Few readers have likely noticed, but my contributions to this site have fallen dramatically this year. The reason is simple: I’ve been convinced by the likes of Alex Kurtagic, Harold Covington et al. that merely tap-tap-tapping on computer keys accomplishes little. Worse, I know I’m guilty of what they both disparage: writing negatively about our situation. On top of that, I have nowhere near the skill or imagination needed to construct a useful new “myth” for our people a la the peerless Michael O’Meara. Result: I’ve stopped writing.
Still, I do continue to teach students how to read a film, but of course I do not do so openly from a White Nationalist position, nor did I mention the role of Jews as a hostile elite. I also write academically on film, so it’s not like I have writer’s block.
In fact, for some years now, I’ve been focused on the films of two chosen Black actors, Morgan Freeman and Denzel Washington. I’ve argued that the anti-White structure (erected by Jews) in Hollywood has demanded the creation of model Black men to “teach” the population that such characters are the norm in our new multicultural society.
A while back, writing in The Occidental Quarterly, I discussed in “Understanding Hollywood: Racial Role Reversals” the concept of these “numinous Negroes.” The term describes not just leaders and heroes. Rather, such Blacks are also paragons of wisdom — moral and spiritual exemplars, and Morgan Freeman is Hollywood’s favorite actor for numinous Negro roles. Ever since his breakthrough as chauffeur Hoke Colburn in Driving Miss Daisy (1989), Freeman has consistently been cast as a man of rare intelligence, sensitivity, and moral grounding, usually paired with younger Whites who admire him for his superior wisdom and seek his guidance.
Denzel Washington has been cast in similar roles for someone almost two decades younger. The consistency and longevity of these “reel” characters convince me that it is all part of a conscious propaganda effort at further knocking down White men, using Blacks as proxies. In that sense, it’s an old story.
My TOQ Hollywood essay appeared in the Summer 2009 issue, preceding two new Washington films by a year. In 2010 his film Book of Eli appeared, followed by one I was really looking forward to, Unstoppable. (See movie trailer here.)
When I was finally able to watch Unstoppable on DVD earlier this year, I was stunned at how perfectly it fit my previous discussions on numinous Negro films. While this time it lacked the normal Denzel Washington lessons about the evils of ongoing White racism, it did have that Washington standard: the replacement of White power with Black power. And isn’t power what it’s all about when it comes to the multicultural project?
I used this film in three different classes this semester, so it is still very fresh in my mind. And each time I watch these carefully choreographed scenes, I’m more and more impressed by the insidious craft that went into this propaganda picture.
Finally, I’m reading to write about Unstoppable because last week I was fortunate enough to read Trevor Lynch’s short essay “Why I Write” on Greg Johnson’s Counter-Currents site. It was more than enough to convince me to get this review done.
Lynch is a concise writer, asking, “Why do I write movie and television reviews from a White Nationalist perspective? It’s complicated.”
By way of explanation, he writes:
By integrating so many art forms, film can communicate more, and more deeply, to more people, than any single art form. (The same is true of television. The screen is just smaller.) . . .
Second, I write because movies are a force. They are the greatest tool ever invented for shaping people’s ideas and imaginations. In the right hands, they can be a force for good. In the wrong hands, they are a force for evil. Unfortunately, the film industry in the United States and Europe is overwhelmingly controlled by an alien and hostile people, the Jews.
Jews use movies as a tool to promote ideas and values that are destructive of my race and civilization: race-mixing and multiculturalism, White guilt and self-hatred, feminism and emasculation, the valorization of Jews and non-Whites, etc. Film reviews are one way that I can fight back.
He further explains that because “the film, television, and advertising industries comprise a vast number of highly intelligent, creative individuals with many billions of dollars of capital at their disposal, with which they create a 24/7 matrix of genocidal anti-White propaganda,” we White Nationalists cannot compete.
Fortunately, there is one obvious way to combat this: “We can teach our people to see through the propaganda.” And that sums up my own motive for writing so much about film.
Lynch shows that “we can negate the propaganda churned out by legions of enemies with billions in capital. This is asymmetrical cultural warfare at its best. Our power is limited only by our readership.”
By illustrating the general principles of anti-White propaganda, we can teach readers how to decode propaganda in general. This, Lynch writes, has two profound effects:
Whenever a brainwashed person is exposed to propaganda, it reinforces the establishment message. However, when we teach people to see through propaganda, then each new exposure reinforces our message instead. Imagine a young man who stumbles across one of my reviews because he is reading up on a movie he wants to see. He might like my interpretation or hate it. He might even reject my claims about the propaganda content of the film. But if he is bright, he will carry away a template for viewing other films, and he will begin to see the same patterns again and again. Gradually, the establishment’s power over his mind will fade, and the nagging little voice of Trevor Lynch will get louder and louder.
When people learn to see through anti-White propaganda, they are often shocked by its omnipresence. It is one thing to see propaganda here and there. It is another thing to see it everywhere. Even I am still shocked when I visit friends who have cable. The anti-White message is everywhere: in every cooking program, every cute animal show, every house makeover program. You can’t escape it, and that’s no accident. When you see the omnipresence of the lie, you have a concrete experience of the system’s totalitarian nature and genocidal intent. [emphasis added]
Now let’s see how this is done in Unstoppable.
This is a modern story about the hardscrabble world of railroading in central Pennsylvania, whose coal-filled mountains originally prompted the birth of rail in America. Home to such illustrious railroads as the Lehigh Valley, the Erie, the Lackawanna, and most of all the Pennsy (Pennsylvania Railroad), this region was a world of steam, iron, steel, and hard men. Hard White men.
You can forget about all the talk in today’s modern classrooms of “White male privilege,” for the vast majority of this mixed ethnicity of White men worked long, hard hours in dangerous conditions. My own great-grandfather worked six-day weeks, sometimes twelve hours a day in honest toil. That is how life was then.
Unstoppable, of course, is a modern Hollywood suspense thriller, so it has no need for the White past. Unlike, say, Crimson Tide (1995), in which Washington’s character competes for control of a nuclear ballistic missile submarine with a White captain played by Gene Hackman, Unstoppable is more in the mode of the buddy film, which in recent multicultural years has most often been shown as the Black-White buddy cop film. (Think 48 Hrs., the Lethal Weapon series, Beverly Hills Cop, etc.)
