How the Alt Right Ruined My Love of Film

As time ripens the mind, wisdom renders a paradigm shift which tarnishes the love and discovery of that younger self which I now experience with a tainted sense of nostalgia. The Alt Right offers intellectual nourishment contextualized by history (not rationalized at history’s expense as in Marxist critiques) and aligned with the natural order which resonates deep in the marrow of the European soul. This Traditionalist understanding of the world far exceeds the infantile worldview of Marxist academia. Thus, the Alt Right’s Traditionalist worldview erodes this mode of pretension revealing the leftist narrative manifest in much of the world of film with seemingly very few exceptions.

As a child growing up in the nineties, film offered a window into the greater world to which I did not yet have access. The nascent internet did not yet have streaming video. Waiting for pictures to load could be laborious. However, the the locally owned movie rental place provided a joy which could not be experienced in any other capacity.

There was a certain discovery in the limited variety of film that one could watch in those days depending on what your local store could get. Often, you would end up watching films in which you had little interest because that particular film was the best of the hours’s offerings if you were watching TV. Thus, over the years, I would find myself watching a wide variety of movies from classics, to blockbuster re-runs, to obscure B-schlock.

The burgeoning internet by the early aughts yielded a new selection of independent and foreign films which filled in the downtime afforded by my new college schedule.  It was during this time period I discovered art house film and cult film and a variety of foreign classics. I read essays on Sergie Eisenstein’s Odessa Steps sequence from Battleship Potempkin. I wrote papers about communist Red Scare allegory in Invasion of the Body Snatchers. I discussed Pink Flamingos using the gender lens/feminist film theory.

In my late teens and early twenties, I felt as if I was seeing film for the first time again learning how to unveil the layers using what I learned from college and from reading and from analyzing with friends after a viewing. This sophomoric appreciation of film gave me, as I now understand, a somewhat false sense of elitism which is one of the means which the academic institutions and universities use to turn middle class teenagers from the suburbs and rural communities further removed into the good-think cosmopolitans we know inhabit the urban wastelands of the West.   

As time ripens the mind, wisdom renders a paradigm shift which tarnishes the love and discovery of that younger self which I now experience with a tainted sense of nostalgia.  The Alt Right offers intellectual nourishment contextualized by history (not rationalized at history’s expense as in Marxist critiques) and aligned with the natural order which resonates deep in the marrow of the European soul. This Traditionalist understanding of the world far exceeds the infantile worldview of Marxist academia. Thus, the Alt Right’s Traditionalist worldview erodes this mode of pretension revealing the leftist narrative manifest in much of the world of film with seemingly very few exceptions.

The revelations begin with even the earliest cinema. Case-in-point Battleship Potempkin. Even this 1925 film features all that the Alt Right expects from film in 2017. Consider Sergei Eisensen. Born of a German Jew Father, whose father before him was a Christian convert who married a Swede, and a Russian Orthodox mother. Eisenstein, a mischling, manifests the classic features of the rootless cosmopolitan involved in film. Furthermore, Eisenstein’s considered his 1925 magnum opus a Marxist revolutionary allegory of a lowly ship crew engaged in mutiny against the ship’s officers. Additionally, many film critics since have noted the strong homosexual subtext to the film, and Eisenstein’s own homosexuality is well documented though not often publicized. Even in these seemingly “quaint” times, filmmakers used cinema as a tool which uses narrative as a vehicle to manipulate ethos, pathos, and logos for a socio-political effect.

Jumping to 1956, Jew Don Siegel directed Invasion of the Body Snatchers. In this classic 50’s sci-fi drama, aliens take over the bodies of friends, neighbors, and relatives in this small, idyllic, though fictional, California town. Where the 1954 novel by Jack Finney seems to reflect the earnest fear of a potential silent communist invasion and subversion of America, the 1956 film adds a meta-narrative which satirizes the Red Scare providing a criticism of McCarthy era inquiries into communists in Hollywood which would have certainly affected colleagues, artists, and writers in Siegel’s social circle. The verisimilitude of the scope and intent of McCarthy’s suspicions have obviously been vindicated in the decades since. In this self-aware meta-narrative, Siegel accuses Americans of a fear induced conformity sparked by the House Un-American Activities Committee and various Senate hearing into Hollywood and the extent of communist infiltration therein. This film stands as an early example of Jewish filmmakers, either communists or communist sympathizers, chastising the very audience which sustains their careers. The traditional American demographic still continues to be the punching-bag of Hollywood proving that Europeans’ threshold for masochism is indeed very high.

