Off-topic question. I've just tried to increase my subscription amount but it wasn't possible. Apparently, the only upgrade possible was "founding member" (which atm is more than what I'd like to pay). I believe in the past it was possible to choose any preferred amount, is it not the case anymore?
That's weird. I guess maybe the way to do it is to downgrade from paying to ordinary, then upgrade to paying and THERE set a different amount. Thank you for your generosity.
Thank you for taking the time to reply. I've just tried your suggestion and downgraded to ordinary. Unfortunately, the next upgrade is still "founding member", which is a considerable leap. I'm pretty sure last year I was able to upgrade to my preferred amount. That option doesn't seem possible atm. I will try again in some days/weeks. If that option is still not available, I'll upgrade to founding member at the end of the year, maybe sooner. Thank you for the excellent, much appreciated content.
According to my settings, you should be able to select "Founding member" but then change the amount to something less than $200/year but higher than $80/year.
Now I've made it! It turns out that the problem was the currency. When I clicked on "update to founding member", my computer automatically only offered an option in euros and that was the actual reason why the update was rejected. But clicking on "change" I was able to select "founding member" and lower manually the amount to 150 $. It's worked. Thank you for your assistance!
"They are the Renfield to the progressive’s Dracula."
Bravo - what a way to condense the problem into a simple yet spot-on visual and literary meme. Also fits well with the "woke is dead"; so is Dracula, and that only makes him more dangerous.
Now, if the young people defending modern casting following the script andmethods laid down by the Soviet cultural commissars a century ago (re-write stories following political guidelines) they would simply bring up classical movies, good and bad, and point out that virtually every role no matter which one was played by someone of English or at least Germanic racial origin.
John Wayne as Genghis Khan f.e.
It's not the gotcha! they might think though. Someone opposing the racism of Hollywood of today woud simply point out that the casting of yesteryear was down to Hollywood being racist then too.
To really set off progressives and USAmerican conservatives alike, ask them to name a Hollywood-movie with a Jewish antagonist/"bad guy" (and The Merchant of Venice doesn't count, nor does Oliver Twist or anything made pre-1945). Then listen to both of them come together chanting the magic spell of "That's anti-semitism!".
Anyway.
USAmerican entertaintment isn't about creating, it is about selling since they are a corporate state built on everything and everyone being for sale if the price (or prize) is right. Thus, they have zero internal defence against the post-modern racism called woke. Capitalism is after all as egalitarian as Communism in that who you are doesn't matter all, only whether or not you are profitable for the system does.
Whereas an atavistic reactionary such myself thinks that it does matter, if all people of [insert race/kultur here] dies out. Even the ones I personally don't really care for.
Maybe we need an award show, or at least a series of awards of our own. It is not just the art that matters, its the institutional endorsement that bring in millions of mindless drones. Occasionally I find myself outside of the intellectual rights portion of youtube, and the frequency with which I find influencers touting their credentials (IE "I am pullitzer prize winning author X" etc) indicates that such credentialism still holds meaningful sway with the midwit class that these videos seem typically to be aimed at. I think if we are to get a creative movement off the ground, which is to say to get it to expand beyond the confines of our copoliticals, then we need to be able to slap a prestigious sounding endorsement on our products.
Hmm, if there were no truth to "get woke, go broke" the establishment wouldn't have been so desperate for this film to succeed.
GWGB, while exaggerated by some, certainly, is actually quite valid, not just in movies, but in games and tv shows too. There's been a consistent rejection of wokery among the general public, especially the youger male public, whenever "voting with one's feet" has been posisble.
Yes, "they" can absorb the financial hits to SOME extent, but there are going to be limits, for those who are furthest from being in a position to receive "The Memo," and are stlil capitalists who care about profit above all, even for those sayanim who've been prepared to take some kind of hit for the team.
But more importantly, at some point it must become obvious to the Great & Good that you can't "force behaviours" (Larry Fink, CEO of BlackRock) with shit that nobody's watching.
And when it comes to this movie, it is essentially just a blip in a gradual decline - there are no more Christopher Nolans in the movie industry who can pull this sort of rabbit out of a hat: that's it, this has been their one shot, and it's irrelevant because regardless of this movie the general decline in audiences, and the increased grass-touching as a result of woke bs saturation is going to continue.
