PASSENGERS
Wow…Wow.
Loved the world building. Performances were spot-on for the plot. Well directed.
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By sheer co-inky-dink, this production is P-R-E-C-I-S-E-L-Y what one would expect in a psy-op directed at those with critically needed technical skills and their “rewards” for good behavior. It touches all the bases. Their specialists need to become PURE EVIL. Everybody has the biometrics and lists of crimes of the elites and their tools. The guilty will be exposed after the culling. Satan’s is a kingdom divided. They can’t have their vitally necessary personnel joining forces or forming Master-Blaster arrangements with the outside survivors to avenge their families and friends and neighbors. The necessaries also need to believe, with Orwellian Doublethink, that this can all work out well in the end for them. Minorities need to imagine that they could take the deal, so long as they get in healthy. The sex slaves need to learn to take the zombie enslavement “medication” and just accept the deal. The less than critical tools must believe that they might get golden tickets and never realize that the Platinum and Diamond tickets will be for criticals, elites, and the prettiest of little TEA party children. Gold ticket holders and their families will be “processed” by the UN peacekeeper Jihadies guarding the outer perimeter. Above all, ‘White Heterosexual Protestant Male’ must be seen as responsible for everything.
Silly question, would they ever, in a million years, have portrayed an obviously secular Jewish male, or a bisexual Catholic doing anything remotely as despicable? I was wondering, apart from the money, why Pratt would participate in such an intense demonization of white protestant heterosexuals… then a saw a montage of his movie promotions.
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The passage by the red star was spectacular. Wow…Just wow…
What the actual f. All this from a story celebrating Stockholm Syndrome.