Archives for posts with tag: white trash

Leisure Seeker

The Leisure Seeker is little more than a piece of scurrilous hate mail that disguises itself as a valedictory love letter to the Baby Boomer generation. Donald Sutherland and Helen Mirren play John and Ella Spencer, an elderly couple whose twilight years are rapidly fading to black. John is a retired literary scholar whose intermittent lapses of long- and short-term memory at times reduce him to petulant childishness, and Ella is dying of cancer and getting by on pills and alcohol. Conscious that they both have little time left, Ella, without informing their worried son and daughter, is taking a final road trip with John to Key West for a life-and-death-affirming pilgrimage to Ernest Hemingway’s house. The title refers on the literal level to the Spencers’ gas-guzzling motor home and on the figurative level to hedonistic selfishness as the outmoded vehicle in which the Baby Boomers tripped, crashed, and will righteously burn. Morbid vitriol thinly veiled as bittersweet dramedy, The Leisure Seeker will hold the most appeal for the unperceptive.

3.5 out of 5 stars. Ideological Content Analysis indicates that The Leisure Seeker is:

4. Gun-ambivalent. Ella defends herself against redneck highway robbers with a shotgun, but the senile old man’s access to the weapon is intended to cause the viewer anxiety, and Ella discards the shells after the would-be muggers have gone. Guns, if permitted at all, should be placed in women’s responsible hands, the movie appears to suggest.

3. Pro-gay. It is strongly insinuated that the Spencers’ cake-baking son Will (Christian McKay) is a homosexual. Ella is not only unperturbed, but seems to be fond of the idea.

2. Pro-miscegenation. John and Ella barge uninvited into a retirement home to visit her black ex-boyfriend, Dan (Dick Gregory), who, as it turns out, does not even remember who she is. Ella’s wistful expression on seeing him again makes clear, however, that her memories of him are dear.

1.Anti-white. The Leisure Seeker evinces resentment and distrust toward the Baby Boomers, whose revolutionary potential and openness to new experiences have ended in mindless, maudlin conservatism. The film is set shortly before the 2016 presidential election and a tacky pickup truck flying Trump flags rolls into view during opening credits as Carole King can be heard lamenting, “it’s too late, baby, now it’s too late, though we really did try to make it.” In a later sequence, John, in one of his absent states, confusedly wanders into a crowd of Trump supporters robotically chanting “USA! USA!” and seems to be enjoying himself until his wife retrieves him like a mother apprehending an errant toddler. This is the film’s representative Trump voter: a senile and disoriented bumbler in need of supervision. Disingenuous appeals to Boomer nostalgia are inevitably undermined, as when John and Ella’s attempt to resuscitate the disco spirit makes her nauseous and causes their dance to be interrupted when she abruptly vomits. Displaying their insensitivity to the people of color oppressed by their hegemonic ancestors, John and Ella visit a theme park simulating colonial America and blithely ignore the background actors performing as toiling negro slaves. Their self-absorption reveals that the Boomers have failed to make amends and that further generational redress will be necessary. They repeatedly bore and annoy the younger and browner people around them, such as when John insists on discussing Hemingway with strangers in restaurants. In one key scene, however, John encounters a bright black waitress who turns out to be a Hemingway scholar herself (as contrasted with a ditzy white waitress featured in a previous scene). When John suffers a memory lapse and cannot recall a passage from The Old Man and the Sea, the black waitress finishes his thought for him, demonstrating that the white man has become a redundancy and that non-whites are fully capable of serving as the repositories of high culture going forward.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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Wonder Wheel

I have mixed feelings about Allan Konigsberg. Revelations about his sexual proclivities as well as my own awakening to the director’s participation in a massive tribal project of hostile culture distortion make it impossible for me to like “Woody Allen” the way I did when I was younger; but it would be dishonest of me to pretend that his body of work did not influence my intellectual development. Coming from a blue-collar Midwestern background, Konigsberg’s stories of New York sophisticates were exotic and illuminating. His movies made me want to become a literate person so that I could be witty and impress complicated women. And – as much as I dislike to concede it – he has continued to produce worthwhile entertainment well into his decrepit years.