Wrt to the movie the key message is basically, "Hey Whitey, you must graciously accept infinity immigrants because if you don't your world will end because you've broken Zeus' law (who doesn't exist)." In that context, the pugnacious race mixing, while tiresome, is relatively the lesser issue, the more poisonous issue is that above, the key message of the movie.
Nolan's movie is pretty much the last gasp of the Boomer worldview (while ofc Nolan himself is Gen-X, his movies - with their string of eternally traumatized Vietnam vets - are all Boomer slop).
I don’t believe Capitalists are capable of creating Art nor media that can appeal to me anymore. What I have now are a bunch of History and old Sci-fi books and do solo home-brewed ttrpgs. They will always have the masses to make a bit of money from, and they’re incentivised by the Regime to be “woke” as a bonus. To make Art that would appeal to me would mean attracting negative attention from the Regime. If they’re publicly branded as “White Supremacist Nazis” they’re immediately unable to reach the masses until they have a connection to Power and can genuinely rock the system.
The most frustrating part is knowing many people in my life who would go see it anyway and use the argument of “we can’t judge it before we’ve seen it”, when we all know we very much can. One guy I know went to go see “One Battle After Another”, even though I told him it was just going to be about how the military is evil, white guys who want to want to send back immigrants are all low IQ who secretly think the brown girls are sexier than the white ones, and that left wing terrorism is good. He didn’t listen (they never do) and gave them money anyway.
Also, I would like some advice, if you have any. One person I know, a lifelong Catholic academic and my current roommate, has argued with me in the past about whether the black-washing trend is good or bad, which was also frustrating because I didn’t think I would have to have that conversation with him. I tried explaining to him what I felt should be obvious to someone at his stage in life (he’s older than me), that the people in charge race-swap characters because they hate white guys, and he gave me what felt like very disingenuous responses: “but how do we know it’s for that reason? Maybe they are just updating the races of the cast the cast to reflect a more diverse reality,” or “so does this mean that a British man can’t perform a musical piece written by a French man?”
He would catch me off guard with this, mostly because I didn’t expect such answers from him since he will usually put forward opinions that are to the right of the Overton window, and I didn’t think that at his stage in life he would need it explained to him that it’s not about replacing various European races with each other, it’s about universally replacing white guys with black guys. I’ve mostly just taken to avoiding conversations with him about this, but it still comes up every once in a while, like with dating preferences. I have found that academics across the political spectrum, even Catholic ones, are really bad at thinking in terms of having “boots on the ground” and having to deal with the material consequences of these kinds of decisions, which can be especially disappointing since I am of the same religion as him. How would you suggest getting through to someone like this?
My thing about this is that I refuse to be gaslit that this is not a salvo in the culture war. I refuse to acquiesce that this somehow is a neutral work.
I come from the United States, where our culture has been 'blackified', consistently, for the last 35 or 40 years. I've watched for many decades as they put frizzy-haired half-black people into every role, commercial, dance number, song. If they want to sell you a bottle of shampoo, they do it by showing a black person winking at you. There is a never-ending attempt to portray black people as sexy, cool, interesting, intelligent, amazing superstars. I get it. I have seen this story on screen for my entire life at this point. Even advertising in regions where there are almost zero black people, will heavily feature black people.
A month ago I saw my nephew learning a lesson from a science class, where science facts were taught to him using a kind of modified rap music. They can't even create a science lesson for kids without making it somehow, subtly, revolve around black culture. As if the two have anything in common (astronomy and rap, for example).
So when I see that - OH MY GOSH, WHAT A SURPRISE !!!! - they just so happened, by absolute RANDOM CHANCE, to make the mythological heroine and representative of absolute feminine beauty, a black African woman - well you can imagine, I didn't see that one coming!!! I'm sure this was done neutrally and for good reasons!!
haha, just kidding. I know what's being done to us. Africans and foreigners rule over us, for eternity. And they only have white leads because no one will watch it otherwise.
One of the backhanded benefits of the modern age, is that attention spans for cultural products are shorter than they've ever been.
