Emulate the Rule-book of Jewish Power — If Jews are So Wise, Perfect, and Inspirational, then We must DO AS THE JEWS DO

Ever notice that we are obligated to LIKE Jews. When Jews want to demean someone, they’ll say something like such-and-such person "doesn’t like Jews". This assumes that one MUST LIKE Jews. But why? Why must we like Jews? Can’t we feel indifferent about Jews? After all, many people probably don’t have personal relations with Jews, not least because most Jews are concentrated in big cities. So, they don’t know if Jews are good or Jews are bad, just like they know little about Turks or Bolivians. And surely, there are people who’ve dealt with Jews and came way with generally negative impressions. So, maybe that person has good or valid reasons to dislike Jews. But that is not an option in our culture that is saturated with Philosemitism. We must like Jews, love Jews, adore Jews, admire Jews, praise Jews, and even worship Jews. Even if you know little or nothing about Jews OR even if you’ve experienced situations or relations with the Tribe that were wholly negative, you must LIKE Jews.
Now, imagine if you visited Iran or France. Suppose, having spent many years there, you came away with generally negative impressions of those peoples and cultures. Even though you know there is good and bad in everything and everyone, your overall impression isn’t good. Now, who would mind if you felt that way? No one in America is hounded for having negative feelings toward French people or Iranian culture. Some people may visit France or Iran and come back full of praise. Others may never want to return. Now, we don’t attack or demean Americans for having negative impressions about the French or Iranians. But for some reason, such is taboo when it comes to Jews. Even if you had terrible experiences with nasty Jews in NY or LA, you must tell yourself that it is your duty to like and even love Jews. If someone said, following his experiences in Israel or NY, that he has a generally negative view of Jews, he will be blacklisted from so much of society. But if he said such about China or Russia, no one would care. Jewish commentators often pontificate about the character flaws of Russians, Japanese, Muslims, Germans, French, Anglos, Christians, and etc., and attribute these failings to collective/traditional culture or habit. And yet, if someone spoke of the failures of Jewish character and associated them with Jewish history, culture, and habits, he would be called an ‘anti-Semite’, which, at this point, just means "You better not criticize anything Jewish."

There is now the Holy Three we MUST LIKE no matter what. Jews, blacks, and homos. Most people are Conditionals, i.e. we like or dislike them based on how they are like and what they do. We can like them or not like them depending on how they treat us. For example, the US hated the Japanese during World War II but came to rather like them in the post-war era when US and Japan were allies; then, during the 80s, there was much anti-Japanese animus due to trade wars; then, with the rise of China and the close interdependence between the US and Japan, Japan came to be liked again. So, America’s feelings about Japan(and Japanese in general) have always been conditional. In American eyes, Japanese people constitute a nation of Conditionals. They could be friend or foe depending on the situation.
In contrast, Unconditionals are like the ‘made’ men in the Mafia. They have a license to do anything as they please because we must UNCONDITIONALLY respect them no matter what they do. And who gets to choose the Unconditionals? Jews. Jews chose themselves and blacks and homos. Among the mafia, if some ordinary hood is killed, it’s no big deal. But if a ‘made’ guy is killed, it is a very big deal, and the killer better have a very good reason(or better be a ‘made’ guy himself) or else he is dead. It’s like the Media never paid any attention when white people were victims of Knockout Games perpetrated by blacks. But when a Jewish man was attacked, it suddenly became news. It’s like the Media generally ignore news about blacks and Muslims killing white Christian folks, but it’s BIG NEWS if Jews are killed, especially by white people. Jews are a ‘made’ people because Jewish Power gets to choose what is what. Jews are Unconditionals, and we must like them even when they spit in our face and kick our teeth in. Indeed, look how much Jews have heaped abuse on Trump, but the Don just praises Jews. If even the US President who is maligned endlessly by Jews must suck up to Jews, just imagine the kind of power that Jews have over America.



That said, let’s play along with Jews as great, wonderful, and noble Unconditionals whom we must praise and admire at every turn. Let’s assume that no people are as intelligent, erudite, perceptive, contemplative, and wise as the Jews are. Jews are the gold standards of humanity, and there are so many things to learn from Jews. After all, Jews Know Best! If Jews are indeed the finest people on Earth, then it only make sense for us to study them, know them, and emulate them. If Jews are great, then whatever they do is great. What Jews do is the summit of human thought and behavior. If Jewish actions and deeds guided by Jewish worldview are indeed the peak of human aspiration and achievement, then it only makes sense for ALL GOYIM to emulate the Jew. If Jews are the best, then what is good for Jews must be good for us. How Jews think should serve as the basis of how we think. How Jews act should be the guide as to how we act. We must become Emu-Semites, or those who Emulate-the-Semites. Or good Imi-Semites, or those who've mastered the art of imitating Jews. To become good Emu-Semites or Imi-Semites, we must carefully study and learn the Jewish Way. We must formulate the Rule-book or Handbook of the Jewish Way that can easily be understood and practiced by most goyim. It will be a blessing to mankind since Jews are the best, the noblest, the wisest, and surely the most wonderful. Indeed, it would be downright ‘antisemitic’ to refuse to learn from the glorious Jews and do as the Jews do. If indeed Jews are the best — so perfect that we must unconditionally LIKE them at all times — , then the only proper course for all of humanity would be to learn from and emulate the Jew. If we must admire Jews because they are good and wise, then it means that the way Jews think and how they act is the gold standard of social philosophy. After all, if you want to be healthy, it makes sense to follow the advice and habits of a healthy person. Likewise, since Jews insist that they know best and act with the utmost wisdom, it is imperative that we study them, learn their ways, and act as they do. We must emulate the Jews. We must be good Emu-Semites. We must imitate the Jews. We must be good Imi-Semites.

So, how do we become good Emu-Semites or Imi-Semites? First, we must understand the Jews, how they feel and think and why. And we must closely observe what they do(as opposed to what they say). And we must try to understand the logic behind why Jews say one thing but do another. Anyway, since Jews are so wise, whatever they do must be inspiring and noble. And in order for us to be wise, upon studying and learning the Jewish Way, we must also think and act in the same way. And then, a whole new era will dawn.
The problem with the world is Jews are so wise but we are so worthless. Why? Because Jews act Jewish, but we don’t act Jewish. How can we improve ourselves if we refuse to study and learn from the Noble Jews, the most perfect people on Earth? How can we be truly worthy if we keep failing to understand Jews and master their ways? A student who fails to learn from the master will never be a master. To become a master, one must master the way of the master. And then, one can be worthy of the title of master. Otherwise, he will forever remain a failed student or hopeless case. There is no reason why we can’t master the Way of the Jew, or WOJ. Sure, Jews may be smarter than us, but we are not apes, we are not animals. We are human beings, and that means we have enough brains to learn from the best and elevate ourselves to a higher plane. And since Jews are the highest in wisdom, wealth, and power, all of humanity have most to gain by studying and imitating the Jews. Imagine a world filled with Imi-Semites. A world where all peoples understand the Way of the Jew(or WOJ) and learn to gain wisdom and power. It will herald a revolution in mind and might, and finally mankind can take pride in having achieved their full potential.

So, what is the Way of the Jew or WOJ? Surely, an entire book can be written on this subject, but let’s begin with the basics. To learn the WOJ, we must closely observe Jews and see what they do. And then, we must ask, "Why do they do what they do?" And then, "How do they do what they do?" And then, we must ask, "Why do Jews do one thing but say another?" Once we have pondered those questions and arrived at the formula of the WOJ, we can do as the Jews do. And if Jews attack us for following the WOJ, we can defend ourselves by saying that we are doing only as the Jews do. Should Jews be maligning us for doing as they do? If Jews are so good, wise, and wonderful, it must be because of what they think and do. After all, it would be insane to say Jews are good, wise, and wonderful simply because they are Jewish. People must be judged by what they do, not simply by what they are. So, if Jews are wonderful because of what they DO, then what they DO must be wonderful. Naturally, it follows that we must DO as Jews DO since what they DO is so great. After all, it would be unbecoming for the master to put down a student for learning to do as the master. If it’s wrong for the student to emulate the master, then it must mean the master is doing bad things. If the master is good, then it must be because he does good things. Then, it only makes sense for the student to do as the master does in order to gain respect and prestige as someone worthy of master-hood himself.

As we ponder the WOJ, one obvious lesson to learn is that Jews believe themselves to be special, ‘chosen’, and distinct from other peoples. They have a Covenant mentality with God and/or History. Even as Jews mingled with different races all over the world, they maintained their sense of uniqueness and separateness. This way, they gained materially from dealings with non-Jews all the while working together to strengthen and perpetuate tribal & communal bonds. Without such mentality, Jews would have faded away as a people and culture. They would likely have assimilated into other groups(especially those that were more numerous than Jews).
To this day, Jews maintain their sense of specialness. Then, it follows that non-Jewish groups also must develop their own sense of uniqueness, distinctness, and specialness. If it did such wonders for Jews, it will do wonders for any group that develops a covenant mentality. So, unless a people develop their own sense of covenant-ness and specialness, they will eventually lose out in the game of history. For all peoples to achieve greatness, they must be good Imi-Semites and imitate the Way of the Jewish Covenant. Otherwise, one’s people are likely to fade into history like so many Ancient Tribes who were lost in time. Now, if your people develop their own sense of covenant and if Jews revile your people for being ‘racist’ or ‘exclusive’, you just tell the Jews that your people are simply emulating the Jews. If it’s good for Jews, why is it bad for other peoples? Shouldn’t Jews feel flattered that OTHER peoples are imitating Jews because Jews are so great and wonderful?

And yet, maybe we are overlooking a crucial lesson of the WOJ. Maybe what seems like Jewish Hypocrisy is part of Jewish brilliance and awesomeness. After all, the world is filled with competition, and it’s only natural that your side wants to keep the secret to itself. If your side has the Nuclear Bomb, it doesn’t want other sides to have them. Naturally, if all sides got the Bomb, then your side would lose its advantage. So, we can understand why Jews insist on their own Covenant and sense of distinctness while impugning such notions among other groups. So, Jews denounce white identity. Jews mock the Japanese sense of being a unique people. But they are so proud of their own identity and heritage that are guarded with passion. Then, the lesson of WOJ is that, even as we develop, promote, and guard our own identity, heritage, and specialness, we must try to deconstruct, devalue, and destroy such ideas and feelings in other groups, especially those who threaten our well-being and survival. We must subvert the identity of our rivals while safekeeping our own identity. Since Jews are immensely powerful, they are naturally our rivals. So, based on THE RULES FOR IMI-SEMITES, we must do as the Jew. As Jews guard their own identity but subvert ours, we must do the same to Jews. We must guard and preserve our own identity while doing everything to subvert, disgrace, and destroy Jewish Identity. It’s the WOJ. And if Jews denounce us, we can defend ourselves by saying we are just following the WOJ. If the Way of the Jew is to guard his own identity while weakening and destroying others, then we must do the same to the Jews. This isn’t ‘antisemitic’. If anything, it is in respect and awe of Jews. It is Imi-Semitic. It is on the basis that Jews know best. Since Jews-who-know-best guard their own identity while attacking other identities, we must do likewise in admiration that the Jewish Way is the Best Way, indeed the Only Way. Then, it would be ludicrous for Jews to accuse us of ‘antisemitism’ because our actions — guarding our identity while degrading other identities — would be based on the WOJ.

Another brilliant way of the Jew is the use of Diversity-as-weapon. Upon studying the Way of the Jew in the West, it is obvious that Jews use Diversity to divide their rivals into bickering factions. And then, Jews encourage most groups to hate, revile, and blame the group that poses the biggest potential rivalry to Jewish Power. As Jews see it, white gentiles pose the greatest challenge to Jewish Power. Even though most whites aren’t anti-Jewish, Jews take no chances. As long as whites are seen as a POTENTIAL threat to Jewish Power, Jews encourage all non-white groups to pile on Whitey. This way, Jews kill two birds with one stone. They make non-whites weaken white power. Furthermore, by fanning anti-white hatred, Jews create a distraction from their own power that is most dominant in America. If non-whites are made to scapegoat or ‘scapewhite’ White Privilege for all the problems, then most people won’t notice that it’s actually Jews who have the commanding position in America. As Jews are so wise and wonderful, this tactic on their part must be wise and wonderful. Then, it is only natural that we learn this facet of the WOJ and do as the Jews do. We need to use Diversity as a Weapon too. We must encourage non-whites to see Jews as the enemy, the main source of all the problems in the world. We must use divide-and-rule against the Jews. We must tell non-whites that it’s the Jews who have the most wealth, privilege, connections, and exclusive power. We must make all groups feel intense hatred, resentment, and envy in regard to the Jewish community.
Now, if Jews accuse us of ‘antisemitism’, it would be most unfair. How can we be ‘antisemitic’ when, out of profound respect for Jewish wisdom and brilliance, we’ve learned their ways and do as they do? If we are ‘antisemitic’ for acting in such manner, then it would mean Jews are also ‘antisemitic’ since they act the same way. If anything, Jews pioneered the use of Diversity as an instrument of divide-and-rule. As it’d be ridiculous to accuse Jews of being antisemitic for acting Jewish, it’d be ridiculous to accuse us of antisemitism for doing as the Jews do.

On the matter of womenfolk, there is much to learn from Jews. Notice that Jews see non-Jewish women as a bunch of ‘shikses’(which means dirty filthy whores). Jews see non-Jewish women as pieces of meat, as mere commodity to be bought and sold. Naturally, such attitude may lead to hostility against Jews, and Jews are well-aware of this. So, Jews have cleverly set about driving a wedge between goy men and goy women. Jews have taken this furthest with the white race. Jews convinced many white women that white men are their biggest enemies. Jews pressure white women to ideologically and politically side with People-of-Color and Jews against the Evil White Male. Jews tell white women to hate their white fathers, white uncles, white cousins, white brothers, white husbands, and white sons. Even when white women marry white men, they feel like they’re living with the enemy because Jewish Power in media and academia told them, "White Males Are Evil". This way, Jews have gained great dominance over the divided white race. With so many white women hating white men, white race is fracked and confused.
When we ponder this, it’s obvious that the WOJ is truly brilliant as a stratagem of power. Yes, to reduce a people’s power, you must divide the women from the men. After all, the unity of men and women is the key to any power. It is from such union that there is love and trust within the group. And men and women work together to produce life and raise the kids to be patriots. To weaken such a people so that your people can gain mastery over them, your people must try to divide the men and the women. And that is precisely what Jews have done to the white race. What wisdom! What brilliance! WOJ surely is wise and wonderful. Then, the white race must learn from the WOJ and practice its ways. It must go about doing to Jews what the Jews have done to whites. White race must tell Jewish women that Jewish men are the most hideous, oppressive, nasty, vicious, vile, greedy, arrogant, contemptuous, lecherous, demented, perverted, venomous, and venal creatures on Earth. Jewish women must be made to hate Jewishness as a form of ‘racism’. Jewish women must be encouraged to see Jewish men as the source of all their misery. Jewish women must be made to wail and howl at Jewish Patriarchy(that denied freedom and equality to Jewish women through the ages), Jewish Pornography(that has commoditized so many sisters worldwide), and Jewish misogyny(that sees women as pieces of meat to play with, as the #MeToo movement amply demonstrated). Also, notice how Jewish Power seeks to turn white men into a bunch of cucks. It is a masterful Power Move. After all, a people will weaken IF the women no longer respect the manhood of their men. So, to weaken the white race, Jews encouraged white women to go black and have black babies. The idea is that blacks are tougher and manlier, and therefore, white women must reject wussy white men and have kids with black males. A potent weapon in the arsenal of WOJ. Then, whites must do the same to Jews. Jewish women must be told that Jewish men are a bunch of dorks, gorks, geeks, nerds, and gross pervs. Therefore, Jewish women should be encouraged to mate with non-Jewish men, especially Negroes, Arabs, Muslims, and Iranians. The white race must also denounce Israeli Family policy as ‘racist’ and ‘exclusive’. As we know, Israel has a natal program that encourages Jewish women to have lots of kids with Jewish men. This is sexual ‘racism’, and Jewish women must be enriched by mating with Negroes, Muslims, Arabs, Palestinians, and Iranians. Jewish wombs no longer belong to Jewish men. They exist to take the seeds of other men, especially Arabs. This way, Jewish wombs will be made ‘inclusive’.
Now, if Jews accuse whites of trying to commit ‘Jewish Genocide’ via race-mixing the Jewish Race right down to the last Jewish woman, it would be most unjust. After all, it’s just a lesson taken from the WOJ. It is the Jewish Way to weaken and degrade another people, especially one perceived as a Rival Race, by driving a wedge between the men and women and then by encouraging the women to reject the men of their own race and offer their wombs to men of other races. Since Jews do this to whites, it must be GREAT! After all, it’s the Jewish Way,and of course the noble Jews know best. Then, out of respect for Jews and their ways, white power that encourages Jewish women to hate Jewish men, turn themselves into wild sluts, and have sex with non-Jewish men(especially Arabs and Negroes) deserve praise because it is taking a key lesson out of the Jewish Rulebook of Power.

Another WOJ is to associate everything with what-is-good-for-Jews. Since Jews love Israel, Jews in America associate everything with Love-for-Israel. So, to be a good Christian means to support Israel. To be a good Republican means to support Israel. To be a good Democrat means to support Israel. To be a good homo means to support Israel. To be a good Hispanic means to support Israel. Israel, Israel, Israel. Indeed, such propaganda has been so pervasive that most politicians and goyim in the US believe that the highest priority of America and all its institutions must be do what is good for Israel above and beyond what is good for America. So, white politicians better support Israel. Black politicians must support Israel(or else end up like Cynthia McKinney). Politicians of all stripes must support Israel. Politicians of all religions must support Israel. Indeed, every person must put Israeli and Jewish interests before those of his own people. So many people have been led to believe that the first duty of America is to serve Israel. Well, what a tremendous lesson to learn from the WOJ!
Then, it only makes sense for whites to do the same. Whites must 24/7 drum home the point that Jews exist to serve whites. Jews must support the white race. Jews must serve the white race. Jews must praise and celebrate the white race. Jews must put white interests above Jewish interests. Jews must be willing to fight and die for Wars for Whites. Jews must give billions and billions toward securing white nations. And if whites have problems with a certain group or nation, Jews must always side with whites(even when whites are wrong). This would only be right because it is out of the Jewish Rulebook. After all, Jewish power has made whites support Jews and Israel at every turn, at all times. Even when Jews do wrong, whites side with Jews. Even when Jews massacre Palestinians, whites side with Jews. So, the Jewish Way is to make goyim obey and serve Jews no matter what Jews do, indeed even when Jews act wicked. Then, the lesson to learn from the Jew is to 'make the Other obey and serve your people'. The Other must be made to see your people as superior and worthier than their own. Therefore, the Other must prioritize your people’s interest over their own. Since Jews are the Other vis-a-vis whites, whites must do everything to make Jews serve whites. After all, if the Jewish Rulebook says "make the Other serve Our Tribe", then whites must make the Jews(as the Other) serve the White Tribe.

WOJ understands the power of speech and the control of media. Cleverly, Jews have come up with the idea of ‘hate speech’ to shut down any speech that is deemed ‘hateful’ by Jews. In practical terms, ‘hate speech’ is any speech that speaks truth to Jewish Power. So, any White Liberationist who dares to say NO to Jewish Power or any Palestinian Autonomist who rebukes Zionist tyranny is deemed a ‘hater’ who spews ‘hate speech’. Once ‘hate speech’ is identified, Jews use all their institutional and financial muscle to have that person destroyed and blacklisted(1,000x more than any Jewish communist who was marginalized during the HUAC-McCarthy years). What an inspired tactic to guard the power and mastery of your own people while discrediting and destroying anyone who dares to speak truth to your people’s power. Via ‘hate speech’ hysteria, Jews have redefined Free Speech so that it’s a privilege only for Jews(and their favored allies) than a universal right for all Americans. Even though the US Constitution guarantees free speech for all, Jews control the law firms, banks, and media that can destroy people and deny them jobs, savings, and the means to spend their money. So, Jews have effectively killed Free Speech in America. Jews are so awesome in their Way of Power. They come up with brilliant masterstrokes to accumulate all the power for themselves, doling out a few favors to their cuck-collaborators. Since Jews know best and come up with the best strategies, we must learn from the Jew and do as the Jews do. In this spirit, we must invoke ‘hate speech’ to denounce and silence Zionism. We must declare that Zionism is a form of supremacism, ‘racism’, imperialism, and genocide. After all, Israel was created through massive ethnic cleansing of Palestinians. Jews acted like Nazis with their Lebensraum plan. Jews stole more land in 1967. Jews still occupy West Bank and murder Palestinians. IDF death squads routinely mow down innocent women and children in Gaza. Jews spread Wars for Israel all over the Middle East. Because Jews hate Russia, they spread propaganda that tells us to hate Russia too. So, much of what Jews say is ‘hate speech’. Jews are filled with hate(for Palestinians, Russians, Iranians, Syrians, white Christians, white patriots, and those with the guts to stand up to Homomania) and spew their hatred all over. Then, it is only right that we call out on Jewish ‘hate speech’, denounce it, and ban it. We must work with BDS and any organization to resist Jewish hatred and silence Jewish ‘hate speech’ against goyim. We must say Jewish Power must be gagged because the Jew-run media have spread so much hatred around the world. Jewish Hollywood made all those anti-Arab and anti-Muslim movies where Middle Easterners are usually terrorist and lunatics. As a result, so many white Americans joined the military to kill bushels of Arab men, women, and children. Their minds were infected with the Jewish Hate Virus. And just when the world was sighing with relief over the End of the Cold War, Jews messed it all up with their greed and hatred. They raped the Russian economy, and when Russians said ENOUGH to the Jews, Jews started a Hate Campaign against Russia. And so, there is the ‘new cold war’. And wars in Iraq, Libya, and Syria were all instigated by Zionists. Now, that’s a lot of hate, and we must stand against this hate. So, we must denounce Jewish Hate Speech and work to destroy and blacklist any Jew who espouses Zionist imperialism, ‘racist’ Jewish identity, and Jewish supremacism. We must support Free Speech but not Hate Speech of the Jews.
If Jews react by bitching about ‘antisemitism’, it would be most ludicrous. After all, we are only taking a rule from the Jewish Rulebook of Power that says "maximize our free speech while minimizing the speech of our rivals and critics as ‘hate speech’". If such is the Jewish Way, it must be wonderful and sound. Then, it is only fitting that whites emulate and imitate Jews and do to Jews as Jews would do to whites.