Wonder Wheel is no exception, and offers exactly what those familiar with the writer-director’s filmography have come to expect. Its tawdry tale of two shiksas – older, married woman Kate Winslet and naïve stepdaughter Juno Temple – who both fall for sophisticated and handsome Jewish aspiring playwright Justin Timberlake contains a great deal of Hebraic wish-fulfillment, particularly with Jim Belushi portraying the boorish and slovenly goy alternative. Set in the bustling Coney Island of the 1950s, Wonder Wheel is both a rather painful melodrama and a comfortable nostalgia piece, evoking fondness both for America’s past and for Konigsberg’s, so that the whole experience seems like old times.

4.5 out of 5 stars. Ideological Content Analysis indicates that Wonder Wheel is worth seeing if viewers can do so without putting any money into the filmmaker’s probably candy-filled pockets. Also:

4. Anti-drug. Looming over Ginny (Winslet) and Humpty (Belushi) throughout is the specter of alcoholism which threatens to reassert itself over their wills in times of stress. Ginny embarrasses herself in a drunken state at the end of the film.

3. Borderline pedophiliac. Juno Temple, like previous Konigsberg muses Mariel Hemingway and Christina Ricci, evinces a childlike presence despite her experience. The word “Toys” is visible in a shop window in a scene in which Mickey (Timberlake) picks up Carolina (Temple) to give her a ride, slyly emphasizing her youth.

2. Anti-family, anti-marriage. “Don’t ever have kids,” Ginny advises. Marriage, too, is “scary”. Ginny is only “going through the motions of lovemaking” while she has “so much to give” to a smart and beautiful Jewish boy. Ginny also insinuates that Humpty has incestuous inclinations toward his daughter when she accuses him, “You treat her like a girlfriend.”

1.Anti-white. Carolina rejects the “dull, colorless, boring [i.e., WASPish] guys” her father would have preferred she marry. Instead, she falls in love with a tribesman. There is a sort of malicious glee in Konigsberg’s decision to name the head of the household “Humpty”, presenting the American father of yesteryear as a gruff and abusive but fragile figure destined to fall and never to be restored to his previous station. Humpty distrusts the influence of movies and radio – i.e., the Jewish-dominated mass media – on his family, calls psychology a “phony head doctor” racket, and is probably therefore suspect in Konigsberg’s imagination as a potential anti-Semite. Ginny’s son (Jack Gore), meanwhile, is a little pyromaniac – symbolic of the potential of every goy boy to grow up to perpetrate the world’s next Holocaust. Sadly, waitress Carolina must endure the indignity of serving “redneck clowns” in her clam house – representing the ever-present threat posed by rustic deplorables infiltrating and crudely stinking up the nice, respectable, kosher stronghold of New York City.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Second Coming

Richard Wolstencroft, the Aussie behind the classic underground Boyd Rice vehicle Pearls Before Swine (1999) – a movie that any weirdo reading this should stop and watch right now if they never have before – is back with the second installment of The Second Coming, the first volume of which was finished in 2015. Part of an even grander series that Wolstencroft calls the “March on Rome” trilogy, the two halves of The Second Coming comprise a magickal diptych of miscegenated and mutated gleanings from Crowley, Manson, nuclear physics, social Darwinism, Faustian racialism, and William Butler Yeats, whose poem “The Second Coming” provides the inspiration for a nebulous plot involving a global conspiracy of revolutionary dissidents attempting to usher in a new age of unmediocrity through occult, scientific, degenerate, and quasi-fascistic skullduggery. If such a revolt against the modern world is to be successful, The Second Coming indicates, its principal stumbling block will be the mutual distrust of the various elements necessary to bring the new order into being.

This is essentially a no-budget undertaking – the only money spent seems to have been on travel expenses for the mix of dully mundane and dangerously exotic locations – but what makes The Second Coming a must-see film is the assortment of oddballs Wolstencroft managed to assemble to participate in his production. There are too many to name, but readers may be especially interested to know that proto-Alt-Right hate scene legends Jim Goad and Boyd Rice both have small but perfectly cast and hilarious roles as players in the satanic conspiracy. The phone conversation between the two of them, short as it is, is one of the greatest moments ever stitched together for a movie. A gloriously off-the-wall Kim Fowley, Shaun Partridge, and late Feral House publisher Adam Parfrey also have cameos in The Second Coming, in case the foregoing was not already enough to entice the viewer. In my book, I briefly discuss the potential for the emergence of a white nationalist cinema. Is Wolstencroft’s The Second Coming the realization of this ideal? Well … not exactly. Wolstencroft is too individual a creator and too perverted a reprobate for that. The Second Coming does, however, gesture vaguely in the directions that such a cinema might undertake to explore if it ever emerged from the wilderness of its online chaos. Both volumes of Wolstencroft’s epic can be accessed through Affirmative Right – free to view for a limited time.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – The DEFINITIVE Alt-Right statement on Hollywood!