On second thought, perhaps the buddy film is the wrong category. Because Washington’s Frank Barnes plays mentor to young White male Will Colson (Chris Pine), we should more properly call it a “numinous Black mentor” film. Morgan Freeman has more typically been assigned this role in film, as The Shawshank Redemption (with Tim Robbins), Se7en (Brad Pitt), The Sum of All Fears (Ben Affleck) and two Batman films attest. His 2007 film with Jack Nicholson, The Bucket List, likely fits this genre as well.
Unstoppable sets up this Black mentor-White student relationship early on, as Barnes stresses to Colson that he’s been working on the railroad for twenty-eight years, versus a few months for the White rookie. Throughout the film, Barnes commands — and teaches.
In practice, this kind of Black mentor film is probably very useful in creating subtle assumptions in the minds of the audience about the “natural” role of Black men — intelligent, experienced, caring . . . and superior. (For example, while Colson’s domestic situation is a shambles, Barnes’s family life is the picture of domestic bliss.)
Still, as Barnes and Colson throw themselves into the task of stopping a runaway freight train, they equally show bravery and determination. My students correctly noted that the message here is that Black and White can work productively and peacefully together—under the wise leadership of a Black man.
One annoying tidbit — because it is so counterfactual yet so common in Hollywood fare — is that Barnes is a math whiz, able to calculate in his head railcar lengths and distances on the track. Young Colson is merely puzzled by all that mental wattage.
Something missing from this film, however, which is really a Denzel Washington staple, is an embedded lecture about White racism. I would estimate that upward of seventy-five percent of his films feature this theme, often with the subtlety of an anvil being dropped on your head. In Unstoppable, however, it is a post-racism world, a world that works.
Saying it is post-racism, however, is not to say race plays no role, for in fact there are ongoing secondary stories where race is the point — and White men come out on the losing end.
Ethan Suplee as Dewey the engineer
First, early in the film we see Hollywood’s go-to moronic White fat man, Ethan Suplee, shown as dim-witted, lazy engineer “Dewey.” Assigned to move a freight train in the yard, he hobbles aboard and gets it moving. When he notices that a switch ahead is out of position, he sets the safety brake and prepares to get out and move the switch himself. Back on the ground his partner discourages him, but Dewey insists.
Once out of the cab, the engine kicks into full throttle on its own accord, and Dewey is faced with the task of chasing it down, re-boarding, and taking back control of the empty train. Because he’s so fat and out of shape, he can barely keep up with the slow-moving train and falls face first into the stone ballast alongside the train. Now they have a “coaster” on their hands.
More needs to be said about obese actor Ethan Suplee. Hollywood seems to love using this blob to create the image of the stupid fat White Everyman. For instance, from 2005-2009 he played Randall “Randy” Dew Hickey, younger brother to Earl on the hit TV series My Name Is Earl.Wiki says that Randy “is thought to be very dimwitted and simple, bordering on mild mental retardation.”
Ethan Suplee as Skinhead in "American History X"
A far earlier incarnation of the dumb fat man came in the powerful 1998 neo-Nazi film American History X. Here Suplee was cast not only as a fat White imbecile, but as a fat White skinhead neo-Nazi imbecile with tattoos and an unquenchable hatred for non-Whites. Not a very appealing character.
Two years later he appeared with Denzel Washington in one of the most manipulative anti-White films I have ever seen, Remember the Titans. Directed by Boaz Yakin and produced by Jerry Bruckheimer, both Jews, this film is a straightforward replacement film. That is, the main White characters are replaced by Blacks and all turns out for the better. The White coach is replaced by Washington’s character (and learns to be happy about it), the White quarterback Gary is replaced (and is later shown in a Christ-like pose symbolically celebrating this new team), and another White player even asks the coach to replace him with a Black player in the middle of the big game.
Ethan Suplee as Moronic White guy, with the brilliant Black character
How Suplee and his bulk are used in Titans is instructive. The script repeatedly shows him as overtly stupid and always contrasts that to Black smarts. For instance, when they go to football camp in Gettysburg, PA (Yes, this is used to ruminate on the racism surrounding the Civil War. And yes, they went to camp in school buses, which is used to educate us on the necessity of 1970’s busing) Suplee the fat lineman is asked by Washington’s coach character what his future plans are. College? No, the lineman answers, “I’m no brainiac like the Rev.” Jerry “Rev” Harris, we see, is Black.
In any case, the Black coach offers to tutor the fat White lineman. Later, there is even a scene where the lineman himself blurts out that he’s “nothing but no-good White trash.” Not to worry, as “Rev” Harris the Black genius will also tutor him. Are we starting to get the point?
Finally, two years later, Suplee again appeared with Washington, this time in a minor role as a stupid security guard at a hospital in the tear jerker (for Blacks as victims)John Q. Thus, including Unstoppable, Suplee has been thrice used as a moronic fat White man, all the better to accentuate Denzel Washington’s tall muscular figure and scripted brain power.
Rosario Dawson as Connie Hooper
The most pronounced propaganda message in Unstoppable, however, comes with the character of Connie Hooper (Rosario Dawson), who I thought was Black until I looked her up in Wikipedia. In Unstoppable she improbably plays a yardmaster and predictably berates Dewey and his partner when the train “gets away” from them. “It’s a train, Dewey, not a chipmunk.”
The real scripted message, though, comes with this sassy New York City girl’s confrontation with her supervisor, Oscar Galvin, an overweight, overbearing White guy. Repeatedly, his plans to stop the train fail and nearly lead to disaster, while Hooper’s plans would have worked.
Further blaming White men, we see a scene at a railroad crossing in a small Pennsylvania town. The policeman competently directing traffic is Black. The man driving a dump truck that is about to hit a horse trailer next to the tracks is, none to my surprise, White. He was fiddling with the radio trying to get a better country and western station when his truck rams the horse trailer, which of course ends up on the track and gets demolished by the runaway train.
