The Dark Knight: Turbulence of the Times

Written by Aryan Sanctuary

The Dark Knight, released 2008, I consider to be one of the best-made movies of the 2000s, a pleasant surprise following the rubbish that was Batman Begins. Christian Bale’s portrayal of Batman is my favourite among all the actors whom I have seen play the character, and Heath Ledger puts on the performance of a lifetime as the Joker. The atmosphere of the movie captures very well the darkness inside which more and more of the world now feels it lives as the optimism of the 90s moves further and further into the past, and the story deals with numerous political ideas relevant to our times.

To qualify this, let me begin by stating that I am not that big a fan of comic-book-originated superheroes as a whole, and for a specific reason: their stories are generally not allowed to have a definitive ending. The Gotham City mythos, for example, is about Batman fighting crime but never actually ending it. (The real-life pragmatic reason for this is so that DC can milk the franchise for as long as it is profitable. This is how capitalism poisons art.) Indeed, to defend this type of perpetual (and thus ultimately pointless) storytelling, characters who could establish a better society are required to be denigrated.

In The Dark Knight, this is seen in the portrayal of Brian, the Batman copycat. He is portrayed as physically ugly, fat, incompetent and with a ridiculous costume that even Batman disses: “I’m not wearing hockey pads.” He is told by Batman: “Don’t let me find you out here again!” and “I don’t need help!”

Bruce Wayne later repeats this assertion to Alfred: “That [ie. people like Brian] wasn’t exactly what I had in mind when I said I wanted to inspire people.” Brian is later captured by the Joker and tortured to death, and his corpse is hung from the side of a skyscraper. His death is the most gruesome in the whole movie. And why? Because he was actually trying to follow Batman’s example. So the underlying message is: “Yes, Batman is cool, but don’t you try emulating him. Not only will your own hero diss you, but you will end up dead, fast.”

The truth is, if enough people like Brian made the effort, there is no reason why Gotham City could not be cleaned up once and for all. This, however, would contradict the Gotham City mythos (and DC’s desire for continued profit). This is why Jewish-created comic-book superheroes are never fully satisfying to the Aryan mind, because the superheroes – despite all the villains they apparently defeat – never actually succeed in creating a better world. (The Joker himself notices this, saying to Batman: “I think you and I are destined to do this forever.”) Even if such superheroes existed in real life, it would not be them who will create a better world here either, which is why Jews do not mind them being glorified. The people they cannot permit to be glorified are people like Brian, ordinary people who care, and who really can change the world if enough of us united and organized.

Setting aside this one point, though, The Dark Knight nevertheless contains excellent social commentary and ethical positives, characterizing and contrasting well the two sides of the conflict, which is what the remainder of this review focuses on.

The special significance of Batman as a superhero is that he has no superpowers at all. What he has instead is a lot of money. Wayne exemplifies one of the few ways to spend money positively: not to try to fund change from within the system, which inevitably plays right back into the enemy’s hands (more on this later), but to acquire the means with which we can work outside the system – in his case advanced weapons, armour and vehicles that give him the ability to fight crime in person as Batman, and to himself avoid apprehension by the police after doing so. An example of Batman’s effectiveness is provided early in the movie. Lau relocated to China to use the defence of national boundaries against criminal justice (similar to how Jews on more than 100 occasions have repeatedly found countries willing to take them in as they escape from other countries after profiting dishonestly there). Batman’s response is to ignore boundary-based bureaucracy and capture Lau himself. In the Joker’s words: “Batman has no jurisdiction.” In contrast to the rightist approach of deportation as a ‘solution’ to crime, which really means deliberately endangering other countries with the very same criminals that rightists do not want in their own countries, Batman demonstrates moral universalism by seeing a duty to bring back to Gotham City even criminals who have fled from it on their own initiative (and hence by definition would have no further local victims), in order that they both face prosecution for their past crimes and are prevented from repeating their crimes on victims elsewhere. Batman would surely disdain the rightist argument: “Lau continuing his criminal career in China is not a problem, since all his future victims will be Chinese.”

