The Carnegie Deli: A Den of Jewish Indulgence

New York City, a sprawling metropolis, there are so many places and things to see here that it would take probably a lifetime. There is one particular little locale, however, that I would like to bring to my fellow Aryanists’ attention. It is some ten blocks up 7th Avenue from Times Square, right by the southwestern corner of the intersection with 55th Street. A new visitor is likely to spot the huge sign to the Wellington Hotel just across the street from this place, but there is a red awning that extends out onto the sidewalk with the sign: Carnegie Deli. There is even another small sign just above it reading: World’s Best. Seeing how it’s in the middle of New York City, some blunt capitalist jargon is not really all that out of place.

Inside is where the place starts to actually get interesting. There is a delicatessen where a customer can by something like they do in a market, but most people proceed to the restaurant that makes up most of the locale’s interior. I’ve been inside three times at various hours from early afternoon to evening and the place has always been packed. The first thing that can be seen here are the pictures on the wall, they’re everywhere, virtually every bit of wall space had a framed photo of a celebrity who was here at some point. Certainly a unique interior design choice, not many places that I’ve been to have it, but it also hit me that this is perfect appeal to the vanity and attention obsessed Facebook generation, which was made possible by digital photography; copious amounts of pictures can be taken and loaded up online for display and delusions of fame. Popular media also is keen on covering celebrity stories and what movie stars do with their personal lives, what they wear, and where they go out. So this business, keen on trends, made sure to tap into that and maximize profit.

However, the real meat of the matter is just that, meat. Lots of it. A sickening amount of it. Not only is nearly every dish meat based, the portions are, to put it lightly, absolutely absurd. Ironically, "carne" is a root meaning "meat." Now, I used to eat meat, I used to like meat, but even during the times when I found great enjoyment in a steak dinner or any well-made meat dish, I still found the portions here insane.

Just take a look at one of their sandwiches:

Kosher, meaning “Gluttonous Indulgence from Slaughter”

To any Aryanist, it should be no surprise that this Den of Indulgence is Jewish themed. The whole menu is kosher and one of the house specialty dishes is called “The Woody Allen” referring to one of New York’s most famous Jewish residents. The free appetizer given to each table is a set of pickles, which are very common in Eastern European Slavic culture, but did you actually expect the Jews to not plagiarize or manipulate something?

I usually talk about films here, but I found this restaurant relevant, since the place overall does convey a message, a most un-Aryan message, and one that can be summed up as: “Consume you goyim!” The monstrous portions, appeal to superficiality, mounds of kosherized flesh all amount to ZC approved culture. This isn’t the only place to do so, but from this example, an Aryanist should easily be able to see others like it, even if they do not contain all of the elements that this place does. The trend of large portions is especially popular in American restaurants and people are actually asking questions like “Why is there so much obesity?” This is when Aryanists usually facepalm.

Also, I have sort of confessed to eating at this kosher lair a few times, two times was before I became an Aryanist. The last time, however, was not too long ago and that’s when I got the idea for this article. I wanted to show a friend of mine something “exclusively New York” but soon realized it was a mistake. I ordered the Central Park Garden Salad, one of few dishes without meat and the only one I remember having no goy-products, though for an extra $8 they’ll serve it to you with grilled chicken! Another facepalm.

This may be a weird suggestion to my fellow Aryanists, but you should check this place out. If you eat, it’ll probably be that salad I had, but the point is to see everything our movement disapproves of and seeks to correct with human civilization. This may help you see your own position better, a “know thy enemy” sort of thing. I, for one, wrote this little essay due to my last (and it will remain my last) visit there. Though, there is no shortage of locales like this one, so if you do not wish to feed the ZC Beast, which is probably a smarter move, then may I suggest, going on an investigative trip to any other restaurant of your choosing. It may seem obvious or even pointless, but a closer inspection at the very apparent lack of Aryan Frugality in our civilization just may tell you something that was too obvious to take note of in the first place. This goes for many of the issues we face. But noting such a thing, often results in something useful, even if just on a personal level. Aryanism is not just a spiritual or political movement, as Der Fuhrer spoke many many years ago, it is the will to recreate mankind anew! Thus, there is nowhere we shouldn’t look for possibility improvement.

Still Being Revived: Clichés and Propaganda in “Dead Snow”

Is ZC Propaganda running out of ideas? That just might be and the Norwegian horror/comedy film Dead Snow directed by Tommy Wirkola is a case in point. The film is a well-executed little goof-ball of zombie gore, though that is not really saying that much… it’s not like there is a shortage of entries into this genre and it’s inevitable that every now and then they manage to make one that is at least mildly entertaining. The biggest catch here, as well as the main part of the film’s marketing (watch the trailer to see), is the fact that these are not your ordinary zombies… these are SS zombies! Or as I have come to see it as: Wolfenstein-style satire. Yes, the Jews and their Goys at ZC Propaganda Inc. have revived (yet again) their most-prolific boogeymen in order to have them wreck havoc on young student vacationers in Norway. Amusing that may be, however, the film does contain a bit of clever political engineering that I want to expose.

As a straight up gore-based horror flick, Dead Snow is a pretty competent entry into the genre. Featuring many references and little bits of homage to other movies, as well as better than average effects and production design for a film of its kind, it manages to entertain the masses. Funny thing is that the zombie SS Men have rotten flesh from being dead for over 60 years, yet their uniforms are still in pretty decent shape… I guess Nazis did have the World’s best uniforms! Also, a common movie goof has the SS wearing black uniforms, which were parade and ceremonial attire by the time the war started. In actuality, they should be wearing the SS Feldgrau uniform, however, this “error” is in so many films that it can only be seen as deliberate and a cliché to make the men wearing them seem more ominous. At face value a darker uniform looks more intimidating. This is also done to contrast SS Men from the supposedly “noble pawns” that there the regular Wehrmacht Heer soldiers. It is a slowly emerging phase of de-demonizing the Wehrmacht as a whole and only putting the “evil emphasis” on the SS. Note that the SS as portrayed here resemble the Persians as they were shown in 300.

"We're angry from all the slander."

Just look at those Swastika Armbands, they're still in tiptop shape! Das Hakenkreuz ist für immer, meine Kameraden!

This film is perhaps a perfect example of how the ZC Hounds perceive Nazis. They have one, and only one, concept of the National Socialists from 1930s Europe: evil psychotic bastards. Via saturation media propaganda the ZC has effectively “frozen” this image in an attempt at putting it into permanent existence in this state, they want to prevent it from changing in anyway so that it will be forever perceived in the way ZC Propaganda Inc. approves. They occasionally “revive” this image and the result is, among others, a film like this. Old demons that conmen like Elie Wiesel have nightmares about, rise up to shock the World and keep it aligned with the ZC mind. It is kind of like synching an iPod with an iTunes database: you attach one device to another and the host machine aligns the information on the guest device as it has programmed and then lets it go once program alignment is complete. Though, as seen in society, the roles are actually reversed: the Jew mind is the iPod that is attempting to put its contents into the larger body that is Society. Luckily society has a cure for this parasitical Jew umbilical: Nobility and Aryanism.

The SS in the film are molded to fit a basic movie monster archetype: the monster that guards a treasure. The protagonists of the film only encounter the zombies after opening a little box of treasure and after a they hear an ominously told story about the Schutzstaffel unit that was assigned to this area in the early 1940s. Thus, some of the most noble men to ever wear uniform and fight for a cause have been reduced to greedy little murdering and thieving beasts. For the Aryanist, this film may very well be amusing, but that’s due to how absurd it is. Once again, I draw a parallel with the Wolfenstein franchise, this movie is simply a Jew nightmare that has been projected onto the movie goers of the world.

