Death Wish

By the early 1970s, Americans had begun to notice a change in their big cities. After the Civil Rights movement and the 1965 Immigration Act, the multiracial rot – the inevitable by-product of the Left’s ascendancy in the West – began to set in. Cities that were once clean, safe, and orderly became much less so in fairly short order. Americans were not complaining about muggings, rapes, and murders as much in 1960 as they were a decade and a half later. They also didn’t feel as if they were entering another country every time they walked three blocks to buy groceries.

The original Death Wish film, released in 1974, was, on one hand, a way to capitalize on these newfound feelings of insecurity and alienation which were perplexing the lives of millions of white Americans at the time. On the other, it did give legitimate, if somewhat oblique, expression to these feelings, so much so that the film quickly became iconic despite mostly poor reviews, and spawned four sequels over the following twenty years, as well as a big-budget remake that was recently released. The plot is straightforward: A solid citizen discovers that thugs have murdered his wife and raped his daughter in his New York apartment, and he then acquires a gun to take revenge on the streets as a vigilante. Given the film’s success at the box office, it is safe to conclude that many Americans, especially the white ones who fondly remembered a better past, strongly identified with such a character.

[Read the rest of Quinn’s review at Counter-Currents.]


Check out the trailer for my new book!

Rainer Chlodwig von K.

Aryan Skynet

Most of my life has frankly been pretty tawdry and stupid, with few accomplishments I can claim for myself; but if I die tonight – culturally enriched in some dark alley by a vibrant Wakandan aerospace engineer or Freddied by one of Obama’s inspirational DREAM warriors – I can go to my ghetto grave with the consolation that my tenure here on earth has not been totally squandered. Today is in a way the climax of my existence – at least so far – as I can finally and proudly announce the publication of my long-in-the-works blockbuster book Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies!

Five years in the making, this book is the definitive Alt-Right statement on Hollywood, covering every topic from the glorification of war and the lionization of magic blacks to deep state plots and degenerate sexual practices in America’s…

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Followers of Richard Spencer and the crew have probably noticed how the smirkers’ frat-house-channeling Alt-Right Politics podcasts have, over the last several months, placed a new emphasis on imperialism-posting, as the pledge brothers might be wont to put it. Is Spencer’s rape-and-pillage posturing – going as far as to say, for instance, that “vainglory” and aspirations to empire are two of the few legitimate justifications for going to war – merely an overly audacious effort at resuscitating the confidence and the sense of destiny of a movement that so often finds itself blackpilled by the turn of events? Or is another and more ambitious agenda in play?


Read the rest at Aryan Skynet.


Secret societies, symbolic masks, cinematographic clues, and other aspects of Kubrick’s fascinating film are discussed is this engaging episode of Stark Truth Radio. Listen here.


Not counting high school and college reading assignments of several of William Shakespeare’s plays, I could probably count the books of poetry I’ve read with the digits on one of my hands. I made an exception this week, though, and broke with my usual routine of mundane and informational counter-Semitic prose to read Brandon Adamson’s Beatnik Fascism. I’ve owned this book for a while, but don’t usually feel sufficiently tranquil for literary appreciation, so it took me a while to get around to it.

AdamsonCoverWhat is “beatnik fascism”? “Just as the beats didn’t conform to the post world war II societal workforce uniformity and ‘square’ culture of the 1950s and 60s, it seems that young racialists and other thought criminals now find themselves […] cast as the unassimilated actors in the politically correct, multicultural, global capitalist theatrics of today,” Adamson writes in his introduction. “We find ourselves keeping our true opinions to ourselves at the office while maintaining secret identities online for sharing our darkest views. We live almost completely isolated in society and detached from popular culture […]”

The “beatnik fascist”, then, is not necessarily a partisan of some interwar iteration of continental nationalism, but one whose dogged capacity for pattern recognition and revulsion at the globalist, pantsuited status quo necessitate the subterranean life of the societal outcast – and beatnik fascists like Brandon Adamson, who recognize the anti-racists for the hateful, unimaginative squares they always were, would have it no other way. Adorning the cover of the book is a stylized pagoda circled after the manner of the party flag of the British Union of Fascists – but referencing, too, the far-out philosophical interests of the historical Beats. […]

Read the rest of my review here

It Comes at Night

A plague has decimated the United States, plunging the population into anarchy and reducing living standards to the bare rudiments. Rather than offering a panoramic view of the cataclysm, however, It Comes at Night opts instead to tell this story on an intimate level, with a minimal cast, and through the interactions of two families trying to survive in a forested wilderness.

Joel Edgerton lives in a remote house with wife Carmen Ejogo and son Kelvin Harrison. The death early on of the mother’s father, played by David Pendleton, serves as a reminder of the family’s continued vulnerability to the mysterious pestilence even in their isolation and haunts the remainder of the film.