The foil to Batman is Harvey Dent, who is trying to work within the system, and his devolution into Two-Face as the story progresses. The descent begins almost as soon as Wayne decides to promote Dent, and we were never really surprised that it would happen as the Joker’s side continues to win (even when the Joker himself at times appears to be captured or defeated) via his own agents who are also embedded within the system. This is something that those well-meaning people who believe exclusively in working within the system often forget: they are not the only ones doing so – the enemy work inside the system also, but at the same time work outside the system. When one side works only inside the system while the other side works both inside and outside, the former should expect to lose.

The Joker himself is not so much an individual villain as the embodiment of the times. It is implied that we should not try analyzing him as a person early on when he tells multiple conflicting backstories about himself. The movie also deliberately leaves out explanations of how the Joker manages to coordinate his agents, thereby making it feel as though everything just fell into place naturally. This is further reinforced by the opening scene where each masked bank robber kills the one before him, leaving only one alive at the end, who only then removes his mask and reveals himself to be the Joker. As such, we cannot dismiss the movie by thinking that none of it would have happened if the Joker hadn’t shown up; the point is, when the people as a whole have sunken low enough, the events of the movie become a matter of course. If you understand the Joker as a collective archetype, you will see his face behind the barbarism that has been spreading through the real world this decade, and about to spill over into the next. Zionists might have been responsible for the false-flag terror attacks, but Zionists cannot force people to condone the insane invasions of Iraq and Afghanistan in response; the Joker was the one who did that. Zionists might be funding the EDL and all the other so-called ‘defence leagues’ and all the Islamophobic political parties, but Zionists cannot force people to join them or vote for them; the Joker is the one doing that. In his words: “Madness, as you know, is like gravity. All it takes is a little push.”

It all culminates in the “social experiment” scene, where the Joker gives the passengers on each boat the option of detonating the other boat to save themselves, or risk the other boat possibly doing the same to them. Even more poignantly, he has set it up asymmetrically, so that one boat contains convicted prisoners while the other contains ordinary civilians. As the Joker explains: “So, who’s it going to be: Harvey Dent’s most wanted scumbag collection, or the sweet and innocent civilians? You choose… oh, and you might want to decide quickly, because the people on the other boat might not be so noble.”

This is a classic Zionist tactic, symbolized by the Freemasonic black-and-white chequered chessboard: when you want to start a war, divide people into White Pawns and Black Pawns such that White Pawns believe Black Pawns are intrinsically evil, and Black Pawns believe White Pawns will insist they are evil no matter how they behave. This is the division that makes empathy between the two sides most difficult. We and other anti-Zionists have been exposing this trick for years. Then, we see the democratic foolishness of the military crew trying to let the passengers vote on the issue.

Simultaneously, we have the police SWAT team surrounding the Joker’s building and talking about: “taking out the clowns and saving the hostages”, while Batman, who is inside the building, realizes: “The SWATs are attacking the wrong people. The clowns are the hostages.” (Sounds familiar? You’ve probably read it here ten times before referring to Muslims and other Zionist-designated scapegoat minority groups.) But it all happens too quickly, and Batman ends up having to fight both the Joker’s henchmen and the SWAT team at the same time just to save the hostages. This is what we are trying to avoid having to do, by the way.

Of course, because it is a movie, the passengers end up making the correct choice of refusing to press the button, but as I watch the news every day and read enemy blogs every day, I wonder if we can find enough people in reality willing to do the same.



Miecz requested that I update this post for reposting at SoE. Looking back at the movie again today, the Joker’s speech to Dent in the hospital becomes ever more chilling for its widespread accuracy: “Nobody panics when things go according to plan, even when the plan is horrifying.” Back in the 2000s, it was bad enough seeing the lack of public panic in response to Israel’s overtly planned, but horrifying treatment of Palestinians. Today we additionally see the same lack of public panic in response to Trump’s planned, but horrifying treatment of undocumented Americans; or to Viktor Orban’s planned, but horrifying treatment of refugees; or to Aung San’s planned, but horrifying treatment of Rohingya. Instead, people are effortlessly thrown into panic again and again by events that do not APPEAR to be planned (but in fact certainly are, merely covertly), such as false flag terror attacks invariably blamed on Muslims (and nowadays typically believed without demand for evidence).

