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2024
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Diversity score: 2.2 out of 10
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New World Order: The End Has Come
2013
NRDirector
Duane McCoy
Runtime
86 minutes
Average Rating
No ratings yetSynopsis
The end has come, and a New World Order has arisen. Demi and Christen find themselves living in the apocalyptic era, foretold in the Holy Bible. Now three years already, since the inception of the New World Order.
Where to Watch
Diversity & Representation
Overall Score
1.5/10
Minimal
Category Breakdown
LGBTQ+ Representation
The film offers no evidence of non-heteronormative identities. The narrative focus remains strictly on a duo within a religious apocalyptic setting.
Gender Representation
Demi and Christen are the central characters, providing female presence. However, it is unclear if they possess agency or operate within traditional gender hierarchies.
Racial & Ethnic Diversity
The synopsis provides no information regarding the racial or ethnic composition of the cast or characters.
Religious & Cultural Diversity
The story is built upon Christian eschatology and biblical prophecy. This framework reinforces traditional religious structures rather than challenging them.
Disability Representation
There is no information available regarding the portrayal of physical disabilities or neurodivergence.
Strengths
- The film features female protagonists in Demi and Christen, providing a central female presence within the apocalyptic setting.
Areas for Improvement
- The narrative lacks evidence of non-heteronormative identities or critiques of heteronormativity.
- There is no information regarding racial, ethnic, or disability representation.
- The reliance on biblical prophecy suggests a singular religious morality rather than a deconstruction of institutions.
AI Analysis
New World Order: The End Has Come is a genre-driven apocalyptic drama centered on a specific theological framework. The plot follows Demi and Christen as they navigate a world reshaped by biblical prophecy. The narrative functions as a traditionalist story, utilizing established religious frameworks to drive the plot. It aligns with conventional, faith-based storytelling rather than progressive or disruptive media models. Because the film is anchored in the Holy Bible, the structural foundation suggests a reliance on traditional religious teleology. There is little evidence of intersectional casting or the subversion of systemic power dynamics.
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