One final anti-White male comment comes when a decision must be made at railroad headquarters about what to do with the rogue train. In the boardroom the camera pans a sea of White male faces, save for one Black sitting at the corner. These men clearly value dollars over lives, as the dialogue shows, and the camera duly zooms in on White (non-Jewish) men, including a foursome out enjoying an afternoon round of golf while Armageddon awaits.
Despite this, the film is not consistently anti-White male. After all, Will Colson, the young conductor, is White. In addition, a knowledgeable inspector who happens to be at the railroad yard is White, as is Ned Oldham, a welder who performs heroically. Even more heroic are two would-be rescuers, one of whom gives his life. He is Judd Stewart and drives two engines that are meant to couple to the runaway train and slowly brake it. The other is a young Marine who attempts to drop from a helicopter to stop the train and is seriously injured in his attempt.
Thus, the movie shows heroics from both Black and White. The point, however, is that only Whites are associated with bad things, as noted above. In other words, if it’s bad, it’s White. This may seem to be an insignificant point, but when viewed in the larger context of the multicultural project to dispossess White men, it becomes important.
Finally, as the credits role at the end of the film, loud music sung by Black women covers the resolution of each character’s future. Barnes and Colson do well, as does the Hispanic woman Connie who, the subtitle tells us, has replaced the White Oscar Galvin as VP of Train Operations. Finally, we see Suplee’s fat character looking up from the gravel: “Dewey is currently working in the fast food industry.”
Unstoppable is an easy film to decode. Consider sharing this article with friends or family who realize that something is going on but are not yet race-wise about it. The movie is entertaining, but can also be used as a training tool — but not as Hollywood intended.
Fenek Solère Rising
San Francisco: Counter-Currents, 2017
“Tom had long harbored the suspicion that because the Slavs escaped most of the corrosive influence of political correctness, they would act as a catalyst for a White revolution.”
Russia. Less than a decade into the future and the Third Rome is under siege. Muslim militants run rampant, savaging innocent Slavic girls in a manner akin to the Bolshevik rape and torture gangs of the late World War II period on the Eastern Front of German defenses. The American President is dead from a sustained attack by militants, and several of the United States’ more “vibrant” cities have devolved into Liberian-style Bandenkrieg. George Soros is still alive and funding the browning of the Russland. Putin has been recently impeached following a severe economic crash in Russia. The largest (and most politically influential) oil company in Sweden is now owned by someone named Mohammed. Rahm Emmanuel is still the mayor of Chicago. The conflict in Syria has turned into another conflict of the new cold war with forces backed by the US (i.e. Uncle Sam financed Muslims) taking down Russian Federation aircraft while somewhere deep in hell Charlie Wilson cackles with a sick sort of glee reserved for warmongering perverts and the criminally insane.
Dugin evades arrest – fleeing to Europe. Issur Babel – of the Eurasian Party (having split between factions of Russian loyalists and the mongrelized neo-liberals) leads the Coalition for Renewal movement to power in Russia. The newly elected President Babel appoints a gaggle of juden to the country’s highest offices and suspends the Duma.
In our own time Putin has doubled the minimum wage. By the time he is forced out of office into home arrest the stable financial growth brought by the Russian autocrat flounders, leaving two-thirds of the citizenry below the poverty line. Now ethnic Russians die off in the thousands during the winter as “The Great Migration” of Chinese and Turkic invaders displace and replace the Slavs. A Third Chechen War taxes the already waning army.
Welcome to the manic world of political dissident Thomas Hunter PhD. It’s the dystopian Russia Gen X has been waiting for and Fenek Solère is our Mad Hatter guide. His protagonist Dr. Hunter arrives in Saint Petersburg for “The International Forum.” A symposium of assorted representatives from Nationalist political parties and direct-action groups throughout the White world. During his off hours he explores the streets and museums of Russia’s Venice of the North, now made over with the aesthetics of Metro 2033. It’s a world in which we’ve almost lost. The influx of the unwashed — having taken America and Western Europe — has spread east. Yet still Dr. Hunter rages against the dying of the light.
After sketching out the dynamics of Eastern Europe’s downfall Solere delivers on the prose that makes his books such page turners. The abundance of witty, alliterative adverbs and adjectives — to which, as an Anglo I’m quite amiable — coaxes the reader to keep the lights on late at night and devour one more chapter.
“They are Russian Gary Coopers, sauntering self-importantly, scratched leather holsters riding high on their hips.”
Fenek Solère is a bi-athlete of Right-wing literature, switching from the grueling gross-motor movement of cross country skiing to the calm controlled breathing of a seasoned sniper at the range. He sets the mood through atmosphere and details of the gulag gray ruins of a once great global superpower before focusing on the adopted intellectual heritage of his protagonist for character development. For Solère this later part is his key flaw in that he is so reliant on that he neglects to flesh out other characters in his novels. Though he gives details of Tom Hunter’s life in academia and where his marriage went south, he relies primarily on interests in film, literature, and music of his main characters to make them relatable. Though, this works very well, the rest of the personalities in Rising (or his previous novel) can be described as what you see is what you get. WYSIWYG characters are more often the stuff of comic books and role-playing games, and as a fan and fellow comrade I would encourage Fenek to provide more background to the other people we meet in his stories. Ideally, I’d like to see an in-depth portrait of a villain.
Like The Partisan (2014), Rising is a didactic novel tempting the reader to set down the book momentarily and google the other titles mentioned. Whether time tested classics or newly released metapolitical best sellers the reader will finish this book with a laundry list of new titles for self-enrichment. William Pierce set this standard for pro-White literature with his own novel Hunter – considered by most to be the better of the two he authored.
The continuous political updates provide a sense of urgency to the reader. Also, it works on those of us becoming more adept (or simply being born into) social media. We’ve learned to expect notifications of social and political developments almost hourly and in that way Rising will also appeal to the youngest readers among us.
