- "Every WELTANSCHAUUNG, whether religious or political --and it is sometimes difficult to say where the one ends and the other begins--fights not so much for the negative destruction of the opposing world of ideas as for the positive realization of its own ideas." -Adolf Hitler
The 2013 film Elysium offers an interesting look at a possible future of unrestrained technological development, class division and mistrust, which all stem from the relentless profiteering that capitalism is prone to. Nevertheless, the film offers a rather naive or, at best, an incompletely shown, solution within its runtime. Being a product of the politically correct movie industry, Elysium itself can also be seen as part of that same limited & deficient solution that it itself offers. Looking past these barriers we can begin to construct a more complete vision of that doesn’t merely flip the class struggle from rich-advantage to poor-advantage, rather we can build a more inclusive view of society that values all productive citizens regardless of monetary status.
The world of Elysium is bleak for most and an apparent paradise for some. Most people are stuck on Earth living in overflowing slums or urban wastes and working in what amounts to a capitalist-run gulag. Factories with total disregard for working conditions process raw materials and produce the basic things that the oligarchy, comfortably residing on the titular space habitat, needs to sustain this status quo. Robots police the population on Earth, healthcare and other necessities are rare & largely unaffordable, and access to and from Earth is controlled directly on Elysium. Earth has become one big Gaza Strip or imperial colony over which a few privileged dominate and exploit.
This privileged caste, which has been living in space for around one century within the film’s timeline, has access to all necessities, as well as many luxuries, such as “Med-Bays” that can heal any bodily harm and even reverse aging. The inhabitants’ life is, for the most part, a permanent resort vacation. It is also up here that rights of citizenship are granted or revoked; no one on Earth has Elysium citizenship (despite providing the work to keep it prosperous) and police robots are programmed to avoid Elysium citizens, but detain non-citizens for any reason. At one point, three spacecraft attempt leave Earth and attempt to reach Elysium in order to access the medical equipment there. However, two are shot down and the passengers of the third are caught & deported on arrival.
Towards the beginning of the film, Max Da Costa, the main character, is ordered by a supervisor to enter a chamber where part of a massive factory’s assembly line has a jam. Da Costa reluctantly does so, fixes the jam and the giant engine starts up again, albeit exposing him to a lethal dose of radiation. Da Costa now has five days left to live in pain and this is exemplary of how most of society functions in the universe depicted. The supervisor told Da Costa to enter the chamber and fix the error or “he’ll find someone who will” effectively implying dismissal for insubordination. The unspoken side to this cruel interaction is that this supervisor – in some mid-level position at one property belonging to an enormous corporation – had the same dilemma Da Costa had, and that is “the bottom line.” If the assembly line problem weren’t fixed, then he’d be the one fired. The callousness of the supervisor’s angrily talking down to Da Costa is merely a symptom of a pervasive carelessness in the social order, not just that supervisor, one individual, being cruel. To get the medical treatment he needs, Da Costa needs to pay a huge price or do a favor for a smuggler – and this ends up being stealing financial data from the owner of the very corporation whose machinery caused his suffering. At this point, it really seems that everyone is out to get everyone in this hectic society.
Da Costa receives a temporary treatment to help him carry out his little crime mission and this is a powered exoskeleton to give his weakening body a good deal of extra strength. This transhumanist solution is emblematic of the world: people created a mass of technology, and this harmed us, so we then create new technology to remedy the harm done. The space station Elysium is, in effect, a much bigger version of the exoskeleton, which is powered by Da Costa’s mortal and dying body in the same way that a decaying Earth supplies Elysium. In the end, the mechanical feat will be useless as they’ll be no one left to use it. Other treatments for ailments in the film are pills and machine surgery, yet there is a curious lack of fresh food. No one is even seen trying to grow a garden. Though Kruger, an enforcement agent of Elysium’s government and the one who shot down the refugee shuttles, is seen enjoying a barbecue. This also is symbolic, as meat is taking life for self-gratification, limited nourishment, and a woeful misuse of essential materials; this cattle-butcher relationship is essentially what the society on Elysium does to the masses on Earth. However, as we have seen with Max’s theft mission, the exploited are beginning to get better at exploitation.