There is however, a quite clever aspect to the film. A little bit of political engineering. Seeing how the ZC has linked Iran to their favorite boogeyman, they are, in a way, continuing that line of propaganda here. Note the setting and the antagonists of the film: a wild and vast landscape with elusive phantom-like monsters. What does that resemble other than the zombies in this movie? Al-Qaeda in Afghanistan, for one. On a subliminal level that definitely seems to be the case. The mysterious hiker who tells the main characters of what happened in the area during WW2, speaks of it as a legend, something that no one really knows for sure, but many people fear. As far as information about Al-Qaeda is concerned, that’s the kind of thing that most people know. However, Al-Qaeda was created by the American CIA with the intention of fighting the Soviets in Afghanistan, yet now American news media, which is just a ZC puppet, paints them as Middle East born psychopaths that hate America due to Islam being a violent religion. This type of falsification can also be seen with the SS: It was the most ethnically diverse military outfit in history, but has been repeatedly shown as just a bunch of white racists from Germany adhering an inherently violent philosophy. Through the rational lens and with an intuitive mind, both demonized groups are much different that ZC would have us believe.

Another interesting thing is that among the weapons that the main characters use are a hammer and sickle. These make a very obvious appearance in the film's trailer. A little left wing boasting that certainly reflects the hippy nature of the main characters.

Lastly, if the hounds at ZC can only manage to repeat the same message over and over again by linking their current enemies to their fictional version of the Nazis, then I must say that they are running low on steam. Like Arthur Schopenhauer said, “…the religion of the Jews is entirely immanent and furnishes nothing but a mere war-cry with other nations.” Therefore they are stuck with constantly relating things to their fiction about the Nazis, which is, to this point, probably the most creative and for the Jew the most useful set of smoke and mirrors. And they will likely hold on to it until their bitter end, even long after the illusion has faded.

The Jewish concept of an enemy will likely always have a black uniform with Swastika and Totenkopf.

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Dead Snow IMDb Page
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American Psycho: The Madness of Materialism

It’s movie time again. Today’s feature presentation is the psychological thriller from 2000 called American Psycho. The film was directed by Mary Harron who also co-wrote the screenplay which is based on the novel of the same name by Bret Easton Ellis. The movie version is a reasonably faithful adaptation of the source with the overall themes and main character arc very much like the novel. However, many of the book's graphic descriptions of Bateman’s gruesome exploits are only implied. This was a low budget film, but it did make effective use of its limited resources and went on to see a fairly wide theatrical release, but still less than a typical studio film.

In a broad stroke the story is a satire on 1980s yuppie culture. The word “yuppie” meaning Young Urban Professional came into widespread usage during the 1980s though the concept of a young business executive had been talked about and described since at least the 1960s. The film’s protagonist, Patrick Bateman, is in a way the ultimate yuppie: intelligent, healthy, fit, rich, basically “he has it all” - a capitalist success story. But there is another side, a very dark side, to handsome, young, and even initially charming, Patrick Bateman.

Bateman’s Superficiality
At first, Bateman seems very methodical and organized. His apartment is clean and neatly furnished, he has a good job, and he finished a good university. However, all this capitalist success is juxtaposed with an incredible superficiality. Bateman is particular, to the point of obsession, with details in his life. This is first seen when he describes his morning routine - as he gets up and walks about his impeccably organized apartment he narrates in a way that it is clear that he is driven by obsession. The way he works out, the way he showers, what soaps and cleansers he uses, to even how he applies them and why he buys them in the first place is all the result of a desire for longevity so that he can live longer in his world of pleasures. The scene ends with Bateman basically summing up his current state of existence: “There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there.” Patrick Bateman is just a vessel of corporate America, traveling a pre-plotted course to an already established destination so that he can carry out pre-determined tasks to ensure that the establishment continues to intake profit as unopposed as possible.

This callousness is rampant throughout the film. When Bateman is riding in a taxi with his fiancée, Evelyn, for a night out, he is annoyed that she keeps talking about their upcoming wedding since it interferes with him listening to the newest pop song. He doesn’t even really like her and calls her “my supposed fiancée.” Interesting is that Evelyn is just as superficial, Bateman may be ignoring her, but how can she not notice the fact? Does she care as little about him as he about her? In the next scene, the two of them reach the restaurant where they are to meet some friends and Bateman is worried that they won’t be seated at a “good table” but is relieved when the people they are meeting are at table he is content with. In his narration Bateman admits to an affair he is having with one of Evelyn’s friends, Courtney, who is the fiancée of Carruthers, a co-worker of his. His narration is also packed with not so subtle insults, particularly when describing people, which shows what he really thinks of everyone: he doesn’t really give a shit.

He tells his secretary, Jean, what to wear, obviously to find her more visually appealing since he has to see her everyday at the office. After having sex with Courtney in one scene he just leaves her, despite her showing some desire for a deeper connection between them, though this is likely a futile effort not just because she is extending warmth to the cold Bateman, but because she herself is much like him thus incapable of a real relationship in the first place. Bateman is also jealous of other peoples’ business cards, especially if his are complimented less in relation to others. When looking closely at Paul Allen’s business card he seems to relish it in his narration while his face has his typical cold and empty stare. Bateman’s face is a key image throughout the film.

Society’s Superficiality
In the business card scene we also see that all the business cards have the same title, Vice President, and the same phone number. While it is true that all the men work in the same company, surely their direct office number, the one they would have on a private business card, would have at least an extension listed. The fact that it doesn’t goes hand-in-hand with the fact that people often confuse one another in the film. When Paul Allen approaches Bateman he addresses him as Marcus Halberstram, whom Patrick calls a dickhead in his narration and says that although he and Halberstram go to the same barber he has “a slightly better haircut.” This confusing of identities is another running theme and is means that these people are basically interchangeable, they are not true individuals, more like robots or cattle. They are goys who have been given so much pride that they believe themselves to be the masters. A variant on this theme is people failing to acknowledge close friends, such as Evelyn being surprised to see Bateman at a Christmas party. “I was here, you just didn’t notice,” he says. They must have a real intimate relationship. This scene also has Evelyn saying “Merry X-mas!” to people, which is the commercialized shortening of “Merry Christmas.” What used to be meaningful tradition has now degenerated to pure materialism.

The first restaurant scene, in which Bateman narrates that he is having an affair, he also states, rather casually, that he suspects Evelyn of having an affair with Timothy Bryce, another one of Bateman’s co-workers. All these people seem to be together as friends just so that in secret they can all exploit another. Their little talk veers into politics and Bateman states his solution to all of the World‘s problems: “Well, we have to end apartheid for one. And slow down the nuclear arms race, stop terrorism and world hunger. We have to provide food and shelter for the homeless, and oppose racial discrimination and promote civil rights, while also promoting equal rights for women. We have to encourage a return to traditional moral values. Most importantly, we have to promote general social concern and less materialism in young people.” How that can be seen as anything other than empty slogans and naïve ideals is beyond me. Especially since Bateman is in a position of power in society and he could use his money and efforts to actually help others, but he chooses, like all his “friends” choose: self-help and more than likely it’s at the expense of other people, even the “friends.”

