Along with annoying girlbosses, forced diversity, and predictable narratives of class oppression, one major signifier of a wokeified product is the complete inversion of good versus evil. Creators of popular entertainment deconstruct heroes and reimagine them to be privileged jerks with sinister motives, while they redeem villains by imbuing them with justifiable reasons for their villainy. In accordance with this, the creators of the past 15 years have churned out endless slop telling a familiar story from the villain’s perspective or deliberately making the hero flawed to the point of becoming unlikeable.
Naturally, writers will pretend that this treatment adds dimension and nuance to their stories, exploring common tropes and themes from different sides and subverting harmful narratives. In reality, it makes an incoherent, dissatisfying mess of the story and deprives it of any deeper moral meaning or lessons about the human condition. If woke entertainment succeeds in anything, it is to erode clear moral standards and relativize good and evil. No one is good or bad, nothing is right or wrong, and everything is a matter of perspective.
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