It was only a matter of time before the anti-art Woke Nazis targeted Cobra Kai for annihilation. After all, this is what these monsters do: target everything we all love, everything universal so that it becomes divisive.
As I’ll explain in detail below, these attacks on Cobra Kai for being too white have nothing to do with “diversity.” The real goal is to keep us as divided as possible by stringing partisan tripwires through every possible walk of life.
Hey, do you remember American life before all these woketards and cry-bullies arrived? Regardless of our differences, shows like Cobra Kai gave us something in common to talk about, to enjoy together as a culture. Remember when American life was that way for a lot of things, like sports? Well, the left took sports away from us. Same with comic books, video games, and music.
Now they’re coming for Cobra Kai.
Cobra Kai is not just entertaining, slyly satiric (more on that below), and contains a vital message about parenting (including the importance of fathers), entrepreneurship, and coming of age, it’s also a nicely-crafted piece of nostalgia that helps unite young and old. My youngest grandkids are obsessed with the show. (Oh, and they’re not white.) When my wife gets on the phone with them, they bond over Cobra Kai. It’s a beautiful thing, and that’s why the left want it destroyed.
Here are some samples of the Woke Nazi attacks…
The “elevation [of Martin Cove’s John Kreese character] and the heightened scrutiny that comes with being embraced by one of the most powerful companies in Hollywood, also underscores the fact that there are now three white men at the center of ‘Cobra Kai,'” the far-left LA Times writes, adding, “a franchise rooted in and deeply indebted to Eastern tradition.”
“Salon culture senior editor Hanh Nguyen, who has been critical of the series in the past, told The Times that ‘the only main character of color who has any sort of interiority is Miguel.'”
And then there’s this… The show has “been slow to explore Daniel’s own blind spots beyond a moment of clueless ‘sushi-splaining’ and his bewilderment that his karate-chopping commercials might be seen as cultural appropriation.”
Talk about cluelessness. Cobra Kai isn’t mocking Danny for his cultural appropriation. The show is mocking our stupid, fascist, hyper-sensitive cancel culture; all those left-wing scolds and busybody hall monitors who violate every principle of e pluribus unum with these anti-human complaints about cultural appropriation.
Those of you who haven’t seen Cobra Kai, should. All three seasons are available on Netflix or available through sites like VUDU. For those who’ve grown tired of watching present-day Hollywood shit and shit again all over our childhoods with woke trash like the new Star Wars sequels, or the latest chapters of Men in Black, Charlie’s Angels, and Ghostbusters, Cobra Kai does it exactly right (full disclosure: a family member works on the show).
And it’s not just all the woketardery I’m tired of, it’s the whole nostalgia craze in general. The callbacks and cameos. What was fun for a while has become predictable, tired, and a crutch.
With Cobra Kai, none of that is a problem. Nostalgia has a real point beyond the feelz. Much of the point (at least from where I sit) is to compare and contrast the 1980s to today. You know, how much society has changed — in some ways for the better, but in many ways for the worse.
Surprisingly, the show’s protagonist is not Ralph Macchio’s Danny LaRusso (who starred in the three original Karate Kid movies). Instead, the show’s protagonist is Johnny Lawrence (William Zabka), the antagonist from the first Karate Kid (1984), the typical 80’s staple of the blonde/jock bully (although a solid case has been made that Danny is Karate Kid’s real bully).
Sure, Danny is central to the story, but to Macchio’s great credit, he put the show first and allowed Johnny to be the underdog this time. Zabka is brilliant and brilliantly sympathetic as a drunk stuck in the 80s whose terrible life choices and bad breaks have us rooting for his redemption and success. Meanwhile, Danny’s a bit of a wet blanket and scold who enjoys all kinds of (hard-earned) wealth and success.
So it’s through Johnny’s “It’s-Always-1984” mindset that we’re allowed to enjoy something truly rare during these tight-ass times: commentary and criticism (that also happens to be hilarious) about how broken and absurd our hyper-sensitive, helicopter-parenting, micro-aggression, crybaby culture has become. How this joyless approach to everything has sucked the fun out of modern life. How all these stupid sensitivity rules and tripwires hold us back and curdle the human spirit.
Cobra Kai also has the courage to speak the truth about bullying, which is that no amount of whining from Anderson Cooper or Michelle Obama will ever solve this problem. There will always be bullies (those quoted above attacking Cobra Kai are good examples), and in a world full of bullies, you have two choices: you can be bullied or you can stand up for yourself.
In this awful age where the left’s Dominant Culture Machine is destroying countless kids with the gospel of victimology — It’s not your fault if you don’t succeed! Why even try in a country this evil! — I cannot think of a healthier message than the one Cobra Kai preaches: You can do it. Yes, it requires hard work and risk and failure and the occasional punch in the face. But you can do it.
This, I think, is what offends the left most about Cobra Kai. But rather than be honest about that, they hide behind these obscene racial quotas. Here is a taste of what they’re really after, which is to destroy the essence of the show, and by extension, the show itself:
Yet visual representation such as that seen in the hallways of a high school is just the first step toward meaningful representation, said Ramón. “Do you get to hear their stories being told? Meaningful representation means you get to find out the person’s story from their perspective.”
See, even meeting dumb racial quotas is not enough. Instead, the show must 1) assume racial minorities have a certain/different perspective, and 2) focus the show’s character on those differences.
Right now, Cobra Kai has all these characters from all kinds of backgrounds finding common ground through the art of karate and the difficulties that come with coming of age (or in Danny and Johnny’s middle-aged case, spending some time in the other guy’s shoes). So…
What you have is a show that is very much about overcoming our differences by discovering (even grudgingly) all that we share in common. But that approach to the human condition is kryptonite to the left, which is why they demand things like, say, a black character be introduced and that this character be “black” in the way the left defines as “black,” which means that instead of a whole person, you’ll get a talking points machine teaching everyone life-lessons about systemic racism (which doesn’t even exist).
Hopefully, Cobra Kai’s creators, the people now in charge of a franchise about dealing with bullies, won’t cave to these bullies.
Few things are worse than watching a show you love (Veep, Hell on Wheels) climb into the dark ass of Woke and lose themselves up there.
Follow John Nolte on Twitter @NolteNC. Follow his Facebook Page here.
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