When you are young, you have a naive thirst for consumption of your particular hobbies. The want to see and learn more about film encouraged me to watch John Water’s 1972 film Pink Flamingos with friends one weekend. This particular film exemplifies the transgressive art film genre. There is no need to explain the plot. Just imagine everything a trashy, degenerate gay man (a gentile in this case) would put in a film starring a white trash drag queen. Today, I would not even finish reading a synopsis of this film. However, the academic  intelligentsia defends this as a work of art, and, because I took their authority on art as a matter of fact, I engaged the film as if it were. Even now, I remember being repulsed by Pink Flamingos the same way I would feel repulsed by Harmony Korine’s 1997 film Gummo during that same time period.  

Before my awakening, the matter of quality was one of pretension. A movie could be considered good or artful if the film in question was critically lauded by hipster consensus, written about by university professors, and praised by published film critics. Now, the matter of quality faces a different criteria entirely.

Film is put under the scrutiny of the following question: Is a film positive, neutral (apolitical), or negative in its critique of Western Civilization and to what extent? I would consider film and television negative toward Western Civilization if the film incorporates any of the following leftist narratives which includes but is not limited to homosexuality, any deconstruction of Western traditions/mores/gender roles, critiques of patriarchy, degenerate sexuality, and/or interracial sexual relationships.  

As you read the list of leftists narratives, a montage of films probably flash through the mind. Even though I do still continue to watch film and television, the desire to invest myself in the medium has died. I know that I am not the only one who feels this way. However, what may come out of this void? Much like music, the future of the Alt Right will include film and “television” by way of the medium of the internet. In 2017, we are already seeing a nascent culture grow around this movement. The fertile intellectualism of the last half century is finally manifesting in other mediums. Thus, the death of film to the tide of rising nationalists in the West will bear fruit in the time to come, and I am very much looking forward to this new Nationalist Renaissance in Art.  


Contrarian Gent
the authorContrarian Gent
A Southern Gentleman of the Alt Right interested in the cultural vortex of the Kali Yuga.


  • I think the white man has been willing to embrace criticism of his history and culture up until the point he realized his critics don’t want his understanding, but his death.

  • Why did the recent cop movie Triple 9 slip under the alt right’s radar? It’s about jewish villains (the film flat-out redpills the viewer on the “Russian” mob being actually jewish) getting a bunch of corrupt black and Latino cops to murder an innocent White police officer. The movie’s message is that America has become tribal and that law no longer really applies due to all the races being at each other’s throats.

  • It is important that all whites, including American ‘philistines,’ watch real European cinema, as it will be then much clearer to you, at least on an emotional level, why (West) Europeans are so fucked up nowadays. Indeed, for starters, watch some films by Rainer Werner Fassbinder, Syberberg, Michelangelo Antonioni, Pier Paolo Pasolini, Ingmar Bergman, Carl Th. Dreyer, etc. After watching some of these films, your entire view of cinema and its value will completely change.

    Hollywood makes schlocky entertainment and agitprop that is made to appeal to the lowest common denominator. Great European cinema is timeless and will stay with you for the rest of your life.

  • Checkout for ‘pro-white’ film recommendations and criticism. You haven’t experienced real cinema, if you haven’t seen any of the great European films.

    SS was Alt-Right long before there was an Alt-Right.

    • Having been a fan of your blog for many years, I think most on the alt right would too restricted to tolerate SS e.g. Fassbinder a homo who loved black cock, Pasolini a homo catholic marxist, porno’s, homo trash John Waters, homo aids ridden Derek Jarman, Buttgereit’s Corpse Fucking Art, lesbo Ulrike Ottinger, even Paul Morrissey would be too much for most alt righters.

      • I certainly agree to some extent, but I have never had the ambition to appeal to a majority. Even as masochistic queers, Pasolini, Fassbinder, and Jarman had a lot to offer in terms of European culture and identity. For example, Fassbinder’s films unwittingly reveal why post-WWII Germans are so fucked up. As for Jarman, he constantly bemoaned the loss of of classic English culture. In short, there is no harm appreciating these things from a ‘detached’ perspective.

  • My awakening took away most modern film and television but opened up my enjoyment of old movies that I had previously ignored. I love watching ideallic white societly depicted in movies from the 50’s and early 60’s.

  • “A Southern Gentleman of the Alt Right interested in the cultural vortex of the Kali Yuga.”