The Madness of Materialism
The film’s main theme is how excess eventually leads madness. The political connotations are all implied, but metaphor and symbolism in art is effective when it is discovered by the viewer and not preached by the artist. Thus, like Tolkien’s Lord of the Rings (to which I have referred to before in this sense), American Psycho isn’t about any one person, place, or even about any particular era. Rather the film is about a general phenomenon: material desire and how it destroys a healthy existence. Also, in this case it happens to be a force that is gripping our World with increasing viciousness. Bateman gives us his own version of this idea: “I have all the characteristics of a human being: blood, flesh, skin, hair; but not a single, clear, identifiable emotion, except for greed and disgust. Something horrible is happening inside of me and I don't know why. My nightly bloodlust has over flown into my days. I feel lethal, on the verge of frenzy. I think my mask of sanity is about to slip.”

“I like to dissect girls. Did you know I’m utterly insane?”

Bateman’s materialism and relentless pursuit of fancy foods, expensive toys, and sexual adventure has led him, first, to murder during select nights, but now these urges are mixing. He is losing control and his methodical yet vicious nature is slipping into utter madness. This theme of ambiguity is actually present in the opening shot as we see what appear to be drops of blood falling, but turn out to be syrup and raspberries for a fancy restaurant dish. Also, note the knife that violently cuts into the steak: a blade slicing flesh, also known as murder. This bit even has an exaggerated sound effect of the “chop.”

This idea of intermeshing urges appears much more clearly as Patrick is filming his romp with the prostitutes. Evelyn must have gotten boring, so he first added porn, then went to hiring a prostitute, then two at a time, and then to making his own porno films with the hired girls… a spiral of excess. It is not clear what Bateman does to these women before they leave, but they are not happy and at least one of them bleeding; his urges are slowly becoming indistinguishable.

In a club where Bateman meets a model she mishears “murders and executions” for “mergers and acquisitions.” It seems work and murder are becoming one and the same. In fact, the film’s first murder, that of a homeless man, seems to be behind the Wall Street Stock Exchange, Bateman passes it right before he meets the man. A dirty little Wall Street secret? In his failed dinner date with Jean, Bateman’s dialog is clearly doublespeak, he talks about how he might “hurt” Jean if they get involved. She understands this as Bateman not being able to commit to a relationship since he is officially engaged, thus their involvement would be a one-night-stand. Bateman, of course, means “I might have to kill you, because I am utterly insane.”

The second prostitute scene is the final meshing of insane desires. He coaxes Christy the prostitute to come join him for another romp. She is hesitant and says, “I had to go to emergency last time.” However, the sight of the fat wad of money convinces her to go anyway. Earlier in the film Bateman killed Paul Allen in a scene with a pop song playing, thus linking art to murder, and is now pretending to be Allen to the point that he takes Christy to Allen’s apartment which is next to the Guggenheim Museum, a subtle detail, but art is about to meet murder again. There is another girl in this scene, Elizabeth, a friend of Bateman’s whom he drugs and gets to make out with Christy while he watches and rambles about a favorite song of his… there’s the music… and in the next scene as he is having sex with Elizabeth we see that he actually BIT her. Bateman's mouth is bloody and a shocked Christy runs out of the apartment, but not before finding many dead bodies in some of the side rooms. As Bateman chases her with a chainsaw note the framing in the first shot with the saw, it looks like a phallus. With Bateman’s bloody mouth and naked body we see all of his material desires as one: sex is violence, violence is food, and it is all encompassed by Bateman’s proudest possession, his own soulless body. He is now really “utterly insane” in his pursuit of materialism.

Christy is a polar opposite figure to Bateman here, and the prostitute we initially didn’t really care for before is suddenly a scared victim. A victim of not just Patrick Bateman, but more importantly, a victim of what he symbolizes. In a rampant consumerist society run by the all mighty dollar, people out of desperation often turn to any method they can find to get the money they need to live. Christy sells her body. She too is guilty of materialism and selling her dignity as she takes the money knowing full well Bateman will likely hurt her again, but now it gets her killed. In a way she is tragic figure. In a National Socialist Aryan Folkdom, no citizen would have to resort to such undignified methods of survival, only rampant capitalism in consumerist society allows such things to happen to innocent and often honest people. It is the materialism in society that destroys the humanity in people and then gets them to destroy others and, often, even themselves. If everyone in society lives as a hunter, then everyone is at risk of being hunted.

The scene ending in Christy's death is definitely the most shocking scene of the film, but a key thing is that it has surreal quality to it that leads to yet another interesting idea.

Self-Imposed Delusion
In a supposedly posh apartment building, in the middle of a big city, Patrick Bateman chases a screaming woman who is pounding on doors and yelling for help, he then drops the chainsaw several stories down and impales her… and no one notices.

How is that at all possible? The final act of the film is packed with increasingly bizarre events such as an ATM displaying a message, “Feed me a stray cat” just as a cat is walking by. An old lady notices Bateman trying to stuff the poor feline into the machine and protests so he whips out a gun and shoots her. Patrick Bateman, proud to display all of his possessions, including many tools of murder, did not once mention this gun before. The police hear the shooting and give chase, so Bateman shoots at the police cars and they… explode. Not just to our surprise but to Bateman’s as well, he even looks at the rather unconvincing looking explosion what looks like a cheap movie effect, in total confusion. After gunning some more people down he frantically calls his lawyer, Harold Carnes, and leaves a voicemail confessing that he killed many people over the past months.

The next morning, still not fully articulate he calls Jean at his office, but she doesn’t understand his rambling. She goes to Patrick’s desk and finds an appointment book that first has little notes, but then increasingly violent doodles. This escalation mirrors Bateman’s spiral to madness, however… was this just a delusion? At a bar Bateman sees Carnes and asks him of he got the message to which the lawyer laughs and says it was a great joke. Ironically, Carnes recognizes Bateman as someone else and thinks the impression of Patrick Bateman over the phone was very well done. Also, Paul Allen is revealed to be alive and in London. When Bateman killed Allen earlier in the film, he then faked Allen taking a trip to London in order to explain his disappearance. Yet, now Paul Allen is actually in London. A subtle detail of the Allen murder being a delusion is when Bateman is dragging the corpse and the trail of blood disappears, we also never see the body as it is supposedly in a bag. In fact, virtually every scene where Bateman threatens someone or unleashes violence, contain hints of delusion: alcohol (in frame or drunk people present), smoke, or mirrors. In a scene where he yells at an owner of a laundromat he leans in and shouts at her, but then after the angle cuts back to him, he is standing up straight... did the shouting actually happen or is he hallucinating?

This brings to question the authenticity of not just his narration, but of his entire perception of reality. Is he living in a delusion? Has his materialistic greed rendered him pathetic and impotent? Were his gruesome acts just a fantasy of having and enacting power, but really he is a hollow powerless slave? That seems to be the case. Bateman’s last dialog and the last lines of the film are the following lament: “There are no more barriers to cross. All I have in common with the uncontrollable and the insane, the vicious and the evil, all the mayhem I have caused and my utter indifference toward it I have now surpassed. My pain is constant and sharp and I do not hope for a better world for anyone, in fact I want my pain to be inflicted on others. I want no one to escape, but even after admitting this there is no catharsis, my punishment continues to elude me and I gain no deeper knowledge of myself; no new knowledge can be extracted from my telling. This confession has meant nothing.”

Just like Patrick Bateman didn’t really care for anyone or anything, nobody and nothing cares for him. He is a vessel without purpose doomed to the callousness of his existence. Not even the sensation of a failed joke will be granted him. In a way, he is a dying Lone Wolf, he pursued his own selfish way so much that now he is forever severed from compassion.