And then, there is the matter of Borders. As we all know, Jews are adamant about guarding the borders of Israel. Jews are hellbent on keeping Israel as their own homeland, a place of sacred memory. Jews claim it is theirs, and they feel justified in doing everything to keep every inch of it. They go even further and say all white nations must support the Israel’s right to exist as a Jewish Homeland. But, at the same time, Jews call for Open Borders for Western nations. Why is this? Isn’t it rank hypocrisy? In a way, yes, but in another way, such duplicity should be admired as another lesson to be learned in the WOJ. The Jewish Way is to maximize Jewish Power, and the surest way is to support Nationalism where Jews are the majority and push globalism where Jews are the minority. After all, if non-Jewish nations went into Nationalist Mode, they will prioritize the interests of the non-Jewish majority, and that would undercut Jewish power. So, where Jews are the majority(Israel), Jews are happy with Nationalism that favors Jewish identity and interests. But in nations were Jews are a minority or non-existent, Jews push globalism so that the native majority will become deracinated, cucked, decadent, degenerate, and/or self-loathing. Then, Jewish globo-homo operatives can go to work and take over the key institutions and industries of those nations. Now, that is smart thinking. That is genius itself.
Then, it is only right for whites to think likewise. The Jewish Rulebook says "Nationalism & strong borders where Jews are the majority, and Globalism and open borders where Jews are the minority." Then, this rule, as adjusted for whites, would be "Nationalism & strong borders where whites are the majority, and Globalism and open borders where whites are the minority." That means all white majority nations must do everything to secure their borders and stop the mass-immigration-invasion by non-whites. Whites in white-majority nations must safeguard and prioritize white identity, white unity, white territoriality, and white power. But in white-minority nations, whites must do everything to undermine the national identity and borders. And for good practice, whites should begin with Israel. Whites should demand that Jews in Israel reject nationalism and celebrate Diversity. Israel must smash its walls and embrace Open Borders and let tons of non-Jews into Israel. And allow Palestinians the Right of Return. Whites must say it is ‘racist’, ‘xenophobic’, and ‘exclusive’ for Jews to keep Israel as their own homeland. They must be ‘inclusive’ and share the Holy Land with immigrants and migrants from all over the world. Israel must call itself a ‘nation of immigrants’.
Now, if Jews were to retort that this is a case of White Hypocrisy that defends national borders for white nations while waging war on Israel’s borders & its right to exist as a Jewish State, that would be most ridiculous. After all, whites would only be taking a page out of the Jewish Rulebook. Since Jews are so wise and wonderful, what Jews think and do must be noble and inspiring. Then, why would it be wrong for whites to be Imi-Semites and do as the Jews do?

Anyway, there are surely many more lessons and instructions to be learned from the WOJ. The more we study the Way of the Jews, the more we will understand the wonderful Jews and their wise and noble ways. Since Jews are such a great and awesome people, surely what they think and do must be the gold standard for all humanity. Then, it is only right that all of humanity, including white folks, must learn from the WOJ and do as the Jews do. It will be the beginning by which Humanity can be cured of its foolishness. Learn from the best. Jews are the best, so learn most from the Jews. And then, do as the Jews do.

Why is Jewish Power so Obsessed about Donald Trump & Russia? It's a Matter of Jewish Globalist Supremacism vs Gentile Nationalist Sovereignty

DOCTOR ZHIVAGO - News of the Death of the Tsar and His Family

Remember the news of the execution of the Czar and his family in DOCTOR ZHIVAGO? The old man(played by Ralph Richardson) wonders why the Bolsheviks had to take such measure. Why kill the deposed man and his entire family? And Zhivago explains that the Bolsheviks did it send a clear message that ‘there is no going back’. Russia was then in the throes of the Civil War between the Reds and the Whites. Reds held the cities whereas Whites held the countryside. But the Reds had mass support as well since so many Russians had gotten tired of the disaster of WWI and expected more food and freedom from the Reds. To the masses, the Whites represented the Old World of privilege. Still, the Whites had considerable support among conservatives, clergy, traditionalists, and moderates who grew alarmed by Red violence.

Today, the globalists see the World in terms of a Grand Struggle. It is between Shlomo-Homo Globalism and Nationalism. Both sides have advantages and disadvantages.

Globalism’s power derives from the US, the lone super-power that is in neo-imperialist footing. As the US is controlled by Jews, globalism is essentially a Jewish project. Given globalism’s aggression and interference, many nations ought to be opposed to it, and indeed many are, and even many that are on-board have second thoughts about it.
Then, why does globalism seem so omnipotent around the world? One is bribery. As the US is the richest nation and controls world finance, it can offer bribes and sweet deals to elites around the world that comply with the globo-homo program. So, if the US promises sweet deals to nations that cave to homomania, they often do.
Also, even nations that cling to national sovereignty go along, at least halfway, with the globalist project since their wealth depends on global trade. China is a good example. China has a genuinely independent government(unlike Japan), but it relies on the globalist system of trade as devised by the US and EU. Also, despite all the problems of the US and EU, those parts of the world still have the best-managed, most innovative, and most productive economies. The problem of BRICS(Brazil, Russia, India, China, and South Africa) nation is there is too much corruption, incompetence, and inefficiency among them.

Also, because the US media dominate world information and because US academia train so many elites of other nations, many elites become mental-colonized by globalist PC. Most elites around the world aren’t particularly bright or original. So, when they come to the US to study, they soak up all the dogma & cliches and repeat them like robots. Some do it sincerely, some do it opportunistically to belong to the globo-Elysium Club.

But globalism also has big weaknesses. Ironically, its great power is also its Achilles Heel. It is now so powerful and all-pervasive around the world that ‘globalism’ has negative connotations. Also, even in the metropole of globalism, there are many who feel that it isn’t good for the world or for most Americans. It’s only good for the elites and upper classes centered around few key cities. Also, there have been rising populist tensions in the EU. European Union began as a grand project for Europeans Only. But over time, globalism remade it into what is now effectively a European-African-Muslim Union. Globalism says that Europeans must welcome replacism by ‘New Europeans’ from the Third World. If a European nation wants to preserve its borders and identity, it is now demeaned as ‘far right’, ‘extreme’, and ‘white supremacist’ by globalism. Betrayal is the New Patriotism. Traitors are hailed as the New Patriots(or 'Patraitors'). Due to globo-shlomo-homo power, betrayal has become the central fact of the Modern World, not as vice but as virtue. What a twisted world we live in. Naturally, in order for Jews to have control over whites, whites must be encouraged to betray their own identity and interests in favor of obeying and serving Jews. The white race has become one Big Rat that squeals on white patriots in the delusion that race-betrayal(especially to appease Jews) is the highest virtue. While Jews practice omerta among themselves, whites have been conditioned to inform on other whites who won't get with the the globo-homo program.
Nevertheless, more and more people are waking up to the fact that globalism isn’t about all peoples around the world gaining equal recognition and value but all peoples coming under the same set of ‘values’ such as homomania and same narrow expressions of culture, such as rap music and Hollywood comic book franchise movies. Also, it's about all the world groveling at the feet of Jews(and homos).

Given all the problems of globalism and its elite-centrism, why would so many ordinary people support the globalist project? Among non-whites, there is ONE REASON: the chance to emigrate to richer white nations. If that option wasn't available, they would oppose globalism as a threat to their national sovereignty. But with the bait of immigration-to-the-West, non-white masses are more than willing to work with globalist elites to move to white nations, live off white wealth, and hump white women(or marry and have kids with white men). For sure, Muslims would have NO REASON to support globalism that is about Wars for Israel, spread of homomania, and US aggression. So, why do so many Muslims go along? Because they are obsessed with the dream of moving to the West. They know that Western Nationalists oppose immigration whereas Western globalists promote it. So, for material self-interest, they collaborate with globalists, even Zionist ones. And globalist elites know this. They know that mass support for globalism around the world will diminish UNLESS non-white masses can be enticed with the chance of moving to the West. That is why 95% of Muslims in France voted for Macron. They may hate Western policies against the Muslim World. They may despise Homomania. But the fact is Macron wants more immigration-invasion whereas LePen wants to slow it down or even end it.

Okay, we can now understand why Western/Jewish elites and non-white masses go with globalism. But why would white masses in white nations support globalism when it’s so anti-white? The fact that Macron got 65% of the vote means that he had majority support from whites as well. Also, 56% of young people voted for Macron. Why would so many white masses support globalism when it will demographically displace them? Why do so many whites choose to be 'patraitors' than patriots? Why do they think being a traitor is the 'new patriotism'? Well, many white masses were raised on PC education and Pop Culture. So, they’ve been made to sincerely believe that white identity and interests are evil. Also, Pop Culture has normalized Diversity, so that any idea of a White Europe or White Nation now seems wrong. The New Europe MUST BE Diverse. Also, the Western Left is based on virtue-signaling and feeling holier-than-thou. Due to dominance of PC, many white masses have been made to feel that the ONLY way they can feel morally justified and superior is by hugging Diversity and hating ‘white racism’. They've become addicted to the drug of self-righteous vanity. Today, even the desire of white nations to remain white is deemed ‘racist’.

Even white conservatives have been put on the moral defensive by PC’s diversity-mongering. So, the most that white conservatives can do is call for ‘civic nationalism’ and patriotic diversity. Morally disadvantaged, the Western Right can only play defense and can never be on the offensive. If indeed the consensus says Diversity is a wonderful thing, anyone who disagrees is automatically relegated to moral inferiority. Since even the Conservatives have chanted the mantra of ‘diversity is our strength’ over and over, they’ve fallen into a moral trap. If diversity is so good, how can they call for limits on immigration that stem the tide of wonderful diversity? Also, since the end of WWII, the reigning narrative has been that there is nothing worse than ‘white racism’. So, even white masses who are deeply anxious about Diversity feel morally unclean if they were to express their views. According to Official PC, any desire on the part of whites to maintain a white community is a ‘far right’ and ‘racist’.

Globalism is essentially a War between Jewish elites & their collaborator comprador elites AND white masses of traditional white nations. Jews have targeted such nations since bulk of Jewish wealth and power are concentrated there. Even though Jewish Power is a worldwide phenomenon, its nerve center is still in the West. Without that control of White Nations, Jewish power around the world in Asia, Africa, Middle East, and Latin America would be shaky. So, Jewish control of the West is key to control of the Rest. And in order for Jews to control the West, whereupon Jewish-globalist interests must always trump white-nationalist-interests, the white folks of the West must be taught that THERE IS NO GOING BACK. Just like the Reds killed the Czar and his family to send a message to Whites that there is no going back, Jewish-Globalists want to send a demoralizing message to white nationalists/populists that there is no going back: White identity, white interests, and white power are OVER forever. Whites must serve Jews.
Now, one might argue that Jews could be dominant forces in the West purely on meritocracy without diversity. After all, following WWII, whites rejected antisemitism and became supportive of Jews, even aiding Zionists in the creation of Israel. And Jews gained rapid success in EU and especially in the US since the 60s, even gaining elite power. So, why would Jews need Diversity?
It’s because Jews fear that the Holocaust guilt-trip will eventually wear off. Jews fear that increasing Jewish power will lead to excessive corruption and abuses, and over time, whites will grow angry and become ‘antisemitic’ once again. The Saxon will learn to hate again. To prevent such, Jews need Diversity so that the divided and contentious bunch of gentiles won’t be able to unite against Jewish Power(no matter how arrogantly or abusively it behaves); due to chutzpah and the nature of Jewish personality, Jews know they can’t resist being overzealous in their power-grabbing and power-mongering; so, ‘antisemitism’ is most likely to return, indeed even for valid and justifiable reasons; so, if such a day were to come, the only way to secure Jewish Power is to have diverse goyim be so angry with one another that they won’t be able to unite against Jewish Domination.

Diversity is an effective way to weaken and destroy white identity politics. If masses of whites are taught from a young age that they must serve Diversity above all, it means whites must put white interests in the back-burner while favoring Diversity. Now, whites serving Diversity may not always align with whites serving Jewish interests. We see this with the BDS movement where some whites support Diversity(that of Palestinians) against Jewish-Zionist power. British Jews are furious that Jeremy Corbyn's base in the Labour Party sides with Palestinians against Zionism.
Nevertheless, Cult of Diversity means that whites must always put non-white interests before white interests, and that suppresses the chance of White Power, the only power that Jews fear as the potential challenge to Jewish domination in the West.

How does Russia factor into this? Russia was on the path toward being just another part of the Jewish Empire. A huge carcass for globo-weasels to feast on. Indeed, Jews came so very close. And if Jews had prevailed, their power would have been unbreakable. Just think. Jews control the US that controls the EU. Russia is a vast land mass with immense resources. If Jews gain control of that as well, they got it made forever. Also, control of Russia means control of Central Asia and part of the Middle East as “Russia’s sphere of influence”.
But Russia slipped out of Jewish grasp(just like the Rhine maidens from the clutches of Alberich in DAS RHEINGOLD).

To be sure, it’s still not game over. Russia still has powerful globalist-elements. And even though Putin rolled back globalists, he needs them to run much of the economy since they have the connections and knowledge. So, the future of Russia is, as yet, unsure. Still, there has been a revival of Russian nationalism that puts Russian identity and interests at the center of Russian politics. Also, Russian nationalism isn’t apologetic like the national politics of so many Western nations. I mean, why does Canada and Ireland have Black History Months when they had few blacks in their nations? Afromania, like Homomania, is a cultural imperialist tool of the Jews. Jews are trying to make ALL WHITE NATIONS celebrate Diversity over National Identity and Degeneracy over Decency as the New Normal of Morality. Canada and Ireland have become just tools of Zionist-US empire.
But Russia won’t be having ‘gay pride month’ and ‘black history month’ anytime soon. While Russia isn’t overtly racial in its nationalism, it does have a proud and unapologetic sense of national pride and heritage. Russians don’t believe that Russians exist primarily to serve non-Russians, which is in contrast to the Western PC Ideal that whites exist mainly to serve non-whites: White lands exist to take in tons of non-white immigrants. White wombs exist to make black babies. White minds exist to serve globalism. White soldiers exist to fight Wars for Israel. White Death exists to make room for non-white bodies and make profits for Big Pharma run by Jews who peddle opioids to the millions.

In the Global-Civil-War, Russia still resists the Zio-Globalist hegemony of US and its vassal entity of the EU. What Jews fear most is that the Russian Example may spread and inspire other white nations to put national interest at the center of their ideology, politics, culture, and conviction. It will mean each native population of European nations putting their own people, culture, and land above others. If white gentiles begin to feel this way, they may not only push out the Muslims and Africans… but may come to see Jewish elites in their midst as outsiders also.
Most importantly, the die has already been cast to the point where it’s difficult for Jews to reverse their position. Jewish globalists have thrown their lot so much on the side of globalism and cult of Diversity that it’s now a game of WIN or LOSE. Sometimes, when you go ALL IN, you can no longer moderate your position. It becomes a zero-sum game of Win All or Lose All.
It’s like Hitler could moderate his relations with Stalin prior to Operation Barbarossa. It was an uneasy alliance between Germany and USSR, but there was peace and things could be worked out by compromise based on mutual respect and recognition of the other’s legitimacy. But once Hitler went all in and invaded Russia in June of 1941, it was WIN or LOSE. The die was cast.
There was a time when Jews had been more cautious, gently pushing for diversity but also being mindful of white national concerns. But over time, Jews decided to throw caution to the winds and go whole hog in their War on White or WOW. Jews have gone Full Tim Wise. It was perfectly encapsulated by the Newsweek cover of the Obama Conquest over the White Race.

The Jewish-Supremacist Message to the White Race: "We out-hustled you and used mass-immigration-invasion and Diversity to destroy White Power and Prestige forever." When Jews spit on whites with such contempt, it is truly amazing that so many whites, including conservatives, suck up to Jews.

So, all this stuff about Russia-collusion and Russia-hacking is baloney. Jews don’t believe in any of it. So, why are they peddling such nonsense? It’s all part of the Global-vs-National War in which Jews see Russia as the most dangerous model of white national sovereignty. And Brexit and election of Trump got Jews very worried.

Now, why should Jews worry about the rise of nationalism when Jews are doing just fine in Russia-gone-nationalist? After all, even though Jews are a small minority in Russia, they are better-off than all other groups and still control up to 20% of its wealth. So why? It's because Jews want supremacism, not just privilege and wealth. Jews feel that ONLY SUPREMACISM can guarantee Jewish power and wealth forever. After all, Russia is a nation where Jewish power and wealth can be taken away if indeed Putin decided to throw in his lot with ultra-nationalists with anti-Jewish bent. So, Jewish riches in Russia depend on the magnanimity and Machiavellian caution of Putin(who fears repercussions of Jewish globalist power if he were to move against Jews). The fact that Putin was able to bring down Khodorovsky means that, theoretically at least, he can bring down any Jewish oligarch who gets too out of hand. So, rich Jews in Russia feel more vulnerable than the rich Jews in the US who are protected by the entire network of power from Wall Street to legal courts to Deep State. Jews have Putin-like power x 1000 in the US. They are untouchable. Even with the election of a nationalist-populist president, Trump has been hemmed in on all sides by Jewish power and its Deep State agents.

But Trump is a savvy and unpredictable player, and there’s no telling what he might really do. He’s not like the pliable puppet that Rubio or Jeb Bush would have been. Trump likes to play the role of Lord of Chaos, and Jews fear that he may have some cards up his sleeve.
Anyway, if Trump comes to an understanding with Russia and forges good ties, it means NATO will weaken. And that means America's control over EU will weaken as well, as NATO will be perceived as obsolete and irrelevant. Decreased US hegemony over EU could mean the breakup of EU or the rise of nationalism in the absence of US domination(in service of the Empire of Judea or EOJ). And then, the globalist project may be threatened with the emergence of politics that are more nation-centric. When people of a nation put nationalist interest above globalist interest, it means they will favor native majority interest over minority interests such as those of Jews whose world power is really more reliant on global networking than national roots and foundations.

This is what all this Russia Stuff is about. No Jew believes in all this stuff about hacking or collusion. The Jewish-controlled Mass Media just keep putting it out there so as to vilify Russia. If Russia is cast as the Grand Villain, it will be difficult for Trump to do anything constructive in improving relations. He will be denounced as COLLUDING with the Enemy. So, this hysteria is not about what Trump or Russia might or might not have done. It’s about preventing what they MIGHT DO as friendly nations. It is to rig the game so that US cannot have friendly ties with Russia.

But then, this trick should be familiar to the American Right that used to castigate ANY attempt by Democrats toward friendlier ties with the USSR as ‘going easy on communism’. And when Reagan finally decided to work for peace with Gorbachev, there were plenty of Cold Warriors who did everything to derail the effort by accusing Reagan of being senile, weak, or stupid in trusting the Evil Empire.

It’s like what James-Wood-as-Haldeman says in Oliver Stone's NIXON.

EHRLICHMAN:
Excuse me … Are you talking about
recognizing China, Mr. President?
That would cost us our strongest
support.

NIXON:
No … I can do this because I’ve
spent my whole career building anti
Communist credentials.

HALDEMAN:
If Johnson or Kennedy tried it, they’d
have crucified them, and rightfully
so!

MITCHELL:
It’s damned risky, Mr. President. Why
don’t we wait till the second term?