Combine that with the thoroughly soulless rendition of a classic from the Western Tradition, the damage to his reputation Nolan suffers from beginning to resemble film makers like Scott, Cameron, or even Spielberg, who are all properly past their sell-by date, and the attention grabbing release of the latest Spiderman film, one of the few characters anyone still likes in Capeland, the Odyssey film is not likely to leave a lasting imprint as more than yet another flashpoint in the eternal culture war.
I'm of the opinion that Nolan's trainwreck was given a fair amount of benefit of the doubt by a public that still saw him as a generally competent director, who could still make serious, quality films. I think that benefit of the doubt may be rescinded for many going forward. Yes the thing made some money this time, the name in the directors chair and the audacity of the undertaking was going to all but guarantee it.
Yes the Progs get to play act at some victory, but they don't earnestly give a damn about the thing, they just live for owning chuds and consooming next product. However, everything for them, absent an abject disgraceful failure, must be seen in public discourse as a rousing success, no matter how hollow the reality on the ground, just like the corporations they infest, narrative management is everything.
The long term piss poor enthusiasm for their own cultural output speaks for itself. All they're good for anymore is cutting off noses to spite faces, cannibalizing reputation for currency, and there's just not much of it left anymore.
Hart-Celler made Nolan's Odyssey inevitable. Since '65, America has been a poison administered in increasingly fatal doses to the West. Though initially drip-fed, the toxicity of 'colour-blindness' (in reality just anti-whiteness) became a flood over the decades.... - and here we are! - a zombie culture in a seemingly permanent comatose state. Will we ever wake up? No. Not en masse. Look at Ceuta: white millennial women ushering in the brown hordes. It's game over for a vast swathe of whites and they don't even know it.
BUT.... Our dissident traditionalist numbers are growing too. History is an orange 'blobby lamp' (go with me here): those gormless lamps full of slowly bouncing heated blobs of wax show how human cultures wax and wane: a small blob breaks off from the massive main blob, starts attracting other small blobs. Eventually the small blobs coalesce and are large enough to absorb the once bog blob. Culture is re-established. Forgive this trite analogy, but laws of thermodynamics obtain in human culture too! Think Orania. Think 'Return to the Land'. The past is indeed the future (as they say). And Woes: a big thank you, again, for articulating such powerful counter-arguments for us in the case of the noxious Nolan movie! What a traitor. (Looking back it's hard to believe his 'Dunkirk' movie was half-ways decent!)
It's all part of the project of spinning a web of lies for the unwary masses to accept as true. I can't think of any alternative besides merely refusing to participate myself, and answer honestly if anyone ever bothers to ask me. Perhaps I can take the initiative and offer my opinion unsolicited, if I'm in the mood for an argument or a duel.
If Nolan intended on desecrating Homer, I think you make strong points. But JF discussed the film on his Youtube and makes a compelling case that this film has a powerful message wrapped up in a woke disguise: a message of escape and of continuity. This is indicated by where Nolan adheres to the story and where he deviates, as well as several key lines of dialogue. The film itself is a Trojan Horse, and the largely DEI cast serves to illustrate the point that when suitors and parasites have infested everything the only solution is for the loyal man and woman to flee west.
I don't want to belabor my point in my last comment - but watch some of the videos. These BEASTS are the vast global majority. do you think ANY of them care about White sensitivities, White literature, and White Foundational Culture? No, They just want Gibs. FYI the Dominican one is funny.
Astute points. Whites don't care if a film subverts their culture and degrades them. They don't even care if it is anti white. All they want is to be entertained. If a studio can make a blatantly anti white movie entertaining white people will gladly pay to see it. The only saving grace in all this is most woke works are dreadful.
Off topic, but I believe Woes should publish a selection of his essays in book form. Much as the late Jim Goad did, e.g. in his collection ‘Whiteness: the Original Sin.’
Off-topic question. I've just tried to increase my subscription amount but it wasn't possible. Apparently, the only upgrade possible was "founding member" (which atm is more than what I'd like to pay). I believe in the past it was possible to choose any preferred amount, is it not the case anymore?
That's weird. I guess maybe the way to do it is to downgrade from paying to ordinary, then upgrade to paying and THERE set a different amount. Thank you for your generosity.