 

 


Shot Caller

The grim crime drama Shot Caller completes a trilogy from director Ric Roman Waugh that began with 2008’s Felon and continued with 2013’s Snitch. The story follows in nonlinear fashion the metamorphosis of an investor (Nikolaj Coster-Waldau) who, after a drunk driving accident, is sentenced to prison, where assumes a new identity as “Money”, a hardened and brutal criminal. Money’s conflicting loyalties to his country, himself, his family, and his Aryan prison gang are tested when after release he is tasked with illegally selling a cache of AK-47s from Afghanistan. Location shooting and intensely invested performances in all of the roles – with particularly high marks going to Coster-Waldau and Lake Bell, who plays his wife – imbue Shot Caller with an uncomfortable authenticity and hoist it over the top as a must-see prison movie. Welcome echoes of Breaking Bad are audible, too, in the elements of drugs, white nationalist thugs, Albuquerque locations, and the central character’s transformation from straight-laced dork to crime lord.

4 out of 5 stars. Ideological Content Analysis indicates that Shot Caller is:

[WARNING: POTENTIAL SPOILERS]

4. Anti-drug. Drinking and driving destroys Money’s life and kills one of his friends. The balloon-up-the-ass mule transport method of selling dope in prison also works wonders at deglamorizing the subject.

3. Anti-war. Casualties are referenced, and there is also the sense that military service facilitates a veteran’s transition into gang life, with the war being brought home in more ways than one. Shot Caller is careful, too, never to glorify its violence, always depicting it as abrupt and unpleasant.

2. Anti-racist. With suspected Israeli agent Haim Saban producing, it should come as little surprise that Shot Caller, whatever its authenticity, joins the ranks of films like Green Room (2015) and Imperium (2016) in seeking to keep an outmoded and negative incarnation of white nationalism foremost in audiences’ minds. While Money’s respectful relations with black investigator Kutcher (Omari Hardwick) demonstrate the possibility of interracial cooperation, the racial orientation of prison gangs is revealed to be based on self-interest rather than on genuine love of one’s own people, with whites and blacks alike victimize their own in the course of the film. There is a probably unintentional humor and irony in the fact that the white gang member, Shotgun, who turns out to be a police informant is played by Jewish actor Jon Bernthal.

1.Race-realist. Notwithstanding the foregoing, Shot Caller is perfectly honest about the racially self-segregating nature of prison populations as microcosms of human behavior in all multiethnic societies. “It doesn’t matter what yard you go on; it will be segregated by race, period,” the movie’s director concedes in his audio commentary. “That’s a fact.” Shot Caller’s world is one in which a man decides to join the ranks of either the warriors or the victims – and only the latter stand alone.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

10_cloverfield_lane

Nasty woman Mary Elizabeth Winstead wakes up chained to a cot in survivalist John Goodman’s basement in 10 Cloverfield Lane, a genre-bending experience in the tradition of Cabin in the Woods (2012) and The Signal (2014). Is Winstead, recalling Misery (1990), the prisoner of an obsessive loser who intends to possess her sexually – or is Goodman telling the truth when he claims that he only intends to keep her alive and that the world outside is uninhabitable, that everyone she knows and loves is dead, and that civilization has collapsed after a catastrophic apocalypse? Is it the Russians? The Martians? Or is it just a tall tale to dissuade his uncooperative guest from attempting to escape? Finding out is as frightening and fun as being held captive in John Goodman’s basement!

[WARNING: POTENTIAL SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that 10 Cloverfield Lane is:

4. Alt-media-ambivalent. Goodman is “like a black belt in conspiracy theory”, a mixed bag of a man simultaneously tuned-in and misled as to a number of topics. The fact that, in addition to aliens and Russkies, he is also concerned about “Al Qaeda” seems to suggest that the film is condescendingly and disingenuously conflating neoconservative outlets and various conspiracy-oriented media of varying quality.