Anyway, Jews are looking for the KILL-THE-CZAR moment with Trump to send the message that There Is No Going Back. They want to do something so powerful and shocking so that there is no chance of Trump working with Russia on a friendly basis and changing the status quo of hostility. As Jewish Power put all the eggs in the globalist basket, any chance that Russian nationalism might inspire other nationalism in white nations is an alarming development to Jews(and homos who value globalism as a missionary vehicle for Homomania).
Now, there are times when Jews will support little nationalism against Big Nationalism. So, Jews supported Ukrainian nationalism against Russia, indeed even going so far as to work with Neo-Nazi elements. Though Jews hate Ukrainian nationalism too, they see it as useful for the time being against the more challenging Russian one. Also, whereas Russian nationalism is self-sufficient, Jews know that Ukrainian nationalism would collapse without US-EU support as there is no meaningful internal unity or core identity among Ukrainians. Of course, to mask the far-right characteristics of Ukrainian Nationalism, Jews urged the new government to put on a homo parade there so as to sell US involvement in Ukraine as Project-Tolerance. Today's progs will support any war if the bombs are painted in Homo Colors.

Mormons, Two Meanings of Justice, and Future-Socialism

https://www.bloomberg.com/view/articles/2017-03-28/how-utah-keeps-the-american-dream-alive

“What’s happening here? The state population is now about 13 percent Hispanic, but only 1 percent black. Part of the explanation is probably the Mormon Church’s century of institutional racism.”

Race-ism is best foundation for social-capitalism. Swedish model of social-capitalism was working just fine when Sweden was all Scandinavian... but then Diversity came along. (By Race-ism, I mean, "Ism means belief, so Race + Ism = Belief in the Reality of Race and Racial Differences; and the need for Racial Consciousness".)

In a way, Mormons became the way they are because they excluded others, but it was also because others excluded them. In this respect, they are like Jews who were excluded by others but also excluded others. Thus, Mormons developed a ‘ghetto’ mentality.

There are Two Meanings of Justice.

1. Legal Justice and Righting wrongs. So, if Bob does something wrong to John, Bob owes John compensation. It is about redress and punishment for violation of the law or social contract. This concept of justice is represented by "eye for an eye, tooth for a tooth" in the Bible. By its standards, if someone didn't do you any wrong, there was no injustice, and he owes you nothing.

2. Tribal Justice. A sense of shared survival and success. This concept of justice is found in the Exodus. Moses feels a sense of obligation to lead ALL Jews out of Egypt. He doesn't owe them anything as he hadn’t done them wrong(on a one-on-one basis) in his capacity as an individual, but as a Jew, he feels responsible for other Jews. This concept of justice says it is not enough for a person to be successful as an individual and care only about himself. He must belong to a community and work for the common good.
Greek mythology is more individual-oriented. It's about the rare hero who rises above the rabble and demonstrates his superiority, like Perseus in the slaying of Medusa. To be sure, through his extraordinary feat, he saves others of his kind. And Theseus protects his community by slaying the Minotaur who gorged on human offerings. Still, the emphasis is on individual feat and personal glory. It is about how the hero stands APART from the rest.
In contrast, the stories in the Bible emphasize how every individual's deeds relate to family and tribe. Communism, a secular form of Judeo-Christian worldview, tried to realize this Jewish-communal-sense-of-justice on a universal scale, but it was too grandiose and unwieldy. Just like a tower erected too high will collapse, so will a bridge built too long.
The ideal of communal justice works best on the ethnic/tribal level and even on the national level IF the nation is racially & culturally homogeneous or reasonably so. This ideal that a people must all make-it-together and not leave others behind is found in the Zhang Yimou film NOT ONE LESS, a kind of 'no child left behind'. It only works within a shared racial community.

Mormon capitalism is bound to their brand of social-culturalism. But, it will fray if the Mormon community becomes overly diverse. Mormon theology is hardly profound stuff. What has made Mormons special has been (1) a sense of community based on shared race and history (2) Muslim-like emphasis on daily rites, some of which are sufficiently strict to prevent members from giving into excessive vice.

When it comes to family formation, Mormons have an intuitive sense that generating children amounts to a kind of future-socialism or bio-socialism. In a way, having children is 'socialist' in the sense that you have to share your earnings with others. Purely from an economic viewpoint, children are 'parasitic'. They do no work and leech off the wealth of parents. Parents must buy them food, spend time with them, clothe them, provide medical care, and etc. It is very taxing, economically and emotionally. So, why do it? Because it is a kind of future-socialism. Why is future-socialism rewarding in ways that paying taxes to provide benefits to total strangers isn't?
Because there is a special bond of love & happiness between parents and children. Also, unlike faceless strangers who live off the tax revenues of others(via the confiscatory state) and show NO gratitude(and often demand MORE free stuff as a 'right'), children are happy and grateful for what they receive from their parents, even just an apple or orange. It's socialism of emotions than just of materials. (This is why prolonged welfare dependency is corrupting to both parents and children. When kids see their parents struggle to make ends meet, they feel appreciation and gratitude, even a bit of guilt because parents work so hard for the family. But when kids see their parents as mere leeches off the state, they feel no sense of obligation because it wasn’t the parents who provided for them. So, do they feel grateful to the state? No, because the state is faceless and abstract as far as they’re concerned. It is just a system to milk.) Also, if children are raised properly with sound nurturing of identity, culture, history, values, arts, and appreciation-for-nature, they carry on with the heritage even after their parents have passed away. Indeed, they see it as their obligation to do so. And in earlier times, they would have taken care of their parents. This was a big theme especially in traditional societies. Kids were seen as organic Social Security. Parents provide for their children, and later, the children-as-grownups provide for their parents-grown-old. So, family formation has always been a bio-cultural socialism into the future. Parents share their wealth with kids, and in turn, kids feel obligation to their parents and the culture they all sprung from.

This sense has weakened over the years because the state or industries came to provide for old people. Also, with the fading of identity and real culture, there is less of a sense of inheritance from parents and bequeathing to children except in monetary/material matters.
If a people no longer believe in what they are in the racial-cultural-historical sense, they feel no need to pass the torch to keep it going. Today, most young people culturally identify with celebrities and what Chris Hedges calls the Empire of Illusion, a frivolous(but intensely charged) Fantasy World, than in the richness and depth of the line-of-my-people.

Orthodox Jews and Mormons still have strong identities, and they feel their cultures must be kept going through the ages as living inheritances and timeless inspirations. And the ONLY way to ensure that is to have children and teach them well. More than anything, one’s wealth, knowledge, experience, and genes must be SHARED with one’s children. That is the deepest and richest kind of socialism. Bio-Socialism.

The Challenging but Rewarding Humanism of DAS BOOT contra the Thrilling but Hollow Mytho-Nihilism & Etho-Manicheanism of STAR WARS

As anyone with even a smidgen of sense knows, THE LAST JEDI is toddawful. But then, the rebooting of the series was a bad idea motivated by nothing but greed and nastiness. Lucas obviously sold his visionary baby to Disney for big bucks. It’s difficult to think of anyone in the movie industry who betrayed himself more. Even though STAR WARS saga is about Luke Skywalker(as Lucas’s fantasy alter ego) who walks the straight and narrow path despite temptations to do likewise, George Lucas has betrayed himself time and time again. One noble thing he did was to collaborate with Francis Ford Coppola in aiding Akira Kurosawa’s comeback with KAGEMUSHA. According to Kevin Michael Grace, Lucas was also instrumental in getting Paul Schrader’s MISHIMA get funded. (Personally, I’m not so sure about that one as Schrader’s biopic is a rather artsy-fartsy mishmash of sterile stylizing.) Otherwise, Lucas has been a bust.

Not a financial bust, of course, as he became one of the richest man in the movie industry. We mean an artistic bust. Now, Lucas wasn’t the only person in cinema(or any other industry) who went with the money. When Mario Puzo couldn’t make a living as a serious writer, he mostly turned to pulp and gave us stuff like THE GODFATHER and THE LAST DON. Still, Puzo’s ‘selling-out’ was less grating because he never preached to us about Art and Integrity. Indeed, THE GODFATHER is mainly about Michael who is introduced as an all-American idealist and patriot but turns his back on all that and becomes the head of the family business, an organized crime syndicate. According to Puzo’s way of thinking, it’s a way of growing up. The world isn’t a pristine place that bends to idealism. Patriotism is often a publicity tool manipulated by the powerful and cynical. Just like the mafia uses violence to get its way, so do governments around the world. Politicians are as sleazy as gangsters. Even so, there is a reason why the Corleones want to go legitimate and gain respect because appearances and reputations do matter. But then, just how can Vice Industries go legitimate? Only by degrading society into accepting Vice as the New Virtue. (Look how gambling, drugs, pornography, and homo decadence have been legitimized in our society to serious detrimental effect.) For people like the Corleones to be ‘cleansed’, society must be muddied. In the end, it’s not so much about Vice Industry going virtuous but the Virtue Society being made more accepting of Vice. This is done not only by spreading vice-as-normal for the masses but by exposing the hypocrisy of the elites and the 'moral majority' who preach virtue but practice(or secretly long for) vice. After all, the respectable ruling elites have been leading muddied lives all along, and what has happened to society is really the popularization of elite vices. For example, Senator Geary in THE GODFATHER PART 2 acts like Mr. Clean in public, a respectable member of Anglo-American society, but he indulges in prostitution, alcohol abuse, and other vices. Look closely into the lifestyles of the rich and powerful, and their attitude is, "We can do as we please; morality and virtue are for the suckers." (The history of the Aristocracy has been one of infidelity and excess. Before there were capitalist neo-aristos like Michael Jackson, there were the likes of Emperor Ludwig II, the homo Peter Pan who spent outlandish sums on ridiculous fantasy palaces... though he must be credited with providing crucial patronage to Richard Wagner.) It’s all the more ironic in THE GODFATHER because the man who ferrets out the hypocrisies of others and uses them for blackmail remains, like his father, a straight and narrow guy in personal virtue. Just like Vito Corleone was true to his wife and a loving & devoted father, Michael is true to his wife and dearly loves his kids. (To be sure, one could argue he betrayed Kay by marrying Apollonia, but Michael and Kay weren't married, and true love struck him when his gaze fell on the Sicilian beauty. Ironically, Michael’s high standards of personal virtue and family loyalty rub some others the wrong way, thereby alienating certain members in the inner-circle. He conveys contempt for Tom Hagen having a mistress and cheating on devoted Teresa. And he said and did things that made Fredo resent and eventually betray him. In the end, Michael kills his older brother for having betrayed the family. But then, as revealed in THE GODFATHER PART 3, didn't Michael betray the family by killing his older brother? After all, Fredo was weak & pitiable, and whatever he may have done, he was also the son of Michael’s father and mother.)

Even though Puzo ‘sold out’, he was not a hypocritical moralist. He surely saw himself in Michael. After all, he’d spent ten yrs writing THE FORTUNATE PILGRIM as a work of serious literature, but it didn’t go anywhere apart from receiving some good reviews. He had a family to take care of, and he needed to make money. He needed to write a book that people would buy. And yet, he saw a kind of integrity in ‘selling out’ too. After all, a man doesn’t live by vanity of pristine integrity. And even if he could for himself, what about the family? What about others who depend on him? So, he must compromise with reality and cut a deal. So, in a way, Puzo ‘sold out’ but, in another way, found a new kind of integrity-of-pragmatism that put the interests of his family above his own self-worth as a serious artist. He became a success and was able to provide stuff for others near and dear to him. Likewise, Michael’s betrayal of Americanism is a both risible and redeemable. He chooses the crime clan over the American Way. But he is being a good son. Also, he comes to the realization that, whatever the merits of the American Way may be, power everywhere(in relatively clean America as in dirty Sicily) operates as much in the shadows as in the light. Of course, Vito Corleone knew this all along. THE GODFATHER begins with a man named Bonasera relating a story of how he’d put his trust in the Law that spat in his face. The boys who'd abused his daughter evaded justice because they are well-connected. Things may be more just in the US than in Sicily, but Justice is everywhere-and-always a matter of who has More Power. We know this from recent events of Alt Right people being shut down by Jewish Supremacism. We know of the sheer hypocrisy of Jews who’d bleated on and on about how communists, fellow-travelers, and progressives had been blacklisted and denied their Constitutional Rights & Civil Liberties under ‘McCarthyism’ BUT now use all their muscle in media, finance, law, and government to shut down voices, white or Palestinian, that dare to defy the Jewish Supremacist Narrative. We know of the Deep State conspiracy to bring down Donald Trump with the utterly bogus Russian-Hacking Narrative. We know of all the lies cooked up by Deep State to stir up more tensions with Russia and to expand Wars for Israel in MENA(Middle East and North Africa). Thus, what happens with Michael Corleone is both loss and gain of integrity. He chose the clan and ‘business’ over law & order of the American Way. But he also came to see and accept reality for what it is. While it’s true that clan-and-business stand in the way of law-and-order — an extreme example in Sicily where clan-and-business IS law-and-order(as in many parts of Mexico as well) — , it’s no less true that those with power of money & influence can redefine law-and-order. Indeed, look how Jewish money-and-influence has not only legalized ‘gay marriage’ but uses strong-arm methods of lawsuits and thuggery of PC-addled morons to destroy businesses that won’t cater to ‘gay marriage’. And even Conservatives hardly raise any opposition since they’d been bought off by Jews, fear being destroyed by Jews(who merely need to invoke terms like ‘racist’ or ‘homophobic’ to ruin reputations), or know their personal dirt are held by Jews for blackmail.

Francis Ford Coppola and George Lucas were once like elder brother and younger brother. There was a kind of master-student relationship, and Coppola had the highest hopes for Lucas... just like Ben Kenobi thought Annakin Skywalker would be The One. Lucas began strong as an artist with THX 1138, one of the best science-fiction films ever and still his best film by far. He next made THE AMERICAN GRAFFITI, a rather thin work, but a labor-of-love just the same and one that showed promise for something greater. Initially, Lucas was slated to direct John Milius’ APOCALYPSE NOW in avant-garde style, and the result might have been something interesting.
But in the end, both master(Coppola) and student went the wrong way. Unlike Lucas who decided on an updated version of FLASH GORDON and made a pile of money, Coppola decided to stick to the artistic path and took on APOCALYPSE NOW as his grand personal project. If Lucas fell to the excesses of commercialism, Coppola fell to the excesses of artistic vanity. If Lucas lost sight of the mythic potential of his vision, Coppola sought to squeeze meanings that simply weren’t present from Milius’ comic book version of Joseph Conrad’s HEART OF DARKNESS. One of the virtues a master instills in his students is the importance of self-control and moderation, but it wasn’t long before both Lucas and Coppola fell into the morass of excessiveness. George Lucas became Lucas Inc., and Coppola became increasingly self-indulgent(like Federico Fellini), following the mixed-results of APOCALYPSE NOW(which has a stunning first 45 minutes and then grows increasingly confused and weary) with the totally ridiculous ONE FROM THE HEART(that bankrupted him) and gratuitously stylized nonsense like RUMBLE FISH. Meanwhile, Lucas, like Sylvester Stallone, came to rely on milking the tried-and-true formula of his cash-cows: STAR WARS and INDIANA JONES. He just cranked out more sequels. Whatever mythic promise STAR WARS may have held, it was gone with the sequels that essentially became little more than video-games on the big screen and commercials for toys and lunch-boxes. And yet, one may argue that super-success isn’t possible without excess. While Lucas did fail as an artist, he did succeed spectacularly as a businessman. Could such have been possible without excessive commercialism? And even though Coppola’s APOCALYPSE NOW isn’t a perfect work, its great moments couldn’t have been possible without madness of reach and vision. The most virtuous(in moderation) major American director in the past 30 yrs was probably Clint Eastwood, a professional who never lost his head in making his pictures. Even though Eastwood made some very fine films(and even a few, like FLAGS OF OUR FATHERS and LETTERS FROM IWO JIMA, that deserve to be called Art), his sense of balance and limits never allowed for the fever-dream imagination that could result in something like the first third of APOCALYPSE NOW that is truly outstanding.

Now, it doesn’t make much sense to compare STAR WARS and DAS BOOT except that both are movies about war(and Lucas was inspired by WWII footage when making his space fantasy). STAR WARS was clearly meant to be escapist entertainment whereas DAS BOOT was conceived as a grim Art Film about the vicissitudes of war. (Some might call it ‘anti-war’, a term that has always been problematic. After all, if a film shows us the dark & dangerous side of nature, is it anti-nature? If it shows the problems of family life, as in ORDINARY PEOPLE, is it anti-family? A better term than ‘anti-war’ would be War-Realist. Most so-called ‘anti-war’ films are not pacifist or believe in a world without war. War is inevitable in history, and the real function of Art is to show us the truth about war. Furthermore, ‘anti-war’ movies increasingly fail to drive home the point that War-is-hell because graphic violence has become so commonplace in movies, TV, and video-games. Violence has lost the ability to shock and terrify. There was a time when graphic violence in movies had to be morally and artistically justified. Nowadays, most graphic violence function as ‘cool’ effects.) Because STAR WARS and DAS BOOT are so different in conception, execution, and intention, it makes little sense to argue as to which kind of movie is superior or should be favored over the other. While DAS BOOT is clearly a superior work to STAR WARS(or any of its sequels), there are serious War Films that aren’t so good, and there are mythological stories or fantasies that are truly remarkable. EXCALIBUR is a mythic legend and one of the greatest films ever made. THIN RED LINE is an interesting Art Film delving into man’s relation to aggression and destruction, but it’s not quite successful as a work of art.
In art, there is room for realism and mythicism. In the end, a great work is a great work regardless of genre. For example, while the horror movie is usually gross and trashy, the best works in the genre, like the recent BLACKCOAT’S DAUGHTER, are truly remarkable and reveal something dark about the human heart. So, I can live with apples-and-oranges attitude when it comes to works-like-STAR-WARS and works-like-DAS-BOOT. Cinema needs and is enriched by both kinds of works.

However, it is now useful to critique the STAR WARS Effect in relation to DAS BOOT because it has really come to affect how we view power, history, humanity, good-and-evil, and politics. When Lucas owned STAR WARS, it constituted a personal universe. It was about a set number of characters within a specific story arc. It was meant to have a beginning, middle, and end(even though the first movie began in the middle of the saga). With Lucas at the helm, STAR WARS was not what is called a Franchise. Lucas insisted it's his personal baby(despite its crass and outlandish commercialism). Also, even though Lucas’ STAR WARS was no great work of art(though awesome as special effects and remarkable in some of its design and vision), it was a genuine work of imagination imbued with passion and excitement of novelty and cinematic game-changing. Unlike the 007 movies(that were a franchise from the very beginning) that never had a central author(not even Ian Fleming as the movies deviated far from the novels), STAR WARS was clearly inseparable from Lucas... just like PET SOUNDS and SMILE were the musical dreams of Brian Wilson(and just like GONE WITH THE WIND was an epic of the South woven by Margaret Mitchell). Good or bad, STAR WARS belonged to Lucas, no less than the Dollars Westerns belonged to Sergio Leone and THE FOUNTAINHEAD & ATLAS SHRUGGED belonged to Ayn Rand. Others could not hope to replicate the Dream. Doing STAR WARS without Lucas is like the ridiculous act called Beatlemania that tried to replicate the excitement of the Beatles. Or, it is like the ludicrous ‘remake’ of SGT. PEPPER’S LONELY HEARTS CLUB BAND with the Bee Gees(which made little sense since the Bee Gees, at their best, were a remarkable act in their own right).

But Lucas sold his baby(along with all the bathwater) to Disney that embarked on turning into Bathwater that drowned the baby. What Lucas did was a ultimate betrayal of his entire career but then keeping with the spirit of self-deception that came to mark everything he did upon finishing the first trilogy. Lucas could be strong in imagination but weak in resolve and principle. His character grew so flabby and spineless that he always cooked up some lame rationale to justify his betrayal of what he said he would never do. After the first three films, he said he would embark on more daring and personal projects. He never did. He just cranked out more Indiana Jones movies. He produced the lame WILLOW. And he returned to STAR WARS with the underwhelming prequels. At the very least, he could have done the next three movies with less commercial pandering, but, as if Lucas had emotionally grown backward over the years, the later three movies turned out even sillier than the first three(though ATTACK OF THE CLONES has, by far, the most impressive special effects of all SW movies). Then, Lucas said he is finally finished with the series, and there would be no more. But, Lucas changed his mind. There would be More and More STAR WARS movies... but not even by him but by hacks hired by Disney that would try to squeeze as much profits from the franchise while also using it as globo-Jewish propaganda against whiteness.

