Netflix unveiled a movie last month called Leave the World Behind that was about as subtle as an Antifa-thrown brick through a windshield: societal chaos and global disaster are heading our way.  Filled with Hollywood heavyweights (Julia Roberts, Mahershala Ali, Ethan Hawke, and Kevin Bacon — with Ali apparently taking over a role originally meant for Denzel Washington) and directed by Sam Esmail (the auteur behind the award-winning Mr. Robot), the stylish production was certainly meant to get people’s attention.  Speaking of production, Barack and Michelle Obama (executive producers) and their narcissistically-named Higher Ground Productions company helped to give the apocalyptic tale a global audience.

Since its release, the movie has sparked a fever pitch of commentary.  Hated by some and loved by others, a recurring complaint is that the movie is all build-up without any pay-off.  It crawls along with a Hitchcockian rhythm of rising suspense and then abruptly ends without any explanation.  Between beginning and end, a tiny community outside of New York City is hit with an Internet blackout, an out-of-control oil tanker running aground, electric grid failures, unusual animal behavior, strange ear-piercing noises that appear to cause mental confusion and tooth-loss, self-driving Teslas blocking highway escape, and menacing drones dropping red leaflets purportedly from foreign powers claiming responsibility for all the craziness.  Oh, and Julia Roberts utters a bunch of lines to make sure that every viewer in the world knows white people are racist. 

The audience watches all this and expects a big reveal to come crashing through the screen before the credits roll, but instead, we are left with some “woke” sermonizing.  The climax of the movie occurs when Ali and Hawke (well-off political “progressives”) have a near-death standoff with distrusting neighbor Bacon (an American flag-waving, gun-toting “prepper” who inexplicably lives somewhere near the Hamptons).  When the situation is finally defused (the unprepared leftists are desperately seeking medicine from a man they clearly believe is beneath them), Ali delivers a monologue about how his neighbor’s refusal to accede to their “we’re all in this together” demands confirms his worst fears — that all of these peculiar events are part of a relatively inexpensive hybrid warfare campaign meant to provoke the American people into fighting and killing each other.  

In order to scare the bejesus out of Obama’s brain-dead, propaganda-susceptible, mask-wearing, “climate change”-bamboozled, sexually-confused, “We are the ones we’ve been waiting for” coalition of intolerant tyrants, there is even a scene depicting rogue members of the military (no doubt Trump voters!) bombing Manhattan to smithereens.  I think that’s Obama’s way of encouraging his fellow Marxists to continue implementing George W. Bush’s “pre-emptive” war strategy here at home by attacking random Americans as if they have it coming.   

You see, we are the real monsters in this movie.  We are the ones to blame for the collapse of civilization.  Our ultimate destruction won’t come from hostile foreigners, mysterious pandemics, cyber attacks, or the “Great Reset” plans of the World Economic Forum’s jackbooted “elites.”  Huh-uh, we will all die because conspiracy-spreading MAGA Americans are inherently selfish and just can’t get enough of the “patriarchy” and “white supremacy”!

If you speak “woke-stupid,” the movie is a masterpiece indictment of “Trump’s America.”  If you are a psychologically stable person with a virtuous sense of duty to God, family, and country, you are left wondering, “Why didn’t those rich people plan ahead for a rainy day?”

To be sure, there was ample foreshadowing suggesting that Americans would ultimately be blamed for their own suffering.  The oil tanker that crashes into the beach is the “White Lion,” a reference to the early-seventeenth century privateer credited with delivering the first Africans to the colony of Virginia to be sold as indentured servants.  We get it: oil and slavery are both really bad.  In another please-hit-us-over-the-head-with-woke-history moment, a car radio frequency lands on 1619 as the camera lingers — a retch-inducing hat-tip to The New York Times’ propagandistic attempts to erase America’s 1776 foundations in liberty and rewrite the history of the United States as one irredeemably stained by slavery and “white supremacy.”

In yet another visual allusion, a young, white, male character in the movie wears a t-shirt with a prominent message — “OBEY” —from the same street artist (Shepard Fairey) who designed Obama’s “HOPE” poster before the 2008 election.  If you’re “woke-stupid,” this is a clever critique of MAGA “authoritarianism.”  If you are capable of independent thought (and too rational for Rachel Maddow’s neurotic neural programming), then you think to yourself, “Yup, the guy who forced Obamacare down our throats and has been a one-man super-salesman for social media censorship sure did sell a lot of HOPE-ium in order to brainwash his clueless supporters into volunteering for total obedience.”

With divider-in-chief Obama involved in the project, it was hard to see these breadcrumbs as anything other than a warning that Americans deserve to be punished for not sufficiently apologizing for their great-great-great-ancestor’s neighbor’s uncle’s racist tendencies.  I half expected the protagonist — a tuxedo-wearing Ali who exudes the “no-drama Obama” facade to a T — to pontificate out loud that if only Americans had volunteered to redistribute their depreciating wealth to “people of color,” accepted two-tiered “justice” that protects Antifa terrorists while persecuting Trump supporters, embraced “affirmative action” standards that punish certain overachievers for the color of their skin, and agreed to exclude poor white males from good jobs and schools, then maybe this terrible apocalypse would never have had to happen.  

Interestingly, quite a few people believe this movie is Obama’s cryptic warning to the world that a crippling cyber attack and Internet blackout are about to unleash global chaos (similar to how Klaus Schwab, Bill Gates, and the rest of the WEF’s oligarchical, technocratic villains held pandemic simulations before COVID and continue to hold digital Armageddon drills today).  Some think this is a philanthropic message from the Obamas, while others see it as a kind of “plausible deniability” exercise, so that Barack can pretend his hands are clean when his Marxist globalist friends trigger the next worldwide cataclysm meant to induce such paralyzing planetary panic as to justify further economic and political consolidation into the nefarious hands of central bankers, international bureaucrats, spy agencies, and other “ruling” totalitarian “elites.”

Whether Obama is worried about social collapse or is actively seeking it (his vocal support for anti-law enforcement groups that resulted in numerous police officer executions during his presidency strongly suggests the latter), his animosity toward ordinary Americans continues to ring loudly.  He briefly let his mask slip during his 2008 presidential run when he called working-class voters from old manufacturing towns “bitter” people who “cling to guns or religion or antipathy to people who aren’t like them.”  When he was elected (with the help, no less, of quite a few Republican voters who found Obama’s “HOPE-ium” pills more intoxicating than McCain’s love of war), he had a spectacular chance to unite the country as no political leader had ever done.  Instead, Obama and “wingman” Eric Holder spent those years retooling the Bush-Cheney surveillance State into a weapon for targeting conservatives and taking every opportunity to pour salt in old racial wounds that had largely healed before the Obama White House ignominiously chose to never let a racial grievance go to waste in pursuit of raw political power.

Obama’s latest effort at dividing the American public seems to be further proof that a leopard cannot change its spots.  America will probably be destroyed, his movie suggests, but it’s all white people’s fault.

Image: Gage Skidmore via Flickr, CC BY-SA 2.0.