psychosis

I would not recommend The Creator to anyone simply because it is pure, unadulterated propaganda. While the visuals, costuming, and vistas are stunning, one cannot enjoy this movie as most others because the objective isn’t entertainment or to see things one couldn’t see otherwise. This film is a mindbender. One doesn’t even have to speak the language to get its import. That’s a powerful achievement.

Comenius, in his book The Labyrinth of the World deals with all of the underlying issues pointed at in this film. Yet, Comenius becomes redemptive rather than remaining dystopian.