Thank you for taking the time to reply. I've just tried your suggestion and downgraded to ordinary. Unfortunately, the next upgrade is still "founding member", which is a considerable leap. I'm pretty sure last year I was able to upgrade to my preferred amount. That option doesn't seem possible atm. I will try again in some days/weeks. If that option is still not available, I'll upgrade to founding member at the end of the year, maybe sooner. Thank you for the excellent, much appreciated content.
According to my settings, you should be able to select "Founding member" but then change the amount to something less than $200/year but higher than $80/year.
Now I've made it! It turns out that the problem was the currency. When I clicked on "update to founding member", my computer automatically only offered an option in euros and that was the actual reason why the update was rejected. But clicking on "change" I was able to select "founding member" and lower manually the amount to 150 $. It's worked. Thank you for your assistance!
"They are the Renfield to the progressive’s Dracula."
Bravo - what a way to condense the problem into a simple yet spot-on visual and literary meme. Also fits well with the "woke is dead"; so is Dracula, and that only makes him more dangerous.
Now, if the young people defending modern casting following the script andmethods laid down by the Soviet cultural commissars a century ago (re-write stories following political guidelines) they would simply bring up classical movies, good and bad, and point out that virtually every role no matter which one was played by someone of English or at least Germanic racial origin.
John Wayne as Genghis Khan f.e.
It's not the gotcha! they might think though. Someone opposing the racism of Hollywood of today woud simply point out that the casting of yesteryear was down to Hollywood being racist then too.
To really set off progressives and USAmerican conservatives alike, ask them to name a Hollywood-movie with a Jewish antagonist/"bad guy" (and The Merchant of Venice doesn't count, nor does Oliver Twist or anything made pre-1945). Then listen to both of them come together chanting the magic spell of "That's anti-semitism!".
Anyway.
USAmerican entertaintment isn't about creating, it is about selling since they are a corporate state built on everything and everyone being for sale if the price (or prize) is right. Thus, they have zero internal defence against the post-modern racism called woke. Capitalism is after all as egalitarian as Communism in that who you are doesn't matter all, only whether or not you are profitable for the system does.
Whereas an atavistic reactionary such myself thinks that it does matter, if all people of [insert race/kultur here] dies out. Even the ones I personally don't really care for.
Maybe we need an award show, or at least a series of awards of our own. It is not just the art that matters, its the institutional endorsement that bring in millions of mindless drones. Occasionally I find myself outside of the intellectual rights portion of youtube, and the frequency with which I find influencers touting their credentials (IE "I am pullitzer prize winning author X" etc) indicates that such credentialism still holds meaningful sway with the midwit class that these videos seem typically to be aimed at. I think if we are to get a creative movement off the ground, which is to say to get it to expand beyond the confines of our copoliticals, then we need to be able to slap a prestigious sounding endorsement on our products.
Exactly. I don't need to eat shit to know it is fucking terrible idea.
Hmm, if there were no truth to "get woke, go broke" the establishment wouldn't have been so desperate for this film to succeed.
GWGB, while exaggerated by some, certainly, is actually quite valid, not just in movies, but in games and tv shows too. There's been a consistent rejection of wokery among the general public, especially the youger male public, whenever "voting with one's feet" has been posisble.
Yes, "they" can absorb the financial hits to SOME extent, but there are going to be limits, for those who are furthest from being in a position to receive "The Memo," and are stlil capitalists who care about profit above all, even for those sayanim who've been prepared to take some kind of hit for the team.
But more importantly, at some point it must become obvious to the Great & Good that you can't "force behaviours" (Larry Fink, CEO of BlackRock) with shit that nobody's watching.
And when it comes to this movie, it is essentially just a blip in a gradual decline - there are no more Christopher Nolans in the movie industry who can pull this sort of rabbit out of a hat: that's it, this has been their one shot, and it's irrelevant because regardless of this movie the general decline in audiences, and the increased grass-touching as a result of woke bs saturation is going to continue.