Indeed, what has been most interesting about the critical reaction to the Disney STAR WARS is how utterly corrupt and ideological the critical community has become. By and large, the new batch of space junk from Disney has received many more critical raves than Lucas’ movies ever did(with the possible exception of the first one that was too WOW JUST WOW for critics to ignore). Now, anyone with even a modicum of sense would admit that the Disney STAR WARS series is far inferior to the original(though some reservations may be made of ROGUE ONE that has bears little semblance with the FORCE AWAKENS and LAST JEDI). At the very least, the original series was the work of ‘auteur’ vision. It poured forth from Lucas’ imagination and had personal meaning for him and cultural cachet for an entire generation weaned on Lucas-Spielberg. It was to the 70s/80s generation what Beatles were to the 60s generation. Also, for all their silliness and stupidity, Lucas’ movies were seminal and game-changing in the annals of cinema. Even though Lucas borrowed heavily from various mythologies, movies, and war footage, it was a genuine re-imagining of the Old and Classic with New Hope of fast-advancing technology in special effects and later computers. Just like the Renaissance didn’t merely repeat the old forms but re-imagined them with new techniques, methods, and materials unknown to the Ancients, Lucas ably used new tools in movie technology(first realized by Stanley Kubrick with 2001: A SPACE ODYSSEY) to reinvent the mythological wheel. In the end, he was no Michelangelo or Da Vinci of cinema, but he powerfully demonstrated how new formats can revitalize old narratives and ideas. If Lucas had recognized the real significance of what he’d unleashed and had the visionary reach of Kubrick, dramatic power of Kurosawa, and the dreamy fervor of John Boorman, there’s no telling what STAR WARS universe could have been. But apart from basic vision, design, and special effects, Lucas simply couldn’t expand on or enrich the material. In the end, despite all the impressive special effects and production values, STAR WARS is little more than escapist fantasy catering to an audience ranging from children to teenagers. For anyone older, it’s a painful reminder of how Lucas had so much but did so little. In contrast, BUBBLEGUM CRISIS 2032-2033 has the opposite problem. The makers had so little but did so much. One wishes Lucas had more creativity with story, characters, & plot while the makers of BUBBLEGUM CRISIS, who never lacked for ideas, had more money and material(to fully realize their concept).

Be that as it may, for all its failings and misses, STAR WARS is an impressive space fantasy and a work that simply could not exist without Lucas. (Even though Richard Wagner’s Ring Cycle is a much greater work, it too has high points and low points. At any rate, surely the real Wagner is better than imitation-Wagner.) So, you’d think that the film critics would, at the very least, appreciate Lucas’ STAR WARS more than the bogus rehashing concocted by Disney. But no, the critics overall prefer the cloned STAR WARSOWICZ over the real one. Why? This is where ideology and corruption go hand in hand, though film critics are blind to this because of their ideological purity spiral. (But then, those with purist conceit tend to be most blind and unaware of the filth that surrounds them. So sure of their ‘virtue’ and correctness, they fail to see what foully compromised they really are.) Why do critics prefer the New STAR WARS? For superior stories, more interesting characters, and better use of special effects? No. Purely because it has more diversity, promotes interracism, and makes anti-white-bashing more blatant. It wasn’t enough that George Lucas has been a Liberal Democrat in politics. His great sin was making Fascist Imagery cool again. His movies, even with increasing Diversity in later ones, were Too White and Too Classic. Despite his political Liberalism, Lucas was an aesthetic fascist who even BLATANTLY paid tribute to Leni Riefenstahl at the end of STAR WARS. Even though the Evil Empire was presented in more obviously fascistic terms, the good guys were also part of an empire. Indeed, STAR WARS is really about clash of empires, like between British Empire vs German Empire vs Ottoman Empire vs French Empire. The ‘rebels’ are for galactic control as well. So, for the most part, the good guys aren’t a bunch of rag-tag guerrilla fighters but manage an empire of their own and have their own fleets of space ships that can blow up tons of stuff. For the longest time, Progressive types scoffed at such inhuman vision — Ray Pride of NEW CITY journal once described STAR WARS universe as a battle between ‘bad nazis’ and ‘good nazis’. But year after year, Hollywood scored ever bigger with pop-fascist nihilist spectacles. The biggest money-makers proved to be Fantasies of Unfettered Power. RAMBO made a lot more money than PLATOON. Liberals found it impossible to say NO to these box office jackpots. The audience wanted stories about ubermensch heroes blowing up the world. But how were these ubermensch spectacles to be made palatable to Progs and anti-fascists? The trick was to keep and even expand on the fascist aesthetics BUT add PC elements to give it a proggy flavor. So, instead of white ubermensch, add some non-white ones too. MATRIX movies are totally ‘pop-fascist’ in their ultra-militant fantasies of the superior breed kicking everyone’s ass. It’s like the anarcho-‘facist’ movie FIGHT CLUB. But because the Good Guys have lots of blacks and other members of Diversity, it’s supposed to be ostensibly ‘progressive’. How a bunch of neo-hippies could spend most of their time dancing & using drugs but then muster the strength to fight the Machine is never really explained, but I guess the Force has been rejiggered to be with Progs and Diversity.
TERMINATOR was typical of the Liberal appropriation of fascist aesthetics, as was ROBOCOP. Even though the Terminator was the bad guy in the first installment, he was the MAIN reason for the movie's success. He was ‘cool’ and ‘badass’. And in the second installment, the evil-fascist-robot was turned into a good-fascist-robot. And then, with vast improvements in computer technology, Hollywood found it possible to make decent adaptations of superhero comic books. Though creations mostly of Jews, the superhero comics were always a Judeo-fascist fantasy of having ‘Aryan’-type or All-American heroes fight for whatever causes that the Jews like. So, with the mega-success of superhero comic book movies, Hollywood totally fell in love with pop-fascism. Whatever trepidation they had about the pop-fascism unleashed by STAR WARS gradually vanished.
Still, STAR WARS represented a goy creation and ownership of a super-successful concept. Jews resented Lucas Films for the same reason they’d resented Walt Disney, the one super-successful non-Jewish company in the movie industry. So, imagine how Jews felt when they took over Disney and turned it into a factory for turning white girls into whores who promote Jungle Fever. And via Disney, they eventually bought STAR WARS as well. Lucas, for all his wealth, just couldn’t say NO to 3 billion dollars. Thus, Jews got Disney and STAR WARS too. And just as they'd Jewified Disney, they set about Jewifying STAR WARS. It wasn’t enough that Lucas had added more Diversity to his films. In the Jewish-Disney offering, Diversity would be at the front and center of the series. Also, the evilness of the Empire would be reiterated by showing how WHITE it is(though peppered with a few Asians). Now, even with such rejiggering, a decent movie could have been made. After all, ROGUE ONE has a female lead and more Diversity than Lucas’ movies, BUT it is half-decent and certainly no worse than the ones made by Lucas. But FORCE AWAKENS and LAST JEDI are just terrible on every level. They offer nothing new, the pacing is off, the jokes fall flat, personalities are dull, and plots are rehashes of the old. And there is no longer any sense of wonder. So, when critics hail the New STAR WARS, what is really going on? It has nothing to do with aesthetics or imagination and everything to do with PC scorecard. Gee, FORCE AWAKENS and LAST JEDI got Diversity in the leads!! That’s about it. When movies are graded in this manner, it’s a form of cultural corruption(though masked by ideological commitment). Not in the old way of taking bribes(in the form of junkets or favorable access to celebrities for interviews) from the industry and giving bogus favorable reviews. At the very least, the old kind of corruption is honest, and everyone, the bribe-giver and bribe-taker, knows what it’s about. The other kind of corruption is more dangerous because ideology blinds those who indulge in such corruption. It’s like the mentality that says objective truth is ‘racist’ because meritocracy in science and math tends to favor whites over blacks. In the name of ‘equality’ or ‘justice’, falsehood is favored over truth to allow for less qualified blacks to make the grade. This is obviously corruption, but Progs may not see it because they are so convinced of the Goodness of ‘equality’ or ‘diversity’, especially as favoritism for blacks. Likewise, the ‘good’ political message of FORCE AWAKENS and THE LAST JEDI means that they can be as crappy and stupid as can be as story and entertainment. The message itself redeems them. And how else can anyone justify how BLACK PANTHER got universal raves except for a SINGLE negative review? This is corruption pure and simple, like the bogus nonsense that says Ancient Egyptians were just a bunch of blacks. (They had some Negroid blood, but they were clearly distinct from Sub-Saharan blacks.) In NOT OUT OF AFRICA by Mary Lefkowicz, the Jewess-authoress recounts how her colleagues privately admitted that Afrocentric history is nonsense... but maybe blacks should be allowed to indulge in such fantasies for the sake of self-esteem. This is corruption of academics. It is a defense of lies based not only on condescension but fear and cowardice. Because academics fear being hounded by angry black students and activists, they rationalize their cravenness with show of compassion. The perverse contradictions of white perception of Diversity, especially blacks, have led to the weirdest kind of soul corruption. On the one hand, whites see blacks as poor and helpless victims, childlike and innocent, always in need of white compassion. Supposedly, black plight is all due to ‘slavery’ and ‘imperialism’. Thus, blacks are seen as inferior and pitiable folks so dependent on the good-will of noble whites. On the other hand, blacks are admired, feared, and worshiped as the superior race. Because blacks sing so loud, dance so fast, dominate sports(that decide the hero-idols of the nation), and have bouncy booties or bigger dongs, white race near-worships blacks as a race of Afro-gods. Of course, PC insists that ‘race is just a social construct’ and that there is no ‘inferior’ or ‘superior’ among the races, BUT on the subconscious level, whites are urged to see blacks as both pitiable dumb children and awesome badass mofos. Both modes aren't merely corrupting but 'contradictorily' corrupting. When whites see blacks as just dumb children, it means blacks must be treated as such and not be held up to normal standards. When whites see blacks as demigods, it means blacks are so ‘badass’ and masterful that they must be allowed to act like gods who don't have to live by the same rules of rest of humanity. And yet, PC also says that whites must see blacks as equals. But how can a people be seen as equals when they are also seen as both inferior and superior? When blacks mess up, PC suggests that they must not be judged by white/normal standards because blacks, as victims, deserve more pity. When blacks act like arrogant a-holes, PC suggests blacks deserve the license to act thus because they are the master-race who be rapping and winning in sports. And all these corrupting-contradictions came to a head in the Starbucks fiasco, or STARBUCKS WARS, aka The Negro Awakens and drives the Last White Barista crazy.

Now, there is a way out of such corruption by the way of Neo-Fascist National Humanism that simply states, honestly and bluntly, the real reason for all the troubles with blacks: The Occam’s Razor observation of BAMMAMA or Blacks-Are-More-Muscular-And-More-Aggressive(because they evolved that way), but our society has been too thoroughly corrupted by PC to admit and face such truths. And so, we go on and on with the lies of PC that keep corrupting us further. The critical fanfare over the New STAR WARS and BLACK PANTHER is all about ideological corruption. Aesthetics, artistic merit, and even entertainment value have been sidestepped just because a work happens to be PC. For many progs, the New STAR WARS was an occasion for celebration simply because it was safely out of the hands of Boomer-‘racist’ George Lucas(seen as ‘reactionary’ despite his Liberal politics) and in the hand of Jewish PC-peddlers to do as they wish. It was like radicals finally completing their ‘long march through the institutions’. Instead of destroying White Institutions, radicals decided to take them over. No sense in destroying the sword of your enemy. Just take it for yourself.
Of course, FORCE AWAKENS and LAST JEDI would have been awful even if everyone in it were white. On the Right side, ‘Trevor Lynch’(nom de plume of Greg Johnson) is a dishonest critic because, just like SJW-types, too much of his assessment of value depends on the Message. He panned FORCE AWAKENS, but it’s possible he might have praised it IF it had a mostly white cast. Take his review of the dreadful JURASSIC WORLD, a movie as cynical and useless as FORCE AWAKENS. Lynch-Johnson raves on and on mainly because the cast is mostly white and sends a 'healthy' message to White America. In fact, JURASSIC WORLD’s only goal was to just take more money from suckers still dumb enough to flock to inane ‘sequels’. JURASSIC PARK is a great movie because it was one-of-a-kind and full of wonderment and warmth as well as action and terror. Once the sense of wonder was gone, the sequels just turned into cat-and-mouse tricks between humans and dinos. As if LOST WORLD wasn't stupid enough and JURASSIC PARK III wasn’t dreadful enough, Hollywood concocted JURASSIC WORLD that makes believe that yet another Jurassic Theme Park has been set up to be foolproof only to be not so. Now, it may be pointless to be so harsh on Lynch-Johnson because the Film Criticism industry is totally dominated by Progs and globalists, but two wrongs don’t make a right. Pro-SJW criticism is corrupt, but so is Pro-white criticism. Now, the point is not that a film critic mustn’t have an ideology, political preferences, and/or identitarian perspectives. Everyone has them. Rather, the point is one mustn’t fabricate or deny artistic merit on the basis of ideology. In other words, an anti-communist has every right to bash the politics of Sergei Eisenstein’s BATTLESHIP POTEMKIN or Dovzhenko’s EARTH, but he has to be blind to assert that those are not formal masterpieces. Likewise, a Jew may have good reasons to hate Wagner the man, but he can’t be serious if he denies Wagner's greatness as a composer. I despise Quentin Tarantino but admit RESERVOIR DOGS, his first film, is a remarkable work. A Palestinian may have good reasons for hating Jews, but he would be foolish to deny the greatness of Franz Kafka or Bob Dylan. But what happens when ideology or ‘idology’(the mindless worship of certain races or personages) takes control of culture and discourse? We end up with nonsense like the purple-prose praise of something as obviously terrible as the Obama presidential portrait.

According to Vulture.com, this laughably embarrassing Portrait of Obama elicits praise such as this: "Seating the president lower this way, enmeshing him in an overabundant, highly colorful natural setting, sustains a much more mysteriously human presence, brooding, reconciling, not merely knowing, separate, but kindled with fiery curiosity, a simple inner elevation that brings us to the border of the ordinary and the extraordinary. It’s exactly the metaphysical place Obama embodied as president of all America. The pose and enclosing him this way will irk many who will see Obama being made too normal, small, not central, not in grandeur, not an imperial god. I think the picture is true to the way Obama carries himself. He’s clearly the central subject but not entirely central; there’s a lot going on around him to contend with, negotiate; he’s open to his surroundings, part of them, bigger than they are but not the only thing present. He’s still fighting for space."

Be that as it may, Pop-Fascism has become the norm and the universally accepted mode of idol-making and storytelling. Hardly anyone resists or critiques it anymore in the manner by which Susan Sontag identified fascist styles even in ostensibly non-fascist art. Instead of the Progs attacking quasi-fascist aesthetics and images, they simply want to control the expression for themselves. It’s rather like how the Christians initially condemned and denounced the material manifestations of pagan militarist power of the Romans — the massive parades, grandiose spectacles, pageantry of might, and awesome theatrics — but, upon taking power as the official ideology of the Roman Empire, fully embraced the trappings of pagan-warrior magnificence. Ideology came to love the Idology or Idolatry of Power. Likewise, with the fading of humanist ideal, fall of communism, loss of faith in Christian ideals, and loss of interest in Big Labor, the so-called Left began to change in its choice of symbols. It was no longer the Real Left and became the Manicured Left of Globalism that as obsessed with wealth, privilege, vanity, pride, fame, celebrity, power, and egotism. As Naomi Wolf observed of how ‘progressive’ Katy Perry became a happy tool of the US military-complex, the Progs learned to stop worrying and love the Bomb and Prom. Though homo agenda is seen as anti-fascist, there has been a perverse relationship between fascism and homosexuality due to their fascination with power and vanity. Fascism, in its rawest form, is the most honest political ideology because it nakedly says that it’s all about Power. This is rooted in Nietzsche and also in a particular reading of Darwinism. If Sigmund Freud identified sexual energies as the main motivating force of life and if Marx identified economic/material struggle as the driving force of history, Nietzsche saw all struggles and conflicts as one of Power. If other ideologies claimed to be for Order, Tradition, Justice, Faith, or Whatever, the more nakedly honest ideology of Fascism said it’s about the Power. Such brutal honesty was too ‘pornographic’ for many people, which is why they found fascism so off-putting. And such aversion to fascism came from the Right as from the Left. It’s no wonder that British Conservatives, so sensitive to form and manners, found the blunt honesty of Fascism and National Socialism so uncouth and vulgar. And to be sure, even Fascists and National Socialists understood this, which is why they rejected Raw Fascism. Even if history is about a struggle for power, a man who only obsesses about power would be no better than a brute beast, an animal. Man must be more than about raw power, but still, nothing is possible or assured without the foundation of power. Thus, fascism bridged the brute reality of Power with Mythic striving. At his core, man is an animal, but unlike beasts of the wild, he strives toward the godly. Thus, a hero is different from a mere brute or bully. A hero struggles for power not to win as a beast, like a lion or hyena, but to rise above commonness, mediocrity, slavery. He strives to be nearer to the gods idealized by the highest aspirations of human imagination. Thus, the Greeks had idealized super-human version of themselves in the archetypes represented by the gods and goddesses who make up the Olympians(and many other lesser gods and ‘godlets’). But then, as a mass movement, fascism couldn’t just be about excellence and greatness. It had to be about the People, and this was why socialism & humanism were aspects of Fascism as well. And even though Benito Mussolini was an non-believer, he made a pact with the Catholic Church. He understood the role of the Church in the lives of Italian common-folk and for sake of social morality. And the socialist element of National Socialism made the movement increasingly popular with the masses, just like the New Deal had a special appeal to the American masses during the throes of the Great Depression.
Still, the Cult of Power was a huge theme in Fascism. It was like political body-building, and this is why many homos were attracted to the movement. Homos, naturally narcissistic and vain, loved the aesthetic appeal of fascism. While communism seemed a bit dull and drab with all the stuff about common folks in overalls marching for justice, Fascist and Nazi aesthetics were more well-tailored, impressive, and stylized. So, even though Fascism and National Socialism were officially anti-degenerate, a good number of homos(and other sexual deviants) were attracted to the movement. In Germany, some of the fiercest street-fighters were SA fruiters who might beat up a bunch of communists during the day and then boof each other in the evening. While most homos preferred Weimarian capitalism to both communism and fascism, both of which were officially anti-homo, the homo sensibility was closer to the secular ‘far right’ than to the far left. Also, back then, communists could be trusted to be hardline anti-homo, and indeed, the Left tried to discredit Adolf Hitler as a fairy. The reason why homos became ‘leftist’ in the 20th century is an accident of history. Even though Nazis came to power with homo-heavy SA, Hitler turned hard against homos(though not against lesbians), and that left homos no choice but to be anti-Nazi. Also, even though communist nations remained resolutely anti-homo, the Western Left in capitalist nations eventually took up the homo cause as a means of minority justice and subversive strategy. Especially with the rise of Jewish Power, Western Leftism came to de-emphasize the needs of the working majority while diverting more resources to the issue of minority rights. Since homos, like Jews and blacks, constituted a minority, they came to be tolerated more by the Left than by the Right. Also, the Left figured that ANYTHING that might be subversive of the Order would be helpful to the Revolution. So, why not promote the vice of homosexuality to further degrade the capitalist order? But even as homos found a home on the Left, their hearts were not with equality or the Common Man but with elitism, privilege, vanity, wealth, celebrity, and whoopity-doo. Since homos gained more privilege and power than most groups and came to be favored by Jews(who also lost interest in Classic Leftism), it was only a matter of time before Jews and homos formed a pact to rewrite Leftism to the point where it became a globo-fascist ideology of hegemony, power, privilege, vanity, megalomania, egotism, celebrity, and haute-gangsterism. It’s no wonder the Jewish-Homo Axis is using the Deep State to wage War on Russia for saying NO to Homomania, a kind of SJC or Satanic-Jewish-christianity to replace Real Christianity. One thing for sure, most homos don’t have a humanist bone in their body... though it must be said some homos, such as Glenn Greenwald, seem to have a more principled view of right-or-wrong than most people do.

One of the most influential homo thinkers in the second half of the 20th century was Michel Foucault, and even though he was a man of the Left ideologically, it’s always best to judge a man by his actions than his words. Whatever Theory of Justice he may have cooked up, the fact is he indulged in extreme homo-power-‘sexual’-practices not unlike the ‘machomo’ revelries in the William Friedkin film CRUISING. All said and done and when push-comes-to-shove(up the ‘gay’ arse), Foucault was a celebrant of power and domination. He was a ‘shafter’ and an S&M freak. Though he was leftist and Yukio Mishima was rightist, both were obsessed with immersion in the dynamics of power as if life is all about greasing oneself with olive oil and grappling in the nude like the ancient Hellenic wrestlers did at Olympic games.



At any rate, there’s been a sea-change in the way we view Pop Culture as part of the larger culture. One could argue Pop Culture is the Only Living Culture remaining in our decadent and degenerate times. Most of 21st Century buzz is about the 2 PC’s: Pop Culture and Political Correctness. Culture is seen merely as an ideological instrument, and consensus trumps controversy. And contrary to Conservative Critique, the problem is NOT that the Left totally defeated the Right in the Culture War. Rather, both the real Left and the real Right lost out to Judeo-Homo-Globo-Capitalism that wages war on both Tradition and the Masses(especially of Workers). Even though we hear over and over of the predominance of the Left in Pop Culture, Media, Academia, and Deep State, what goes by the name of ‘leftism’ today would not be recognizable to True/Classic Leftists of yesteryear. The End of the Cold War led to the emergence and dominance of a hybrid of leftist savvy for subversion and rightist preference for privilege. Both political parties came to support a system that makes the Rich richer and undermines the bargaining power of the National Working Masses. Both sides of the official ideological discourse have been totally supportive of War State, Deep State, Neo-Imperialism, Wall Street, and etc. It only seems as though the Left won because labels have become so fluid in our globalized world. In an age when a black African or Pakistani is considered an ‘Englishman’ or ‘Swede’ simply by arriving in Europe and when a man is considered a ‘woman’ by donning a wig and dress, anything can be called ‘left’ or ‘right’. So, the Corporatist funding of ‘gay pride’ parades is called ‘leftist’, and some on the so-called ‘right’ says ‘gay marriage’ is really a ‘conservative value’. In fact, Homomania is neither ‘leftist’ nor ‘rightist’. It is Globo-Homo Cult of Privilege of the Elites who favor 'gays' for their neo-aristo flair, vanity & narcissism, and catering to the Rich.