3. Anti-redneck. Goodman’s character represents a typical cosmopolitan millennial’s idea of a conservative Republican: a slovenly gun nut, “authoritarian personality”, and “no touching” prude scared of Martians and the prospect of a real-life Red Dawn scenario. He is stuck in a vanished American past, as evidenced by his Frankie Avalon records and VHS collection. The fact that major elements of his assertions turn out to be correct prompts the deliciously implied question at the heart of the film. Which would be more horrifying for a millennial woman – the prospect of an alien invasion that razes everything and everyone she knows, or the possibility that, for all of these years, those hateful, judgmental, beer-bellied, rifle-toting, misogynistic deplorables were right?

2. Disaster-alarmist. Turning viewer expectations upside-down, Goodman’s conspiracy-theory-fueled survivalism comes in handy when the shit really hits the fan. Rather than rejecting extreme preparedness outright, the movie suggests that liberals, rather than pointing and laughing at the conservatives, ought to appropriate such foresight and associated skill sets for themselves. The idea that fashion design could become a survival skill in a post-apocalyptic landscape is no doubt highly appealing to a number of young women and homosexuals with tacky, clashing heaps of student loan debt in the closet.

1. Feminist/anti-family. Goodman presents a negative patriarchal archetype (“I want us to be a happy family.”). Winstead also recounts a traumatic memory of seeing a man cruelly pulling his daughter by the arm and hitting her. Perhaps under the influence of such impressions of family life, she rejects the possibility of reuniting with her boyfriend in order to strike out on her own as a superheroine and save the planet – a choice about which the director, Dan Trachtenberg, expresses a cuckolded you-go-girl enthusiasm in his audio commentary.

Rainer Chlodwig von K.

road-to-the-well

Laurence Fuller plays a frustrated beta male desk jockey, Frank, who discovers that his girlfriend has been having an affair with his boss. Serendipitously, an old friend of his, handsome drifter Jack (Micah Parker), breezes into town and convinces his buddy to meet him for a few drinks at a night spot, where he also goads Frank to approach a woman (Rosalie McIntire) who catches his eye at the bar. From here, Frank’s life takes a left turn down a darker avenue than he ever knew existed, with Road to the Well developing into a fantastic, albeit eccentric, little thriller sustained by painful tensions and moments of unexpected strangeness. Only one superfluous scene broadly and condescendingly characterizing conservatives as “bigoted trash” taints what is otherwise a recommendable film, and writer-director Jon Cvack is to be commended. Barak Hardley is also worthy of mention for his portrayal of spoiled millennial man-child Chris, while Marshall Teague, glaring out of the screen from the other end of the masculinity spectrum, is also highly effective. For those interested, Road to the Well was recently released on DVD and VOD.

Four-and-a-half out of five stars. Ideological Content Analysis indicates that Road to the Well is:

8. Anti-capitalistic, with prostitution furnishing the film’s model of free enterprise. Undignified Frank continues to work for his company (in order to “build a cushion,” he says) even after learning his boss has cuckolded him. He despises his erstwhile friend Chris, however, as a “hoity-toity yuppie” – but it is possible also to read the envy hiding behind Frank’s feigned contempt for Chris’s material security. Jack is utterly dismissive of regular employment, and encourages Frank to call in sick. “I don’t work anymore,” he says.

7. Anti-war. An implicit parallelism emerges during a scene between a murderer and a military man. One character understands something about the other’s experience.

6. Judgmentally anti-slut. The wages of sin is death!

5. Pro-gay. A corny anecdote is told about a homosexual adolescent who shot himself after being bullied. A homophobic redneck landlord who makes light of his own son’s participation in the bullying is intended to represent the low standard of sophistication prevailing among opponents of sodomy. Frank’s exaggerated reaction to this insensitivity is, one assumes, meant to establish his character’s moral credentials.

4. Manospherean. Frank, over the course of the film, is taught by his experiences to man up and assert himself. “Everything is fine as long as you got some money and a nice piece of pussy” is Jack’s philosophy.

3. Anti-Christian. A chaplain (Teague) has lost his faith and become suicidal. “My faith? What the hell is that?”

2. Anti-marriage. “It’s like marriage is this weird construct we’ve made up for ourselves and handed down from generation to generation,” moans Chris, who is soon to be married. “It’s meaningless, right?” A committed relationship is “not exciting”.

1. Antinatalist. “It’s like they’re these tiny little animals and I’m responsible for ‘em,” Chris frets, imagining the prospect of fatherhood. “If I don’t change their diaper, then they just, what, sit in their shit all day? Or, like, if you touch their fontanelle, you’re like, touching their brain, and you got a dead baby. […] No thank you.”