    I respond:

    The term “Kali Yuga” seems to reference the great work of Savitri Devi – “The Lighting and the Sun”. If we are in the final worst time cycle Kali Yuga – what is possible?

    Withdrawal for the fallen world? Monasteries where the art and wisdom (movies) of much better ages are preserved? Becoming a ruthless gangster, a Stalin that just accepts the world of the fallen age and we work to support the best gangster, warlord, mafia guy, or a lying media mogul who’s more for our side.

    Kali Yuga….


  • we must hand it to the jew–everything they do is all about the agenda, especially film. they are willing to take savage hits to further that anti-white agenda (witness the bumbling of their media during the trump campaign; witness jew corporations–starbucks, et al–giving a suicidal middle finger to white america; witness jewish ‘humor’ ala SNL. that said, once we get rolling with our own film industry, it will be hard initially not to promote our own agenda at every turn. still, will it not be great some day to see agenda-free film in which only beauty and truth matter? by that i mean will it not be glorious to view art for art’s sake?

  • I must say that I enjoy films less and less as time goes on. Most are just blatant propaganda. One recent surprising exception, is the Angry Birds animated movie. Go watch it if you haven’t already 🙂

    • Clarke’s “Penda’s Fen” is also great and deals with themes of pre-Christian European paganism.

      • Never seen that. I’ll check it out. Do you run the Soiled blog? Ever seen the Timothy Carey film “Worlds greatest sinner”?

        • Indeed, I am ‘Ty E.’ Unfortunately, I still haven’t seen Carey’s legendary cult film, but I’m well aware of.

          Speaking of Carey’s film, you might enjoy “Forbidden Zone”, which seems to have a similar aesthetic. It is Hebraic to the core, but very politically incorrect and features both Jewish and black caricatures.

  • Is there a TL;DR version?

    I stopped reading after the third paragraph (almost gave up after first, bolded one).

    Sophomoric, wannabe-pretentious writer, sorry to say.

    Watch intelligent films made by European directors with European actors about the European experience.

    • and you, ‘ver-whatever’, are a ‘sophmoric, wanna-be’ poster. i quit reading you churlish ignorance by the third simple-minded sentence.

      • Sorry Contrarian Gent! Did I strike a nerve? It’s just, like, my opinion, man.

        But sick burn though, you totally got me. The way you served my own words right back in my face – ouch! ?

        Btw “I quit reading you churlish ignorance by the third simple-minded sentence” – umm, I only wrote three sentences! ⛔️????

        • sorry to piss you off, ver. as a professional writer myself, i know how devastating words such as yours can be to a young person who is really trying. and keep in mind: this kid is one of us. still, sorry to offend you……really.

          • I take your meaning and agree with you now; I’ve edited my original comment for unnecessary bitchiness.

            Thanks for making me think of the effect of my words on someone likely young(er) and starting out. You’re in the right; I was not, by my harshness. ?

  • I was just talking about this to my wife the other day. So much film and TV I used to love is ruined now. On the other hand I have even greater appreciation for other films and tv so I guess it balances out.

    I too am looking forward to the things to come. You can already see it forming on YouTube and other platforms. Things are looking up, I’ve been black pilled about society for so long that the hope of something different is like a breath of fresh air.

  • Probably the only good directors in Hollywood history are Capra, Kazan, Gibson and Nolan.

    > Good pay, good benefits, lots of time off, great job security, less than 1% are james bond bad asses so mostly desk work that autists would be good at!!
    WTF ARE YOU WAITING FOR!?!?! start our long march though the institutions with the most powerful ones

      • Speaking from experience, they’re not that bad. If you’re not insolvent on your debt and haven’t been in jail you should be good.

        • I’m fairly confident that any appendage of the deep state will have EXTREME, and I mean EXTREME vetting procedures in place to make sure all new applicants are “on board” with the agenda. And if you did somehow manage to sneak your way in, one of two things would happen; either the “culture” would corrupt you, or upon reaching a certain “level”, you would be unexpectedly and involuntarily “initiated” by being drawn into some kind of situation, or given some information that would absolutely blacken your soul, and leave you in a position where you have no choice but to play along.

          Is your soul and your psyche made of the purest diamond? Think you can withstand the most intense gaslighting, paranoia, and psychological torture? How far are you willing to go in “playing along” before you turn on them to strike? What crimes are you willing to commit to prove your bona fides?