Even though Pop Culture has gotten dumber, trashier, and more juvenile over the years, we have to take it more seriously because it’s just about the ONLY culture left standing. In our hedonistic age, what matters is the kind of culture that offers easy and immediate pleasure to the masses. This wasn’t always so. For much of human history, the essence of culture had little to do with entertainment value. To have a culture or be part of a culture meant being part of a religion/church, being an organic member of family & community, having a shared identity rooted in blood-soil-and/or-narrative, cultivating respect for or aspiration toward higher culture(usually literary and philosophical), and espousing strong moral values and sense of ethics. Indeed, consider the world prior to electricity, phonographs, radio, and cinema. Most of culture had little or nothing to do with entertainment. It was about being part of a family, kinfolk, community, history & heritage, religion/church, and pride of membership in an organic nation/civilization. To be part of a family wasn’t just about parents and kids watching TV together to lose themselves in escapism. Prior to electronic entertainment, there was little opportunity for escapism and fantasy. Much of life was about family interaction in work(especially on farms), conversation & hearsay(often about kinfolk), church attendance, and mutual support. Even when children heard fantastical stories, they heard it from parents or dear ones. Today, when a kid plays a video game or watches TV, his mind drifts from the family. In the past, when a kid heard fairy-tales or legends from his parents, he drew closer to them because stories, real or fantastic, were told among family members(instead of being outsourced to the Idiot Box, the programming of which is controlled by a handful of globo-corporations; it's interesting that people in the past called the TV the 'idiot box' but people today call the most ubiquitous device the 'smartphone'). Also, as mobility was far more difficult in the past, there was a stronger sense of kinfolks and community. It wasn’t so easy to pack up things and move to another part of the nation, let alone another part of the world. So, much of culture was about inter-familial interactions. And because the ideal was to have larger families(than is the norm today among modern folks), people had more uncles, aunts, cousins, nephews, and nieces. And hearing about what’s happening with OTHER family members was part of the culture. And prior to electronic media that made it possible for every town/village in the US to hear and watch the same news-and-entertainment programs created by a handful of mega-corporations, each town had to have its own way of gathering and sharing news, discussing politics, and upholding commonly held values. This sense of local community was part of Culture. And prior to the rise of Youth Culture, the main expressions and themes focused on adulthood, and young people more or less consumed the same music and movies as grownup folks did. Thus, there was greater bridge between older folks and younger folks. And this sense of bond and continuity across generations was also part of the Culture. And religion wasn’t just a personal choice but the dominant cultural presence in many communities. Even with the guarantee of Separation of Church and State in the US, an Irish Catholic community took its Faith seriously. Church was a place where the people of a community gathered to reiterate and reinforce their sense of shared values and morals. And prior to globalism, the world thought in terms of nationalism vs imperialism. Most people aspired to be nationally independent. Indeed, even the US, despite having been created out of an empire and having expanded as an empire in its own right, defined itself in nationalist terms, i.e the Thirteen Colonies liberated themselves from the British Empire to form into a Republic, a Free Nation. The American Nationalist Way served as a template for other peoples yearning for national independence, and after WWII, despite its neo-imperialist hegemony, the US marketed itself to the Third World as a defender of peoples aspiring to be free from either European or Soviet imperialism.
Thus, patriotism was very much a part of a people’s identity and collective consciousness. Also, as white nations back then were overwhelmingly white or white-dominated, there was a clearer understanding of what patriotism meant. Surely, a Briton or a German is likely to be far more patriotic(and committed to its terms and obligations) if he belongs to an organic nation. (But in today’s globalized UK, what does it mean to be ‘patriotic’ when the Governing Ideology of the State says that white British wombs now belong to black Africans, Great Britain is a ‘nation of immigrants’[and has always been], and a newly arrived Pakistani who ogles young British girls is just as British as white Britons whose roots in the nation go back many centuries, even millennia?) There was a time when much of lived-and-practiced Culture had little to do with Mass Entertainment or High Art.

But with the rising tide of modernity, individuals gained greater freedom to move from their local communities and even from their nations. (The discovery and development of the New World tempted many in the Old World to sever their roots permanently in favor of material improvement in AMERICA.) The culture went from kinfolk culture to nuclear-family formation. Thus, new generations of kids grew up with mom and dad but without the larger kinfolk network. And the place they lived was more a neighborhood than a real community. In a rooted small town community, people knew who-was-whom. Even though richer folks lived in the nicer part of town apart from the poor folks, there was still a sense of all of them belonging to the community. In contrast, many urban neighborhoods and the burgeoning suburbs formed mainly on the basis of class. So, if a new suburb was forming in some area, its inhabitants would be decided on basis of income and wealth. Over time, a suburb could end up remarkably homogeneous economically. It could be all rich, all middle, or all lower-income. In contrast, even though there are rich, middle, and poor parts in Bedford Falls in IT’S A WONDERFUL LIFE, everyone feels as part of a civic-local community. Or consider the Indiana town in THE MAGNIFICENT AMBERSONS where rich folks, middle folks, and poor folks all feel as part of the community. And people's ears are pricked to what's happening in the community.

Today, even people in small towns are more interested with what's happening with globo-celebrities than in their own towns. Due to economic decline, family breakdown, spiritual dissolution, and moral degeneration, young people in small towns are much more likely to grow bored and dissolute. A people with culture and values are better able to cope with boredom and lack of stimuli because they have an inner fire and radiance. The find meaning in slow-and-steady things like family and reading. But lacking such mindset and values, people are likely to grow bored & weary and turn to any thrill out of sheer desperation. As such, they become far more likely to turn to drugs and degeneracy for excitement. This could be why a person in a decadent city may actually be less morally decrepit than a person in a small town. Even though cities are often alienating and trashy, there's so much stimuli all around that a person is less likely to grow bored and turn to dangerous thrills for diversion. This may be why so many drug addicts and sex workers come from small towns. It's like the porn-performer-wife in BIG LEBOWSKI.

Especially after the 1965 Immigration Act, the US began to form economic than cultural communities. Instead of Irish-Americans being part of Irish-America, Polish-Americans being part of Polish-America, and Chinese-Americans being part of Chinese-America, there was the formation of upper-class America, upper-middle-class America, middle-class-America, working-class-America, lower-class-America, and underclass America. And upper-class America came to be less about race or culture than about credentials, privilege, and money. Silicon Valley elites are mainly defined by Education, Money, and the right kind of connections. It’s about who-has-what than who-is-what. So, the elites are made up of whites, Jews, Hindus, Chinese, Persians, Armenians, Muslims, Mulattoes, and etc. And the upper-classes of all races and ethnicity marry and mate with one another. An upper-class white now feels closer to upper-class Hindu, yellow, or Jew than with other White Folks. If anything, he goes out of his way to show that he’s not ‘racist’ by berating unsuccessful whites as a bunch of ‘losers’ who deserve to be replaced by Hordes of Mass Invaders from the Third World. Even though Hindus, Arabs, and Asians aren’t under the same pressure as whites to reject or denounce their identities, they too abandon their own race, culture, and nation by coming to the West to raise their kids to be ‘Americans’ who are to assimilate and mix with Globo-Homo-World. As such, they are becoming deracinated as well. And even though Jewish Identity still has great prestige in the media and academia — unlike white identity, Jewish identity can be promoted and celebrated — , too many Jewish women are tempted to go with Negro men and too many Jewish guys are tempted to go with ‘shikses’ or yellow girls. Also, it is becoming increasingly difficult for Jews to defend Zionist treatment of Palestinians in the company of non-white peers who don’t have that ‘Holocaust Guilt’ that has been effective in paralyzing whites into obeisance to Jews.

As American community bonds weakened and unraveled, many people went their separate ways. And many married outside their ethnicity(and now even outside their race). When an Irish man married an Irish woman, they shared in common identity, history, and religion. Even away from the Core Irish community, they could retain something organic and deep. But if an Irish man married an Italian woman, they had little in common but being ‘Americans’, like the parents of Henry Hill in GOODFELLAS. Thus, their children grew up more as individuals and ‘Americans’ than as members of an organic culture. (Of course today, even the Irish in Ireland, despite marrying other Irish and living with other Irish in an Irish nation, have lost their sense of Irish identity, kinship, and patriotism because the Irish elites have been indoctrinated and/or bribed to sign onto Sorosian globalism and to use the full might of their media, academia, and entertainment to encourage young Irish to identify more with the World[especially the Black World & Third World] than with their own kind, culture, and history. So, all on their own, the majority of Irish voted for ‘gay marriage’ and elected some globo-homo ‘dotkin’ to be leader of the nation. Globo-Homo dogma instills Irishmen, Scotchmen, and Englishmen with the same mindset: "Your nation is a ‘nation of immigrants’, therefore, newcomers have More Claim to your nation than people like yourself with deep ancestral roots of Blood and Soil. And blacks must be especially welcomed because they are a superior race with louder voices, harder muscles, bigger dongs, bouncier booties, and greater flair for hustling self-pity.") As the shared culture of family, kinfolk, church, ethnicity, tradition, and patriotism faded, the culture came to be defined more by either high culture(serious literature and arts taught in colleges) or pop culture that ranged from simpleminded morality tales to escapist fantasies(of increasingly nihilistic nature). While high culture has great value, its main criterion is genius and excellence(both rare and universal), thereby devaluing the shared culture of common folks as ‘plain’ and ‘boring’. Artistic geniuses, though products of a nation-and-culture, belong to a world of their own. Thus, Shakespeare is both a great British writer and a world figure. Beethoven belongs not only to Germany but to the world. Same goes for science. A brilliant German chemist in terms of knowledge and ability has more in common with other renowned chemists regardless of their national origins. And surely, a great literary critic prefers the company of other literary critics around the world than that of philistines and ignoramuses of his own ethnicity. It's like a great white basketball player wants to play with the very best(even non-white players) than with inferior white players. Excellence and genius are natural traitors to kinfolk and race and prefer the company of comparable peers in talent.

At its extreme, high culture, in its admiration for genius and/or originality for their own sake, even favors brilliance in service of triviality(or immorality) over ‘common’ expression in favor of moral values. This is why high culture has been problematic to both the moralist right and the radical left. To the right, the elitism of high culture is about vanity over values. To the left, the aestheticism of high culture favors expression over the cause. After all, by meritocratic rules, high culture would have to praise even the genius of anti-leftist reactionary artists. As for pop culture, it generally caters to the lowest-common denominator. Though social pressures of lingering traditional mores and attitudes prevented an overnight degeneration of pop culture into nihilism and pornographics, the momentum of increasing libertinism and hedonism inevitably led pop culture toward higher levels of self-indulgence, narcissism, nihilism, and excess; and this became a universal phenomenon as pop culture in the US, Japan, France, Germany, Italy, Brazil, and etc. all increasingly became trashier, shallower, more infantile, and more pornographic & shameless. With every new generation, more of the older folks with traditional attitudes and outlooks died off. Thus, the cultural tone became less moralistic, less inhibited, and less marked by spiritual & cultural taboos. And yet, at the same time, the new generations convinced themselves that they were advancing morally because the New Order was more tolerant, more diverse, and more empowering of minorities. In contrast, the older generations were more ‘racist’, ‘misogynist’, ‘xenophobic’, ‘antisemitic’, ‘homophobic’, and etc. To the extent that the New Order allowed more freedom and equality of opportunity to individuals of all stripes, one could argue it was more just. But freedom to do what? Empowerment in which direction? And it is here that the New Order failed morally. Among blacks, freedom meant the liberty to act like wild apes singing gangsta rap. Among women, empowerment meant dressing like hookers and acting like trash governed more by vaginal hunger than mental development. Among homos, emancipation meant having bathhouse orgies and spreading disease by buggering one another via fecal penetration. While allowing more freedom for more people seems just, it isn't sufficient for a good society because a people who use freedom to ruin themselves are worse off than people who are forced to live the good life. Of course, an ideal society is one where people are free and use that freedom to lead the good life. But that is not the Modern West.

Anyway, once people lost a sense of Common Culture — a culture that emphasizes family, ethnicity, roots, spirituality, and organic patriotism — , they sought meaning in high culture and/or pop culture. There was a time when cultural hierarchy provided and even enforced some measure of priority and higher value in the Arts. Thus, culture critics spoke of ‘highbrow’, ‘middlebrow’, and ‘lowbrow’. Lowbrow was the simpleminded, shallow, or crass culture for the masses. It could have entertainment value, but it wasn’t to be taken seriously. Middlebrow culture sought respectability and imparted some moral values & even exhibited a degree of cultural sophistication, but it was compromised one way or another. Middlebrow culture could be lowbrow culture aiming higher, or it could be highbrow culture watered down for a wider audience. Middlebrow culture favored respectability and morality over individuality and originality. It is what Toohey stands for in THE FOUNTAINHEAD. Even as Middlebrow draws ideas and prestige from High Culture, it curtails true genius and individuality that may be challenging and daunting to the masses who, being visionary-intolerant, can’t digest heavy doses of genius. (Or perhaps middlebrow critics and standard-bearers were envious of true artists whose genius played by no rules and ran free and wild. It’s like the envy that Salieri feels toward Mozart in AMADEUS. Salieri, unable to compete with the restless genius of Mozart, leans on on the crutch of respectability.) Highbrow culture was elitist in tone, meaning, and purpose. It was intellectual, uncompromising, serious, and meaningful.

But, there was a problem with the conception of High Culture in the 20th century as Modernism came to dominate. In the traditional order, there was a clearer divide between high culture and low culture. Middle culture barely existed. The aristocrats lived in a world of high culture. Their status wasn’t just about power and wealth but about prestige, honor, and dignity. There was an air of haute-ness in being aristocrats. They dressed in fancy ways, had fine manners, and were expected to have elevated tastes. Even the vulgar Mozart made beautiful music for monarchs and aristocrats. And painters usually worked on dignified portraits of noblemen, bishops, and other men & women of prestige. Or wonders of nature or objects of beauty. Both the themes and expressions had to convey something of meaning, depth, beauty, grandeur, transcendence, spirituality, holiness, respectability, and/or higher truth. But this began to change the rise of realism in literature(especially novels) and paintings(and the advent of photography). While novels could be serious in purpose, more and more of them told stories of common folks and poor folks. Consider the works of Charles Dickens and Fyodor Dostoevsky. If the old verses were usually devoted to noble knights, great men, and legendary figures, the modern novel shed light on the lives of little people. A mountain of pages could be devoted to a molehill of a man. The rise of realism in painting had the same effect as the novel. Paintings began to feature ordinary farmers, laborers, and even poor folks. As artistic expressions, they could be masterly works of brilliance, but the themes were no longer precious, lofty, or grandiose. And then, the coming of photography made it increasingly easier to capture and share the world of common folk in everyday life. After all, even with the rise of realism, paintings, by and large, still tended to favor the lofty and grand because it takes time and effort to create a painting. Thus, a painter is much more likelier than a photographer to be choosy in his choice of material. Thus, the line between high and low began to blur. A superb artist could use means of high expression to convey the world of the low-common folks. Indeed, one of the great uses of the novel was to spread a sense of Common Culture by telling the story of ordinary folks, as in works such as MOBY DICK, GERMINAL, GIANTS OF THE EARTH, and GRAPES OF WRATH. High culture used to be about high expression for high classes and high themes. No longer as the 19th century lent greater place and voice to the masses.

In a way, the cultural transformation made the Arts more meritocratic. In the Age of Aristocracy, a second-rate artist could gain reputation by using tired conventions to express High Themes. He had nothing new to offer and exhibited hardly any sign of originality or genius, but his style was respectable and devoted to images of God, Jesus, transcendent themes, or beauty. He could rest on the laurels of conventions and themes. But when high expression began to convey the world of the low, which was often ugly-brutish-gross-dark, it had to have genuine aesthetic merit, power of insight, and depth of understanding to justify and redeem the effort. One tendency was to ennoble the low, i.e. featuring farming folks as the salt-of-the-earth for example. So, even as the subject was low, the treatment carried on with the legacy of aristocracy and nobility. Most of high culture for most of history was devoted to paying tribute to Great Men, Spiritual Themes, Archetypes of Beauty, and Legendary Icons. Intrinsically uplifting and lofty, history of art mostly favored high themes to low ones. But with the rise of People Power, the Lofty Treatment was bestowed upon common folks. The effect was both true and false. It was true in the sense that true nobility of mind and soul isn’t restricted by class or station. After all, Jesus was a carpenter and mingled with common folks but preached noble truths. In contrast, even though Herod was a great builder and a man of wealth, he was a no-good punk(at least according to the Biblical narrative). Even a commoner could be a man of great courage, integrity, and purpose. And yet, in featuring the Common Folks as the New Nobles, there was a tendency to over-idealize the masses. This mental habit led to the sanctification of the Working Class by communists and, later, the habit of anointing the Wretched of the Earth, especially Negroes, as noble-souled saints. This has gotten so out of hand with Negroes and Homos that we are to assume even the stupid shit they do is somehow inspiring. So, even homos acting degenerate at ‘Pride’ festivals is to be cheered. And even when Negroes act like retards at Starbucks, it is TO KILL A MOCKINGBIRD all over again.
In truth, while noble souls can exist among the Low, the fact is most People of Low, just like most Members of High, are shallow dolts, punks, or nimmies(or nincompoops).

Another problem arose with the arrival of full-blown Modernism and the Avant-garde. Even though changes in artistic expressions and styles had been accelerating all throughout the 19th century, there eventually emerged the School of Radical Transformation or Hyper-Formalistic Experimentalism. One school of the avant-garde favored the serving of a cause. Though committed to revolution in art, this school had little interest in artistic freedom UNLESS it was in service to the cause. Also, it was often violent and destructive in attitude and action to tradition and heritage. So, Soviet Constructivists had no interest in safeguarding the freedom-of-expression of all artists. Only those committed to the Revolution should have control over the means of expression and dissemination. And if the Revolution necessitated the destruction of countless Churches and Traditional Art, so be it. Let them be destroyed to end up in the dustbin of history. There was no room for liberal principles or sentimentality for nostalgia. There was only the Cause and the New Art to serve that Cause. Spanish anarchists had pretty much the same attitude. They destroyed many blueprints of the architect Antonio Gaudi.
A milder form of such mindset energized the Italian Futurists. But modernism didn’t just appeal to the Left. It appealed to certain figures on the Right who found it perceptive and useful in representing the uncertain mood of the times. When so much was changing so fast and nothing was sure anymore — when the center couldn’t be held — , modernism seemed the appropriate form to express the anxiety, confusion, and despair of the times. After all, while modernism could express the exhilaration of the radical and the new, it could also express the alienation and longing for meaning amidst ever-shifting uncertainties. Anxiety longs for truth, clarity, meaning, and order. Anxiety, in rejecting the old truths, can be ‘liberal’, but in longing for a return of order, can be ‘conservative’. It’s telling that some of the most important modernist poets were on the Right, the most famous among them being T.S. Eliot. And though Michelangelo Antonioni was a man of the Left, the sense of anxiety and alienation in his films use modernism to express trouble with modernity: The Old Truths are dead but New Truths have yet to be born... or maybe they've been aborted. Initially, Joseph Goebbels championed modernism and defended Expressionism as a legitimate form of German Art. Overall however, National Socialism represented neo-classicism and bourgeois tastes albeit hardened with neo-Teutonism and militarism, whereas the Soviet Union represented radical use of art as an instrument of Revolutionary Transformation. National Socialists claimed to preserve and promote what had been established and handed down as the best of the West, whereas the Soviets were tireless in their radical war on the Old to be replaced with the New... that is until Stalin tired of stuff like Constructivism(as too abstract, formalistic, intellectual, and elitist) and favored Socialist Realism that was deemed more democratic, populist, accessible, and meaningful to the masses. But then, the chances are that Constructivism would have fell by the wayside eventually even without Stalinism because radical schools in Art tend to run out of steam sooner than later. It isn't long before their ideas are either replaced by new fashions or survive only as dogma.