Conclusion
Interestingly, Christian Bale played John Preston in Equilibrium, a film I wrote about here before. While that film showed a callous man overcoming his emptiness and finding purpose and even Arya, here Bale plays the condemned Patrick Bateman, a man who doesn’t find his way out, just realizes his bleak predicament.

Also, I thought that the theme of delusion here might really be just a nightmare Bateman is having, which could be part of his inner-revolution before at least finding a way to Arya if not Arya itself. However, given the film’s pessimistic endnote, which includes a sign on a locked door in the background that reads “This Is Not An Exit” I scrapped that idea. That sign is also the last line of the book, thus both writer and filmmaker seem to have intentionally left Patrick Bateman sentenced to limbo.


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American Psycho IMDb Page
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The Lone Wolf Archetype

The Action/Adventure Film is one of the most popular genres in cinema. Virtually every big studio regularly releases films that fit into this category. These films are relatively easy to market to a wide audience and have consistently provided big studios with huge returns on their investments. The James Bond franchise is the most successful series of films in history and is part of the action genre. Film stars like Arnold Schwarzenegger, Sylvester Stallone, Clint Eastwood, Chuck Norris, Wesley Snipes and Jet Li (to name a few) have the action film genre to thank for their hugely successful careers. The adventure film was never really anything new and goes back to some of the earliest days of Hollywood. It was a genre that was successfully transposed to the big screen from some very popular in literature; the works of Jules Verne come to mind. One of the famous early films is A Trip to the Moon, which can be seen as a loose adaptation of Verne‘s From Earth to the Moon.

The film adventure hero, mainly the archetype propagated by Hollywood, gradually took on a distinct shape of his own as more and more films came out. Due to film being a visual medium (in fact, the first films were silent and thus purely visual) the superficial characteristics of traditional hero archetypes came more and more to the front and by now have become a standard and mainstay of the male action hero. One does not need to look at any one film to see this at play, rather this phenomenon is prevalent over an entire spectrum. However, a good place to start would be the adventure serials that came out in the 1930s, by that point Hollywood was a booming film industry.

The action hero in these films was most often an Anglo-American male with the most basic male traits accentuated. Commonly these were: apparent facial hair, high physical strength and endurance, and sexual prowess. Later, as restrictions in the cinema-code became less puritan there was a steadily revealing display of male muscular build with the musculature of the hero steadily veering into the superficial with a body-builder, Mr. Olympia-look. At a glance, just think Bruce Lee of the 1970s (natural build result of ascetic motivation) to Schwarzenegger in the 1980s (artificially induced result of vanity). The hero’s sexual exploits also become more graphic with a high (sometimes absurd and even comic) dimorphism between male and female; the woman that the hero woos was often a coy, oversexed lass. Together with the overly macho male, it makes for an image that propagates the differences between male and female, instead of a profound unity leading to mutual respect.

Another key trait of the action hero is his “lone wolf” attitude. He does things his way. He is his own boss. Even if he is part of an organization, one with concise procedural rules, he still does things his own way and gets away with it. In fact, by the end, it has become commonplace for him to be applauded for what he was originally warned about, his recklessness. One of the first “rogue cop” films, Bullitt, has the hero facing the consequences of his tactics. It is not shown to be all his own fault, others too were reckless, but the point is that all around recklessness leads to all around destruction. The case Lt. Bullitt was working on doesn’t get solved and the film ends with him looking glumly into a mirror, most likely reflecting on his ways. Dirty Harry was another popular film in the same style with a rogue cop protagonist. It came out in 1971, three years after Bullitt, and has a noticeable increase in sensationalism with many crooks being gunned down by the lead character. In contrast, Lt. Bullitt only fired two shots resulting in one death. Though, Dirty Harry also ends on a glum note with Detective Harry Callahan somberly reflecting on his job and on his actions, he even throws away his badge, the film, however, spawned four sequels with each one more destructive than the last and it was in the 1970s that the “lone wolf cop” archetype had become a mainstay. John Wayne’s only role in a cop thriller, McQ from 1974, is also the lone wolf formula, but with some new details: not only does he gun down all of the crooks, but he acquires and illegal firearm to do it with after he is kicked off the police force. And he’s supposed to be the guy we’re rooting for: one who is effectively an impulsive vigilante murderer on the loose. The Dirty Harry sequels are much in the same light, gunning down crooks and breaking skulls all while looking “bad ass.” It isn’t impossible to imagine a scenario where violence is necessary to end some wrongdoing, but these films’ stories are designed in ways that connote violence as the inevitable answer to all wrongdoing.

Lone Wolf McQuade
A perhaps perfect example of the Lone Wolf archetype can be found in the very aptly titled film Lone Wolf McQuade with Chuck Norris. It has virtually all the characteristics that were described above. The “hero” J.J. McQuade is Texas Ranger who lives as a loner in a dirty trailer out in the desert; he is unkempt and rather arrogant. The film’s story is the basic good guys vs. bad guys deal that ends in a big shootout as well a martial arts duel between hero and villain. The film is not a standout movie in any way, it is just another product straight from the action movie assembly line at the Hollywood film factory. I only chose to talk about it since its name is so fitting to the archetype described in this post.

Take a look at one of the film’s promotional posters:

No caption needed

That pretty much says it all about the film and hero right there. It makes a good guy out of a vanity obsessed brute and glorifies his acts of excessive force and violence. His self-serving nature and macho image can also be seen as a corrupted image of Aryanism; he has some of the right traits, but virtually all the wrong motivations. He is a survivalist and self-preservationist. He doesn’t care about anything unless it comes riding up his driveway. He is disconnected from society in everyway almost, except to serve his needs.

Kamerad Delendaestziobot wrote an article about this archetype as it can be seen in real life.

Sowing Discord
Storytelling has always been a human mainstay of introducing ideas into society and with the effective industrialization of filmmaking in Hollywood, the introduction of ideas through story in the last 70 years has been going on overtime. The US Department of Defense even regularly helps productions that are military oriented and many of these promote the reckless Lone Wolf Archetype, which seemingly goes against military procedure. One film of note here would be the 1987 action film Death Before Dishonor, in which a US Marine goes on a vigilante rampage after some of his men are killed. Featuring cartoon cut-out Arab villains and, of course, innocent Israelis that are victims to Arab terror, the film is nothing but propaganda once examined rationally.

This archetype is meant to appeal to base human instincts, and especially pride, in order to sow discord in society. Weekend Warriors, Closet Commandos and survivalist types are undoubtedly influenced on some level by these kinds of films. It’s the much propagated “American can do spirit” that promotes individualism so much so that the message ends up being comprehended and acted out as arrogance. The aforementioned Chuck Norris has often made public his anti-statist and wild west orientated political views thus it is no surprise that he made his career playing like-minded characters. Upon rational examination the libertarian ideals that such an archetype preaches are almost pure folly. It’s as if the people believing in those ideals are denying the existence of a state and government. They want to be in their own little comfortable Hobbit-hole. “The Lone Wolf dies. It’s the Wolf Pack that lives.” Some are arrogant lone wolves, many are just naïve little pups, but both are effectively pulled apart by their own doing thanks to propaganda and thus prevented from uniting to achieve goals that benefit the noble in society and punish the ignoble.

The Lone Wolf is motivated by vanity, is bound to himself, he lives by false honor. He will DIE.

The Noble Warrior on the other hand:

He is motivated by Honor and Duty.
He is bound to his Kameraden and to his society by it.
He lives by it. He is an Aryan.

Which One Are You?