  • I have given up on modern entertainment product. There is no film or TV which does not contain some anti-white narrative somewhere. Third worldism, feminism, deconstruction of white-identity, and arrogant contempt for tradition and transcendence are the very air that the (((media))) class breathes, so it should be no surprise that the poz has become an omnipresent drone.

    British television and the BBC are arguably even more insidious than Hollywood, as their products have a bogus veneer of gravitas and ‘classiness’.

    The way in which certain TV shows start out neutral and become pozzed over time is hilarious. Supernatural, for instance. I abandoned it two seasons ago. I’m not missing out on anything.

    Even if cultural marxist indoctrination was NOT a feature of modern entertainment, I would still feel strongly that compulsive consumption of movies and television serials is an unhealthy thing. Far too many otherwise decent and worthwhile people are permanently hooked into the addiction and reward of ‘the next episode’, ‘the next season’, the latest armageddon of battling superheroes (most of whom are metaphors for jewish alienation and supremacism).

    I recently re-watched Clash of the Titans (1981) on DVD.

    Timeless mythopoesis, all white cast, zero poz.

    The special effects are, of course, dated, but the stop-motion animation has an enchantingly aesthetic quality that CGI doesn’t possess to my eyes. The less said about the charmless bombast of the remake (2010) the better.

    TL;DR … Pozzed narrative is ubiquitous, so kick the viewing habit or restrict to older narratives that affirm the european spirit.

    • CGI is largely sh**. Practical effects were better in my opinion. See films like Ridley Scott’s Alien, Legend, Blade Runner, or the original Star Wars trilogy. Bram Stoker’s Dracula by Francis Ford Coppola is another one that uses only practical effects to produce a gorgeous dream-like, poetic aesthetic. In the pro-white cinema of the future, we should return to practical effects, using CGI sparingly and only where needed to accomplish something that is not achievable through practical effects. Just look at how aesthetically horrible the last installment of the Hobbit was. That ridiculous and unnecessary CGI version of Billy Connolly’s character, the overly symmetrical rows and synchronous movements of the Elf armies…

      The absolute worst development to come out of CGI is the “virtual camera”. All the POV acrobatics in the films of the last decade or two are nauseating. Look at what Kubrick achieved with practically no camera movement in his films.

      • Long effort post:

        I confess I have not watched the Hobbit movies. From what I have read about them, I think they would trigger me senseless. The go-grrrl elf alone would make it unwatchable for me. I’m speaking as someone who could barely tolerate the intrusions of modern vulgarity into the Lord of the Rings (skateboarding Legolas, “Nobody tosses a dwarf” etc).

        The LOTR movies were very implicit, though. Kind of a miracle, given that I’m sure everyone involved was a goodwhite liberal. They wouldn’t be made that way today, a scant 16 years later.

        Slightly off topic … Ironically, Tolkien’s own views were far from fashy. He cucked on the reality of race and was somewhat philo-semitic; when approached by the NS government to confirm his credentials as an Aryan (The Hobbit was popular in Germany) he drafted a scathingly sarcastic letter, decrying the “pernicious, unscientific race doctrine” and lamenting that there was no trace of that “clever people” (the Jews) in his ancestry.

        In another, unrelated, letter, he cautioned against the racialist use of the term “nordic”, and he is rumoured to have remarked that “the hatred of Apartheid is in my bones” (Tolkien spent the first three years of his life in South Africa).

        On the other hand, while Tolkien certainly reviled Hitler, he was emphatic that he had no enmity toward the German people, and he was horrified by the allied terror bombing of German cities. He also took great pains to refute any conception of LOTR as an allegory of the Second World War.

        It is strange that a man whose work seems to exemplify the European racial spirit, actually held views that prefigure the universalist race-denying lunacies of later decades. Tolkien did live long enough to witness the first two decades of non-white immigration into Britain, and there is an unsubstantiated story that after his death a stack of nationalist magazines were found in his effects; in one of the issues he had highlighted a passage on the civilisational inferiority of Africans.

        Perhaps the unsettling appearance of Africa and Asia in his homeland gave him a much needed dose of the red pill.

        TL;DR … J.R.R. Tolkien was surprisingly cucked but may have come good in the end.

        • Sad to hear those details about Tolkien. Maybe he knew the (((score))) and was too afraid to run afoul of his accountant.

          • Maybe!

            I think despite his great learning and artistry, Tolkien didn’t fully understand what it was that he was channeling.

