Yes… That is a real thing. There is a far right book reviewing movies out. And the foreward is dynamite! It’s great for a laugh and to watch racists completely miss the point of a movie.
Trevor Lynch provides us with a highly literate, insightful, and even philosophical perspective on film—one that will send you running to the video rental store for a look at some very worthwhile movies—although he is also quite willing to tell you what not to see, e.g.: “No white person should pay a nickel to see [The Girl with the Dragon Tattoo].” He sees movies without the usual blinders. He is quite aware that because Hollywood is controlled by Jews, one must typically analyze movies for their propaganda value in the project of white dispossession.
We live in an era of Netflix, the only place where people still run down to the video store is the past.
And all you white guys? You lost out on Girl with a Dragon Tattoo. I don’t know why but the White Nationalist (from henceforth, known as WN) says so. Apparently because Hollywood is controlled by “the Jews”. That’s CLEARLY not true. The last Jewish friend I had clearly had better ideas for Star Wars episodes I through III than George Lucas did and if Jews controlled anything they would have made the movie a lot less shit.
His review of The Matrix Reloaded is a great example of calling attention to the anti-white animus that pervades Hollywood now: “Looking at a movie like this, you would almost believe that White civilization could not have been created without the contributions of blacks, browns, yellows, Jews,” etc.
I failed to watch that bit where the Matrix was about the contribution of other ethnic minorities but did watch that bit where our minds were blown by bullet time/kung fu action sequences and the mix of the Eastern Philosophy of Morksha. And then our wallets were blown by two shitty sequels. I came away from that movie thinking “wish I could do Kung Fu” more than “HAHAHA! Whitey’s Historical Legitimacy as the Dominant Melanin Phenotype Has Been Sundered! Well Done Jewish Masters!”
Naturally, in such an environment, one must expect that supervillains will be Nazis or obvious Aryans, or at least they won’t look Jewish or have Jewish names. On the other hand, “superheroes tend to function as symbolic proxies for Jews”—fighting for the values of egalitarian, anti-racialist universalism that have come to define the values of the Jewish Diaspora in the West (but are anathema to Jews in Israel).
Actually? It’s because Superman was created by two Jewish guys. In fact the very CHARACTER of Superman was responsible for the outing of the Klan. Superman at one point was the biggest “show” on the Radio and Superman’s makers got hold of “Klan Secrets” through the actions of an investigative journalist and simply released them on the show. The Klan lost it’s veneer of supremacy as it was mocked by the very being which would be their aesthetic “goal”.
However, from my reading of this collection of essays, Stieg Larsson’s Millennium Trilogy movies would seem to be pretty much the worst sort of media imaginable, creating an upside-down world of a contemporary Sweden filled with native Swedish rapists and highly placed Nazis. Larsson has completely internalized a Jewish mindset to the point that in his fiction Jewish lives are more important than non-Jewish lives. “In Guillaume Faye’s terms, [people like Larsson] are textbook ethnomasochists and xenophiles. They would prefer their own people to be murdered rather than Jews (Jews above all) and assorted totemic ‘others.’ Sick, sick people.”
I thought Girl with a Dragon Tattoo was a “Crime Thriller”. The major themes being gender violence, the lack of journalistic rigour, the lack of morals of major corporations and the undercurrent of racism and the spectre of the Nazis… Yeah sure it’s about Jews… Why Not… And Indiana Jones and the Last Crusade is about a plucky wanker stealing your rightful Aryan Heritage and Inglourious Basterds is a serial killer movie.
The fact that writers like Larsson have a wide following and are able to have their work made into popular movies is a telling testimony to our time.
If you listen very carefully you can hear me play the world’s tiniest violin.
However, despite Hollywood’s pervasive hatred of whites and our culture, a precious few movies do speak to our ideals and hopes for a return to an explicit sense of white consciousness and destiny. The Lord of the Rings trilogy is certainly in this category because of its message—so resonant today—of saving the people and culture of the West from dark hordes led by evil schemers with names like Sauron that sound alien to the European spirit and, to my ears at least, even have Semitic overtones.
Because there were no dark skinned people in a fantasy world where there are fucking Elves and Dwarves? Fuck! Dwarves like Gold… does that make them Fantasy Jews (Or Black Rappers? Or Indians? Or Spanish Conquistadors?).
Lynch also notes that many other movies have powerful messages that are dangerous to the status quo, but they appear “only in the mouths of monsters”—such as the Joker in Christopher Nolan’s The Dark Knight. The Joker is a Nietzschean Übermensch: unafraid of death, he cares nothing for money, and he has no respect for society’s rules—indeed, no moral compunctions at all. Such a monster is dangerous to the contemporary Western Zeitgeist which depends most of all on a strong sense of moral universalism and the value of all life, even when it means the suicide of the West. Moral principles trump even survival as a culture and a people. Such a moral universalism is antithetical to the particularist imperative of white survival.