ZC Hounds Unleashed: Persian Demonization and the Perversion of Aryanism in "300"

The film 300 is one of the most powerful examples of Zionist propaganda to come out in recent years. Also, in contrast to the other films I have looked at here, this was a big budget blockbuster with cutting edge filmmaking techniques and massive ad campaign before release. How convenient that it fits right along the rails of ZC: demonizing Ancient Persians, twisting history, glorifying war and most important, it’s all done to fit into today’s political unease between East and West.

Most viewers were undoubtedly lost in their enthrallment with the film’s striking visuals. The film on a technical level is quite well done with first rate special effects, impressive battle choreography and a music score that really amps up the excitement in the viewing experience. The film’s director, Zack Snyder, comes from a background of directing music videos and commercials. Such a career path leading to film direction is not uncommon these days, but it makes apparent on why special effects are getting better, while the honesty in story-telling is slowly festering. Commercials aren’t meant to be intelligent or though-provoking, they are meant to instill product loyalty in consumers, which in turn, sells more and more material products and generates more and more profits for the corporate owners. 300 is just that - a well-made commercial. But what is it selling? Well, upon closer examination that shouldn’t be too hard to figure out.

The film is very striking from the very start, it hits the viewer. The colors, the music and whole look of the film is unlike our real world thus it hits the senses like a good advertisement. The film is also a quite faithful adaptation of the source material, thus doubly impressive for fans of Frank Miller’s graphic novel. Visually it is also a very faithful adaptation of the source and Snyder and his team actually scanned every frame in the book and put them into a computer program, after which they added simple animations. This was part of a demonstration given to studio executives meant to show that the novel could be successfully adapted into film. Thus, the focus of making this film can be rightfully determined as visual impact. It was the main convincing point to gain funding from a studio and so the themes conveyed in the visuals are the main intended message. Now, if a commercial and music video director actually knows that he is telling a story and not just presenting some exciting visuals is a bit beyond the examination of this essay, however, whether in full knowledge or in ignorance, the makers of this film have sown some very potent seeds of hate.

Scary Middle Eastern Demons


This is the film's most vital propaganda aspect. The action sequences may be “kick ass” and intense, but they are taken in as such because the film conditions the viewer to identify only with our highly fictionalized Spartan heroes as they destroy hordes of vile creatures that are said to Persians. Many representations of war are one sided, but because they show a war from one side’s point of view. ZC propaganda, however, goes out of its way to over sensationalize the whole spectrum; the side ZC supports is shown as innocent and defending itself from some impending doom, while the other side is demonized. The Lord of the Rings also had this good vs. evil arrangement, but that story relied purely on symbol and metaphor and there was no mention of real world groups, thus cannot be seen as propaganda. Though, inevitably, Tolkien was writing with an unconscious Euro-Centric bias as Europe was where he had spent most of his life and where he did his writing.

The so-called Persians in this film are so vile and disgusting that they cannot be seen even as evil humans, maybe as humanoid demons, at best. The initial Persian characters have the most traces of humanity, such as the Persian messenger, but even he exhibits ignoble traits of misogyny (being impolite to his host’s queen) and relishing in his own pomp and material vanity (that costume). The portrayal of the Persians gets worse and worse as the film goes on. The agent who bribes the Spartan ephors with gold and whores is a bit more menacing and the fade to black that ends the scene accentuates his glaring eyes. A Persian emissary that comes to the Spartans and urges them to lay down their arms so that they may live shows even more vanity as his vehicle is a throne carried by slaves. He is also noticeably obese and overflowing with materialistic pomp. His arrogance leads him to having one of his arms severed as tries to whip the Spartans for disrespecting him. The ensuing battle scenes can be best described as wholesale slaughter akin to most Hollywood “war movies.” In the first battle scene, the Spartans slice and dice their way through countless ranks of faceless enemies, however there isn’t yet a really outright demonization at this point, but a strong desensitization toward the Persians. We are supposed to enjoy watching them be dismembered and massacred.

The likening to demons begins with the second battle. The Persian King Xerxes has dispatched his most elite fighting force and personal guard, the Immortals, to deal with the stubborn Spartans. These soldiers initially wear masks that bear a grim expression and they are also barefoot (a subtle detail), which is odd for a military unit, let alone an elite force. But it is this small detail that leads to the revelation of what these soldiers really are, when one has his mask knocked off, we see a monstrous face. This demonic visage goes hand in hand with their blunt aggression and obvious lack of tactics in battle. So much for “elite fighting force.” This scene also has a large humanoid mutant creature that is unleashed onto the battlefield, a foreshadowing of what is to come, as the Persians are shown to be in possession of massive beasts of war and other abominations.

Persian Soldier seen through ZC filter

One that sticks out is a huge, fat being with some sort of blades for arms and Xerxes uses him to behead some of his commanders after they repeatedly fail to break the Spartan lines. This executioner creature is packed with so many absurdities that it must have been specifically made (or bred) for that role, for it cannot be a natural creation in any sense of the word.

It is this image that is the main ZC point on Persians; they are not just war-mongering, vanity obsessed, and militarily incompetent beings, they are demons not of this Earth and thus rightfully annihilated.

King Xerxes
The portrayal of Persian King Xerxes is worth noting. He is shown as an androgynous man laden with gold and piercings. Despite his unbelievably lazy lifestyle he has a toned body. Right before the second battle he approaches the Spartans whilst being carried on a mammoth throne by many slaves and he even uses their backs as steps to get to the ground. The film's Xerxes is a self-proclaimed god-king who promises to Spartan king Leonidas fame and fortune as long he kneels in reverence at his feet. Should Leonidas refuse, he and his men will be slaughtered, Sparta pillaged and the city state's memory shall be forever erased from the historical record and officially never existant, while uttering anything to the contrary will be a crime punishable by death.

ZC and Reality

This is almost pure absurdity. It was commonplace all over the world for the ruling class to view itself as superior to their subjects, so it is not like Ancient Persia is some exception to the matter. Conquest was rampant in the ancient world and practiced by virtually all major civilizations. In fact, ancient rulers are often praised, not demonized, for their feats of conquest, but they are also remembered in a much more complete fashion. King Xerxes accomplished much more than just the destruction of one small city state in southern Greece. In contemporary Iran, the Achaemenid Empire of which the real Xerxes was ruler, is seen as a noble part of the country’s history.

The Perversion of Aryanism
The Spartans are also shown in a highly inaccurate manner. Sparta had strong militarist tradition, but was far from the beacon of rationalism and law as shown in 300. For example, soldiers were deliberately underfed as part of their training so that they master the skill of stealing food and familial relations were viewed as a necessary institution, not at all as compassionate and ultimately voluntary. While the Spartan military and society as shown in the movie seems to have many Aryan qualities there are several key factors that go against this.

First and foremost, the society of the film is purely preservationist. Given that the story here is but one episode from a presumably longer history, however opening scenes show that all young Leonidas learned was how to fight and survive, not to be a true Aryan leader that leads his society forward with vision and one who encourages action in his folk. The other Greek volunteers who offer their swords in service to Leonidas are poked fun at for not being “real soldiers.” Would a real Aryan insult his fellow folk from a different trade? Most definitely not. The film also gives the impression that the biggest and absolutely most important institution is the military, thus taking away from the true diverse and varied nature of folk and institutions in a real Aryan society. So not only is the ZC enemy shown to be vile and coming from the Middle East, the film also encourages Gentiles to praise blatant machismo, which can be easily exploited by manipulator for it is a servile mentality. The so-called Spartans in the movie are goys who have been manipulated into believing a threat from the Middle East. The surreal nature of the film is pretty much just a brutish macho fantasy that was inspired by propaganda meant to rouse subjects into war. The movie Spartans saw the propaganda before they marched off to fight, the viewers are seeing it as they watch the movie. Notice that the film is narrated by Dilios who left the battle before final defeat. He is a goy telling other goys about the necessity of fighting against ZC enemies and even says that dying in such a battle is “for glory.” One of the film’s many promotional taglines was “Prepare for Glory.”