Wrt to the movie the key message is basically, "Hey Whitey, you must graciously accept infinity immigrants because if you don't your world will end because you've broken Zeus' law (who doesn't exist)." In that context, the pugnacious race mixing, while tiresome, is relatively the lesser issue, the more poisonous issue is that above, the key message of the movie.
Nolan's movie is pretty much the last gasp of the Boomer worldview (while ofc Nolan himself is Gen-X, his movies - with their string of eternally traumatized Vietnam vets - are all Boomer slop).
I don’t believe Capitalists are capable of creating Art nor media that can appeal to me anymore. What I have now are a bunch of History and old Sci-fi books and do solo home-brewed ttrpgs. They will always have the masses to make a bit of money from, and they’re incentivised by the Regime to be “woke” as a bonus. To make Art that would appeal to me would mean attracting negative attention from the Regime. If they’re publicly branded as “White Supremacist Nazis” they’re immediately unable to reach the masses until they have a connection to Power and can genuinely rock the system.
I hope you're right. I just see no signs of them giving up on this (yet).
The most frustrating part is knowing many people in my life who would go see it anyway and use the argument of “we can’t judge it before we’ve seen it”, when we all know we very much can. One guy I know went to go see “One Battle After Another”, even though I told him it was just going to be about how the military is evil, white guys who want to want to send back immigrants are all low IQ who secretly think the brown girls are sexier than the white ones, and that left wing terrorism is good. He didn’t listen (they never do) and gave them money anyway.
Also, I would like some advice, if you have any. One person I know, a lifelong Catholic academic and my current roommate, has argued with me in the past about whether the black-washing trend is good or bad, which was also frustrating because I didn’t think I would have to have that conversation with him. I tried explaining to him what I felt should be obvious to someone at his stage in life (he’s older than me), that the people in charge race-swap characters because they hate white guys, and he gave me what felt like very disingenuous responses: “but how do we know it’s for that reason? Maybe they are just updating the races of the cast the cast to reflect a more diverse reality,” or “so does this mean that a British man can’t perform a musical piece written by a French man?”
He would catch me off guard with this, mostly because I didn’t expect such answers from him since he will usually put forward opinions that are to the right of the Overton window, and I didn’t think that at his stage in life he would need it explained to him that it’s not about replacing various European races with each other, it’s about universally replacing white guys with black guys. I’ve mostly just taken to avoiding conversations with him about this, but it still comes up every once in a while, like with dating preferences. I have found that academics across the political spectrum, even Catholic ones, are really bad at thinking in terms of having “boots on the ground” and having to deal with the material consequences of these kinds of decisions, which can be especially disappointing since I am of the same religion as him. How would you suggest getting through to someone like this?
My thing about this is that I refuse to be gaslit that this is not a salvo in the culture war. I refuse to acquiesce that this somehow is a neutral work.
I come from the United States, where our culture has been 'blackified', consistently, for the last 35 or 40 years. I've watched for many decades as they put frizzy-haired half-black people into every role, commercial, dance number, song. If they want to sell you a bottle of shampoo, they do it by showing a black person winking at you. There is a never-ending attempt to portray black people as sexy, cool, interesting, intelligent, amazing superstars. I get it. I have seen this story on screen for my entire life at this point. Even advertising in regions where there are almost zero black people, will heavily feature black people.
A month ago I saw my nephew learning a lesson from a science class, where science facts were taught to him using a kind of modified rap music. They can't even create a science lesson for kids without making it somehow, subtly, revolve around black culture. As if the two have anything in common (astronomy and rap, for example).
So when I see that - OH MY GOSH, WHAT A SURPRISE !!!! - they just so happened, by absolute RANDOM CHANCE, to make the mythological heroine and representative of absolute feminine beauty, a black African woman - well you can imagine, I didn't see that one coming!!! I'm sure this was done neutrally and for good reasons!!
haha, just kidding. I know what's being done to us. Africans and foreigners rule over us, for eternity. And they only have white leads because no one will watch it otherwise.
One of the backhanded benefits of the modern age, is that attention spans for cultural products are shorter than they've ever been.