Reality had a chance to follow the movie, but it did not. The detonation button has already been pressed. To use just the refugee crisis as an example, far more people have drowned in the Mediterranean alone than were killed in 9/11. All these drownings could have been easily prevented, but were not – not just not by the openly anti-refugee states, but not even by the states which claim to care about refugees, because even these states are too intimidated by their own anti-refugee majorities to take the rescue effort more seriously. As the Joker said: “Their morals, their code, it’s a bad joke. Dropped at the first sign of trouble. They’re only as good as the world allows them to be. I’ll show you. When the chips are down, these… these civilized people, they’ll eat each other. See, I’m not a monster. I’m just ahead of the curve.”

As of 2017, we are going round that curve. It is too late for prevention. We can only hope to one day cure it, and cure is harder than prevention. But cure begins with acknowledging sickness. We have to acknowledge that we live in the Joker’s world now, and may well remain stuck in such a world for the rest of our lives.

The                                  times
embodiment of the

The best we can do now is to maintain at all costs our memories of the times when the world was not like this, so that we remain convinced that the Joker’s world is not the only possible world, for only then can we convince others of this, and hopefully get enough people to build that other world back up all over again.

Bruce Wayne: People are dying, Alfred. What would you have me do?

Alfred Pennyworth: Endure, Master Wayne. Take it. They’ll hate you for it, but that’s the point of Batman, he can be the outcast. He can make the choice that no one else can make, the right choice.

Related Information:
The Handed Victory vs Gnostic Struggle – how movie different victories are won
Idealism & Freedom – when heroism can be emulated
ZC Weapons: Hyper-Reality – more on Judaic “heroism” vs Aryan Idealism

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Robocop 3: Duty vs. Power

Written by Aryan Sanctuary

Since I have been recently referring to this movie so often, I figured that I might as well review the movie itself! This should also help those who have not seen the movie but who see me talking about “Rehabs” etc. all the time and wonder what I am talking about. I also feel that over the last month or so I have already said all that I can say on the issue of resisting deportation. I honestly don’t know what else needs to be said, except that RoboCop 3 has most of it covered.

RoboCop 3 is widely considered to be a bad movie by RoboCop fans, and on many levels I agree. Murphy is no longer played by Peter Weller; most of the action scenes – especially those involving Murphy himself – are downright silly; there are obvious storyline inconsistencies in relation to the first two RoboCop movies; there are countless unnecessary plot elements that would have been better off removed; and so on. At the very least it could certainly have been made much better than it was. But from a political perspective I have always liked it. Therefore, for the purposes of this review, I will completely ignore the bad stuff, and focus only on the themes that I consider to be both important and well-expressed. Like the entire series, it is set in what in the 1990s was considered to be the near future in terms of technology (in fact its videophones are less advanced than present-day smartphones), using a dystopian Detroit as a microcosm of society. Of course, back when I first saw the movie in the 90s I never expected to see the villains become real in the very country which produced the movie (back in those days I wasn’t even aware how bad it really was for the Palestinians at the hands of Israel). Even in my previous blog post referencing the movie, I was talking about France, not the US:

And I hardly need to again bring up Myanmar, Hungary, etc.. But, as of 2017, we cannot but face up to the reality that the villains have indeed become real in the US too:

ICE agents are now targeting places that used to be respected as sanctuaries of sorts, and have dropped guidelines urging a focus only on serious criminals.

The result: all undocumented migrants can be equally targeted.

One recent high-profile detention was of ‘Dreamer’ Daniela Vargas, 22, who was born in Argentina and came to the United States as a child.

When ICE agents came to her home to arrest her father and brother, both undocumented migrants, Vargas escaped by hiding in a closet.

The agents however got a second chance on Wednesday after Vargas spoke out against deportations at a press conference in Jackson, in the southern state of Mississippi.

“Disturbing that ICE may have followed her from an immigration news conference,” wrote Democratic Senator Ricard Durbin on Twitter,

According to Vargas’s attorneys, ICE agents plan to deport her without a hearing with an immigration judge.

“ICE has no shame,” said Yatziri Tovar, another ‘Dreamer’ who works for the pro-immigrant NGO Make the Road New York.