Rainer Chlodwig von K.

cabin-fever-poster

This pointless reboot of the Cabin Fever franchise serves no purpose whatsoever apart from making a few cruddy shekels, as very little of value has changed since the original. Furthermore, most of the offbeat humor that was present in the first film is disappointingly missing from this comparatively straight-faced and innocuous remake. Most disappointingly, Deputy Winston, the inscrutable party guy played by Giuseppe Andrews in the 2002 version has been replaced by a scar-faced bisexual deputy played by Louise Linton. Curiously, like the first film, Cabin Fever ’16 also fails to exploit the comedic potential latent in the suggested premise of whether or not a character could survive a horror movie while only subsisting on beer. The leg-shaving scene is perhaps more horrific than in Eli Roth’s original; but, throw in a generic cast and some unappealing tattoos on one of the women, and what the viewer has is a passable but decidedly underachieving horror outing.

3 out of 5 stars. Ideological Content Analysis indicates that Cabin Fever is:

4. Luddite! One vacationer mistakes his video game experience for “years of training” for the handling of a firearm. Karen (Gage Golightly), preoccupied by her cell phone, has to be reminded to enjoy the outdoors.

3. Anti-gay, furnishing publicity for an abnormal lifestyle but presenting a comically grotesque example of a lesbian in law enforcement.

2. Anti-redneck (i.e., anti-white), offering the typically creepy depictions of backwoods European-Americans. The film fails to reference any other races’ parasitic roles in the world economy, but does refer to “hillbilly vampires”. One rustic local is dubbed “Deliverance”. A faded American flag visible at the rednecks’ dilapidated gas station would seem to connect white trash with the idea of America’s decline – possibly in connection with supposed wars for oil.

1. Anti-gun. Bert (Dustin Ingram), the least mature of the vacationers, brings an “assault rifle” and accidentally shoots a man.

Rainer Chlodwig von K.

Straight Outta Compton

In the opening moment of Straight Outta Compton, the street thug who would one day win fame as Eazy-E is seen retrieving a pistol hidden in a speaker in the trunk of his car. The image perfectly captures the unapologetic essence of Niggaz wit Attitudes, the hip-hop supergroup E would form with Dr. Dre, Ice Cube, DJ Yella, and MC Ren, and which famously made music that packed a nasty and influentially lethal punch. N.W.A. were the founding fathers of gangsta rap, and Straight Outta Compton traces their sordid story from inauspicious ghetto beginnings through celebrity, infighting, dissolution, and Eazy-E’s untimely demise from AIDS. Raw and angry but intelligent lyricist Ice Cube is portrayed in the film by his son, O’Shea Jackson, Jr., while the surprisingly mild-mannered Dr. Dre is played by Corey Hawkins. Jason Mitchell is believably street as the devious Eazy-E, and R. Marcos Taylor is positively savage as brutal Death Row Records kingpin Suge Knight. It is Paul Giamatti, however, who steals the show as the group’s super-sleazy Jewish promoter, Jerry Heller.

4.5 out of 5 stars. Ideological Content Analysis indicates that Straight Outta Compton is:

7. Pro-gay. Two women kiss during a threesome.

6. Sexist! “Life ain’t nothin’ but bitches and money.” Jiggly booties abound.

5. Anti-white. Eazy-E is afraid to tour the South, where rednecks are “waitin’ to lynch niggers”. He therefore insists on taking a machine gun with him on the tour bus. To its dishonor, Straight Outta Compton perpetuates the myth of the unprovoked police attack on Rodney King, thereby pouring more synthetic fuel onto the ongoing black radical agitation of the Obama years.

4. Pro-gun. In one crowd-pleasing scene, the N.W.A. boys grab their gats to scare away a disgruntled cuckold.

3. Pro-drug. The “chronic” reignites Dr. Dre’s genius after a bout of doldrums and rapper’s block. The War on Drugs, furthermore, is a hypocritical and oppressive failure.

2. Libertarian/anti-police. “Fuck tha police!” Racist white cops hassle Ice Cube and call him a “nigger”. “I’m the only gangster around here,” one of them tells him. Others, including one black cop, have the rudeness to slap hamburgers out of the rappers’ hands for no reason. “Fuck the law enforcement community,” Ice Cube challenges those who would censor the group’s message. “We got freedom of speech, man.” Striking a relativistic note, the film opens with a sound montage containing a snippet of Oliver North, reminding the audience of the American deep state’s role in the importation of the cocaine that would come to define the thug life glorified by gangsta rap.