Political Engineering
The film’s political intentions are not just obvious upon viewing, but have been confirmed by many of the people involved in its creation. During an interview on the radio program Talk of the Nation on NPR, Frank Miller stated: "For some reason, nobody seems to be talking about who we're up against, and the sixth century barbarism that they actually represent. These people saw people's heads off. They enslave women, they genitally mutilate their daughters, they do not behave by any cultural norms that are sensible to us. I'm speaking into a microphone that never could have been a product of their culture, and I'm living in a city where three thousand of my neighbors were killed by thieves of airplanes they never could have built." A most ZC statement that also implies that Persia, which is contemporary Iran, was responsible for the 9/11 attacks. Just over a year before, and a month before the theatrical release of the film version of 300, Miller, during a BBC interview, was talking about his new story idea that involved Batman foiling an Al-Qaeda plot on Gotham City and had this to say: "It is, not to put too fine a point on it, a piece of propaganda … Superman punched out Hitler. So did Captain America. That's one of the things they're there for." Superman was created by Jerry Siegel and Joe Shuster (both Jews) and is best known fighting a super-villain named Lex Luthor. “Lex” means “law” and “Luthor” almost definitely refers to Martin Luther, since the founder of the Lutheran faith proposed laws to keep Jews from exploiting his fellow Germans, thus Superman is fighting the “Law of Luther.” A little Jewish inside joke. Next we have the reference to Captain America, another comic book hero, who was created by the Jews Joe Simon and Jack Kirby. It doesn’t take much examination to see that Captain America promotes nationalist tribalism and allegiance to a colorful banner instead of Aryanist ideals.

The film also met its share of ZC approved criticism. The New York Post had a review which stated that the film would please “Adolf’s Boys” and the film was also compared to “The Eternal Jew” in terms of race-baiting. Thus we can see where the ZC Talking Points are: if it is good it is because it is pro-American or pro-West. However, anything bad or hateful it is immediately compared to anti-Zionist images from the past since that is the ZC standard of evil.

Are the film's ideas and images a possible primer for something?

Look past the artificial facade

The snake-like sneakiness and overall thorough coordination of the ZC Propaganda Front makes it difficult to point out crystal clear motives in any one place, but the overall movement can clearly be seen as heading in one direction and herding the rest of the world with it.

Here are some other ZC details:
The Spartan ephors that accept the bribes are diseased and disfigured and so is the only Spartan soldier who ends up as a traitor; the ones who ally themselves with beasts are beasts themselves.

The Immortals are said to be Xerxes’s elite guard and given their color scheme, they are a not so subtly shown to be much like SS Men, just through the ZC filter. This reinforces the Spartan King as being like Hitler who has become in Jewish lore the epitome of all evil. Frank Miller mentioned Hitler in the BBC interview quoted above, thus the connection to Iran and the main Jewish boogeyman is being slowly, but surely, woven in the ZC web of deception.

Don’t let the ZC Hounds lead us to war,
Don’t serve that thing that they all so adore.

Wolfenstein 3D or: How I Learned to Start Worrying and Hate the Nazis

One of the most influential computer games of all time would have to be Wolfenstein 3D, which was developed by ID Software and released in May of 1992. The game was a sort of revamp of a game released in 1981 for Atari and Commodore 64 called Castle Wolfenstein; the game involved sneaking out of a Nazi prison with combined tactics of stealth and violence. A sequel to that game was made in 1984 called Beyond Castle Wolfenstein, which had the player sneaking into a bunker in order to place a bomb so it can take out Hitler; a kind of recreation of the Rastenburg Assassination Plot of July 1944. Originally, Wolfenstein 3D was to have many of the elements from the games that inspired it (switching uniforms, unlocking boxes, hiding bodies, etc…), but in a first person perspective. However, many of these were thrown out during development and after 6 months of work in an apartment in a Dallas suburb, the tiny company ID Software launched to major success with the game that was effectively the original first person shooter, Wolfenstein 3D.

The player had 4 weapons to choose from and scores of Nazis to kill as they made their way through the levels. The game’s first episode is a prison escape, while the other 5 episodes involve taking down the unspeakably evil Nazi War Machine before it unleashes a chemical attack along with battalions of engineered mutant soldiers onto the free World. Episode 3, which is chronologically the last, even has the player sneaking into the Fuhrer Bunker to kill Adolf Hitler, who is the only authentic Third Reich figure to appear in this game, although it’s a hilariously comic bookish version of him. An expansion pack for the game called Spear of Destiny was released in September of 1992. It had more levels, more boss characters, and a final showdown in Hell with a Nazi demon called The Angel of Death. I am not kidding.

Cartoon Nazis

Basically, Wolfenstein 3D was a pixelated rehash of every single Nazi stereotype and cliché that existed at that point, which was more or less all of them, since they haven’t really changed all that much since 1945. Only their presentation has gotten noticeably slicker over the years.

Slick and oh so Evil

With great anticipation from gaming fans, the Wolfenstein franchise was rebooted in 2001 in the form of Return to Castle Wolfenstein, which was actually 3D. The game, in its first few levels, reiterates the escape from the titular fictional Nazi prison. The remainder of the game has the player infiltrating secret labs and destroying monstrous creations as well as foiling “Operation Resurrection,” a secret plan put together by Heinrich Himmler (who is the second authentic Third Reich figure to be mentioned in the whole Wolfenstein series, albeit only in a small cameo) to revive and old Germanic warlord so he can lead the Nazis to victory over, you guessed it, the entire free World. This game was immeasurably more sophisticated than its famous predecessor in virtually every aspect, but was still just the same old thing at its core. The game also proved popular online with an add-on called Enemy Territory in which it was possible (a great rarity in a war game) to play as the Germans! Presumably this was to make combat scenarios more realistic than US Army soldiers fighting each other and more interesting than players having to go against bots.

In 2009, the franchise continued with a new game called Wolfenstein. Yes, just Wolfenstein, no “3D” added after or “Return to Castle” put in before; just Wolfenstein. This latest entry was a lot more science fiction oriented than the previous games. The main storyline was a secret Nazi plot to channel a mysterious and newly discovered power source known as The Black Sun in order, get ready for the surprise, to be able to unleash conquest on the entire free World. How original. The game’s action takes place in a highly alternate 1943 right after the events of Return to Castle Wolfenstein and apparently totally disregarding the plot of Wolfenstein 3D and its expansion pack.

Still slick, still evil, and still wanting to kick your ass

This brings us to the question: what does this mean? The answer is quite simple really: the vast majority of the “free World” doesn’t have the first clue when it comes to understanding National Socialism - not as it was envisioned by Hitler, not as it actually functioned in the Third Reich (or anywhere else for that matter), not how it continues to be developed and discussed today by its authentic scholars and thinkers. The games are blunt sensationalist entertainment derived from Zionist controlled Allied and Soviet propaganda that capitalizes on outlandish myths and even fabricates, from the ground up, a good deal of its own Nazi-mythos. Quentin Tarantino did the same thing (just without the sci-fi) with his ZC propaganda vehicle, which was an immensely primitive, self-indulgent, brutish fantasy called Inglorious Basterds. A movie that I just might be taking a look at again sometime in the near future.