“This rogue agency has now detained another Dreamer … apparently, for exercising her First Amendment rights,” she said, a reference to the right under the US Constitution to freedom of expression.

Emboldened by Trump’s decree — which authorizes immigration agents to deport even undocumented people suspected of crimes they have not been charged with – authorities recently detained people seeking shelter on a cold winter day at a church in Alexandria, Virginia, just outside the US capital.

Also taken into custody for deportation: a woman who went to court in El Paso, Texas to file a complaint about domestic abuse.

In another recent case agents boarded an domestic flight that landed at New York’s JFK airport and checked every passenger’s identification documents.

Also arrested in recent weeks was Mexico-born Daniel Ramirez Medina, a 23 year-old ‘Dreamer’ living in Seattle, in the northwestern state of Washington.

ICE agents detained Ramirez, who came to the United States at the age of seven, even though his DACA authorization was still valid.

Immigration agents swept into his home to pick up his father, and claimed that Ramirez confessed to belonging to a gang.

Ramirez, who has no criminal background, denies the charges.

So re-watching the movie once again in 2017, knowing that the villains have already become real, my hope is that the heroes can become real too.


The movie opens with a revoltingly unctuous campaign ad: “Imagine: an end of crime, an end of poverty. Imagine two million good jobs waiting to be filled. Sounds like a dream, doesn’t it? Well, sometimes dreams come true. Delta City. For our children.”

Basically MAGA. Note the combination of futuristic architecture with the 50s-style patriarchal family – the rightist fantasy of archeo-futurism.

This is followed by the news describing the existing Detroit as a “warzone” (where have we heard this before?!), with footage of overworked police officers dealing with stereotypical thugs.

Police vs “bad hombres” as Trump would call them…..

And then the solution is proudly presented: “As usual, OCP has an answer. Meet the Rehabs.”

Basically ICE. The ridiculous muscle-mold body armour worn by the agents is a
clever poke at the rightist worship of masculinity.

Head villain Paul McDaggett says: “We’re here to help the people, to augment the police force and deal with the gang problem.” (Where have we heard this before?!) The news reporter asks: “What about reports you’re actually ousting people from their homes to make way for construction of Delta City?” (Note how McDaggett refers to “the people” whereas the reporter refers to ”people” – vast conceptual difference.) Then McDaggett calmly appeals to legality as justification: “I won’t deny we’re serving an eviction notice or two. … We’re cops, nothing more.”

We see rightists today doing this all the time, claiming that there is nothing wrong with deporting people so long as they are “illegal”, ignoring that who is “illegal” in a democracy is determined ultimately by majority rule – indeed these same rightists push for the passing of laws to make “illegal” more and more formerly “legal” people whom the majority dislikes. So saying someone is “illegal” in a democracy really means nothing more than saying someone is unpopular. And citing someone’s unpopularity as sufficient reason to treat them unfairly is the definition of bullying.

Watching the TV as all this is going on is hacking whiz-kid and RoboCop fangirl Nikko, who clearly sees through McDaggett’s shameless bullshitting.

Nikko’s Original Nobility facial expression contrasts with those of
the slave children in the Delta City ad.

Nikko’s parents (depicted as an inter-ethnic couple to contrast with the mono-ethnic family in the Delta City ad; you can also see hippie-style cushions etc. on the sofa), however, predictably respond by telling her to stop watching TV and go to bed! She reluctantly obeys, but later in her room (which also has a poster of a cactus landscape to contrast with the gentrified greenery in the Delta City ad) asks her father about what she heard earlier, whereupon her father doubles down on teaching her to stick her head into the sand: “Don’t listen to what the TV said. This is your home, you hear me? You’re safe here.” This is when the Rehabs’ wrecking ball smashes into Nikko’s room…

Message to leftists: you cannot fight rightists by pretending they do not exist.

Nikko’s parents along with many locals of Cadillac Heights are hauled onto a bus by the brutal Rehabs. (Nikko’s parents are not seen again; it is later revealed that they were killed by the Rehabs off-camera, “killed during escape from relocation” according to the database which classifies them as “suspected rebel sympathizers“ ie. guilty until proven innocent, as I have been pointing out is becoming increasingly common in real-life.)