New tensions are introduced when another family, headed by Christopher Abbott, enters their lives. Edgerton never completely trusts Abbott’s motivations, and lonely and sensitive Harrison finds himself drawn to Abbott’s attractive wife, portrayed by Riley Keough.

Highly effective moments of paranoia reminiscent of John Carpenter’s remake of The Thing enhance this morose and often oppressive horror drama, tipping this review in favor of a recommendation. 4 out of 5 stars. Ideological Content Analysis indicates that It Comes at Night is:

3. Anti-gun, with firearms contributing to a tragic denouement instead of successful home defense.

2. Pro-miscegenation, with Edgerton married to a black woman and helping to raise her black son (it is never clear whether Harrison is supposed to be Edgerton’s biological or adopted son, but he looks too dark-skinned to be the former). The film includes a dream-turned-nightmare fantasy scene in which Keough grotesquely straddles and smooches the congoid boy before spewing black plague-slime into his face. Perhaps inadvertently, the scene conveys the temptation to miscegenation as well as the sense that there is something wrong and unnatural about it.

1.Borders-ambiguous. Writer-director Trey Shults has said that It Comes at Night is fundamentally about “fear of the unknown”; and one expression of this in the film is instability created by the unexpected presence of an outsider. Viewed microcosmically, It Comes at Night can be interpreted as an allegory about the immigration debate and the popular call for a wall and strong protectionist measures. Christopher Abbott, who plays the stranger, has some Italian ancestry, but could easily read visually as a mestizo. His character enters the lives of Edgerton and his family when he breaks into their home hoping to find supplies – he is, in other words, illegal and undocumented – but is allowed to move into the house with his wife and child after winning Edgerton’s trust with successful food-for-water barter. His presence, tolerated on pretexts of mutual economic benefit and universal compassion, also represents a threat to Edgerton’s family’s domestic security, however; and, just as Mexicans entering the United States have brought with them illnesses such as highly virulent strains of tuberculosis, Abbott and his family carry with them the risk of plague contagion. Perhaps endorsing this reading is Shults’s description of the climactic sequence as a “Mexican standoff” and his confession during his commentary on the film that, “I was reading books on genocide and thinking about, like, us as humans, you know, and how long we’ve been on this planet and that […] ingrained in us is tribe mentality, you know, and, like, basically, these two families are these two tribes.” The inability of the two men to maintain a peaceful collaboration is treated as a tragedy, but one that could have been avoided if their paths had never crossed – if, for example, Edgerton’s home security precautions had been more thoroughgoing and Abbott had never been able to break into his home in the first place.

Rainer Chlodwig von K.

Aryan Skynet


One of my favorite lulzy internet subculture handles is that of a Reddit communist, “CentristsAreScum”. The name provokes a laugh, but also poses rhetorical questions. Are centrists scum? Is ideological purity and intractability the only way to garner internet superhighway cred? What about in the “real” world of fracturing politics?

The emergence of an “Alt-Center” – a de facto white-nationalist synthesis of leftist and rightist positions – is, as Robert Stark recently discussed with Giovanni Dannato, an inevitability. Stark, HAarlem VEnison, Brandon Adamson, and the nebulous Alt-Left coterie can be viewed as eccentric precursors of this ascendant tendency.

One already hears occasional anecdotes of disaffected Bernie Bros going Alt-Right. Indeed, intellectual darling Slavoj Zizek wrote in November that, “Alt-right Trump supporters and left-wing Bernie Sanders fans should join together to defeat capitalism”. Bernie Bros were, after all, criticized for “rude and often sexist” online behavior not so different…

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“It is inarguable, from an occult perspective, that this process was at work; the collective will was strengthened in a vampiric manner,” says Styxhexenhammer666. My review of Styx’s goofy book Occult Memetics:

Aryan Skynet


“Much like antiquated mages in olden days with magickal clay tablets must have thought that those ‘new age scroll users’ were inauthentic there will be the tendency to remark that the internet is so new, and technologically adept, that it is senseless to compare it with the occult, or with magic, which all adults, after all, ‘know’ is ‘not real’,” writes “Tarl Warwick”, better known as YouTuber Styxhexenhammer666, in his little book Occult Memetics: Reality Manipulation1. Styx takes the position that the magickal is real and that it informs such online phenomena as the cult-like ascendancy of Pepe.

Those looking for deep psychological or magickal insight into memetic mechanics or for tips on how to craft viral content will, unfortunately, find only thin gruel in these pages. Styx’s practical words of wisdom on the subject are as follows:

  • “[…] those occult memes which are not overtly occult but…

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