But to those in the know these headlines becomes spine-chilling at times. Fenek Solère has spent quite a lot of time in Piter — as the locals call it — and is clearly well versed in the rumble and mumble of the cryptosphere as it pertains to Eurasia. The mass migration of Chinese, Islamic, and most importantly Uyghurs described in the book is indeed part of the plan for Russia’s downfall and has been for over a decade and a half. As Yossef Bodansky describes in Chechen Jihad, prior to Osama bin Laden’s death at the hands of Ahmed Omar Saeed Sheikh around late 2001 his final project was the establishment an Islamic state engulfing Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, Uzbekistan, and China’s Xinjiang province. This was code named LIVO by bin Laden — whose appointed council was made up of Chechens, Pakis, two Taliban officers, and the senior leader of Muslim Uyghur Separatists. The invasions and Muslim attacks of Russia fulfill the last of Bin Laden’s plan for an eastward Jihad. Once again Fenek shows us a vision of the world we’re fighting to avoid. A world where the White global minority has been overrun by a Caliphate and undermined by Jewish cosmopolitans. In light of these real life details the novel becomes more Tom Clancy than George Orwell. If we do not resist than the horrors you read about will take hold of our people. The process has already begun.
The first chapter wraps up with a sex scene that’s a bit overplayed. I’d suggest he uses more euphemism and not terms sounding so . . . medical. These scenes don’t detract from the plot in any way. He makes up for this later with an all too believable misadventure with a prostitute. Unrestricted migrants, as we’ve seen in the US, bring alien or otherwise contained virii with them — yet one more fear to add to the Chernobyl-like meltdown of social cohesion.
Though there are somewhat promiscuous scenes in book they’re not out of place. Russia has long had it’s ups and downs with prostitution. State sanctioned during Soviet times. Out of hunger and desperation during the “shock therapy” Soros incited through his lackeys in the nineties. Whereas The Partisan is a love story, Rising is meant to prepare the reader for the inevitable confrontations down the road even if they are to face it alone. Those who’ve read his first novel will not only pick up on the clever alliteration and didactic name dropping, but will recognize references in Rising to the characters in The Partisan. One need not read the first to enjoy the second, but they are part of the same near-future mythos that Solère is developing. By his own admission and evidenced in his writing for Counter-Currents Publishing this is a man who enjoys portraying femme fatales in his work. During an interview with New European Conservative he remarked that “As for myself I believe in the full engagement of women within all social and professional spheres based on their capability and inclination. I have said many times, I am not threatened by independent and talented women. Rather the opposite, I find them attractive and interesting.” Solère is pro-woman, pro-natalist, and well-read on feminism. Somewhat unique in America’s far right circles these days, though not so among our cousins in Europe.
The work of oft debated Alexander Dugin is also critiqued through the dialogues in the book. Solère shares my own views on Dugin. He’s in the right camp, coming out of Traditionalism. But his pro-Islam/Orthodox unity is misplaced, and sadly he downplays the role of ethnicity. Dugin is not an identitarian like the heroes of Rising or its author.
Criticism of Putin is not off the table. “Who passed the law criminalizing anyone challenging the findings of the Nuremberg trials? Who talked about the threat of militant nationalism? . . . Lavrov went around Europe making speeches about antisemitism.” Says one of Prof. Hunter’s confederates over sushi in Saint Petersburg, insisting the foreign minister represented a fifth column within the Russian state.
Zhirinovsky has been assassinated, so the story goes. Many nationalists mourn his demise. I like Zhirinovsky too, I even own his book (the title of which translates to “My Struggle” in English). The man is a bit of a buffoon and half Jewish — his father emigrated to Israel after leaving his mother. Very entertaining, though. Throwing water in the face of journalists and brawling with kosher politicians on the floor of the Duma? If I saw that in congress I might like the man who did it too. Zhrinovsky’s trademarked hyperbolic rhetoric made him the inspiration for Russian villain Vladimir Radchenko — played by the late Daniel von Bargen — in the Gene Hackman film Crimson Tide (1995). If you’d like to be entertained by Vlad, just go to google and type in the words “Zhirinovsky threatens” then watch the list of things that appear in the drop-down box. Yes. He really did all of that. Though whether or not those characters whom are sympathetic to Zhirinovsky are speaking with Solère’s voice or if it is representative of the folks he spent time around while living in St. Petersburg, I am unsure.
The novel is a quick but entertaining and educational read. In the future I’d like to see more development of other characters and slightly fewer obscure references. The scene where Tom Hunter makes his speech at the symposium with the next Russian civil war oncoming is great, but when his two comrades congratulate him they mention a philosopher so obscure and unknown to Western audiences it becomes a wet blanket on an otherwise near-climactic moment. But we can’t have a Solère novel without some shoot ’em up action, can we? Through the climax he delivers the excitement most seek out of racial fiction. Thankfully he served it up with intellectual stimulation first. Sometimes it’s best to eat your vegetables before you cut into the steak. You’ll enjoy the entire dining experience all the more.
After setting the book down I sat still for a moment, ruminating on the story and its implications. I’d lifted that morning and hit the heavy bag in the early evening. Walking to the bookshelf I took down Zhirinovsky and Dugin. Somewhere was Gogol and Pushkin — though I’ve never read any of that either. I eyed a worn biography of Bakunin — one of Marx’s contemporaries. I recalled my pre-9/11 days as a self-styled anarchist. I was young and angry. Full of zeal. One slogan echoed in my mind (there were so many among their ilk, you know): Educate yourself for the coming conflicts. Stooping low, I traced my index finger along hardbacks and pulled a thin booklet out. Transcriptions of several speeches. Solzhenitsyn’s Warning to the West. A good place to start. Yes Fenek, you have succeeded. Now it is time to prepare.
Last Resort:The USS Potemkin, or the Tea Party with its Finger on the Button
(”Crimson Tide” is briefly mentioned in this.)
Yesterday (Thursday, September 27, 2012) saw the premiere of a heavily-promoted new drama series on ABC, Last Resort. The series is about a fictional American missile-carrying nuclear submarine, the USS Colorado, which disobeys an order to launch its missiles onto Pakistan and then declares itself to be independent of American authority.
While I generally eschew any programming on the major television networks, I decided to watch the first episode of this series, having an interest in the politics and strategy behind nuclear weapons which dates back to my late-Cold War childhood in the 1980s, when nuclear war was an ever-constant threat, and also as a result of my fondness for political and military dramas.