Fortunately, other locals led by Bertha resist the Rehabs: “Stay here! Fight for your homes!” This is what I have been trying to tell real-life ICE victims for the last month! Nikko is picked up by Bertha and hidden inside a refugee van which the very same night proceeds to break into a police armoury in order to acquire the additional firepower needed to defend Cadillac Heights from the Rehabs. (Police weapons were bought using local taxes in the first place, so if the police are not going to use these weapons to protect locals against the Rehabs, the locals have a positive duty to use these weapons themselves!) A refreshing frankness towards the necessity for retaliatory violence is one of my favourite things about the RoboCop trilogy as a whole, distinguishing it from stories which express sympathy for left-leaning views but promote the dangerously wrong notion that these views can triumph through purely pacifistic means.

Message to leftists: this is the correct way to fight rightists.

Alex Murphy is dispatched to pursue the refugee van following the weapon heist, but after Ann Lewis’ police car (also in pursuit of the van) overturns during the chase, Murphy chooses to go the aid of his partner and other colleagues against a Splatterpunk attack despite orders that he continue pursuit. Thus the van escapes.

The Splatterpunks are basically the Alt-Right who have been bullying people non-stop ever since Trump got elected: a notoriously cruel, sadistic gang that the Rehabs yet have not the slightest interest in ridding Detroit of, showing the dishonesty of their claim of wanting to ”deal with the gang problem”, much as Trump has officially redefined ”violent extremism” to exclude racist groups despite the US’s long history of racism.

OCP dislikes Murphy’s personality and orders Marie Lazarus to implant a chip to erase his “emotional baggage” (similar to how rightists always complain about leftists making decisions based on feelings). Lazarus of course does not do so; instead she studies Murphy’s memory videos (which includes shots of Nikko outside a sanctuary church, with the camera lingering on the crucifix above the door) and becomes sympathetic towards Cadillac Heights herself. This reflects what I have been saying about how there is room for individuals in almost any position within society to sabotage Trump in their own capacity, and it only takes a few such saboteurs linking up for the effect to start multiplying. (Sgt. Reed, who will later switch sides, is for now still repeating the OCP narrative: “Do not let the fact that these people are homeless sway you. They’re terrorists, pure and simple.” (Where have we heard this before?!))

1) Take traditionalism. 2) Take hammer. 3) Follow your conscience.
(Notice Lazarus’ trademark rolled-up sleeves; she does this with every outfit she wears. This is my favourite costume design element in the movie, a small detail that
greatly enhances Lazarus’ personality.)

Off-duty, Murphy and Lewis visit the sanctuary church, but McDaggett and a large force of Rehabs coincidentally arrive at the same time to raid it, leading to confrontation as Murphy and Lewis oppose the raid for what McDaggett calls “squatters” who “belong in the nearest rehabilitation centre”, some of whom are moreover “armed terrorists” (where have we heard all this before?!). This leads to Lewis being fatally shot by McDaggett, and Murphy physically obstructed from retaliation by his OCP-inbuilt Directive Four (“NEVER OPPOSE AN OCP OFFICER”), thus also sustaining debilitating injuries. Fortunately the refugees themselves open fire on the Rehabs and rescue Murphy, who promises Lewis before she dies on the church altar that he will avenge her. I really like the portrayal of Christianity here: it is pro-sanctuary (unlike today’s conservative churches), but praises vengeance (unlike today’s liberal churches), which is exactly how Christianity should be.

A church is only a sanctuary for refugees when the people inside
are willing to use firearms to make it so.

“God helps only those who are prepared and determined
to help themselves.” ~Adolf Hitler

Murphy: “Officer down.” Lewis died as an officer of Jesus.

McDaggett lies to the media that Lewis, a “fine, fine public servant”, was supporting the Rehabs during the raid and that Murphy killed her for doing so, which yet manages in a twisted way to fit with the fact that Murphy has joined Cadillac Heights. OCP now places the blame on Lazarus for not implanting the chip into Murphy earlier. Nikko finds her at the police station where she is packing after being fired, and takes her to the refugee camp to repair Murphy. Lazarus takes the opportunity to delete Directive Four, thus enabling Murphy to directly fight OCP henceforth.