Wolfenstein 3D was the first color computer game that I saw as a kid, which was right around the time I saw the first Indiana Jones movie. I was in elementary school at the time. This was the earliest instance that I remember of seeing Nazis or anything related to Germany, for that matter. So, it can be said, without much reservation, that my introduction to the Third Reich and “German things” was right along the rails of ZC; two popular mediums gave me a visually striking indoctrination to the “absolute epitome of evil.” Without a doubt, many other people wound up at the same terminal, they may have taken a slightly different train in, but the final message was just as clear.

Now, nearly two decades later, my view of National Socialism has changed greatly. I am confident about this change due to it spawning from my own intuitive search for information, thus making it antonymic to my initial exposure to the subject. Perhaps it is odd that I still view the Wolfenstein series of games in much the same light, but now with a much different comprehension. Their message is still very clear, but in taking to consideration how ridiculously over the top the games all are: winding windowless mazes with vicious mutant soldiers, sprawling underground bases with mad science labs and horrific fictional technology, Swastika banners everywhere and well, just take a look at some of those pictures again to see my point. I particularly like the one of the soldier with the flame-thrower: it seems to combine the very cool Allgemeine-SS uniform with that of an Imperial Storm Trooper from Star Wars.

The point is: Satire.

Robo-Hitler. Just admit it: it's funny.

The Jews made their main boogeymen out of Adolf Hitler and the Schutzstaffel. A fictional enemy from the likeness of someone real, one whose image can be molded accordingly, is the perfect enemy to keep their legions fighting for them.

Du bist tot, Schwein!

However, this point is not a satire of the Nazis, rather it’s a satire of the Jewish and Gentile perception of Nazis. The games simply show the Zionists’ and Jews’ worst nightmares of their chosen enemy who is now technologically superior and wreaking havoc all over the World that they want to control for themselves. This goes back to a point of mine (in an earlier post) of the Jewish-mind being totally empirical and fabricating its own demons in this World… well the Wolfenstein series is just that: a self-inflicted nightmare analogous to the ones that Elie Wiesel keeps perpetuating and making his living off of them by giving speeches and publishing writings. “The myth of persecution is the adhesive and cement of Judaism.” Wolfenstein is a horror story within that myth as well as a huge perversion of everything National Socialist and Aryan. The Jew’s self-serving propaganda is his religion, therefore he needs to maintain not just his own image as a victim, but that of his enemy as an oppressor in order to make the story seem rounded and realistic.

The Nightmare within the Myth

Now, if Jews want to live their lives with these nightmarish images as the thing that brings them together, well there is not much that we can do about that. We can, however, change it so that they keep their bogus interpretations of these equally bogus horror stories to themselves, thus allowing us rational people investigate history and plot our course into the future based on logical knowledge.

Anti-Elitist themes in "They Live"

Time to look at another film. This time around it’s the 1988 science fiction/conspiracy film They Live directed by John Carpenter who also wrote the script under the pseudonym Frank Armitage and co-composed the score. Carpenter shot to fame with the classic horror film Halloween in 1978 and even during his years with bigger budgets and studio backing he was always a more innovative-than-usual film director. Avoiding sensationalism in the form of excess gore and nudity, his films were driven by atmosphere, as well as by storytelling and filmmaking creativity. They Live is no exception to this and it comes from a time in Carpenter’s career when he went back to making lower-budget independent films after lackluster performances at the box-office with studio productions. It all worked for the better since there is no way a big budget movie studio would produce a film like this: it has one of the most effective anti-Zionist metaphors of all time. Of course, there is no way to prove that his intentions were anti-Zionist, but that just might be Carpenter making a clever chess move.

MAJOR CHARACTERS
Nada - a drifter who winds up in Los Angeles. Discovers a special set of sunglasses and soon links up with a revolutionary group on a mission to save the city, and maybe even, all mankind. His name is a witty take on the “man with no name” or nameless hero archetype who sweeps in and saves the day. Appropriately so, Nada’s name is not mentioned once in the film and we only learn it in the end credits.

Frank - works at a construction site and helps Nada find a place to stay. Thinks Nada is nuts when told about the truth about society and even takes a bit of convincing, but eventually teams up with Nada.

Holly - initially taken hostage by Nada when he needs to escape undercover. She lives in a posh house and has a well paying thus hasn’t even considered the possibility of society being endangered. Her character is ripe material for a standard love-subplot, but unlike Hollywood cheesefests, the film here takes a much different direction.

SUPPORTING CHARACTERS
Man watching TV - an interesting though very small role. He becomes the film’s ultimate example of a sellout.

Gilbert - volunteer working who helps out around the shantytown, but also works with the revolutionaries.

Revolutionary Group - all glance roles, but they show that a militarist movement is in operation.

A DEGENERATED WORLD
The world is in a state of decay. Nada mentions that many banks in Denver have closed. Lower-class people have trouble finding work in a packed jobs office. A street preacher in the middle of a sermon about how civilization worships greed is suspiciously taken away by cops. Note that what this preacher says, using a venomous snake tongue metaphor, is very similar to Christ's words to the Sanhedrin Jews. -[Thanks to Delendaestziobot for this elaboration]- Frank mentions that in Detroit many steel mills closed and despite workers taking many cuts to their pay and benefits, but the corporate owners just “gave themselves raises.” Around the city people can be seen to be entranced by television sets that play pointless programs and show dull ads all appealing to vanity and desire for longevity. The world seems to have lost purpose and direction with the rich milking all resources for their own benefit while keeping the lower classes entranced in a servile (goy) state of mind.

At one point a TV ad mentions “divine excess” which, reflects the street preacher's example of how much of a religion materialism has become. Peoples' lives consist of just spending and comsuming, which are the sustaining processes of their society and they cannot see past this. Their frustrations as to why things never get better have no rational answer, at least not one they can see. Nada says, "I believe in America" and that he is sure a chance will come for him if he waits, while Frank seems to see this hope as naive. Later, when Nada wants to look into something that may provide some answers, Frank tells him to "leave it alone" as he has a job and just walks the white line doing his job, while Nada responds, "white line's in the middle of the road, that's the worst place to drive." Their respective attitudes seem to have switched.

Note that Frank's mentioning a white line, effectively means he is going along a path that has been drawn out for him, which is analogous to Nada "believing in America." So sometimes they may feel that something is not right, however what is likely true is their attitudes sway back and forth from day to day or week to week, but the end result is they remain servants locked in am empirical prison with glimmers of false hope here and there.

SEEING IS BELIEVING
The central idea of the film can be seen as a slam on the myth that White Nationalists love to preach, which roughly sums up as: "Wake up!" Meaning, we’re asleep and the Jews (and also all non-christian non-whites, according to false-Aryan white nationalists) are robbing us of our freedom and rights. The movie does cater to this by using the "wake up" message in several forms, for example Nada sees a sign “They Live We Sleep” - an elaboration on the title and an indicator that Nada is learning more about the reality of his world. However, these references to waking up and sleeping are well outnumbered by film’s references to sight.

His afternoon just got a lot more interesting

The first hint of this is in the opening shot: we get an oddly framed title card with the film’s title off to the bottom left written in what looks like hand-writing. The first shot fades in and we see a graffiti covered wall and the movie title is actually written on that wall… it is part of a bigger picture and the film has just very specifically pointed it out. In approaching such a large mural, one bit of writing off to the side is not likely to be noticed first if at all. This is the key idea: “seeing” isn’t enough, “seeing the right thing” is what matters; the right patterns so that the right conclusion and right course of action can be taken.