Judging from the first episode alone, Last Resort may well turn out to be a mediocrity as a dramatic venture, but I still found it interesting for reasons I will describe later.
A positive development that has come out of the vastly increased number of competing television networks in recent years is that they have been forced to improve the quality of the writing in their dramatic series to keep people interested. As opposed to the situation 20 to 30 years ago, when the vast majority of television was virtually unwatchable by anyone with a minimum of taste and intelligence, in recent years we have been blessed with a number of interesting series (some of which have already been discussed here at Counter-Currents, such as Breaking Bad). Last Resort seems to be molding itself after the several popular “mystery” series of the last decade (namely, stories which revolve around the gradual unraveling of a central mystery), such as Lost, Jericho, and Battlestar Galactica.
First, a brief recap for those who missed it. Of necessity I will stick only to the essentials of the plot, since a lot was crammed into this first hour. The episode opens with the USS Colorado, commanded by Captain Marcus Chaplin,engaged in picking up a team of Navy SEALs off the coast of Pakistan, who are returning from a top-secret, and unspecified, mission. The Colorado is then forced to avoid interception by a Pakistani naval vessel. After executing this mission, the vessel picks up some unexpected movements from other American naval ships in the vicinity. Captain Chaplin attributes this to domestic politics at home, as many of America’s top military officers are resigning in protest against the policies of the (unnamed) American President, who is facing impeachment by the House.
Expecting the remainder of their patrol to continue as per routine, the crew is shocked when an order is suddenly received from the Department of Defense, ordering them to immediately fire four of their nuclear-tipped missiles onto targets in Pakistan. Although the order is deemed authentic, the crew notes that the signal was transmitted over an emergency back-up network that is only supposed to be used if Washington, D.C. has already been destroyed in an attack.
Aghast at the notion of simply firing their missiles without knowing what is happening, the Captain and Lieutenant Commander of the Colorado decide to raise the sub’s antenna to see what can be picked up. Upon doing so, they find that American television stations are broadcasting their usual programming, making the idea that there has already been a sneak attack on Washington even less likely. (This is, incidentally, one of the checks that actual nuclear submarine officers are supposed to make while authenticating a launch order.) Captain Chaplin then contacts their on-shore command by radio and requests that the order be retransmitted through the Washington network. When their contact at command refuses to do this, Captain Chaplin refuses to obey the order, over the objections of several of his officers.
After a pause, the Colorado is contacted by the Assistant Secretary of Defense, who relieves Captain Chaplin of command, and replaces him with his second-in-command, Lieutenant Commander Sam Kendal. However, Kendal likewise demands that the launch order be retransmitted over the usual channel. The line goes dead, and shortly thereafter a conventional missile fired by another American vessel explodes near the Colorado, killing several of the crew and nearly sinking the sub. Although the submarine manages to survive the attack, the crew realizes that if they alert the American Navy to their whereabouts, they will likely be destroyed. Meanwhile, back in the U.S., the media reports that the Colorado was attacked and sunk by a Pakistani warship. Kendal turns command back over to Chaplin, who takes the vessel to the fictional island of Sainte Marina, which appears to be little more than a tourist resort of unidentified culture and ethnicity run by the local mafia, but which also happens to be the site of a NATO early warning station. While they are en route, another American vessel fires two nuclear missiles at Pakistan which detonate, presumably in retaliation for the supposed sinking of the Colorado.
When the submarine reaches Sainte Marina, the crew quickly assumes control of the island at gunpoint, in particular the early warning station. Some of the Colorado’s officers use the station’s communications equipment to contact relatives back in the U.S. to inform them of what has happened, but everyone they contact is shown being taken into custody by military personnel afterwards.
Then the station picks up a wing of American bombers approaching the island. Chaplin decides to stand his ground, believing that the bombers will destroy the island regardless of whether the Colorado is still there or not. Chaplin launches one of his missiles, targeted on Washington, D.C., and threatens to let it explode unless the bombers turn back. As they draw near, Chaplin at first believes his bluff has failed, and he prepares to signal the missile to self-destruct before impact. At the last moment, however, the bombers do turn back, although Chaplin thinks it wiser to let the people in Washington know that he is serious. The missile detonates, and as it turns out, it had in fact been targeted in the ocean, 200 miles off the coast of D.C. – close enough to be seen, but not close enough to do any damage (presumably, apart from whichever vessels happened to be in the blast area at the time, or wherever the resulting radioactive fallout from the explosion might end up). Chaplin then broadcasts a video around the world, explaining why he has taken the actions he has carried out, and declares that the Colorado will fire its remaining missiles upon any nation which sends military forces within 200 miles of the island.
At the end of the episode, Chaplin surveys the island with his officers, and observes that things have become so bad in America that he believes it would be possible to make a better life for themselves on the island. Kendal replies that he had believed they were simply trying to survive long enough to prove their innocence and clear their names so that they can go home, to which Chaplin replies, “Maybe this is home now.”
In spite of a few ridiculous plot holes, heady stuff, to be sure. Many of the concepts explored in the show – such as the morality of the use of nuclear weapons, the dilemma faced by the officers who command nuclear weapons of knowing whether or not an order to launch is genuine, and creating an independent nation through the threat of force, among others – are fascinating in themselves, and are issues that are seldom explored in the mass media.
Not entirely, however. During the 1980s and ‘90s, there was a Japanese manga series entitled The Silent Service, in which the Captain of a fictional Japanese nuclear ballistic missile submarine declares his vessel to be a sovereign state. Also, the idea of the officers of an American submarine questioning an order to launch their missiles was part of the plot of the 1995 thriller, Crimson Tide.
In my summary I ignored all the interpersonal drama and such, which was merely typical Hollywood fare. It is worth noting that Captain Chaplin is Black, which is in keeping with Hollywood’s oft-demonstrated tendency to cast non-White actors in the role of the savior of the nation/world. Also, several of the crewmen on the Colorado are women, and the producers naturally felt obligated to introduce a yawn-worthy subplot about tensions between the women and some of the male officers on the boat, who resent their presence. However, these phenomena are nothing new in multicultural America’s films and television series from recent decades, and have already been analyzed by others, so I don’t feel the need to dwell on them in this review.