So you are saying that you guys are just misunderstood but then hold The Joker up as an ideological example of what you aspire to be. The entire reason why he is such an effective villain is that he is a complete force of nature. His ideology is that he has none. He isn’t interested by things that we consider as important but instead sees humanity as a joke.
It’s like WN here went through childhood wanting to be the baddie.
You are doing my job for me. Stop making it so easy to laugh at you. The Joker’s existence is a miserable one and the only reason he works in a comic book is that he is a compelling villain to Batman’s own madness. That both were probably affected by tragedy and both responded with sociopathy. The only difference is Batman constructs a set of rules to enable his sociopath tendencies to do good while the Joker lets his tendencies run free.
Unfortunately, the Joker cares nothing for his people and culture: he is the epitome of radical and even pathological individualism. But a cadre of people who are committed to Western survival, who are unafraid of death, uninterested in the easily available decadent pleasures of the contemporary world, and without the moral scruples of egalitarian universalism would be dangerous indeed to the current Zeitgeist. Of course, this would require a sense of moral commitment to the culture and people of the West—including the many whites who have been corrupted or are wanting in other ways—that is quite foreign to the Joker.
Everytime someone complains about the Decadent Pleasures of the Western World, I suggest taking a plane to live in the non-decadent pleasure free zone of the “real” world. You can’t sit in Paradise and bitch about it being “too pleasurable” and “yearn for a more terrible world” but refuse to then act out on your wishes. Otherwise you come off as “All Talk and No Trousers”.
But the best example of wisdom from the mouths of monsters is Bill the Butcher from Martin Scorsese’s Gangs of New York, who states what is unthinkable in today’s America, committed as it is to White displacement—that “America is an organic community, a community of blood: a community purchased by the blood of its founders to safeguard the blood of their posterity. . . . [Bill the Butcher] sees that Lincoln’s artificial ‘Union’ devoted to the ‘proposition’ of equality is the mortal enemy of an organic community based on blood.” I imagine that more than a few whites in the audience agreed with those sentiments.
The USA was “purchased” by the Blood of Slaves and Native Americans. It’s an embarrassing little thing that no one “really” bothers teaching in the USA. Mainly because otherwise the USA has to admit that it was a fucking terrible place for non-white people.
Lynch shows that even the most popular fare may have implicit messages that conflict with the general anti-white narrative of Hollywood, if only because Hollywood sees these films as a way of making money. For example, the first Twilight movie paints a picture of an implicitly white world that accentuates the beauty of white people. And I was surprised to find that there are still vestiges of popular culture that celebrate traditional sexual values: “The Twilight Saga is an explicit defense of virginity followed by marriage and motherhood and an explicit rejection of pre-marital sex and sexual promiscuity.” And there is the message that “manliness is a good thing: women are attracted to primal strength and aggression.”
The Twilight Saga is about a Mormon Fantasy World where age doesn’t matter and neither does “depth”. Bella Swan is a “fucking liability” rather than a human being. She is the equivalent of a Dodo. No fear of sensible things and no grasp of personal safety. She exists solely to be held by sparkly ubermensch or buff ubermensch.
It’s done well because Bella Swan is so utterly bland and pedestrian that the reader can replace her in a fantasy and be fought over by these neutered mythological monsters. It also produces that whole “Love at First Sight” and “Marriages Made In Heaven” creepiness that the Mormons seriously dig. Traditional Sexual Values? It’s a 70 year old dating a teenager… How the fuck is that traditional?
Another example is A History of Violence, which upholds the value of masculine men who are willing to form families but also willing and able to fight for the protection of the family and for civilization itself—an image that is all too rare in an age where gangsta rap stars are far more likely to be promoted by Hollywood as appropriate role models for young males.
Gangsta Rap Stars ™ haven’t really starred outside blaxploitation movies and honestly there are some really good movies out there if people stop watching “bad stuff”. I understand the Internet is naught but a platform to vomit out your hate speech but I suggest Rotten Tomatoes.
But then again… This is clearly a person who hasn’t seen any recent movies or worse, lives in a world where all movies have an entirely different meaning..
There is much else here—philosophical thoughts on hedonism, post-modernism, decadence, aesthetics, honor and pride versus self-preservation and money, cultural integrity versus multiculturalism—all framed within a pro-white worldview. Trevor Lynch’s collection is a must read for anyone attempting to understand the deep undercurrents of the contemporary culture of the West.
That may be the case but here is something I want to know…
What would happen if we made WN watch Django Unchained?
Answers in the Comments.