In the shantytown where Nada settles down some people are watching TV, which is showing some dull programs. Then suddenly a signal comes on that warns people that they are slaves and talks about some mysterious conspirators: "They are safe as long as they are not discovered." The "Man watching TV" mentioned above is in this scene and he gets annoyed by this transmission: “it must have taken the hackers months to do this.” He is simply writing off anything different in the status quo as a violation or annoyance of some sort. The transmission reappears the next morning calling once again for revolution to the annoyance of the people watching. Nada, however, doesn't just disregard it, in fact, he looks very curious. This is the first indicator that he will break the status quo.

His curiousity takes off, because soon after Nada starts to suspect something is going on in the church next to the shantytown. When he brings it up to Frank is when he is told to "leave it alone," but he goes to investigate. There he finds that it is not just a church, but also a lab where sunglasses are made, ones with so called “Hoffman lenses.” An exact spelling of the lens name isn't given, but it may be a reference to, Albert Hofmann, the creator of LSD. A drug which doesn’t "wake" the user, but alters their perception, makes them "look along a different plane of reality" so to speak, which is akin to what the glasses let the wearer do. The glasses are the central element to the film and once Nada puts them on “seeing is believing” is taken to a whole new level.

The world is not at all what it seems. All billboards, ads, newspapers and signs that make up the corporate-run world contain subliminal commands to be obedient. The glasses allow the wearer to see this, but without them, everything looks normal, "normal" in the sense of how we've been conditioned to perceive it.

Some signs Nada sees:
“Marry and Reproduce” is behind an ad about travelling to the Caribbean, which features a woman in a bikini. All in all, with the hidden message it is suggesting hedonism and base-sexual behavior.

“No Independent Thought” is behind a sign for men’s apparel suggesting that all people buy the same clothes, which draws a connection to uniforms, but more precisely, and given the film's context, prison uniforms.

“Consume” is behind a sign for a “close out sale” which is just fancy capitalist jargon masking very blunt capitalist jargon.

Then when Nada looks down a city avenue...

Consumerist Civilization

Notice that all the signs are in all capital letters and one font, in other words, as blunt and direct as can be. It is not just ads and billboards, magazines that are usually filled with useless news stories, soft porn and other interruptions have like-minded commands behind them. Even money has “this is your God” on it. One magazine on the street stand Nada visits has “let TV teach you” written on it and this is seen without the glasses, which suggests that the propaganda is so rooted in, it is becoming less and less necessary to disguise. This little detail is visible when Nada sees the real shocker about his world, thus it was most definitely a detail the director wanted the audience to see. The real shocker, however, is that aliens live among us and they’re only seen for what they really are through the glasses, otheriwse they appear human. They hold the positions of power and influence and to be blunt, they are the “they” of the title and the “they” the man on the intruding TV signal was talking about.

They are elitist minded creatures claiming to be inherently better than us, using the most elaborate manipulations to herd us, stealing wealth from our planet’s resources, enjoying a life of materialist hedonism as the honest of us suffer, bribing some of our own to help them maintain control and showing perhaps the ultimate example of in-group altruism through their selfish actions.

Note how the film's many political, economic and imperialist references reflect this.

ARYAN MILITARIST REVOLUTION
Nada, shocked and in some disbelief, tries to figure out what to do. His struggle is reflective of the Aryanist struggle in that he has trouble convincing anyone; partly due to his inarticulate communication, partly due to people’s stubbornness in their comfort, partly due to being hunted by the aliens' enforcers. The comically over-the-top fight between Nada and Frank is an example of this: Frank is comfortable working (life ain’t easy, but it’s steady) and it takes a lot of convincing to get him to go on the militarist route to actually change the world for the better, hence the fight. What finally gets Frank convinced that Nada is right is when he sees the aliens, Nada puts the glasses on him. Again, the "wake up" notion is totally ignored in this key scene. Seeing the truth is also dangerous, since the minute the aliens know that someone can “see” they call in their enforcers. Nada learns this the hard way during his first walk with the glasses.

Nada and Frank figure that they can’t be the only ones with the glasses and they soon locate some revolutionaries. The group is meager, but well armed and planning a blend-in strategy while they acquire more numbers, however, the aliens enforcers crash their meeting and start to kill everyone. In that moment, Nada and Frank basically realize the situation: we fight now or never.

Holly, who has a subplot with Nada (which I didn't go into here), helps them determine that the alien signal must be coming from the TV station where she works. The relation between Nada and Holly is interesting in that it avoids almost all cliches. The three sequences that Holly is in all take a drastic unexpected turn. I don’t want to reveal all twists here so as not to spoil the entire movie.

Note that as the film progresses, Nada starts to make more and more calculated moves. This goes back to his first walk with the glasses. First he found the aliens just plain ugly and started to insult them, funny, but it gives him away. He next used a bit of cleverness to get out of being cornered by two cops, but shot up a bank killing several aliens right after. However, he escaped the bank scene using a bit of cunning once again and from that point on all the violence that Nada causes is to serve the goal of revealing the aliens. What starts as a simple-minded revolt takes on traits of an Aryan Militarist Revolution. By the end Nada and Frank willingly go against great odds since as Aryans the only death they’ll let their oppressors exact on them is one in which they were fighting out of oppression.

In trademark Carpenter form, the movie’s ending is a bit open ended, but that’s one of the things that makes it interesting to talk about.

BITS AND PIECES
The opening shot, after fading in, tracks left and we see a freight-train rolling by with sun-wheel designs on the cars and after it passes we see a Nada, which links him to the Aryanism. Also when first at the construction site he says he has his own tools, he is a reasonably self-sufficient worker.

Frank, in turn, is linked to Aryanism when he tells Nada, “you’ll meet some of the folk” when showing him the shantytown.

Right before the police raid, Nada is looking at the church, but then he looks up and sees a helicopter and only then does he hear the engine roaring. Why didn’t he hear it when it first arrived if it's that loud? Because the world is in a trance and under illusion, things have to be specifically concentrated on to break the spell.

A trash truck “appears” in a similar way to the chopper mentioned above. This is right before Nada fights with Frank, in watching the scene it is plain to see that there is no way Nada could have not seen it unless there was some sort of illusion going on.

The "Man watching TV" and complaining about program being interrupted shows up at the end. Note this key scene.

Holly’s house is located on Circle View Drive… and interesting name considering that the essence of maintaining an illusion is keeping people looking around in circles and away from the source.

Also, something very important in the film is, quite unexpectedly, very fragile. I do not want to give away all the details here and it should be rather obvious once it comes up on the film. Take note of how this relates to the arrogance of the aliens. On how they must have totally counted on it not being discovered. On how seeing the right patterns and taking the right course of action can easily ruin even the most elaborate illusion.

The music in the film is pretty interesting and not a very typical film score. John Carpenter almost always at least co-composes the scores for his films. Thus his ideas and metaphors from his direction of the film as well as his writing of the script are directly linked to the film's music. The music here is largely composed of bass sounds; low, subtle sounds. This reflects the film's message of important things being largely hidden and not out right obvious.

The film's poster also underlines the important of "seeing" not "waking up."

CONCLUSION
This film doesn't make very many direct references to Zionism and I do consider it more of a broader anti-elitist themed film, though it is interesting to see how well an anti-Zionist interpretation fits here. Henry Ford only started to distribute the Protocols of the Learned Elders of Zion after he saw how similar the course the world was taking to what was described in the book. Can you, reader, see any parallels with this film and our world?

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They Live IMDb page
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