My favourite shot in the entire movie. A screencap does not do it justice; you have
to see the moving shot (about 45 seconds long, with a warm BGM) for the full effect.
Yes, that’s Nikko on the bottom left.

Murphy goes after McDaggett with the implicit approval of Reed (who obviously does not believe that Murphy killed Lewis and who has become increasingly anti-Rehab), but McDaggett raids the refugee camp with the help of a traitor, killing Bertha and capturing Lazarus, though Nikko escapes. Following this, McDaggett prepares to take over the remainder of Cadillac Heights and demands support from the police, which Reed refuses in the dialogue which I previously posted in a comment:

McDaggett: Sergeant. We’re taking Cadillac Heights. I’ll need fifty of your men armed and in full body armor in one hour. Mr. Johnson, you can tell the C.E.O. the demolition crews will have total access at 0600 hours tomorrow morning.

Sergeant Warren Reed: Hey, we don’t do that kind of work.

McDaggett: That was a direct order, sergeant.

Sergeant Warren Reed: Driving people out of their homes is no work for a cop.

Johnson: Now, sergeant… fifteen years on the force is quite an investment. Your job, your pension… Maybe instead of worrying about these squatter people, you might think about your OWN family. [Where have we heard this before?!]

Sergeant Warren Reed: I am.
[Takes off his badge and throws it on the floor]
I’m thinking I have to go home and face them.

McDaggett counters by recruiting the Splatterpunks as additional Rehabs in order to achieve the numbers required to take Cadillac Heights. Unlike the police officers, the Splatterpunks are outright enthusiastic about joining up, reflecting the type of people attracted to this kind of “law enforcement”. (Where have we seen this before?!)

Police officers worthy of their occupation would rather quit than victimize the innocent.

For the Alt-Right, in contrast, it’s about getting to wear that alpha male muscle-mold stab-proof body armour. Those who don’t wear it are all cucks, don’t you know? (Someone should paste Pepe the Frog’s head over the Splatterpunk’s head
just to make the point clear.)

External Link: The Alt-Right & the Splatter Punks are basically the same.

Reed and the rest of the Detroit police, meanwhile, join the Cadillac Heights defence and officially deputize the civilians to fight the Rehabs. This is what needs to happen in real-life neighbourhoods currently being raided by ICE. At the very minimum they need to promise locals that ICE agent deaths in a local neighbourhood will not be investigated by local police.

Coolest line in the movie goes to Sgt. Reed: “It’s time to show how real cops kick ass!”


As the climactic battle rages, Nikko hacks into an OCP transmission satellite, allowing the captured Lazarus to speak in an illegal broadcast exposing OCP’s agenda: “… Time is running out. OCP is the enemy. For God’s sake help us. Innocent people are dying.” This leads to chaos within OCP as its stock value plummets. A story that began with Nikko’s father telling Nikko to ignore McDaggett on TV ends with Nikko managing to put Lazarus on TV. A war that began with a wrecking ball into Nikko’s room ends with the OCP tower exploding. Poetic justice has been achieved, but only because enough people were willing to fight for it. Remove any one of the main heroes from the war, and OCP would have won. God does not punish evil except when we are first willing to punish evil ourselves for the sake of God. And yes, punishing evil often costs heroic lives. Lewis died. Bertha died. Many others on the good guys’ side died along the way to the ending. (Which is not to say that not fighting back keeps you safe; Nikko’s parents died too.) Those who would punish evil must first be psychologically convinced that the objective is worth the cost. If not enough people are convinced, the insufficient few who are convinced – generally those of highest quality – end up as martyrs for nothing. This is something we have a duty not to allow, any more than Murphy could allow Lewis to have died in vain, or for that matter any more than a Christian could allow Jesus to have died in vain. This is what it means to do something for the sake of God. This is what I consider to be the most important message of the movie.

SoE Endnote: Ultimately it is not just official authority figures, such as police officers, that need a sense of duty. The everyday citizen needs it, too. The purpose of the 2nd Amendment in the US Constitution is so that the Government should not have to ensure safety when the citizens can do it with their own militias.