Unfortunately, however, at least judging from this single episode, the concepts behind Last Resort are much more interesting than the series itself, which is hampered by bad writing. The plotting feels rushed – which may have been the result of the show’s creators wanting to set up the entire scenario in the first episode – and some of the plot elements feel far-fetched, such as the NATO early warning station, for example, which is apparently vital for international security, and yet seems to be manned and guarded by only two civilian technicians who let anyone walk in off the street as they please.
Much of the dialogue is also truly cringeworthy. My favorite example of this comes when Captain Chaplin is telling Kendal about the most recent letter he received from his son, who appears to be serving as a soldier in some unnamed Middle Eastern conflict. Chaplin says, “He says he’s jealous of me being surrounded by water. Guess it’s pretty dry where they are.”
First runner-up: in a scene set in Washington, a female engineer describes the technical specs of the Colorado while stripping down to her bra and panties – a bone thrown to the men in the audience for whom the action isn’t enough to keep them interested, I assume – when her date says to her, “God, I love it when you talk military hardware.”
Some other reviewers have also questioned whether the scenario depicted in Last Resort is actually realistic. As someone who has never served in the military, I cannot say with certainty, but my impression is that the men and women of the American military have loyalty to the state too much ingrained in them to ever seriously contemplate open rebellion, even against an administration they may dislike or in response to an order they may feel is unjust. Unlike other nations anywhere in the world over the last century, the American military has never openly challenged or threatened its military or political leadership. This might change if the socioeconomic situation in America deteriorates even more than it has already, although I don’t think we’re anywhere near that point yet.
I do give credit to the creators of Last Resort for raising issues concerning the politics and morality of nuclear weapons, however, which is something that has virtually disappeared from the American popular consciousness since the end of the Cold War. The average American seems to believe that nuclear weapons became irrelevant after the Russian threat receded, but the fact is that very little has changed since the 1980s.
Yes, America and Russia have both significantly reduced their arsenals since 1991, but the fact remains that both nations maintain nuclear forces consisting of several thousand warheads that are on hair-trigger alert, 24 hours a day, 365 days a year, ready to deliver the apocalypse to any spot on the globe within 30 minutes or less (literally). Each nation has several thousand more nuclear weapons in storage which could be quickly reactivated.
Both nations also continue to actively prepare for the possibility of nuclear war against the other. And besides these two, seven other nations also currently possess nuclear arsenals. This is an important reality that needs to be understood by anyone contemplating our current geopolitical situation, and it is something that I plan to write about further in future essays for Counter-Currents.
Last Resort does base its scenario upon very real problems that have cropped up in the first seven decades of the world’s life with nuclear weapons. The question of how an officer who receives an order to launch his weapons can be certain that the order is legitimate is one that has perplexed those who would have to carry them out from the beginning.
A notable instance of this is the case of Major Harold Hering, a U.S. Air Force officer who, after 21 years of a successful military career, was in training to become a crewman in one of America’s many intercontinental ballistic missile silos in 1973. During the course of his training, he asked how, upon receiving an order to launch, he could know whether or not the order had come from a sane president. Having no answer to this question – the reality was, and remains so to this day, that there is no way to be certain – Major Hering was promptly dishonorably discharged from his duties by the Air Force.
Given the extremely short flight-times of the nuclear weapons in service since the 1960s, the decisions in a wartime situation involving them must be made so quickly that there is virtually no time for verification or reflection. As a result, the world has been at, and remains, on the brink of an Armageddon that may very well come about as the result of faulty equipment, a misunderstanding, or the intoxicated or unbalanced state-of-mind of a political leader.
Concerning the other side of the sanity coin, in foreshadowing his actions later in the episode, Chaplin early on references the story of Ronald Reagan firing all those who were on strike in the air traffic controllers’ union in 1981. According to Chaplin, Reagan was warned that he would be viewed as crazy for doing this. In response, Reagan gestured toward the Soviet Union and said, “That’s exactly what I need that bastard to think.” I am not certain if this is an actual quotation – if so, I’ve never heard of it before – although it is nevertheless true that the idea of making the American President seem crazy was at one time a part of American strategic planning.
A perennial worry throughout the Cold War was whether or not the other side genuinely believed that the man with his finger on the button would actually press it in a crisis, knowing full well that he would be bringing unprecedented death and destruction upon his own nation as well as the enemy’s. Surely only a madman would willingly use weapons that would wreak devastation on a scale previously unknown in human history. Nixon’s solution to the problem was to quite literally try to convince the world that the President – himself – was actually insane. He termed it the “Madman Theory.”
How far Nixon actually took this doctrine was previously unknown, but recently declassified documents have shown that an exercise held in October 1969, in which nuclear-armed bombers were dispatched in large numbers towards the Soviet Union and which only turned back from its borders at the last moment, was ordered as a component of Nixon’s Madman Theory. Fortunately, the event didn’t cause the Soviet leaders to come to the conclusion that a pre-emptive strike on the U.S. was the only hope for their survival.
Therefore, Last Resort deserves some credit for depicting the truly bizarre world brought into being by the uncomfortable realities behind our ongoing nuclear standoff with the rest of the world.
Ultimately, however, the most interesting aspect of this show for me wasn’t its supposed realism, and certainly not its mediocre writing, but rather what it says about the state of the American popular consciousness. The idea of an armed uprising against the American government by its own people is virtually unknown in popular culture. I can only think of two other examples. One would be the 1964 novel and film Seven Days in May, about an American General who attempts a coup against an administration which he believes to be soft on Communism, although he is made out to be the bad guy in that scenario rather than a sympathetic figure.
By the 1970s, in the wake of the Kennedy assassinations and Watergate, it had become acceptable to depict the American government as the villain. Perhaps the quintessential film of this sort from the time is 1974’s The Parallax View, in which a journalist stumbles across a political assassination conspiracy and is himself murdered. This was an interesting development, although films from this time usually featured lone crusaders who are stopped before they can make others aware of the truth. This remained true up through the 1990s, when films like JFK and series like The X-Files dealt with the evils of the American government, but which stopped short of actually depicting mass resistance.