Combine that with the thoroughly soulless rendition of a classic from the Western Tradition, the damage to his reputation Nolan suffers from beginning to resemble film makers like Scott, Cameron, or even Spielberg, who are all properly past their sell-by date, and the attention grabbing release of the latest Spiderman film, one of the few characters anyone still likes in Capeland, the Odyssey film is not likely to leave a lasting imprint as more than yet another flashpoint in the eternal culture war.
I'm of the opinion that Nolan's trainwreck was given a fair amount of benefit of the doubt by a public that still saw him as a generally competent director, who could still make serious, quality films. I think that benefit of the doubt may be rescinded for many going forward. Yes the thing made some money this time, the name in the directors chair and the audacity of the undertaking was going to all but guarantee it.
Yes the Progs get to play act at some victory, but they don't earnestly give a damn about the thing, they just live for owning chuds and consooming next product. However, everything for them, absent an abject disgraceful failure, must be seen in public discourse as a rousing success, no matter how hollow the reality on the ground, just like the corporations they infest, narrative management is everything.
The long term piss poor enthusiasm for their own cultural output speaks for itself. All they're good for anymore is cutting off noses to spite faces, cannibalizing reputation for currency, and there's just not much of it left anymore.
I wouldn't take ticket sales numbers at face value. Give it at least a quarter before they have to file their quarterly report.
The 'It's fiction, so should it matter?' argument should be met with 'If it doesn't matter, then give me what I want.'
Hart-Celler made Nolan's Odyssey inevitable. Since '65, America has been a poison administered in increasingly fatal doses to the West. Though initially drip-fed, the toxicity of 'colour-blindness' (in reality just anti-whiteness) became a flood over the decades.... - and here we are! - a zombie culture in a seemingly permanent comatose state. Will we ever wake up? No. Not en masse. Look at Ceuta: white millennial women ushering in the brown hordes. It's game over for a vast swathe of whites and they don't even know it.
BUT.... Our dissident traditionalist numbers are growing too. History is an orange 'blobby lamp' (go with me here): those gormless lamps full of slowly bouncing heated blobs of wax show how human cultures wax and wane: a small blob breaks off from the massive main blob, starts attracting other small blobs. Eventually the small blobs coalesce and are large enough to absorb the once bog blob. Culture is re-established. Forgive this trite analogy, but laws of thermodynamics obtain in human culture too! Think Orania. Think 'Return to the Land'. The past is indeed the future (as they say). And Woes: a big thank you, again, for articulating such powerful counter-arguments for us in the case of the noxious Nolan movie! What a traitor. (Looking back it's hard to believe his 'Dunkirk' movie was half-ways decent!)
As regards Nolan's Dunkirk jewvie.
Here is a short history of Churchill's WWJEW:
The Allies defeated the Third Reich.
The Rothschild Reich defeated the Allies.
Londons' Square Mile defeated us all. Balfour, the pawn!
It's all part of the project of spinning a web of lies for the unwary masses to accept as true. I can't think of any alternative besides merely refusing to participate myself, and answer honestly if anyone ever bothers to ask me. Perhaps I can take the initiative and offer my opinion unsolicited, if I'm in the mood for an argument or a duel.
If Nolan intended on desecrating Homer, I think you make strong points. But JF discussed the film on his Youtube and makes a compelling case that this film has a powerful message wrapped up in a woke disguise: a message of escape and of continuity. This is indicated by where Nolan adheres to the story and where he deviates, as well as several key lines of dialogue. The film itself is a Trojan Horse, and the largely DEI cast serves to illustrate the point that when suitors and parasites have infested everything the only solution is for the loyal man and woman to flee west.
I don't want to belabor my point in my last comment - but watch some of the videos. These BEASTS are the vast global majority. do you think ANY of them care about White sensitivities, White literature, and White Foundational Culture? No, They just want Gibs. FYI the Dominican one is funny.
https://kenngividen.substack.com/p/terrifying-videos-aug-2
Astute points. Whites don't care if a film subverts their culture and degrades them. They don't even care if it is anti white. All they want is to be entertained. If a studio can make a blatantly anti white movie entertaining white people will gladly pay to see it. The only saving grace in all this is most woke works are dreadful.
Off topic, but I believe Woes should publish a selection of his essays in book form. Much as the late Jim Goad did, e.g. in his collection ‘Whiteness: the Original Sin.’