Related Information:
They Live – another film with themes of armed revolution against a corrupt establishment.
Equilibrium – another film where a law officer’s sense of duty makes him take action.
The Long Kiss Goodnight – a film where a former assassin stands up to her corrupt agency.

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Titus: Aesthetics of an Aryan State

Written by Elysium

This article is a review of the film “Titus” – a modern interpretation of Shakespeare’s “Titus Andronicus.” However, I will not be covering the plot, characters or any scenes; as I wish to focus on something which has not yet been addressed, and which I think this film is particularly effective at illustrating.

The film itself is a clever fusion of Roman and classical aesthetics with modern aesthetics, particularly minimalism. In this article I suggest that a similar usage of public imagery – of modernised traditional authority – should be the basis of the public aesthetics of an Aryanist State. Evidently, in many nations the combination of the West’s Greco-Roman heritage with today’s internationally-applicable aesthetics is irrelevant and would require a different traditional basis.

This combination was ever-present in National Socialist Germany. From the adoption of the Roman salute to the re-emergence of classical architecture, these defining marks of the regime’s aesthetics reflect the classical component of its public aesthetics. This component was reinvigorated for the age with modern modifications and innovations of the so-called technocratic regime.

While not strictly in terms of National Socialist Germany, this combination has made its way into a number of films, including ‘Equilibrium’ as well as ‘Titus’, which have both showcased classical architecture prominently (e.g. the Palazzo della Civiltà Italiana). Additionally, the uniforms are distinctly drawn both from Rome and the modern day (and in some cases, the future).

The film also includes degenerate imagery, which I have not included here. However, I would suggest for those interested that they watch the film to learn what contrasts between the aesthetics of the more Aryan characters and the aesthetics of the non-Aryan characters.

A young boy from the late-90s reading about the death of Caesar
in the newspaper in front of the Palazzo della Civiltà Italiana.

Palazzo della Civiltà Italiana draped in banners mourning the death of Caesar.

A fusion of a toga and formal wear.
Also, the letters on the microphone say “SPQR News.”

Dress code uniformity, again formal wear with Roman inspiration.

Roman colouring is used everywhere.
Here we also see the dress of a general and a woman.

An example of interior design: austere

Related Information:
Communication in Aesthetics – Part I
Communication in Aesthetics – Part II

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Humor Nazis – 17

Episode #17 – The Vacation Day

Further Information: National Socialism and Nazism – There IS a BIG difference

“The battle that we have to wage can be won only with full national unity and determination.” ~Joseph Goebbels

In the cartoon above, who looks like the type that could work in unity and with determination?


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Humor Nazis – 16

Episode #16: Be This Guy

A Special Motivational Episode!Keep your cool when others go wild.

Know when there’s a time to be strong and a time to be gentle.

Take a break, remain in form.
 Forge new paths.

Love life and the living.

Lead by example.

Remain in touch with your people.

Fight the lies that dominate our world.

Fighting for a better world isn’t always done with a rifle.

Remember… guys aren’t the only ones in the fight!

May the bright flame of our enthusiasm never be extinguished. It alone gives the creative art of modern political propaganda its light and warmth.” ~Joseph Goebbels, Triumph of the Will

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Humor Nazis – 15

Episode #15: Meme Time with
Wehrmacht & Waffen ϟϟ Volunteers!

Adolf Hitler’s Armed Forces:
Triumph for Diversity?

Ok, so in all earnestness, our great army did not start out this way, however we did soon recognize that peoples liberated from British Imperialism, Soviet Communism, and rampantly speculative international finance had an extreme distaste for those systems and thus many readily joined our cause.

We built a pretty cool army, I’d say!

Its spirit lives on 卐

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Humor Nazis – 14

Episode #14: Srulik Thinks

TL;DR – God chose us, we can do what we want.

The funny thing is that the Jews accuse Hitler of using strength to achieve peace, however when the Führer did it, the Jews were at a disadvantage and caught off balance, thus they demonized him to all ends possible. Conversely now, when use of power suits them, they do it proudly. Because they only care for their tribe and no one else. That’s Chutzpah.

They also accused me of making them wear the symbol of their ideology in public, while I was doing the same thing with the symbol of my ideology. More Chutzpah.

More actual humor next time!

Stay tuned!

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