This pervasive distrust between the slum-bound people on Earth is aptly mirrored by the luxury-enjoying masses on Elysium. The space station has a substantial population and, at the start of the film, has been a stable habitat for around a century, meaning several generations have lived with the current status quo and those alive right now haven’t experienced anything else. The government is a typical democratic hodgepodge of committees tied together by the notion of an elected president, who in key issues holds no real decisive power. The Defense Secretary of Elysium, Delacourt, who had ordered the shooting down of refugees, is merely verbally disciplined by Patel, the President, for this and told to lessen the severity of her actions since it is bad for public relations. Thus, ethics don’t even exist in this government aside from lip service. However, the kicker to scene is when Delacourt asks Carlyle, the main industrialist on Elysium – in whose factory Da Costa received his burns and whom he was given the mission to rob – to tinker with the space station’s main computer system to allow her to step into the Presidency and thus ensure Carlyle’s armaments company a steady stream of lucrative contracts. This is Democracy and Capitalism bearing their inevitable fruits and stepping into overt practical Oligarchy without the rosy veil. After being verbally slapped on the wrist by Patel, Delacourt mocks the President for “having some fundraiser to attend.” That’s the extent of state discipline in Democracy and Capitalism.
“In ordinary life, the choice of President or King, as chosen directly by 70 million, is only determined by money bags. It follows from this that in 99 out of 100 cases no real folkish Leader arrives at the head.”
“There is a better chance of seeing a camel pass through the eye of a needle than of seeing a really great man ‘discovered’ through an election.”
~Adolf Hitler, cleverly alluding to the words of Jesus
Da Costa manages to steal the data from Carlyle while the latter is on a routine trip to Earth to oversee his industrial empire. The data, however, in encrypted and clearly contains something of great concern for Delacourt who is alerted to the fact that Carlyle’s ship has been shot down and his computers hacked. She reactivates Kruger – having previously deactivated him after being reprimanded by the Committee – to track down the stolen data. Da Costa brings the data to his employer, Spider, who promptly discovers that it’s a program that can be used to register all of Earth’s residents as citizens of Elysium, thereby giving them access to its advanced medical care. This is an interesting idea, yet this is also where the film starts to nosedive a bit into naiveness.
Once the action moves to Elysium, Kruger encounters Delacourt and she verbally disciplines him for being reckless, mirroring her previous Committee scene, yet little does she know Kruger, being part of the same equation dishes out his own power play. While Delacourt had used bureaucratic cunning, Kruger does what he knows best: blunt force. He kills the Defense Secretary and her political staff present, then and there, and then goes on to try to seize of Elysium for himself. Amidst all the corporate profiteering, answering to committees, PR stunts, and selective backstabbing, there is a noticeable lack of charisma! Everyone else thinks that everyone else is just out for solely their own good and believing makes it so.
The space station Elysium is the ultimate end of materialism on Earth – an artificial world where the world artificers can guarantee the status quo beneficial solely to them. This is also the Gnostic interpretation of the god in the Tanakh/Old Testament, YHWH, who created material existence to trap the souls of sentient beings and get them to do its bidding via belief in rigid dogmatic codes that only a privileged clerical class of “chosen people” can reinterpret, and they do so according to their own needs, thus putting them in a clash with their own god.
The Golden Calf in the Room
Pretty much every character in the film, and therefore most of the inhabitants of this fictional world, are not seeing the forest for the trees; they only see their immediate situation and that’s the extent of how they act and react. This is a perfect breeding ground for tribalism as alliances are only based on material convenience and gain. Any forward thought is made along materialist, selfish, and tribal terms. The world overrun by an ever-churning excess of material goods is the inevitable result of the secular thinking promoted by Karl Marx’s Communism, Sigmund Freud’s sexual psychology, and Ray Kurzweil’s transhumanist movement. These compatible sects of thought seek to create a paradise on Earth, or a New Jerusalem as is the goal of Zionism.