More germane in relation to Last Resort, however, was the series Jericho which aired on CBS between 2006 and 2008. In Jericho, 25 American cities are suddenly and simultaneously destroyed in nuclear explosions, crippling the nation. The attack is at first believed to be the work of terrorists, but later in the series it is revealed that the bombs were actually part of a massive false-flag operation carried out by elements of the U.S. government in league with an evil corporation, made out to appear suspiciously like Halliburton.
Jericho backed off somewhat from the more radical implications of such a story, however, by assuring us that there was still a “good” U.S. government in another part of the country that opposed the machinations of these rogue elements. Opposing the “bad” government were ordinary American citizens, working with surviving parts of the American military. The series ended as civil war was about to break out.
In spite of the series’ attempt to deflect blame toward the tired trope of an “evil corporation,” we must give some credit to the makers of Jericho for bringing Americans’ fears about a corrupt government more interested in profits than its people, and false-flag terrorist attacks, to the screen, and of actually arriving at the point of depicting a popular uprising. (The series was cancelled before they could do so, unfortunately.)
As we know, Hollywood always has its finger on the pulse of America, attempting to project the peoples’ fears and fantasies onto the screen to keep viewers tuning in. If the idea of a populist revolt against the present order of things has suddenly become fodder for prime-time television, this suggests that the barometer of American dissatisfaction and rage with business as usual may very well be approaching the point of desperation. Typically, the very forces which enable and depend upon things remaining as they are now are attempting to profit from this mood.
Last Resort has the potential to achieve something similar to, or perhaps even better than Jericho. Indeed, all of the elements are there – government conspiracies, false-flag attacks and so forth – but in Last Resort, these ideas are in play from the very beginning. If utilized properly, and if the show’s writers and producers are a bit daring, they might just end up articulating – and thus seeding – the idea of dispensing with our current government and replacing it with something different.
Some of the dialogue at the end of the episode suggested that the writers may indeed be planning to take the series in such a direction. During his address to the world, Captain Chaplin says, “From our submarine, we have watched as the fabric of trust between the government and its people has been torn . . . As for myself, and the men and women of the USS Colorado, we love our country. We would gladly die for what it represents, but we do not recognize or obey a government that tries to murder its own.” A bit later, when Chaplin is reflecting on his actions with his officers, he says, “What happened to the country I grew up in? They’ve made it all a mess.”
Clearly, the makers of Last Resort want viewers to see in Chaplin a mouthpiece for their own dissatisfactions with our current political situation. And the symbolic value of declaring independence from the U.S. government has definite secessionist overtones. This is again confirmed in the closing dialogue. After Chaplin deplores the state of America, he says, “We could do better. Right here. Start from scratch.” Just what type of new society he has in mind remains to be seen. Although the only precedent for the idea of Americans securing a new state from the wrath of their government through nuclear deterrence is from novels written in support of radical political perspectives, namely Ecotopia and The Turner Diaries. An interesting pedigree.
In spite of the many warts in this first episode, I will definitely give Last Resort a chance. Given that it is a Hollywood production, I have already steeled myself for likely disappointment. I find it hard to believe that its makers won’t be tempted into some sort of cop-out. We are likely to find out that the real villain is, once again, some evil faction that simply needs to be exposed and stamped out by the “good” forces in government, or perhaps it will be yet another evil corporation. Only time will tell. Regardless, the fact that our government is being depicted as the bad guy with greater and greater frequency, with good men and women rising to fight rather than defend it, surely suggests that the writing on the wall concerning America’s future can be seen even from Beverly Hills.
Supreme Avantgarde Death Metal: The Metapolitical Struggle of The Monolith Deathcult
(”Crimson Tide” is briefly mentioned in this.)
The Monolith Deathcult are a three-piece extreme Death Metal band formed and led by Dutch high-school history teacher, Michiel Dekker. TMDC is a one-band musical vanguard for the coming inevitable National Populist cultural explosion of the European New Right. Their music, whilst incredibly varied, complex, catchy, and listenable in its own right, is used by Dekker as vehicle to deliver a scathing critique of extremist ideology and historical atrocities. Dekker’s particular fascination with 20th century terrorism and genocide, often against Europe and Europeans, provides an impregnable core of White racial self-consciousness within the Deathcults’ music.
Synergistic with astonishingly creative, contemporary, and dry art direction, TMDC demolish their musical and cultural opposition like a hijacked bulldozer levelling a Diversity seminar. The Schwartze Sonne emblazons Versus, the first of the tragic trilogy, where the headline track describes an alternate history where the National Socialists activate nuclear and occult weapons, awaking “Furious Gods” with a “Nazi Bell from Hell,” a “doom machine beyond imagination.” Elsewhere, a computer-generated bust of Stalin revolves in a lyric video about the “faceless drones” of the Red Army exerting genocidal vengeance, the accompanying lyric booklet containing excerpts from Ilya Ehrenburg’s infamous 1942 leaflet, “Kill!”
Unleashing more Shock-and-Awe entertainment than the televised invasion of Iraq, the Deathcult package historical notoriety in pop-cultural trappings to mock, insult, and twist the motivations of the perpetuators of these abominable crimes: The outrageous track of “Drugs, Thugs and Machetes” outlines the motivations behind the Rwandan genocide over a beat of African war drums, the stunning outro of anguished guitar wails returning to a chorus hook of a Harry Potter quote from the house of Slytherin: “Pure Blood Traitor!” The outstanding, bombastic opening track of “Gods Amongst Insects” (on Tetragrammaton, the album name being a reference to the four-letter abbreviation of YHWH — “we needed a word that meant something to do with ‘four’ without actually being ‘four’.” — TMDC) finishes with the signature quote from the film Independence Day: “What is it you want us to do?” “Die . . .”
The Deathcult’s unique sound of chugging and grinding riffs layered with electronic breakdowns and orchestral grandeur, “Stalin organs, sonic booms and mammoth orchestral stabs” interspersed with pop-cultural killshots, came about at their turning point as a band with the production of Trivmvirate (sic), their third album (“Triumvirate” being a term from the Roman Empire to refer to three notable men holding power). This 2008 offering garnered critical acclaim and marked their departure from “True” death metal. In the words of Angry Metal Guy, their first two albums “offer some standard Death Metal before they veered onto an electronic side-road” in pursuit of their own creative vision.
