From LA To Minneapolis - How 'Andor' Became Our Interpreter Of Events

The modern world is awash in idols, though they rarely appear in the crude forms that once adorned pagan temples. They are subtler now, more refined, and therefore more dangerous. They come to us not as statues of wood or stone, but as stories. Society is full of narratives that promise us meaning and a tribal identity. Among the most potent of these is the hero archetype, popularized in the twentieth century by Joseph Campbell and subsequently absorbed into the bloodstream of American entertainment. What began as an attempt to trace the universal patterns of myth has become, in our age, a liturgy of self‑understanding. And like all liturgies divorced from truth, it has been co‑opted by the powers that rule us.

The hero’s journey, once a narrative attending to the plight of the oppressed and the moral struggle against tyranny, has been inverted. It now functions as a tool of the very authorities it was meant to critique. The State, the corporation, and the cultural manager have discovered that the mythic imagination of the public is a resource to be used against us. And so the hero archetype, once a summons to courage, has become an instrument of our pacification. It is no longer a story about deliverance from oppression, but a story that teaches people to love their chains.

This inversion is nowhere more visible than in the way contemporary media is used to interpret real events. Consider the recent incident in Minnesota, where an ICE officer fatally shot a woman who attempted to run him over. The facts of the case were quickly eclipsed by the narratives projected onto it. Activists and commentators alike reached not for sober analysis but for Andor, a corporate product of the Disney empire. They quoted lines from the show as if they were truisms, applying its fictional setting to the real world with a fervor that would embarrass the ancient Gnostics.

And here, John Trent's Fandom Pulse article on the subject becomes invaluable and he identifies the very same pattern I described in my video on last years' LA Riots. Both reveal the same cultural reflex: the instinct to interpret real‑world events through the symbolic grammar of a corporate myth.

From Performative To Reality

What once amounted to performative antics within the safety of digital space is now being encouraged to be acted out in reality. Renee Nicole Good was a trained ANTIFA activist. Just like how Disney has to set the stage, the costumes, the props, the actors, etc., Renee was set to manufacture a drama. New video footage has shown a woman who confidently taunted the ICE agent, completely unafraid of any consequence of her actions.

Yes, she put herself in this situation on purpose because she wanted to provoke some kind of feedback from ICE. Only, in this case, instead of going out like some Rebel soldier fighting against an Imperial Stormtroopers of the Galactic Empire, she went out with the same grace as C-3PO taking a wrong turn in Cloud City.

But the performance doesn't end there, oh no! The school district had to cancel school the day after. Not because the kids can't get to school or because anyone is legitimately worried about the safety of their kids. No, it's because those school teachers are also state actors. They need to be set free into the streets where they can continue to protest against the evils of the Galactic Empire and thereby create even more tension within the community.

This is how the Leftist mechanisms in society work. And their efficacy is made possible, in part, thanks to cultural formation through soft power.

Idols for Destruction

The narrative habits I described are pervasive and they show how thoroughly the Campbellian hero‑myth (now inverted and corporatized) has become the default interpretive grid for a population shaped more by entertainment than by truth. Fandom Pulse’s observations confirm that the public imagination has been trained to reach for the same mythic categories regardless of the event in question.

This is precisely how idols operate. As Herbert Schlossberg warned in Idols for Destruction:

Legions of ordinary people know how to use such ideas as inferiority complex, relativity, and pragmatism, although scarcely any of them have read a page of Freud, Einstein, or Dewey. Those philosophies may have come down in transmogrified form, but come down they do.

Anyone with a hierarchy of values has placed something at its apex, and whatever that is is the god he serves.

And so, the modern hero myth, stripped of its transcendent grounding and repurposed by corporate stewards, has become such an idol. It no longer critiques empire; it is deployed by empire.

And the mechanism by which this occurs is soft power. The State no longer needs to coerce when it can catechize. It no longer needs to silence dissent when it can script it. Entertainment has become a priesthood of the new order, forming the instincts of a population that confuses a narrative resonance with moral truth. The imagery of rebellion has itself become a consumer identity. Meanwhile both the LA riots and the ICE shooting get filtered through the narrative of Star Wars: Andor. The Disney-fied myth has become a shared language among progressive types, shaping their imaginations before it shapes logic. Corporate narratives supply new categories through which any event can be interpreted and reinterpreted. And the effects of these narratives reveal just how deeply the idolatry has taken root.

The imagery of rebellion is a valuable tool in the arsenal of corporate influence and political elites, allowing them the ability to adopt and project the posture of the oppressed while exercising the power of the oppressor. Disney, a multinational conglomerate with unparalleled cultural influence, now presents itself as the champion of the downtrodden. This is the kind of propaganda that will be used to start future violence and this has been made possible thanks to a population that has allowed themselves to be shaped and molded by corporate-controlled mythology.

NEXT: The System Isn't Broken, It Is Rigged To Break Young Men