“In the entire Old Testament we find no trace of belief in immortality, unless it be the reflection of the proven outward effect of the Persians on the Jews during the banishment. The Jewish aim is the creation of a paradise on earth. For this purpose, as is stated in the later holy books, the righteous (that is, the Jews) will creep into the promised land from their graves all over the world, emerging through holes bored in the earth by unknown forces solely for them. The Targum, the Midraschim, and the Talmud describe with delight this magnificent state of affairs in the expected paradise. The chosen people will then rule over the entire world. All other peoples will become its slaves. They will die and be born again in order to go anew to hell. The Jews, however, will not go there, but will lead a blessed life on earth. Jerusalem will be rebuilt in the most splendid way.”
~Alfred Rosenberg, Myth of the XX Century
In this film, this goal has been realized as a privileged “chosen people” rule over the whole of Earth while the nations, or goyim, provide them with fruits and labor. The Jewish religion’s intrinsic materialism and lack of spiritual idealism makes the Elysium space station a possible result of Zionism. It’s a paradise on Earth in a looser sense of the world, really above Earth, however Jews have made exceptions for their tribe all throughout history. So far as refusing to testify against their fellow tribesmen accused of crimes or having a criminal like Bugsy Siegel (Bairush HaLevi ben Reb Mordechai Dov HaLevi) honored at a synagogue with the title “Reb” or “teacher.” These exceptions and special conditions on tribal grounds are shown in the film as the police robots are programmed to never detain Elysium’s citizens, which effectively makes them golems in service of the law codex. Citizens should be granted state protections, though not total impunity. Also, police work should be a respected uniformed service (and that respect should be earned through superior conduct) in limited, yet effective, use. Not a mass of robots reading data from a computerized codex. According to Jewish lore, Moses said, “there is only the Law” – no conscience, no ideals, no ethics – only a blinding Talmudic Bolshevization.
The organization on Elysium is a multitude of patches of private property or about 1 acre per family and little to know public property, which in practice makes for a highly segmented life style. While the inhabitants on Earth are subjected to police robots and checkpoints, in style of Gaza or the West Bank; the citizens of Elysium themselves have their own subtle, yet official, boundaries based around their dogmatic belief in amassing material goods and then protecting them with laws. These restrictions on Elysium’s own citizens are reflective of the old Jewish practice of installing mezuzahs on doorways. The Jewish mezuzah is a small container with a Tanakh excerpt inside that is meant to be placed on entry doorways, or sometimes even all doorways within a house, thereby ensuring the Demiurge’s dominance over its subjects. Thus, the citizens of Elysium pretty much believe they are doing the only thing possible to keep law and order, as it is such fractionalization that is most compatible with their worldview In the real world, this system is mirrored by what the Zionists have told from their myths.
“In general, the merely material interest will rise in exact proportion as ideal spiritual outlooks are in the process of disappearing.” ~Adolf Hitler
To end this status quo, it is the system that needs a change and a culling of a few token figureheads and procedures will not really do anything. Jail a few groups of punks, more will be congregate; arrest an oligarch or two, another one or two will arise. The system is like a hydra and cutting of its heads is ineffective, as it had adapted to resist such change, and, in effect, allow to it to feign change.
A holistic, system-wide change is to stab the hydra in the heart. But what does the film show?
Revolution, or merely a Revolt?
The film’s ending is idealistic though, in large part, it carries on the naive aspects of the film. The information that Max was contracted to extract ends up being a program that could make all of Earth’s inhabitants citizens on Elysium, thus have access to its medical care. This works out and Max reboots Elysium’s core computer and all residents on Earth are now recognized as citizens, thus a fleet of medical ships can be dispatched to Earth. This is a good example of “happiness opium” as it only provides a feel good ending without addressing any of the core problems with the social dichotomy depicted. It’s also quite pacifist, which makes it unrealistic.
Then there’s Kruger’s psychotic, brutal, and decidedly non-charismatic attempt at seizing power is much in style of the Communist Revolution in the early 20th century or the pro-democratic French Revolution in the 1790s. Kruger’s destructive rampage through the Elysium space station shows all indication that he’ll either flip society in which assertive brutes like Stalin suddenly control all wealth and call the shots, or there will be a reaction from Elysium’s elite which will yield a Napoleon-type with expansionist aims, only this Grande Armée will head out into the space.