If the Soviets pushed a totalitarian form of Avant-Garde modernism, the democratic/bourgeois West favored a more individualist-oriented modernism that prevented the domination of any one school with backing of the all-powerful state to enforce its ideas and policies on the entire culture. So, there were many forms of avant-garde-ism in the West, and there was, for a time, a great flowering of Modern Art in Europe and then in America. But here was the problem. It was both anti-elitist and pro-elitist, indeed in some ways more elitist than old elitism. At the very least, old elitism was mostly about expertise, mastery, and inspiration. A figure like Michelangelo or Beethoven was one-in-a-million genius. Few could aspire to be so brilliant, powerful, original, and inspired. And yet, their themes are accessible to just about anyone. Even those untrained in the arts or music can appreciate the Sistine Chapel or the Fifth Symphony. What the old elitism and the new elitism of Modernism had in common was the admiration for genius, individuality, and inspiration. But if old genius stuck to the familiar, timeless, eternal, classic, and/or transcendental themes of beauty, grandeur, nobility, truth, and/or meaning, the new genius often navigated in a world of chaos, uncertainty, nihilism, madness, and/or degeneracy. And if old elitism was about the mastery of forms to express something real — representation of tangible reality or expression of recognizable human emotions and longings — , the new elitism was often about experimenting with forms to arrive at new possibilities. In rebelling against established conventions, modernist avant-garde could claim to be anti-elitist. But because the intellectual premise of modernism was so abstract, esoteric, and opaque, much of it made no sense except to those who’d been initiated into the movement and instructed as to the underlying principles.
Still, for a time, Modernism had an powerful and well-deserved presence in the Art World because genius, originality, and brilliance were genuinely prized. After all, even those who didn’t like Pablo Picasso could obviously tell he was tirelessly inventive. And even those who reacted violently to Stravinsky could tell he was onto something bold, new, and different. And because genius still mattered in the first part of the 20th century, even the non-initiated could, on some level, respond favorably to the works of certain modernists. But at some point, the SCHOOL of Modern Art overtook the ART itself, and modernism increasingly became a game of word construction to justify whatever than the aesthetic merit of the work itself. Furthermore, a movement based mainly on innovation, originality, and experimentation is bound to burn out sooner or later. After all, it wasn’t the power of the State that brought the French New Wave crashing and ebbing to an end. It just ran out of new ideas after a few exciting years.

But the bigger threat to the authority of Modernism was Pop Culture. The basic conceit was that High Culture had much to offer but was stuck in stuffy and tired formula of established subjects, themes, and expressions; also, it was too snobby and full-of-itself to be curious of matters and ideas outside perimeters of respectability and conventional seriousness. In contrast, Low Culture(or pop culture) was too base and vulgar, too crassly catered to the unwashed masses to serve up anything original, meaningful, or powerful. As for Middle Culture, it was philistine moralism, Low Culture pretending to be High, or High Culture brought down low.
In contrast, Modernism was the real thing because it was committed to originality/experimentation, openness to all possibilities & meanings, and serious/intellectual in principle. It neither rested on the laurel of highness nor wallowed in the bowels of lowness. And yet, things didn’t pan out as the elite-modernists had hoped. As it turned out, many artists and thinkers involved in Modernism and Avant-Garde were hacks, second-raters, phonies, charlatans, or dogmatists whose forgettable works garnered temporary fame/notoriety purely on the reputation of being ‘cutting-edge’ or ‘banned by the Nazis’. In a way, Avant-Garde-ism served as a convenient crutch for every third-rate artist who could always claim that his works weren’t sufficiently appreciated because they were too ‘ahead of its time’ or some such. It also meant their works shouldn’t be judged by any criteria because, well, they happen to be ‘ahead of its time’. Eventually, it turned into a game of who-knows-whom, and it wasn't long before the mounting cynicism as to what constituted 'art' favored celebrity over creativity. Especially as the Art World came to depend on lavish donations from the Rich, the kind of people who gained most influence were the kind of snakes who knew how to shmooze the vanity of rich folks. (A good number of these snakes turned out to be two-faced homos.) Once ensconced in the elite institution of the Art World as curators, traders, critics, and promoters, these slithering snake-people favored their friends, associates, ass-kissers, and ass-boofers.

If Modernism and the Avant-Garde, despite their conceits, came to be filled with lots of fakers, second-raters, dogmatists, and the well-connected, the other forms of culture, despite the mass output of mostly worthless trash, began to attract men of genuine talent and produce works that were outstanding, original, and seminal. As popular culture became bigger and more profitable, it was bound to more attract people of genuine talent. In the Age of Aristocracy, anyone who wanted to be somebody had to cater to the monarchs, aristocrats, or the church. As such, they had to make art that was lofty, noble, inspiring, or spiritual. In the Age of the Bourgeoisie, there was more freedom in the choice of styles and themes, but seriousness and respectability were still hallmarks of art and culture worthy of attention. After all, the bourgeoisie, lacking aristocratic pedigrees, sought to prove their worth with displays of elevated taste in arts & culture.

Also, prior to the arrival of electricity, the opportunity for profiteering from popular culture was limited. If you ran a circus, you had to go from town to town, like the troupe in Ingmar Bergman’s SAWDUST AND TINSEL. If you put on stage productions, again, you had to go from town to town for always uncertain live audiences. And if you were part of a musical act, you always had to be on the road to play to various audiences who might throw stuff at you. But with the advent of electronic media, a song or movie could reach millions and millions of people via radio or cinema. (And TV further changed the game.) Just like the mobsters couldn’t say NO to the lucrative dope trade in THE GODFATHER, people with artistic talent found it harder to say NO to profits from mass media. So, Ernest Hemingway, William Faulkner, F. Scott Fitzgerald, Aldous Huxley, and others did their stints in Hollywood. Still, there was an idea back then that a serious writer expressed himself most fully through novels, plays, and poets. Writing screenplays was just something on the side. Hollywood wanted prestige by associating with famous authors, and the authors needed the cash. But over time, the borderline between the serious and the popular eroded.

Furthermore, the emergence of artists such as Sergei Eisenstein, Orson Welles, Luis Bunuel, Ingmar Bergman, and others in the most popular of art forms sent a loud and clear message that cinema was no longer just for creative moonlighting(for extra money) but a full-fledged art-form in its own right, indeed the one that, for a time in the 50s and 60s, attracted the most attention and excitement. Granted, there were many who’d recognized the great artistic potential of cinema from its incarnation. Still, even though the art-form was new and revolutionary as a piece of technology, the subject and treatment of most movies, even the best of them, generally trailed the other art-forms. Even a film as great as Fritz Lang’s M didn’t exceed in meaning and insight the great psychological novels about criminals. Sergei Eisenstein’s BATTLESHIP POTEMKIN was a work of genius that showed what cinema was capable of, but the story and characters were simpleminded and propagandistic at best. But then, especially beginning in the 1950s and then fully flowering in the 1960s, cinema emerged as a total art-form made by 'auteurs' who were fully up-to-date with modernist trends of the larger culture and, on occasion, even leading the avant-garde by exploring creative possibilities intrinsic ONLY to cinema. With works like Alain Resnais' MURIEL, Kubrick's 2001: A SPACE ODYSSEY, and Sergei Parajanov's COLOR OF POMEGRANATES, cinema went far beyond merely catching up with advances in the other arts.

As important as this development was, an even bigger one was the cultural recognition that certain Hollywood directors were great artists too. It didn’t matter that their sensibilities and works may have been middlebrow or even lowbrow. The proof was in the pudding. Even if the works of John Ford, Howard Hawks, Ernst Lubitsch, Preston Sturges, Alfred Hitchcock, Raoul Walsh, and etc. were not necessarily ‘deep’, ‘profound’, or ‘revolutionary’, they were works of talent, craftsmanship, ingenuity, imagination, and resourcefulness. One of the gripes against cinema has been that its expense has always favored Industrial Entertainment over personal art. After all, while any writer could sit down and do his thing, one needed lots of money and production values to make a decent-looking film. As such, the film artist was owned by the studio and didn’t have the autonomy of the personal artist. And yet, some could see how this created opportunities for a different kind of creativity. While an author or painter has greater leeway to produce whatever he wants, he can fall into the overly self-regarding solipsism of taking himself too seriously or experimenting in ways that may make sense to him but no one else. In contrast, because a movie-maker has to be mindful of working with money-men and producing works that has appeal to the larger audience, there is less chance of falling into the purity spiral of the self-important artist. It’s like John Lennon was better as a Beatle than as a 'serious' member of the Plastic Ono Band. It’s like film-makers often make their best films in a state of compromise but then falter when given the opportunity to do as they please. Francis Ford Coppola’s greatest work is still THE GODFATHER movies. His great success led to opportunities to work on more personal projects, and the result was interesting(THE CONVERSATION) to outright stupid(ONE FROM THE HEART and RUMBLE FISH). Sam Peckinpah's greatest film is THE WILD BUNCH, a work he made under great pressure from the studio. Later, when he made a film exactly as he pleased, he ended up with the fiasco of BRING ME THE HEAD OF ALFREDO GARCIA. And some of Robert Altman's most unbearable films are his most personal. THREE WOMEN and QUINTET are difficult to sit through. And Pier Paolo Pasolini got worse with more freedom to indulge as he pleased. And Federico Fellini was a good example of how an artist can lose his way by getting to do whatever he wants. It was because men like Hitchcock, Ford, Hawks, and Wyler couldn’t just do whatever they wanted that they were compromised as artists, but for that very reason, they were always under pressure to be professional, resourceful, ingenious, and responsive to the larger world. In the 20th century, Dmitri Shostakovich, who had to compromise with Soviet authorities, eventually loomed larger as an artist than so many full-fledged avant-garde artists in the West who got to do exactly as they pleased in total disregard to whatever others thought.
Anyway, once the critical attention shifted from Serious Artists to Ingenious Entertainers, there was greater appreciation for Talent-for-Talent-sake. Maybe John Ford or Howard Hawks was not the soul-searching artist like Ingmar Bergman or a brilliant experimentalist like Alain Resnais, but they mastered the cinematic form, told exciting stories, and created new legends and myths. And even though the lack of seriousness could prevent a work from being richer, deeper, and profounder, it could also remove the brakes from freer expression, spontaneity, and independence-of-spirit. After all, didn’t seriousness ultimately hamper Brian Wilson with SMILE. And looking back, wasn’t SGT. PEPPER’S LONELY HEARTS CLUB BAND weighed down by strains of seriousness? Seriousness is a great asset if an artist has serious talent and serious vision. But many artists have serious talent but not serious vision. They are better off using their serious talent to make good entertainment. And that was the great thing about the American Masters of Hollywood. They weren’t exactly Fyodor Dostoevsky or Eugene O’Neill, but they had talent to burn as movie-makers and made some of the most entertaining, enduring, and endearing works. And many of them only needed to be just-serious-enough without being weighed down by arch-seriousness that could easily kill a work without legs for such a load. Use a dog like a dog, don’t saddle it like a donkey.
There was also a sense that seriousness had run its course in the arts. All the great themes had been explored and dramatized time and time again: Family conflicts, spiritual crisis, tragedy, alienation, confessional soul-baring, etc. Indeed, for awhile ennui became fashionable as modernity seemed drained of meaning. Classic or Eternal themes not only lost their light but their luster. Worse, even the thrill of Novelty faded as Newness had become the Norm. The idea of originality, that had once seemed radical and revolutionary, came to be a capitalist brand to market more fashions and products of no real meaning or purpose. (If Andy Warhol hadn't existed, he would have had to have been invented, which he of course was.)

For a time, it had seemed as though Culture could have the best of both worlds. High Art and Avant-Garde Modernism could be appreciated for their demanding criteria and lasting value, but Popular Culture could also be appreciated for its contribution to creativity and inventions. After all, the most lasting and influential musical innovations of the 20th century came from Popular Culture. One could argue that Louis Armstrong and Duke Ellington were more important than Igor Stravinsky and Arnold Schoenberg. And in the end, couldn’t one argue that the musical numbers for THE WIZARD OF OZ are more enduring than the works of Alban Berg that may have impressed some eccentric intellectuals but are mostly grating to the ears? And even though songs like "She Loves You" and "I Wanna Hold Your Hand" impart no great meaning or depth, they were incredibly ingenious in streamlining the rough-and-tumble ride of Rock n Roll into smooth sliding. The fact that the relatively shallow genres of Pop Culture attracted so many creative talents was something of a loss, and yet, not entirely, because seriousness had run its course, even in the last great art-form of cinema. Does it make sense today to try to compose another opera like PARSIFAL or write another novel like BROTHERS KARAMAZOV? The culture no longer believes that kind of work is possible or authentic in the Current Year sensibility. Can people in the arts be excited by a new Picasso or Matisse? A new T.S. Eliot or even a new Bob Dylan? The general attitude is ‘been there, done that’. While remarkable artists still do emerge and make startling works — BLACKCOAT’S DAUGHTER is one such work made by none other than the son of Anthony Perkins and MOTHER! by Darren Aronofsky is another new masterpiece — , but our culture seems past seriousness and even past ennui. After all, even though ennui is associated with boredom and apathy, there is a sense of loss, a sense of anxiety and mourning that Modern Man can no longer feel the passions and convictions that had defined his forefathers. Thus, to have ennui means not only to feel numb but to be troubled by that numbness. It’s like feeling guilty for not feeling guilty, feeling shame for feeling shameless. But eventually, even that sense of anxiety vanished and made way for shameless indulgence in whatever was ‘cool’ in the moment. From top to bottom, that is pretty much the Way of Culture in the 21st century.

There is now only the School of Cool and the School of Tool. The School of Cool is all about the latest buzz and hype. So, even serious culture critics will engage in the latest discussion about some superhero comic book movie or something as silly as HARRY POTTER novels. Whatever happens to be Cool... that’s all that matters.
In contrast, the School of Tool just sees Culture as vehicle for ideological propagation. Of course, use of culture as ideological instrument is nothing new, but the New Way is different in the sheer amount of infantilism, adaptability, and appropriation. In the past, Left Radicals believed that their serious and consistent message should be conveyed through expressions and means worthy of the gravitas of the movement. Folk Music, for instance, was deemed a dignified, earnest, and sober genre for the promotion of themes about working folks and the common man. It is then no wonder that Pete Seeger and so many purist folkies were outraged by Bob Dylan’s electric performance at Newport. For several years, Dylan was booed at concerts by folkie purists who regarded his electric-approach as defilement of the movement that he was supposed to lead as the 'spokesman of his generation'.

Even though those on the Left recognized the usefulness of using popular culture to spread crypto-socialist/communist messages, they understood that their ideas and values stood apart from the capitalist system that was essentially about profits and ‘exploitation’. Therefore, they were choosy and discriminating as to how their messages should be conveyed through arts and culture. In contrast, today’s School of Tool has no core values, convictions, or criteria. In a way, the Current Tool shares something with Current Cool in the sense that both are all about fads and fashions. Unlike the Old Left that had an sincerely formulated core ideology that was to be disseminated by worthy genres of culture, high or popular, the Proglob(proggy globalists) is pathologically ‘fluid’ in their convictions. Of late, they seem to be most worked up about how feminists must overcome ‘transphobia’ and welcome men-with-wigs into women’s sports. Also, if the Old Left was selective(like the Catholic Church) as to which genres and formats were worthy of conveying their sacred message, the infantile and vapid Proglob is enthused about using ANYTHING to get its message across. Thus, if the Old Left was about socialists/communists using capitalism to destroy it, the Proglob’s agenda cannot be divorced from the decadence and degeneracy that are intrinsic to the logic of consumer-capitalism. Proglob’s values essentially arise from the inner-dynamics of consumer-capitalism than stand apart from it. Why is Homomania such a mania among the Proglob? It certainly has nothing to do with classic leftism. It’s because homos are big winners of consumer capitalism that is all about vanity, narcissism, celebrity, hedonism, and excess. Consumer-capitalism favored homo elites who worked with Jewish oligarchs to make Homomania the main theme of ‘new leftism’. Thus, it really makes no sense to speak of ‘Cultural Marxists’ using capitalism to spread socialism. Rather, we have a case of Cultural Capitalists who arose within the ranks of capitalism itself because the logic of consumerist profiteering, hedonism, and narcissism was bound to favor people who are most obsessed with stuff like fashion and celebrity. And such people happen to be homos.

We now live in an age absent of equilibrium, coherence, and proportionality. There is a lack of genuine morality that grounds people in the world of reality, responsibility, and limits. There is also the lack of irony that alerts us to the contradictions, paradoxes, and hypocrisies of the world. There is only sham-sincerity in the most absurd propositions(like 'gay marriage') and rabid hysteria about the most delusional threats(like Putin as 'new hitler'). How did the world become like this? One reason is the triumph of the US-West in the Cold War. The so-called ‘End of History’ filled the US with arrogance and hubris as the disproportionately self-appointed-and-anointed 'exceptional' and 'indispensable' lone superpower. Even more problematic was the rise of Jewish Power as the dominant controllers of the US empire. Jews, with their megalomaniacal, paranoid, and vengeful personalities, weren’t fit to be rulers of the world. Once on top, they wielded their ultimate power to tyrannize and terrorize the world. But because of the Cult of Shoah, they obnoxiously continued to pretend they constituted a ‘victim group’ deserving of sympathy and apology from all of humanity. As a result, we now live in a World Order in which the most powerful group cannot be criticized and challenged by the peoples of US and EU, the main centers of Jewish Power.
Because the Left lost the War of Ideas as capitalism totally destroyed communism at the 'End of History', it gave up on ideology & principles and turned nihilistic and just latched onto any cynical symbolism or ploy to gain power for certain ‘identity groups’ vying for Victim Status. As the Power of Money was king in the New World Order, every so-called ‘leftist’ cause became heavily financialized and celebritized. Lacking genuine theory and principles, the new ‘leftism’ turned into extreme displays of Virtue-Signaling about the latest fads and fashions hyped by globo-Judeo-Afro-Homo capitalism. In a world of fads and fashions, there was no more need for timeless truths, deep morality, real justice, or understanding of history. All that mattered was the Outrage or Celebration of the Moment.

Because real virtue requires depth, it became nearly impossible in the Current Year. So-called ‘virtue-signaling’ isn’t about upholding real virtues(as understood by the Ancients who strove for eternal truths) but about calling attention to oneself for having jumped on the latest bandwagon of morality-as-celebrity. It’s more ‘virtue-flashing’. As classic leftist ideologies turned into drab dogma and failed in their prophecies, the progressive radicals became less interested in ideas than in the game of power. They turned hipster Nietzschean. They began to appreciate capitalism’s advantage over communism by being more attuned to the nature of power. Capitalism motivates people to organize, invest, manage, lead, work, and/or follow on the principle of "what’s in it for me?" As Pier-Paolo Pasolini said of Consumerism, capitalism is about turning everyone into a ‘little fascist’. If classic Italian Fascism was about the masses revering Mussolini as the demigod-of-vanity, Consumerist universal-fascism was about turning everyone into a little-benito. Given human nature, vanity & narcissism are powerful incentives for many people to work, spend, borrow, work, spend, borrow. Of course, Pasolini understood that this applied to himself as well. Though his moral sense was rooted in Catholic-Marxism, he was also a fruitolini who drove fancy cars and used his fame & fortune to attract young boys to bugger. Still, despite those predilections, Pasolini’s sensibilities and values were still rooted in something deeper(Christianity) and more serious(Marxist theory of history and justice). He felt a degree of contradiction and shame in the fact that he led a privileged bohemian ‘bourgeois’ existence.
But there was no more need for shame, remorse, or repentance for those infected with consumerist little-fascism. They lived in brazen imitation of shallow pop stars and celebrities manufactured by the system of greed. Initially, the leftist intellectual class resisted this trend. But their kids grew up under its umbrella as the New Normal. Also, the intellectual class did humanity no favors by increasingly receding into a world of irrelevant theory that came to be the hallmark of academic post-modernism(that was justly mocked by Alan Sokal). It’s been said that the Right/Conservatism lost the ‘culture war’ to the Left/Radicalism, but in fact, only the cynical synthesis(or cynthesis) of power and vanity won. Whatever seriousness and sincerity that had once existed among radical theorists, critics, and scholars faded in the 'End of History' that turned into the Endgame of History. The Current ‘Left’ is NOT the continuation of the Classic Left or even the New Radicalism of the 1960s that still believed in the power of ideas or the dream. Rather, it’s globo-Nietzschean worship of power, greed, and vanity with the veneer of ‘progressivism’.
Indeed, the fact that ‘diversity’ has become such a buzz word gives the game away. After all, Diversity has always been the result of invasion, imperialism, and conquest. Also, Diversity has meant divide-and-rule for the elites. So, ‘Diversity’ isn’t about freedom from imperialism but about succumbing to imperialism and furthermore celebrating the loss of autonomy. And the latest slogans revolve around the idea of ‘Inclusion’, but it’s just a kinder-and-gentler version of Invasion. The Jew-run US certainly forces other nations to INCLUDE the intrusion of US military, money, and cultural imperialism. Jewish Globalism use international pressure to make every nation ‘include’ Homomania as the New Faith. Third World demographic imperialists mass-invade Western nations and demand that they be ‘included’ for freebies. And Jewish supremacists and Western globo-collaborator-elites find the Third World masses useful in weakening and ultimately destroying the power of the Native Middle. It’s all so cynical and outlandish. No real morality, no balance, no equilibrium, no sense of limits and accountability. Instead, the universal mentality among the globo-‘right’ and the globo-‘left’ seems to be much the same: Blowed Up Real Good. The sensibility of urban sophisticates is now hardly different from that of hicks whose idea of fun is to blow stuff up real good.