  • There are so many great classics out there before total pozz. Night of the Hunter, Wages of fear, Thunder Road …

  • ‘Logan’ was trash. The movie was about the death of old white men (Wolverine, Professor X), and the rise of new mutant kids who were all black and Latina. Hugh Jackman’s “daughter” speaks Spanish all movie.

    Even the half Puerto-Rican girl who saw it with our group said it was terrible.

    • What do you expect? Whites are only 12-15% of the US population and 1/2 of those are gay, right??

    • I agree 100%! Have you seen the reviews? All the film critics are praising that pile of garbage! It was one of the worst superhero movies I’ve seen. I love the first X Men and can’t stand this movie. The plot sucked and I never cared. The excessive violence was nonsensical. I don’t know if it’s just my age, but I can’t stand violence anymore.

  • I don’t let it ruin my joy of films very much. If I have to deeply analyze and deconstruct every facet of a film to find some pro communists meaning hidden in metaphor then I’m really not going to let it bother me. It’s only when it’s obvious leftist propaganda being shoved in my face that I find it intolerable. There is more to film than just its message anyway. You really don’t have to agree with the political message of a film to enjoy its story. If you want you can even have your own interpretation of the story, one that is different from what the original author intended. Joseph Carpenter recently bitched on Twitter because people were interpreting his film “They Live” as being anti-jewish. But you know if people want to interpret it that way, they can.

    • well now they are blatantly shoving it in your face like the avengers civil war movie. they have nothing so all they can do is focus completely on the ignorant and easy to sway

  • Noticed all of this also when in college. The good news is we can choose so much today and just ignore Hollyweird. Then my dad retired and started binge watching movies as well as reading detective novels. All of a suddden a previously rational man was ranting all the time about Russians!

    I hate those evil bastards. May they rot in hell.

    • I read almost no fiction. Interestingly, I read Pinochet had the same tastes as myself, and amassed a YUUUGE library of rare books while Dictator of Chile consisting entirely of history, poly sci, and art texts. For reading, I prefer non fiction grounded in actual historical events.

      As for movies, I prefer heroic epics like Braveheart, Ben Hur, Hacksaw Ridge, or Zulu.

      More personal stories need great actors, of which films today are sorely lacking, Anything with Robert Mitchum (Ryan’s Daughter, Thunder Road, Sundowners) is great).

      No director transports you to a specific place like David Lean (Dr Zhivago).

      Science Fiction can often tell stories about the human condition that other genres can’t accomplish. Every Alt Righter should read Phillip K Dick’s Starship Troopers. Sci Fi films require a strong “last man” type actor like Heston (Planet of the Apes, Soylent Green, Omega Man) or McConaghy (Interstellar) in order to succeed.

      Westerns are a great and dying art which tells the story of the conquest of a continent by Whites. My favorite Westerns: The Long Riders, Outlaw Josey Wales, The Searchers, The Grey Fox (starring real Hollywood horse wrangler Richard Farnsworth).

      Fun and fluff movies should be clean and still reinforce White ideals. My favorite popcorn flicks are the 60s Beach movies with Frankie and Annette. No sex, good clean fun, and reinforces the notion of monogamy and marriage.

      • I saw Zulu a month or so ago and now I think of it often. Outstanding film. A time before shame and self hate were deliberately imposed on us as a People.

  • Not only films, but pretty well everything you see on TV, with the ads being the worst. The omnipresence of the Phallic Female and the Numinous Negro are the pillars of the multicultural/genderist Potemkin Village that is fed to us through the airwaves. And the over-representation of non-Whites and the rampant mixed-race couples, and children, in commercials…all of this, once recognized, makes most visual media unwatchable.

  • Some of this has to do with the “death of God” concept. You can’t have “good” art nowadays without acknowledging the underlying nihilism of modern society, everything has to be critical. Anything done in earnest, anything promoting patriotism or nobility or honor, would be laughed at and mocked because of its lack of cynicism (which is taken as a lack of awareness of said underlying nihilism). I think a director could still promote those ideals in modern cinema, but the auteur would have to find a way to subvert the current all-pervasive tropes of the nihilistic Left.

    • My response to the problem of nihilism is that sure we have discovered that absolute knowledge is impossible to attain, but so what? We still have to live, so let us live according to our own aesthetic and ideological tastes.
      I choose European heritage because I think it Europeans are a virtuous and aesthetically beautiful race. I am proud of what I am, and have no interest in becoming Indian, Jewish, or Chinese. I am European.

