Post-Woke Art, Innocence Art, and Other Controversies

by Sean Bw Parker (December 2025)

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People have been saying it’s dangerous to be a young man for a long time now, and whether it’s the conflation of ‘rape expansion’ and mass immigration or the denialism of Parental Alienation, men’s rights (which are actually equal rights) are at last headline news. For 40 years males have been told to adopt feminine perspectives to be happy and fulfilled, but reports of middle-aged women regretting not having had children and men tiring of ‘dating’ since it now feels more like a job interview are now commonplace.

Johnny Depp struck a massive blow at the heart of the #MeToo movement with his libel win in the US against his ex Amber Heard, following her accusations of domestic violence in the media. The very public ‘discovery’ of the details of this case let the public know what 50/50 DV really meant, and what actually happens when romance turns ‘toxic,’ as it so clearly did. Depp was fortunate not to end up being labelled a ‘sex offender’ following Heard’s allegations, even if he is in the minds of legions of young power-feminists.

Let’s talk about PCOSOS—there are actually no such things as ‘sex offenders,’ as this isn’t a separate identity group. They can more accurately be described as People Convicted Of Sexual Offences, or PCOSOS, if not least because there are approximately 15,000 people maintaining innocence of their convictions in prisons in the UK alone, according to SAFARI (Supporting All Falsely Accused with Research Information). Kevin Spacey narrowly avoided this fate, even if it did take two successful court cases to expose the allegations of Anthony Rapp as exaggerated bunkum.

Alex Salmond, the leader of Scotland’s ALBA party, and the politician who put the Scottish National Party on the map, was not so lucky. Now deceased, Salmond was also found not guilty of 13 of 14 charges against him in the early 2010s, with one ‘unproven.’ This one unproven in the minds of the feminists meant that he was guilty, and immediately they started trying to repeal the unique category in law, a process which is continuing. Also in Scotland, University of Abertay academic Stuart Waiton was reprimanded in 2025 for publicly supporting the Justice for Innocent Men Scotland (JIMS) campaign, in their holding alleged ‘rape survivor’ Ellie Wilson to account.

Regarding Innocence Art, the purpose of art is not in the collective promotion of equal rights, it’s in reflecting the whole of human experience according to the conscience of the individual artist. The DEI version of social progress has reduced the whole form to a platitudinous soundbite more akin to corporate boilerplate than the red in tooth and claw viscerality that has defined the best of British art in the past. In universities ‘feminist readings of’ Orwell or Hardy etc are in fact another kind of ‘cultural appropriation,’ if they want to go down such reductive, uncreative paths, and as such are further thought-terminating routes of DEI.

The Vitalists, Anglofuturism, and Innocence Art are three names covering some developments/movements in 2020s British art. Developing around a post or anti-woke theme, they reject the social-progress-as-prime-value principle of the Establishment, state-sponsored art that has so crippled individual creative expression for what seems like ever. The Vitalists and/or Anglofuturism celebrate masculine dynamism, nation (specifically England) and individuality, values which have basically been tossed into the ‘evil’ bin by progressive authoritarianism.

Innocence Art, coined by Dr  Naughton, covers those maintaining innocence of false allegations, wrongful convictions, or those in some other way ‘cancelled’. These are all positivistic movements, art asserting its individuality in the face of politicised forces that require all creativity to be in the service of the state, or the imposed ‘social good.’ This social good has become welded to multicultural intersectionality, leftism, feminism, and what became known as ‘woke.’ No aspect of the emergent movements contains anything hostile to people or peoples, and naturally no expression of ‘hate’ (whatever that means), but plenty of assertion of the sovereign individual as main agent.

The Globalist Art Problem. An industry has grown up around internet-based art where ‘galleries’ will charge people from wherever they are in the world to show their work, or be featured in magazines which they print to order. Great you may think, but quality control is largely dictated by if the person’s payment clears before the magazine or online gallery is filled. The names of the contributors—or customers—are then listed usually in alphabetical order, with a bio which generally indulges in typical art-wank or virtue-signalling platitudes.

And repeat, with absolutely no celebration of one’s own roots or identity if one is a heterosexual, western white male. All other celebrations of home cultures are encouraged. The names run into a sea of citizens of an International Art Nowhere, with little bite or anything beyond the images, which may or may not be of any impactful quality. Global Art has no interest in what is important in a national story.

The online left are the new Mary Whitehouse Experience. Full of snark and irony, they will chime with rationalist, straight views only in order to win sarcastic dinner table points, and pretend that the reason the rationalist doesn’t agree with them is because they don’t ‘get it’. It’s second-level thinking, simply a reaction to a conventional power position, without entertaining why the ‘other side’ might have come to their own conclusions. They are also very much the new Mary Whitehouses in their neo-puritanism, with kink, homosexuality and repressively traditional behaviours being fine, while heteronormative sexuality is absolutely not.

The Left lies, the ends justifying the means in their worldview, including new consent law and climate alarmism, as long as previously overlooked minority groups remain in power, by the power of diversity initiatives. The Cancelled Indie Artist is a casualty of this new thinking, as previously left-leaning musicians (they have to be to get on) find themselves scuppered by the new puritanism not accepting their old rock n’ roll ways: see Ken Stringfellow, Win Butler of Arcade Fire, Bob Dylan, Robert Smith, David Bowie, Mark Morriss of The Bluetones, Rex Orange County and a million hip-hoppers.