Dana Stevens was onto something when she said the concept of ‘guilty pleasures’ no longer spoke to a generation raised without a sense of cultural hierarchy or moral restraint. There was a time when serious people of cultivation were expected to immerse themselves in worthy culture and promote it to the wider public. Still, even serious people could find pleasure in lowbrow, vulgar, and even bad movies. Thus, the idea of the ‘guilty pleasure’. But when nothing much is expected of educated people and serious critics — indeed, when ‘serious’ is an unwelcome term in much of cultural discourse — , they can be guilt-free in enjoying and praising trashy, shallow, or idiotic movies. You could be in your 40s and 50s and still be obsessing over BATMAN movies, BLACK PANTHERS, or Disney’s cynical New STAR WARS cash-cow. Dana Stevens really enjoyed TWILIGHT: NEW MOON and called it a ‘juice-bomb’ than a ‘guilty pleasure’. It blew up real good in her mouth. (Personally, I think some TWILIGHT movies do have genuine merit in certain respects, especially in make-up, mood, and visuals, though the overall story arc is beyond ludicrous. Still, given the shaming culture of PC, I suppose politically incorrect works that are fun could still be constituted as 'guilty pleasures'.) But then, people don’t live on pleasure & excitement alone and crave meaning and justice. Since true morality and real virtue have been banished from society & culture, there is only the symbolic preening about the latest fads & fashions(such as #MeToo hysteria) or certain icon-ized Victim Groups, especially Jews, blacks, and Homos. According to Iconic Morality, it doesn’t matter what you do; all that matters is what you are. So, it doesn’t matter that Zionists gun down Palestinians in Gaza or possess 300 nukes and threaten other nations. Because Jews are symbolically the Holocaust People(though acting more like an Assholocaust People), they are always in the right. So, when it comes to Israel vs Iran, Israel is always in the right whereas Iran is always in the wrong even though Israel has been maniacally aggressive toward its neighbors, stole US uranium, has 300 nukes, and allows no inspections, whereas Iran has no nukes and has complied with all international demands for inspection. So, it doesn’t matter what Jews do. They are right simply because their identity has been icon-ized. Same logic applies to blacks. Having been icon-ized as the Eternal-Slavery-Jim-Crow-and-Civil-Rights people, their behavior is never called into account. Never mind they rob, rape, and murder the most. Never mind black students get suspended more for bad behavior. Never mind those blacks were arrested at Starbucks because they violated business policy. Never mind that the number of innocent blacks gunned down by the Police is minuscule compared to the number of blacks killed by other crazed blacks. Symbolic morality says blacks are always right because they’re black. As for homos, let’s just pretend that the HIV epidemic in the 'gay' community had NOTHING to do with degenerate homo-fecal-penetrative behavior. Let’s blame straight society for not having shown homos more love and tolerance. The sheer idiocy of Symbolic Morality can be seen in WAKANDA where blacks are noble because... they be black. And in new STAR WARS, certain people are morally superior because they are black, female, homo, or whatever. We are to believe the Resistance is morally superior because it’s led by Cyndi Lauper or "Beauty School Dropout".

What we now have isn’t a Theory of Justice but the Iconography of Justice. Certain groups have been icon-ized as noble & holy while others have been icon-ized as wicked and evil. Funny how 'anti-racists' have fallen into the 'racist' trap of assigning superior or inferior worth to people on the basis of who they are than what they do. According to this formulation, blacks, Jews, and homos are especially sacred. Whites are good ONLY IF subserviently associated with blacks, Jews, and/or homos. Whites-on-their-own are evil, white women with white men are no good, and Asians-on-their-own are valueless & Asians-allied-with-whites are evil. Thus, Justice in the new STAR WARS universe is totally Manichean and ‘primitive’(as John Simon characterized it in his denunciation of RETURN OF THE JEDI). This Manicheanism was present from the beginning of STAR WARS and hardly something George Lucas originated. Stories of Forces of Good vs Forces of Evil are have always been around. Still, Identity Manicheanism mattered less in the first STAR WARS movie where everyone was white. So, we could still believe that goodness and evil are matters of the heart or conviction. But in the New STAR WARS, the Cult of Diversity practices Identity Politics as a form of Manichean Morality. So, an entire group is evil because of its race, and entire groups are good because of their races or identities. New STAR WARS is a Jewish War on White. It now appears that the main reason why so many Jews were anti-STAR-WARS(as Lucas’ baby) was because they saw it as a kind of Space Aryanism. Sure, the Rebels are the good guys, and the Evil Empire is all-white-and-male. And in RETURN OF THE JEDI, the Rebels even have female commanders and ally with jungle Teddy Bears named Ewoks. Still, the grand heroes of the STAR WARS universe were in keeping with classic Western Tradition. It was about white knights and damsels. But now that Jews own STAR WARS and made anti-white-male Diversity the face of heroism and romance, Jews and their cultural minions are full of praise for the new series when any honest person should know Lucas’ movies, however flawed and childish, are infinitely superior to FORCE AWAKENS and LAST JEDI. The mentality of Jews who now manage New STAR WARS isn’t any different from Jews at BBC who feature Achilles as a black hero or Jews like Donna Zuckerberg, sister of Mark Zuckerberg of Facebook, who seek to reinterpret the Classical Civilization of the Ancients(and even the Medieval Era) as non-European. Of course, George Soros is for massive ACOWW or Afro-Colonization of White Wombs and AMOWM or Afro-Male-Over-White-Male. Jews feel that they now own the rights to White Women who are to be given to Black Males. Jews know that the core, essential, and ultimate source of White Identity and White Power is the union of white male and white female. After all, every white person is the sexual product of white male and white female. If a white female gives her womb to a black male, then her children will be black. Now, why would white females reject white males and allow their white bodies to be used to produce black boys like Obama and Kaepernick? They’ve been persuaded by Jews to act like skankass sluts who see white manhood as inferior to black manhood. That is indeed the Jewish Agenda, and the New STAR WARS fits into this overall pattern of Jewish War on the White Race. Even though Jewish males knew they could outwit white males, they knew they couldn’t beat the ‘Aryans’ and Slavs in the manhood department. So, Jewish males used tougher black manhood as their proxy against White Manhood. As for nasty Jewish bitches, they always envied the superior beauty of ‘Aryan’ girls, and so, they want white wombs to be colonized by black men so that ‘Aryan’ genes will become mulatto-ized with wide noses, thick lips, and nappy hair; then, Jewish looks will look better than future ‘white-mulatto’ looks. Of course, there is the real danger that Jewish women will also go jungle and have mulattowicz babies, in which case Jewish Power will also fade into history.

The following exchange between John Simon and Ebert & Siskel in 1984 is indicative of the cultural changes that have taken place since then:

Back then, I would have thought Simon is being overly despairing of what STAR WARS movies portend. And contrary to his justification of viciousness on the basis that raves have been excessively extravagant, neither the first nor the second movie was greeted with near-universal praise. The first STAR WARS understandably generated a lot of buzz because it was really the first of its kind. Even Simon’s review was lukewarm positive. However, few people took it seriously. It was praised as entertainment, and that was about it. It’s like Ebert in this video calling it ‘pure visual entertainment’ and Siskel saying it’s like ‘pinball game for the eyes’. And even though some critics had higher regard for EMPIRE STRIKES BACK, few considered it a classic for the ages. Also, no one took the Politics of STAR WARS seriously back then. (Furthermore, Lucas had yet to be 'canonized' by none other than Joseph Campbell.) Indeed, RETURN OF THE JEDI was more ‘progressive’ and ‘diverse’ than the first two, but it got considerably worse reviews. So, at the very least, most critics weren’t willing to endorse a movie just for its ‘correct’ politics. In the exchange between John Simon and Ebert & Siskel, both arguments seem to miss the point. Simon dumps on the whole concept when, actually, Lucas’ vision was grand and spectacular, the stuff that could have been molded into great myth-making. In contrast, Ebert & Siskel pretend as if Lucas fulfilled his vision when RETURN OF THE JEDI, apart from its justly praised special-effects, is completely idiotic as plot and resolution. Though Simon was overly harsh on Lucas, he was onto something in his critique of the dehumanization of entertainment. The effects-driven universe had its own logic, eventually leading to the nihilism of awesomeness over all else. It’s depressing that Ebert and Siskel were totally blind to this aspect of STAR WARS despite the fact that their cinematic sensibilities had developed in the 60s and 70s when film became a full-fledged art form. Indeed, their list of the best films of the 70s feature many films made outside the Hollywood system. The problem with their exchange with Simon is not that they find something good about RETURN OF THE JEDI but that they’re so ecstatic about it. Fast-forward to today, and a Culture of Consensus prevails among Generation X and Millennial critics who feel COMPELLED to universally praise a movie in the most mindless ways simply because it has the ‘correct’ message or serves the current iconography. Take the lavish near-universal praise for Guillermo Del Toro’s pop-magic-realist movie about how humanity must overcome ‘racism’ by having sex with fish-man. Ebert and Siskel’s gushing about RETURN OF THE JEDI set a certain tone of ‘juice-bomb’ criticism where the primary role of critics and reviewers were to get all excited about the latest hype. It’s worse now because we can’t even have honest mindless entertainment anymore. We are supposed to see the new blockbuster movies as serious moral lessons and ideological sermons about Good vs Evil where good is mostly anti-white or cuck-white while Evil is just white(of course, non-Jewish white). There was a time when many on the Left felt it was beneath their dignity to get their messages out via something as lowly as Archie’s Comic Books. No longer. The new ‘left’, having grown infantile-shameless-impatient, now mostly indulges in Prog-duct Placement in TV shows and movies. Even in stories that have nothing to do with homos or Negroes, a holy homo or sacred Negro will be included for ‘sacramental’ purposes. It’s the proggy equivalent of religious paintings featuring crucifixes or angels. And it’s not just entertainment. Even space exploration has been heavely-gay-zed. But the utter infantilization and Manicheanization of Morality came from the Right as well. Even though John Wayne’s GREEN BERETS was a pretty sorry & simpleminded movie, it still featured people who looked and acted human. But Sylvester Stallone’s RAMBO was a form of insanity where the Soviets were not only evil but beyond evil. So evil in fact that it wouldn’t have bothered movie audiences if all of commie-sphere was blown up to smithereens like planets in STAR WARS. Whatever had been human about Sylvester Stallone in THE LORDS OF FLATBUSH and ROCKY was gone. Beginning with ROCKY III and RAMBO, Stallone began to look like some narcissistic homo-body-builder whose mission was to defeat evil by triggering new World Wars. This new aesthetic was neither conservative nor liberal. It was crass-consumer-capitalist, but it was sold as Reaganesque, culminating in dumb movies like TOP GUN. As the Cold War was still on, the Soviets made convenient movie bad guys, and besides, Hollywood that had once sheltered its share of commie-sympathizers had grown staunchly anti-Soviet once Jews in the USSR were perceived as ‘persecuted’. As Reagan stood for capitalism and free enterprise, much of the 1980s came to be associated with Conservatism: MTV, yuppies, hedonism, Spring Break, Hollywood action movies, and etc. In fact, they were essentially nihilistic and materialistic than conservative and moral. But because of the association of 1980s nihilism and vanity with Reaganesque capitalism, there was still some degree of criticism and push-back from Liberals and Radicals against the globo-capitalist trends that seemed to really take off under Reagan. Upon closer inspection, however, many of the rising new stars of capitalism were not social conservatives but Liberal or apolitical boomers who were more than eager to say goodbye to Old America. Also, many of them were Jews, and they were looking for new opportunities to grab as much loot as possible. Few among them were cultural conservatives, let alone white identitarians(as only Jewish and black identities were to be celebrated in post-60s America). Liberal boomers pushed ever-morphing ‘progressivism’, Jewish boomers pushed Zionism & Jewish-supremacism, and apolitical boomers either turned ‘liberal’ under media influence OR made ‘liberal’ noises because they wanted to be accepted by the right-kind-of-people. Still, the association of New Capitalism with Reagan-Bush compelled Liberals and Jews to continue making leftist-sounding noises about Greed and etc. After all, Bill Clinton ran against the Reagan-Bush Era as being one of unfettered greed. With the aid of the media, the mild recession of 1992 was blown up to be the new Great Depression. But in fact, Clinton’s real agenda was to appropriate the New Capitalism for the Democrats. That the Democratic Convention was staged like a Rock Concert was sign of things to come. And the newly dominant Boomer business class loved this arrangement because they could have the cake and eat it too. Under Clintonism, they could have globalism, ‘free trade’, and get richer than ever... but because of the symbolic status of the Democratic Party as the home of the working class and historically oppressed minorities, it could also keep sailing with the ‘progressive’ banner. And of course, it was especially useful to promote Homomania as the new center face of ‘leftism’ because vain & narcissistic homos were so servile to the Rich class. This arrangement lived on through the Bush II era and Obama era for two reasons. Even though Bush II carried on with Clintonism, as the symbol of ‘Christo-fascist reaction’ he provided Progs with the opportunity to play the role of anti-greed opposition when, in fact, they were the main beneficiaries of New Capitalism under Clinton and Bush II. And then, the presidency of Obama added sacro-Afro-luster to New Capitalism. Even though many proggy types were denouncing Bush II policies for having brought upon the economic crisis of 2008, gee, maybe New Capitalism wasn’t so bad after all since Obama was continuing with it and rewarding the banksters with bailouts. Indeed, Obama could even extend Neocon wars without opposition from the ‘left’ because he was a ‘historic black president’. And since he associated Holy Homomania with Wall Street, Las Vegas, Hollywood, Silicon Valley, and other giants of New Capitalism, maybe Greed wasn’t so bad. After all, it was draped with homo colors. The Clintonian New Capitalism where Yuppies could finally come out of the closet as Social-Degenerate-Progs-of-Greed may have finally come crashing down with the rise of Donald Trump, another perverse political creature trying to synthesize a new kind of hyper-politics.

Power tends to corrupt those who have it, and that is why the dehumanization of Popular Culture is so dangerous. It’s like money or guns. When the Bad Guys have lots of money, the Good Guys may denounce the power of money and greed. The Good Guys say they are not for money, or if they themselves had the money, they would not use it like the Bad Guys do. But when the Good Guys get the money, they eventually fall under the temptation to do whatever they please with the money. They end up just like the Bad Guys. Same with guns. Good Guys with no guns or fewer guns either profess to be anti-gun or pledge that they will not use guns like the Bad Guys do. But once they have the power of the gun, they can’t help using it like the Bad Guys. Consider how Jews used to denounce militarism dominated by the Anglo-American right-wing military elite. But once Jews became the ruling elites of the US, they couldn’t resist using the Power to wage Wars for Israel and begin ‘new cold war’ with Russia. And remember how Jews used to say they were for the Rule of Law and the Constitution and civil liberties for free speech? Once they got the power, they’ve been using Lawfare to shut down entire peoples and violate the civil liberties of individuals, such as Unite the Right participants who gathered at Charlottesville and did nothing wrong on legal grounds.
Likewise, in the realm of Popular Culture, the Liberals used to be critical of the warmongering mentality of the American Right, White America, Western Imperialism, Christian Triumphalism, and etc. So, they denounced the ‘racist’ violence of THE BIRTH OF A NATION. They condemned Hollywood Westerns where Indians were often little more than target-practice. They were critical of anti-communist right-wing militarism. And movies like SPARTACUS, though exciting and impassioned, didn’t celebrate violence but saw it as necessary sometimes and always tragic. Even the Liberal excitement for BONNIE & CLYDE was tempered by showing the ugliness and brutality of violence. Also, the violence was among recognizable individuals and humans, not a mash-bash of entire populations. Movies that did feature mass destruction were careful to point out that hyper-violence isn’t fun-and-games. So, the original WAR OF THE WORLDS is a sad tale of Martians waging a terrible war on humanity.

The destruction wasn’t featured as fun spectacle as in INDEPENDENCE DAY and PEARL HARBOR where the audience roared with approval. Indeed, it is telling that Charlton Heston didn’t want to be part of Steven Spielberg’s 1941 because he found it to be disrespectful to the memory of those who’d served in WWII. And John Wayne declined the role of Harry Callahan because he found it overly violent. Even so, the first DIRTY HARRY is still about a cop going face-to-face with a recognizable villain. It laid out WHY we should want Harry Callahan to blow his ass away. Still, films such as DIRTY HARRY, STRAW DOGS, DEATH WISH, and THE FRENCH CONNECTION stirred up controversy among Liberals as to the rising ‘fascist mentality’ in cinema. In their defense, they spelled out why violence is necessary at times. Scorpio in DIRTY HARRY is a real menace to society. The character of STRAW DOGS is pushed to defend turf and honor. DEATH WISH is about revenge against thugs who prey on innocents. THE FRENCH CONNECTION is about cops who play loose with the rules in a corrupt city mired in drugs and criminality. TAXI DRIVER later explored the psychological dimensions of cosmo-fascism that emerges among alienated individuals who are bewildered and frustrated by the soulless and degenerate libertinism of big city life in the post-spiritual, post-ethnic, and post-moral (dis)order. Travis Bickle creates his private Tribe-of-the-mind as an attack on soulless NY.
In contrast, STAR WARS introduced something truly dangerous, and the critic who was most keen about this was Jonathan Rosenbaum:
https://www.chicagoreader.com/chicago/excessive-use-of-the-force/Content?oid

"There was something that happened to many people in their late teens and early 20s when they first saw it," muses Star Wars: Special Edition producer Rick McCallum in the press book. "It was a turning point where you actually realized that almost anything was possible and realistic at the same time." Even, one might add, a new form of mass annihilation experienced as a spectacle... I won't bother you with the plot in any detail, since you've been living with it for years even if you've never seen the movie. Suffice it to say that an earnest farm youth on a remote planet, son of a vanquished Jedi warrior, meets another former Jedi who trains him in the mystical ways of the Force; finds his aunt and uncle burned to cinders by minions of the evil Empire (in homage to The Searchers), which occasions about 15 seconds of tragic reflection; hires a hardened mercenary with an exotic, nonhuman servant to pilot him and his guru and accompanying robots to save a princess captured by the Empire; then blasts the Empire's Death Star to sparkling, bubbling, and extremely satisfying smithereens."

In the STAR WARS universe, it’s not about one man killing another as in DIRTY HARRY. Whatever one thinks of Callahan — saint cop or ‘fascist’ henchman — , the violence is limited to the object of outrage. And even if one finds Old Westerns distasteful with their use of Indians-as-target-practice, the violence unfolds between specified rivals caught in cycles of attack and counter-attack over land and honor. In contrast, the hyper-technological world of STAR WARS means the battle on the galactic scale. Worse, because of their awesome weaponry, the various powers have the means to blow up entire planets. World War I and World War II were total wars, that is to say wars between entire nations and populations. Not just armies but entire populations were targeted for mass destruction. In WWI, millions of Germans were pushed to the brink of starvation. In WWII, all sides targeted entire cities for mass bombings. Still, it wasn’t until the end of the war that humanity had come upon a technology that could conceivably wipe entire cities, even nations, off the map. Atomic bombs totally devastated two major cities in Japan, and 10 or 12 more nukes were ready to go if Japan didn’t surrender. This took the notion of Total War to the next level: Total Destruction. And it was this understanding between US and USSR(and few other nuclear powers) that led to the consensus that nuclear weapons should never be used again and can only be justified as deterrence. WWI and WWII showed how horribly tragic Total War could be, killing tens of millions of people and devastating entire nations. It was hard to remain human in such a conflict, and all sides acted in inhuman ways to win and wreak vengeance. But imagine a Total War with nukes. That was the nightmare scenario of DR. STRANGELOVE. The prospect was so unimaginably horrific(on the human scale) that it was done as satire. But STAR WARS presented Total-War-with-Nukes as far-out entertainment. The Empire blows up an entire planet, and then the Rebels blow up the entire Death Star. The planet blown up by the Empire is soon forgotten. And we cheer for Death Star blowing up real good. Now, if Lucas’ point was that hyper-technological warfare that blows up entire worlds can have no place for morality or humanity, that would have been one thing. After all, when galactic warfare amounts to levels of destruction where entire planetary systems and space-based civilizations(with countless workers) are blown up without much thought, how can moral sense survive? It'd be like counting raindrops.
But Lucas insisted on the Morality Tale aspect of his vision. Even after Darth Vader has committed mass-holocaust against entire planet systems, he can be forgiven and redeemed by his son. And because the Death Star is central command of the Evil Empire, we should just rejoice when it blows up and kills everyone in it. But what about all the minions who were just taking orders? After all, even if we were to say the mass bombing of Dresden or nuking of Hiroshima was justified, we wouldn’t rejoice over the destruction and horrific loss of innocent lives.
But then, suppose one were to say STAR WARS is just a movie and not to be taken seriously, i.e. we should regard it like GODZILLA movies where the big lizard from the sea knocks down buildings and terrorizes Tokyo. That argument might have worked had there been no sequels and no pretension, by Lucas and others, that STAR WARS is a meaningful, beautiful, and inspiring tale of good vs evil. How can Lucas and his defenders(and extenders) justify the morality of his vision when the series(original and Disney) continue to feature endless spectacles of mass destructions(where presumably millions or even billions are killed) as ‘cool’ and ‘awesome’ entertainment? And the Good Guys seem to be just as mindlessly destructive as the Bad Guys are. Indeed, the Manicheanism of STAR WARS universe provides easy justification as to why entire worlds must blow up every so often. The Bad Guys are totally Evil, so naturally they try to blow up lots of planets and people for the hell of it. And since the Bad Guys are so bad, the Good Guys are totally justified in blowing up countless numbers of Bad Guys. With such ‘political’ logic, how can there be any moral sense? Bad is just Bad, and because Bad is just Bad, the Good is justified in anything to defeat the Bad... even if what the Good does is hardly any different from what the Bad does. The STAR WARS universe isn’t really about a humble rebellion opposing an Evil Empire. It’s really about Empire vs Empire, not unlike British Empire and German Empire in WWI or US empire vs Soviet Empire in the Cold War. When power clashes on the imperial scale, it’s easy to lose sight of morality. The stakes are too huge. BRIDGE ON THE RIVER KWAI is about empire vs empire, and it takes real struggle for some of the characters to maintain their sense of humanity in all that ‘madness’. While the war among mafia clans in THE GODFATHER is ugly and brutal, at the very least, they have a personal stake in the bloodshed. It’s about revenge and ‘business’. But in the wars of empires, faceless armies and mercenaries are pitted against other faceless armies and mercenaries. In DR. STRANGELOVE, it is difficult for the character of Mandrake to maintain a semblance of human scale in a global conflict where madness, ideology, technology, and complex systems all conspire to bring about Armageddon engulfing all of mankind, even those in neutral nations who have no skin in the game.
Such a system was devised to protect mankind from human error, but that means the human factor/element must be further eliminated from its Cold Logic. But then, Logic follows a code and has no innate sense of right or wrong, no sense of moral limits. So, the logical systems in both DR. STRANGELOVE and 2001: A SPACE ODYSSEY can be ‘led’ to deviate from moral service to humanity. General Jack D. Ripper manipulates the logic of the system to trigger WWIII, the very thing the system was supposed to prevent. And HAL computer follows the same logic even as it goes from protector of humans to their executioner.