In both cases, the woes and pains of society will only have attention diverted from them. This makes both Da Costa’s and Kruger’s efforts seem more like revolts, despite them being similar to events that have been called “revolutions” in popular historiography. A revolt is caused by dissatisfaction with the status quo and aims to merely change its consequences and improve the immediate quality of daily life. A revolution, however, necessarily entails radicalism and aims at the causes of the status quo and seeks to arrive at a profound ideological insight that changes how quality of life itself is evaluated. The result of the film and the general mood throughout is much closer to the former and not the latter. There is some heroism and depth as Max gives the hero’s sacrifice – his life – to accomplish his goal, yet the film is fairly rooted within the humanist-materialist paradigm.
Neill Blomkamp, the director, said the film is about today’s world, thus seemingly strove for applicability (the same thing Tolkien sought to portray in Lord of the Rings), however he also expressed dissatisfaction with the final version of the film. Perhaps, deep down he knew he wanted to portray a revolution, yet only managed to show a revolt.
A key element of the revolution is the support it has from disinterested groups. For example, the ongoing movement to boycott Israel for its brutal treatment of Palestinians has widespread popular support from non-Palestinians. Similarly, the earlier – and largely corresponding – movement to boycott apartheid South Africa found widespread popular support among people who were not personally affected by apartheid. Movements to abolish slavery throughout history were almost always initiated not by slaves, rather by conscientious non-slaves, including owners of slaves and those in ethnic groups subject to little or no slavery. Frederick Douglass, an African-American whose ethnic kin suffered from slavery was against the system, as were the German and Dutch-Americans who wrote the first anti-slavery document in America. These are examples of movements that, though small in their beginnings, turned into revolutions. By contrast, all movements unable to gain the support of disinterested groups are merely revolts.
Also known as Unity Through Nobility
Hitler didn’t personally suffer much from the caustic effects of financiers and Marxists as much as the people he sought to rally and help. Hitler didn’t have a family and was disciplined enough to not fall into the trap of alcoholism. He also quit smoking for his health and savings. Yet there were millions who did suffer and Hitler saw this and thus started what became a revolution, one that was so shocking to the status quo that it had to be crushed at all costs and any further incarnations forcefully pre-empted.
This observation leads us to the main problem in Elysium.
The Root of the Problem: Leadership Vacuum
Given the film’s feel good message, whether misguided or intentional, it played right into the expected paddock of mainstream discussion. Conservative complaints amounted to, more or less, “it’s Marxist and Communist propaganda!” While Liberal/False Left complaints sounded the more or less expected trope of “money is evil and rich people suck.” In the film, there seems to be a self-fulfilling prophecy of class struggle that appeals to the Liberal audience, while only making villains out of a select few of the rich so as to not totally alienate the Conservative audience. The proverbial Czar isn’t slain nor is there a justification of the company Armadyne, which is Carlyle’s massive company through which the film basically recreates something like British East India Company. Yet the solution presented is inadequate. It’s a half-assed bit of left and right, whereas there should have been a solid Third Position presented. This is none other than the charisma to get the classes of society to cooperate, instead of one of them – or one person – seizing advantage and diverting as many resources as possible to serve only selfish needs. A true leader, not a new boss, is needed.
The problem with all of society – on Earth and on Elysium – is that no one really wants to lead, everyone wants to just gain, and only a few can actually manage the latter. The result is an endless scramble competition on Earth and political backstabbing or total complacency on Elysium.