Trivmvirate opens with a haunting electronic melody before exploding into an all-out cosmological war of ancient Gods returning to earth, with follow-up track “Wrath of the Ba’ath” elaborating on a flattened, machine-altered chanting of “Wah-da! Hurriya! Isht’rikaya! Halabja!” the Ba’athist party slogan of “Unity, Liberty, Socialism” and Halabja, the site of Saddam’s chemical attack on the Kurds. Expanding Russian tragedy into grandeur, the expansive, rumbling strains of “Den Ensomme Nordens Dronning” weaves the US Naval hymn (complete with a sample borrowed from the Crimson Tide film soundtrack) with Antaeus of Greek tragedy: “TMDC are referring to the naval exercise of the K-141 as a prideful overindulgence that cost the lives of under-prepared and under-equipped sailors.”
The Monolith Deathcult have pursued this thread of historical commentary, genre-defying unorthodoxy in musicianship, and an obsession with sonic and subject heaviness through their five main releases over the past decade, Triumvirate, Tetragrammaton, Bloodcults, Versus, Vergelding. The Deathcult have evolved through borrowing from movies to critique extremist ideology into adopting voice actors to transform real massacres into sly, knowing fables — Peter Cullen, the voice of Optimus Prime from Transformers, provides the final statement on “Aslimu,” a sarcastic homage to the Muslim Brotherhood’s murderous influence in the so-called ‘Arab Spring’: “It is time for the slaves of the earth to recognise their masters.”
Finally, the Deathcult have become characters themselves, enlisting voice actors to narrate their travels through the netherworld, “as the light of the sun returns, so will The Monolith Deathcult, to smother all living things in their wake.” The percussive strains of sonar pings, otherworldly choirs, helicoptering electronic hooks, brutal riffs, and tortured down-tuned guitar wails from Triumvirate onwards create a primeval and unforgettable sound.
Nearly every song is written from the perspective of genocidal maniacs and peddlers of mass death — the one song where the Deathcult write as themselves, “Supreme Avantgarde Death Metal,” they describe their music as “another way to push atrocity unto mankind.” The zealotry and fanaticism of war criminals, murderers, rapists, torturers, and suicide bombers (“martyrdom looming on the event horizon”) is adapted and assimilated into a Kulturkampf against them, a no-holds-barred historical examination and analysis of atrocity. Brutality is bent back on itself. The power of the perpetuators beliefs is framed within the Deathcult’s use, abuse, and pop-cultural mockery of it. The Deathcult’s assimilation of atrocity is an empowering process — through the band’s relentless energy the listener can come to terms with the undiluted psychosis of the subjects, and join the “vile assault” against “soporific mediocrity” and the abominations it results in.
The last track the Deathcult have offered — “Rise of the Dhu’l Fakar” — returns the Deathcult to extremist Islam, in this case the “Brides of Allah”’ and the Chechen terror campaign against Russia. Blastbeats compete with a chaotic riff, and triumphalist guitar work underscores paraphrasing of Stalin: “You showed yourselves to be weak, and the weak get beaten!” Banshee wails rush together with frenetic female chanting into an electronic and orchestral breakdown, and the voice of Optimus Prime returns to declare once again that “In those days men shall seek death and shall not find it. They shall desire to die, and death shall fly from them.” The Deathcult take a new vocal tack of speaking almost directly to the listener with a voice flat and deadly: “Strap death to your body and wreak mass havoc — spill blood like a river with a merciless attack.” The Dawn of the Dhu’l Fakar, and triumph of the derangement of Islam is concluded with the clicking off sound of a television set — as neatly expressed by the triangle warning sign of a woman in a Niqab exploding, the lunacy the Deathcult invoke is condensed into being a hazard of modernity.
The real threat to the status quo is the Deathcult itself. Marauding, prowling, ‘a resurrected ghost of a paralysing nightmare, a vandal from another realm’, TMDC threaten to fully destroy the battered idol of racial panmixia with their critiques and counter-narrative of bloodlust, bloodcults and ethnic cleansing played out in service of “Furious Gods.” TMDC establish a “deathcultzone” where no-one is spared. Exposing post-war, genocidal terrorism of the Jewish Nakam group against German civilians and mashing it into a first-person-shooter lyric video akin to Doom or Quake on “Dawn of the Planet of the Ashes,” the “three-headed Death Machine” of Michiel Dekker (The Teacher), Robin Kok (The Doctor) and Carsten Altena (The Vegan), show the credentials and cachet of their metapolitical project and bring buried history to the extreme metal scene.
The Monolith Deathcult all clearly keep in great shape and look fantastic on stage, sporting long metal hair and rough beards, and wielding a weapons-grade perfection of their craft — TMDC are Viking warriors in the electronic age, plying an unending and merciless onslaught against the sacred cows of the West and unleashing musical bombast more alive, truthful, and interesting than anything the mainstream has to offer. White Nationalists, Identitarians, and National Populists should take note of their cultural leadership and supremacy, their brazen hard swerve away from the mainstream in pursuit of their own uncompromising vision. TMDC have become “an evil supernatural beacon” for counter-cultural forces sweeping away “fawning left-wing cant.” Heavier than a nuclear submarine, more grandiose than Soviet parades, and as savage as razor blades in cereal, “The Monolith Deathcult is still alive . . .” and it is through these things we live forever.
I was horrified to learn that Tony Scott, the director “Top Gun,” “True Romance” and a bunch of Denzel Washington actioners (“Crimson Tide,” “Unstoppable,” “Taking of Pelham 1 2 3” remake) threw himself off a bridge in Los Angeles. I chafed at Scott’s kinetic MTV style on “Top Gun” and “Beverly Hills Cop 2” but later I learned to appreciate his propulsive energy, particularly in the case of “True Romance,” which I do not think Quentin Tarantino could have directed any better. As I noted in my “Unstoppable” review, Scott did his homework, and put you right there in the action.
Condolences to his family.]]>
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