Anyway, the scale of ‘apocalyptics’ and the conceit of ethics simply didn’t gel in the STAR WARS universe. Given the levels of destruction, the STAR WARS universe could only be an amoral one where power was the only justification. In a war where entire planets and civilizations are destroyed by both Good Guys and Bad Guys, where does the individual fit in? Why should we care so much about the biographical arc of Annakin Skywalker and his redemption when countless billions have been destroyed all across the universe? Because STAR WARS couldn’t make us care for everyone of the countless victims, all the emotions of the story are invested with a handful of characters. So, what happens to Leia or Solo(or even Chewbacca or C-3PO) weighs more heavily than the fate of billions. Now, this is true of any story in which we care more about the fate of main characters than anyone else. Still, STAR WARS is about the clash of entire civilizations, and therefore, fixating on the rather quixotic stories of a handful of characters seems like moral autism. When so many peoples are either destroyed or made to suffer, does it make sense to make us feel happy and relieved simply because our favorite characters manage to squeeze through tight spots? While every story of war concentrates on a handful of characters — Consider WAR AND PEACE, the mother of all war stories — , the characters are archetypal or iconic representatives of others of their kind going through similar experiences. By focusing on just a handful of characters, David Lean gave us a sense of the larger experience in BRIDGE ON THE RIVER KWAI, LAWRENCE OF ARABIA, and DR. ZHIVAGO. In contrast, the heroes of STAR WARS seemed detached and aloof from the larger struggle. Solo is like a cross between a cowboy and 007. He rides the war like a rodeo. Luck is on his side, and he always lands on his feet. As for Luke and Leia, we eventually learn that they possess the Force, therefore they travel to the beat of a different drum from everyone else. So, even though they are in the fight, their struggle unfolds in a bubble all its own. Because the heroes are ‘special’, their fates will somehow decide everything, and everyone else is just cannon fodder, distraction, or space wallpaper. The problem with STAR WARS is Lucas tried to have both moralism and nihilism. His story is about Good vs Evil, but the real appeal of STAR WARS comes from the sheer scale of wanton destruction by awesome machinery of death. But unlike in video-games that come without characters, stories, or meaning, STAR WARS pretends to have meaning and message. But in a world where it’s justified for all sides to blow up so much and kill so many people for either ‘evil’ or ‘good’ and when the destruction is featured mainly as awesome popcorn-munching spectacle, how can any real moral sense be sustained? Imagine a WWII story where we are shown the massive clashes between Nazis and Soviets as just ‘cool’ and ‘awesome’ stuff while hoping that Good will triumph because some hero on the side of the Good is learning magical kung fu from a Tai master. Again, the problem of STAR WARS isn’t fantasy or escapism. Rather, it’s the scale of destruction presented as increasingly mindless entertainment while pretending that it's all part of a moral message.
Prior to advancement in special effects, massive destruction on the big screen had only limited appeal. The best of its kind for a long time was God’s wrath in THE TEN COMMANDMENTS. He sure could kill. Still, the wrath was presented as fearsome and terrifying, not fun-and-cool. STAR WARS rock-n-roll-ized the screen entertainment. The thrills were more akin to that found at a Rock concert than in classic Hollywood movies. It was a blast... which may explain why some Rock concerts were played to the screening of AKIRA the famous apocalyptic Japanese anime. Speaking of AKIRA and others of its kind, they have the same problem with STAR WARS. They turn ‘apocalyptics’ into a matter of style. AKIRA begins with modern Tokyo blowing up in WWIII, to be quickly supplanted by Neo-Tokyo. The death of millions is just an afterthought, followed by A-CLOCKWORK-ORANGE-like rock-n-rolling.

And yet, in some ways, AKIRA’s amorality is less troubling than STAR WARS because AKIRA is brazenly nihilistic, cynical, and nasty. It’s a hopeless world of corruption, greed, vanity, materialism, and power-lust. Kids hardly have families and form their own tribe. It’s a soulless world with worthless humanity, and it doesn’t matter if they live or die because nothing matters anymore. It’s an ugly pathological vision but a consistent and honest one. In contrast, STAR WARS is nothing without moralism, nostalgia, and sentimentality. Lucas clung to the themes of David Lean, John Ford, Akira Kurosawa, and other classicists and/or humanists. And yet, he was enthralled with fantasies of nihilistic displays of power and massive destruction & apocalypse. It was as if he wanted to make OLD YELLER and TRIUMPH OF THE WILL in the same movie. But when entire worlds blow up, is there any place left for sentimentality? No, said Stanley Kubrick whose DR. STRANGELOVE satirically said we must stop worrying and love the Bomb in case of WWIII. And Taylor finds out that humanity means for naught after WWIII in THE PLANET OF THE APES. And yet, Lucas decided to give us both Armageddon and For-the-Love-of-Benji.

Interestingly enough, the film that Lucas was slated to make after AMERICAN GRAFFITI was APOCALYPSE NOW that wrestled with the very issue of destruction and meaning. Eventually directed by Francis Ford Coppola, its justly famous helicopter attack scene demonstrates the power of spectacle. When the air cavalry raids a Viet Cong village to the music of Wagner, followed by the napalming of the jungle by US jets, we just revel in the thrill of destruction. Sure, we do see an American casualty screaming in pain and Vietnamese women being gunned down, but the Wagnerian overdrive overwhelms any moral consideration. It’s just ‘outstanding’. And then, Colonel Kilgore, emerging from his helicopter like Darth Vader, gives a magnificent speech about how napalm ‘smells like victory’. It almost gives you goose bumps. And yet, the spectacle of destruction is merely one facet of the film. As the story progresses, we are made to experience death-down-below more than death-from-above. We are made to see death up and close. And finally, the hero Willard encounters Kurtz the warrior-poet-philosopher who seeks a synthesis of meaning between mayhem and morality. It is difficult, that is to be a ruthless warrior yet retain moral sense. We can tell that the contradiction is eating away at his soul.

But in the STAR WARS universe, mass destruction is presented simply as entertainment. Never mind that millions or even billions may be perishing. Just be awed by the wantonness of the destruction. Or don't worry because all those countless people blown to bits are of the Evil Empire.

Furthermore, despite the immensity of the conflict, we are also to believe that Destiny will be decided by a handful of special individuals who duel with laser swords.
Worse, STAR WARS is venerated more than ever among film critics because Jews at Disney totally rejiggered it to function as propaganda for Social-Justice-Wars. THE LAST JEDI, for example, got nearly universal raves because it is supposedly about Hillary-as-Beauty-School-Dropout waging war on Donald-Trump-Vader. So, never mind the wanton spectacles of mindless destruction, the tired cliches, recycled formulas, and the greedy cynicism of Disney. May the Critical Force be with it because it’s useful as propaganda. Who knows? Maybe even Jonathan Rosenbaum the Jew loves the latest version because it’s anti-Trump. In other words, ‘fascist excesses’ are ‘cool’ as long as they are directed against ‘fascists’. But who’s the real ‘fascist’ when Pop-Fascist Aesthetics are now owned and used by Jewish Hollywood? It doesn’t even seem to occur to most Progs that Hillary was a super-warmonger working at the behest of Jewish globalists who are like the Emperor in STAR WARS. And Obama restarted ‘cold war’ with Russia simply because Jewish globo-oligarchic-emperors hate Russia. Jews are truly a perverse people because, even with the power of the New Emperors, they pretend they are still of the Resistance. In fact, Trump has been most admirable in winding down Wars for Israel(especially in Syria) and most despicable in supporting Jewish Supremacism(especially against Palestinians in Gaza and against Iran, a nation that did nothing wrong).

Given the American Right’s mindless support of the War State under Reagan & Bush(I and II) and given the American Left’s embrace of neo-imperialism under Clinton & Obama, we’ve had governments and pop culture that have been overwhelmingly anti-humanist on both the Right and Left. During the Bush II years, there were some mildly anti-war movies from Hollywood to embarrass Bush, but most TV shows and movies have been pro-military, pro-war, pro-deep-state, pro-destruction, and even pro-genocide(especially against Syrians and Palestinians). And the proggy enthusiasm for the mindless, heartless, and soulless New STAR WARS movies simply because they happen to be about Diversity against Whitey signals the moral corruption of the cultural commentariat. Both sides are willing to wallow in the sheer nihilism of mass destruction and the dehumanization of the Other Side to feel good about themselves.
And by ‘dehumanization’, I mean down to the very last person. It’s one thing to see the Other Side as the enemy that stands for an Evil Cause, but it’s quite another to believe that everyone on the Other side is subhuman scum that deserves to be blown away. For example, a movie like ENEMY BELOW roots for the American Navy against the German submarine. Still, the German crew, as individuals, are presented as humans.

But in PAN’S LABYRINTH, even such modicum of consideration is missing in the New Proggy Sensibility. The Other Side comprises monsters that have no claim to humanity. It must be wiped out clean. Indeed, Jews have spread such vile and murderous hatred about the white race along with the Palestinian people. (Ironically, whites who've been targeted for destruction by Jews have a genocidal hatred of Palestinians who've been similarly targeted. Why? Jews have spread anti-Palestinian murderousness among whites just as they've spread anti-white hatred among People-of-Color. One can do awesomely evil things with monopoly of the media. The recent Schwarz Wars in the Middle East are the result of campaigns of ultra-hatred by hegemonic Jews who simply won't leave humanity alone.) As for venal Latin Whites like Guillermo Del Toro, they pretend they are members of People of Color even as they settle in the most privileged communities that happen to be overwhelmingly white or Jewish(but then, Jews also pretend to be not-so-white when inconvenient). Del Toro also promotes eradication of borders and mass movements of peoples when it was just those factors that led to the Conquest and Destruction of indigenous civilizations in Mexico and South America by Latin Europeans who looked just like the ugly and hideous Del Toro.
This is why, in this day and age, we need to revisit films like DAS BOOT again. In a sane and sound world, there would be no need to mention DAS BOOT alongside STAR WARS. One could appreciate both on their own terms: Art Film and Escapist Entertainment. But ours is not a sane and sound age. It is one where film critics and culture commentators who should know better go out of their way to promote the New STAR WARS as an inspiring, empowering, and consciousness-raising propaganda against Evil. These people aren’t bothered by the cartoonish Manicheanism of the New STAR WARS where the Good Guys are so good that they are permitted any amount of wanton destruction and Bad Guys are so bad that they don’t even deserve the recognition of humanity: They are evil pure-and-simple and should be incinerated down to the last man without pity.
Perhaps, such hatred is an indication that there is indeed a war going on among the races, especially Jews and their minions against whites. After all, it is during wartime that there is most intense dehumanization of the enemy. As long as WWI raged, British propaganda featured Germans as subhuman degenerate Huns. And Germans and Japanese viciously dehumanized their enemies in WWII. And after Pearl Harbor was attacked, the US totally dehumanized the ‘Japs’. And in the current conflict between Zionists and Palestinians, neither side is willing to see the other side as ‘human’. It was only after WWI that British began to see Germans as humans. And it was after WWII that Americans began to recognize the humanity of Japanese as well. So, maybe the sheer hatred directed at whites by Jews and their minions is a sure sign that, contrary to what naive whites think — "We love Jews who are our friends!" — , Jews are in Wartime Footing against whites. Then, it is no wonder that the New STAR WARS movies are so vitriolic in their anti-white-ness. And it’s no wonder that just about every other Jewish-run Ad on TV pushes for sexual warfare that features ACOWW or Afro-Colonization of White Wombs. The Jewish Sexual War Propaganda is clear: Black guys need to kick white male ass, turn white men into white boy cucks, and conquer & colonize White Wombs. Jews are engineering White Genocide by using black fists and dongs as ammo against White Manhood that stands as the Wall between Blacks who holler "Where da white women at?" and White Women. White Manhood is the Jericho Wall that must be brought down. And that is why Jews purchased the rights to STAR WARS, the most successful movie series, and are using it to promote interracialism between a white girl and a gorillian Negro.

At the very least, however you may feel about the Other Side, humanism dictates that everyone on every side of the conflict shares in the basic qualities of humanity(though, to be sure, humanist principle tends to break down with Negroes because they are most different from all other races). For too many Negroes, it comes naturally to act like a bunch of shameless & uninhibited wild-ass ‘boons, made worse by the 'sacralization' of the Negro by Jew-run media and sappy-suck sentimentality.
While all peoples and races can act brutish, ugly, murderous, and evil, under normal conditions most peoples can act civilized and learn to cooperate with others of their kind. In contrast, Negroes tend to act wild and crazy even when there’s ample opportunity for acting normal and sane. They got bongo in their genes that makes them overly jiggity and antipathetic to humanism.

Still, let’s give even the Negroes a benefit of a doubt in the spirit of humanism. Now, humanism doesn’t say every individual is decent, nor does it say every people, community, or culture is good or on the side of angels. There is a sappy and naive kind of humanism that says most people are innately good and, if not for distressing socio-economic straits, would be a capital fellow. But there is a sturdier kind of humanism that recognizes humanity as coming in all shades of good and bad. Still, apart from serious psychopathic types(like Jeffery Dahmer, Son-of-Sam, and Lars von Trier), most people have a basic humanness with the same range of emotions and the chance of self-actualization with proper training and encouragement. It’s same with dogs. While dogs come in many sizes, abilities, and temperaments, they all have a basic dogness that makes them emotionally rich and loving creatures(if raised and trained properly). Just like dogs can be made crazy, humans can be made crazy. And humanism recognizes that people can be made bad. Humanists would agree that Nazism turned many Germans into evildoers who did horrible things. But humanism also believes that it was not inevitable that those men ended up doing evil. They were trained and indoctrinated to do inhuman things. But even when acting inhumanely, they were still humans with basic human emotions that could be salvaged and redeemed under better circumstances. So, even as humanism understands the need for necessary wars and the inevitability of having to kill many on the Other Side, it still doesn’t deny the basic humanness of the enemy. It is this sense that is missing in the STAR WARS universe, especially in the New Ones where the Bad Guys are made far more hateful and contemptible than in Lucas’ movies.

In contrast in DAS BOOT, we come face-to-face with the humanness of the U-boat crew. Yes, they are Germans fighting for the Nazi cause. Sure, they are assigned to wreak havoc on the Allied Navy. Yes, they can be ruthless and determined in the fight. But, they are also recognizably human: stoic, courageous, supportive, anxious, fearful, and even mournful when the enemy is killed unnecessarily.

They may be fighting for a monstrous political movement, but they are also soldiers like any other soldiers of any nation. They are about camaraderie, team work, sacrifice, and toughness. At the very least, we can’t take that way from them.
Furthermore, the submarine setting intensifies the sense of what it means to be a soldier. Unlike men in the battlefield, there is no chance of desertion, no chance of escape. Everyone from top commander to the lowest crew member must share the same spaces, face the same dangers, and accept the same fate if the submarine were to sink. The sheer claustrophobia and abject terror when a submarine descends to the ocean bottom has to be the worst terror that can befall men in war. It’s like being collectively buried alive. Because the often monstrous conditions inside a submarine can easily drive men mad, the resolve to maintain one’s balance becomes a true test of one’s character. And DAS BOOT powerfully depicts what it takes to remain human in a most inhuman struggle. Kathryn Bigelow made a comparable film with K-19: THE WIDOWMAKER.

In STAR WARS, we don’t care what happens to the crew of a ship when it blows up in space. We may cheer when it’s the Bad Guys’ ship or sigh when it’s the Good Guys’ ship, but in either case, the only real response on our part is ‘cool!’ Special effects make the collisions and explosions look spectacular and awesome. And even war movies based on real historical events can be made this way. Consider the awful PEARL HARBOR(by Michael Bay of course) that turned the tragedy of the Japanese attack into a trashy amusement park ride. Special effects even followed the trajectory of one ‘Jap’ bomb from the plane to the target. It was all very ‘neat’ & ‘cool’ and hardly made us care about the sailors who sunk into the sea. In contrast, Christopher Nolan’s magisterial DUNKIRK — one of the noblest war films — prioritizes the human element instead of turning people into props to be blown up by ‘cool’ and ‘awesome’ gadgets.
Anyway, we never have to think about what happens to any of the crew in a ship in STAR WARS. As long as the main characters and their robot scouts are safe, we feel good and secure. It’s like the scene with the dog in INDEPENDENCE DAY: Space aliens are blowing up the entire city and killing countless people, but it’s all just ‘cool’ spectacle. And our sole 'moral' involvement is with the family dog than with all those strangers getting blown up. The dog makes it, and we breathe a sigh of relief. All is well cuz doggy lives. Our sympathy becomes totally subjective, comfortably restricted to a few characters and even a dog we’ve been introduced to.
Now, our narrow emotional response is just part of human nature. After all, any of us would react more strongly if a dear one was in a minor car accident than if a bunch of strangers died in an airplane crash. Every family grieves more for its departed than for countless dead of other families. Objectively, we know a plane crash is a much bigger tragedy than, say, one’s son or daughter getting hurt in a car crash(or one’s dog getting hit by a car). But emotions are essentially subjective and care most about the objects of one’s sentimental attachment. This is why Jews use the power of academia and media to attach white emotions to Holy Jews, Magic Negroes, and Homo Angels and to detach white emotions from fellow white folks; this conditioning has gone so far in some white people that they care more about mythical holy Jews-Homos-Negroes while hating on their own white family members. Consider all those white feminist bitches who hate their own fathers despite all the things their dads have done for them.

Anyway, even though emotions are subjective, there is something perversely callow about making us feel relief over a dog when an entire city is blown up. It’s almost as if the message is we shouldn’t worry anymore since the dog is safe and well. There’s a difference between hoping that a dog would make it and feeling the day has been saved because the dog survived(while the city didn’t). This is the problem with all these big blockbuster movies. They’ve greatly amplified the scale of violence and mayhem but then narrowed the range of audience sympathy to just a few characters who remain mostly detached from what is going on. They are like Teflon heroes who keep joking, jostling, and having fun while the world around them burns down. And since our sympathies are attached only to them, we feel good as long as they are safe, and rest of the world, despite or especially because it’s blowing up, is just fun-house props for the heroes to romp around in. It’s this detachment that may be most troubling. It doesn't matter if millions of 'lame' folks perish as long the 'cool' idols keep cruising along having the time of their life.

DEEP IMPACT, though no great masterpiece, is rather moving unlike most blockbuster movies with mega-mayhem. Many people die in DEEP IMPACT, and of course, the movie cannot feature all of them. But because the key characters are so emblematic and representative of many who will not make it, they stand for the millions we don’t see. But in many mega-mayhem movies, the heroes seem to operate by some 007-like logic that keeps them safe-and-sound no matter what happens. Our attachment to their glibness disassociates our sympathies from the rest of humanity. We feel the main heroes are ‘cool’ and ‘blessed’ while rest of humanity are just loser-suckers who don’t stand a chance... so, why should we care about them? They lack the Force.