Some people will always be more intelligent and more willful therefore some will always be richer. The folkist idea is not to forbid wealth creation; rather it is to encourage a community-based application of it. This goes for skills and abilities, too. A plumber or carpenter shouldn’t merely maintain homes only on streets he or she likes, but in all of the community. Likewise, an owner of a popular business shouldn’t merely save up money and build vacation homes in far off places, but ensure that the money they have earned in the community stays and is used (as much as possible) within that community. This is folkist class cooperation. Marxists look down on the rich as inherently greedy therefore undeserving of what they own; Anarcho-Capitalists look on the poor as intrinsically incapable therefore deserving of their plight. Whereas Hitler, supposedly the most evil man of all time, said in Mein Kampf:
“For the State must draw a sharp line of distinction between those who, as members of the nation, are the foundation and the support of its existence and greatness, and those who are domiciled in the State simply as earners of their livelihood there.
On the occasion of conferring a diploma of citizenship the new citizen must take a solemn oath of loyalty to the national community and the State. This diploma must be a bond which unites together all the various classes and sections of the nation. It shall be a greater honor to be a citizen of this Reich, even as a street-sweeper, than to be the King of a foreign State.”
That is one of the most positively phrased descriptions of civic and community virtue ever put to paper. There is much lively discussion about what future humanity can build; yet this discussion is hampered by political and Zionist correctness. Certain topics are taboo and therefore censored by the very people participating in the discussion who are, in effect, self-censoring. The goyim, like cattle, are being kept dumb, timid, and complacent, however human goys are also fed delusions of grandeur to please their egos. This can take the form of “honorable” titles, such as “Shabbos Goy” or “Righteous Among Nations.”
Once this veil has been pierced and lifted we can see that classes in society are a reality and not necessarily a bad one. It’s how they are perceived and how people within them act that matters. Thus, a Marxist may see class division and conflict; however a National Socialist will see a class structure of people with different skills and abilities and the going concern of any leadership is to direct (as opposed to centrally plan) the energy of this socio-economic structure towards purposeful production.
“Craftsmanship and pride of product began to disappear as the desperate scramble to GET MONEY replaced the time-honored Aryan joy in creation of things of excellence and permanence.” ~George Lincoln Rockwell
The cause of the film’s fault can be similarly described: storytelling and pride of a good plot began to disappear as the desperate scramble to get views, likes, shares, reblogs, ticket sales, box office numbers, etc… replaced the time-honored Aryan joy in creation of tales with profound archetypes and mythic quality. Even the numerous fables by Aesop are each distinct, thus despite their brevity, care was put into their craft. “Elysium,” being a huge budget blockbuster, was put on a tight schedule and desperately squeezed into one of several release windows to maximize the opening weekend’s earning and minimize the subsequent weekends’ drop off. Not enough time was given to planning and crafting the film, thus even at the screenplay level there already must have been cutting and pasting of previous films’ ideas and the whole cookie cutter ordeal that each of these massive studio films is subject to by the studio committee. One director’s vision hardly ever get made and even if it does, it requires so much bargaining and negotiating with those in control of the money that most filmmakers’ energies almost assuredly end up sapped.
Rare gems do occur, yet we still await that full box office season with solid archetypes and heroic themes portraying the cosmic truth.
We don’t need more “happiness opium” and folk tales; there are enough of both. We need a series of mythic archetypes to help motivate people to start pro-actively dealing with the problems of society instead of just wishing and hoping that they’ll be solved. Above all, this is a call for a greater unity and cooperation among the quality people of various societies.
“The Folk tale is for entertainment.
The Myth is for spiritual instruction.” ~Joseph Campbell
Episode #18 – The Bearaboo & Friends
The Bearaboo★☭ has a remarkable track record of progress…
…it’s very thankful to those it didn’t kill over it…
…and to the master that created it: The K✡sherb✡✡!
It also suffers from cognitive dissonance.
Probably all of that “dividing & conquering” is getting the best of it.
The Zi✡nists set up a monument to the Red Army in Netanya, Israel in 2012. Look it up. Just in case you thought Jewish appreciation of C✡mmunism was an “anti-Semitic conspiracy theory.” Unlike the many other Red Army monuments that are mainly in Eastern Europe, this one was not set up with any involvement or coercion of the Soviet government. The Jews simply wanted it there.
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 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.
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
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.”
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.
And then the solution is proudly presented: “As usual, OCP has an answer. Meet the Rehabs.”
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…
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.
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
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?!)
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.
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.
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.