  • There are countless shill Jewish movies but the single film that I CAN NOT BELIEVE I liked and now find unbearable is Remember the Titans. I challenge anyone to watch literally ANY 10 minutes of the movie without being shocked at the transparent filthy lies.

    The propaganda in modern film is a relentless poison drip.

    • I was in middle school I believe when that film came out. Even then I understood it to be Marxist propaganda.

    • Yeah, that one was pretty “in your face” about it. No subtlety at all. Just pure propaganda.

    • I have refused to watch any racially diverse films for many years. But that pretty much leaves me watching films from the 30s-60’s.

  • >homosexuality, any deconstruction of Western traditions/mores/gender roles, critiques of patriarchy, degenerate sexuality, and/or interracial sexual relationships.

    mercutio was a bit funny around romeo, othello had an interracial relationship (though moors were arabic i think, not black) romeo and juliet had transgressive sex stuff between two thirteen year olds, hamlet and king lear have critiques of western tradition, etc.

    let the message enhance your life. not engulf it. it’s all about context goys.

    • I like Joseph Atwill’s book on Shakespeare. Some of his very technical claims about the connection with the creation of Christianity take things a bit far, but he still makes a convincing case that Shakespeare was not just one person but instead a cabal of people, including Jews, belonging to a secret society under the influence of Jews. Vocabulary is one clue. No one author has ever used so many different words and expressions (to within about a factor of two, I think). Also, the plots of the plays tend to be demoralizing for non-Jewish Europeans. There are repeated elements, somewhat like the repeated appearance of “virtuous outsiders” in Jewish-dominated film. These elements suggest the mindset of an outsider.

      • Then why make the Merchant of Venice? Even though you are suppose to realise that the jew is a human (does a jew not bleed…and all that) he is still a despicable creature.

        • Yeah, the whole point of Shylock’s speech there is that he has no agency and even though he’s wicked, really his faults are caused by Christians who have forced him to be so. Him drawing trite similarities between Jew and gentile is really so he can deliver his “It takes one to know one” finale. The Jew cries out in pain as he strikes you. It’s definitely not just an antisemitic play but one steeped in a pretty deep understanding of that particular subgenre and the specific behavior being lampooned.

      • (((Shekelspeare)))?

        Sounds a bit like a historical revisionist conspiracy theory to me.

        Also sounds exactly like something a jew would try to promulgate among the jew-wise Euros, in order to get us to renounce and relinquish one of our most beloved cultural icons. I assure you, this type of reverse-psychology guilt by association is one of the tools in their kit.

        • In cases like these, it is best to think in terms of probabilities and possibilities. It is possible that Shakespeare’s work was the product of a cabal involving Jews. We should not assume that everything that came from “Shakespeare” was the product of a white European mind. I think there were kabbalistic references in Shakespeare. If so, that is proof of contamination already.

          • I would be interested to get my hands on copies of Shakespeare’s works that were published before jews had cornered the publishing industry. Probably can’t trust newer editions 100%.

      • always very unimpressed by arguments that he couldn’t have been a commoner/one person by basically saying he was too good.

        and most artists, goys included feel like outsiders. plus, if it was a jewish cabal thing, what’s up with the merchant of venice? that story is redpilled AF fam. sure there’s the “does a jew not bleed” speech, but it’s given by shylock, who’s one of the biggest pieces of shit in literature.

    • I hardly even watch movies anymore for that reason. Have been following various tv-shows for the last 2-3 years instead. However, the jews are putting a strain on those as well. Putting in race.mixing and fagottry in almost every show.

  • Good Essay. I also grew up loving films in the 90s.

    I can not watch modern films coming out of Hollywood. They are meant to reinforce the narrative. A notable exception are Christopher Nolan’s films, but I don’t consider Nolan part of Hollywood since he’s British.

    My television and Netflix viewing is Zero. It seems like TV is still the same canned family and yuppie sitcoms and cop/doctor dramas along with degenerate bullshit like Orange is the New Black thrown in for good measure.

    The Alt Right needs to develop alternative cultural mediums. We can film and present our own films and tv shows through the internet. The left has long understood that politics follows culture. We need to work hard on creating culture to set the political groundwork up for success.

      • That will be an interesting litmus test of Nolan’s state of mind. My guess is that he makes it thematically/subtextually ambiguous.

      • I don’t want to watch (((popular))) films and TV shows. Old movies and TV shows rented for free from the library suffices for me.

          • Yeah, except for the “Stronk Feminist Warrior Women” who can out arm wrestle a robot.


            What a load of crap.

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