In October 2025 the British government approved a move to remove the presumption of joint parental responsibility in family court trials. Legal dominance feminists have been denying the existence of parental alienation, at least when it affects the father, for years, and are now supported by regular articles in the Daily Mail, and naturally The Guardian. Nobody in the House of Commons will speak up with any impact for the rights of fathers, and the UK has just removed another legal support for their rights.

Simultaneously television presenters are being found liable for insufficiently risk-averse behaviour and comments, from alleged racism to bullying to coercive control, and replaced by women on those television shows. Following this pattern happening to Laurence Fox, Piers Morgan, Gregg Wallace, Father Calvin Robinson, Dan Wootton, Mark Dolan and others, Talk TV’s Mike Graham was replaced by one of ITV’s Loose Women, the ratings predictably tanking, while the channel investigated whether Graham’s phone was really hacked in sending ‘racist’ Facebook posts. It’s a Great Replacement of a different, media-dominance feminist kind.

The Violence Against Women and Girls (VAWG) cartel ringleader in the House of Commons Jess Phillips has been in trouble over alleged cover-ups in the Pakistani grooming gangs inquiry, in which numerous victims and inquiry heads quit due to too much political self-interest allegedly being displayed. Phillips’ constituency is largely Muslim, and she came within 700 votes of losing her seat in the last election, so she will never call out systemic, community-based abuse for fear of offending those who might vote for her – preferring instead to demonise all men for behaviour which is clearly ethnically-orientated. Much loathed by the mainstream electorate, the public want Phillips out for these reasons, rather than due to her perpetual misandry.

Speaking of perpetual misandry, Britain’s most misandrist lawyer Charlotte Proudman has left Goldsmiths and started her own law firm, Proudmans Law. President of FACT – Falsely Accused in the Context of Trust – Harvey Proctor publicly asked her if her firm will also be representing men, to no reply (as usual). From calling out compliments by male barristers on LinkedIn a decade ago to insisting on women being included at the historically male safe space of the Garrick Club, Proudman has been fighting a gender studies-inspired grift against the British legal system for a decade, pushing men and women further apart with her work. At Empowering The Innocent and FASO, we monitor her permanent rage with a mixture of amusement and exasperation, yet her followers, mostly younger women and ‘simps’, believe she’s on the right side of history.

Pop genius producer and songwriter Jonathan King needs a pardon pre-mortem, not post, since his claim of wrongful conviction, as a consequence of multiple trial failings, puts him in the Oscar Wilde-Alan Turing bracket: i.e. people whose convictions become unsafe over time due to changing age of consent limits. Yet JK remains simply a ‘sex offender’ (rather than a PCOSO) in the minds of many, despite his regular YouTube documentaries A Victim Bites Back.

King, who coined the phrase the ‘false allegations industry,’ recently posted that Virginia Giuffre was a ‘lying hooker’ in response to Giuffre’s post-mortem memoir Nobody’s Girl, which is being used as a cudgel to attack both the Royal Family and Donald Trump. King was ‘trolled’ on X over this, after Gareth Roberts in The Telegraph panned King’s new autobiography 80: That’s All Folks! and labelled him a ‘parasite.’ In King’s view, it is the likes of Roberts and Giuffre who are the ‘parasites’ —while he did attend the Falsely Accused Day 2025 outside the Royal Courts of Justice in London, and gave a short speech, along with Dr Naughton and many others.

While the culture warriors on X and elsewhere are happy to call out trans activism, critical race theory, historical revisionism and bankrupt western political culture, and are right to do so, feminism is still seen as too big a nut to crack, too much a holy shibboleth of progressivism. At Empowering The Innocent, Michael Naughton and I are very interested in the ‘conflict resolution’ approach to the excesses of political feminism, but CR can only follow justice being done, and we’re not nearly there yet.

The automatic criticism of the likes of Charlotte Proudman, Helena Kennedy, Jess Phillips et al to any criticism of their power-based feminism is ‘men’s rights activists,’ as if men aren’t being marginalised on a systemic, industrial scale. The Trump and Milei wins have shown that the game is up, and more people will speak openly and honestly about the damage being done to men, boys, families and natural instincts as time goes by—nature cannot lie for long. Most of the growing army of people around ETI are in fact women, some just naturally ‘based’, some with husbands and sons who have been through the fire of false allegations, some just worried about the off-balance skew in western society, while leftist feminism sides with something so counter-intuitive as fundamentalist Islam in its campaign against imagined white western capitalistic ‘patriarchy’.

Michael Naughton expresses the judicial problems this leads to in his poetry and academic articles, I do it through paintings, songs and my own (less academic) writings, and we’re steadily joined by creatives such as Nicole Farhi (fashion design, sculpture), Patrick Graham, Odette Van Rensburg (documentary films), Lyn Crabtree (poetry), Brendan McConville (painting), Ryan Fox and Ken Stringfellow (songwriting) and others. Protest and cathartic artistic expression comes in many forms, and Empowering The Innocent is committed to its amplification in the pursuit of justice.

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