1. Anti-Semitic! Straight Outta Compton does not flinch from the truth that Jews played a decisive role in taking gangsta rap out of the ghetto and thrusting it into white people’s living rooms. Heller appears as a stereotypically seedy and greedy Jewish wheeler-dealer and propagator of cultural degeneracy. In Straight Outta Compton’s funniest scene, Heller throws a fit when he hears Ice Cube’s post-breakup diss track “No Vaseline”, containing the line, “You let a Jew break up my crew.” “I’m callin’ my friends at the JDL!” Heller snarls, referring to the violent Jewish Defense League.

Rainer Chlodwig von Kook

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True Detective Season 2

The second season of HBO’s bleak series True Detective shifts the scene of the sickness from creepy gothic Louisiana to dystopian southern California, a setting with a more strikingly chaotic ethnic mix that lends itself to an exploration of race relations in America. The plot this time around concerns the intertwined lives and fortunes of vicious but decent-hearted gangster Frank Semyon (Vince Vaughn) and tortured and tarnished detective Ray Velcoro (Colin Farrell) and their investigation into the convoluted circumstances of a politician’s death.

Semyon

Vince Vaughn as Frank Semyon

True Detective presents a world of demographic horror, an America in which racial loyalties are nonexistent and fealty of any other kind is hard to come by. Whites, blacks, Mexicans, and Jews are all crooked. Mexicans, while distrustful and destructive of whites, also think nothing of killing each other, while whites, finding themselves marooned in an increasingly hostile and meaningless world, grasp at anything they can get. Race-based tensions nevertheless continue to simmer beneath the surface of several of the characters’ interactions. Semyon is a self-made man and a bigot, a walking contradiction who dislikes the changing demographics of the U.S. and seethes with an angry white man’s discontent but is also and at the same time cynically complicit in the smuggling of illegal aliens into his country.

Semyon is also an anti-Semite and calls Israeli gangster Osip Agronov (Timothy Murphy) a “KGB kike motherfucker”. True Detective is rather daring in identifying the true ethnic character of the “Russian” mafia. The series gives Semyon more than one moment of triumphant crowd-pleasing sadism, and it is significant that one of these is reserved not for one of the Jewish gangsters, but for an especially weaselly specimen of the Shabbos goy, or gentile who sells his treacherous services to the Jewish enemy. Leonard Cohen’s excellent theme song, “Nevermind”, is interesting in this context for featuring the lines “I was not caught, though many tried. / I live among you, well-disguised.”

Velcoro

Fred Ward as Mr. Velcoro

In another scene, Semyon pummels and then pulls out the teeth of a mouthy brown-skinned inferior (Pedro Miguel Arce) – content that serves as vicarious satisfaction for Caucasian viewers fed up with pretending to like their laughingly darkening world. Representing such viewers is Velcoro’s father (Fred Ward), a retired policeman who found he was no longer able to carry out his duties properly with the advent of the fuck-the-police zeitgeist that found its explosive expression in the 1992 L.A. riots. The U.S. as it presently stands is “no country for white men,” he observes as he enjoys a black-and-white Kirk Douglas movie. He is one of two aged policemen in True Detective who remarks that blacks’ intensifying hostility toward police made it increasingly difficult for them to do their jobs.

The audience, one suspects, is expected to feel a mingled contempt and sympathy for this old man who has given up on life and squanders what little of it is left to him getting high and living in a televised, mythologized past. A parallel character is the disgusting, whorish ex-dancer mother (Lolita Davidovich) of highway patrolman and ex-mercenary Paul Woodrugh (Taylor Kitsch). Like old Mr. Velcoro, she prefers the comfort of watching old movies to doing anything productive with her years of decline. Morally and physically decrepit, her narrow, nostalgic tribalism takes the incestuous form of a selfish attachment to her son, who clearly wants nothing to do with her.

True Detective also offers multiple examples of interracial relationships, but none of these is deep, lasting, or free of damaged trust. As one of the season’s other songs suggests, “There’s no future. There’s no past.” – an assessment that could easily apply to America’s multiracial experiment as depicted in these episodes. A feeling of imminent doom pervades not just the lives of the principal characters, but the life of the proposition nation. In one episode, Detective Velcoro visits the set of a cheesy post-apocalyptic action movie – a cartoon version of the American century taking shape around those dumb enough not to notice what has been happening. Indeed, the characters who survive the final episode are those who choose to flee the country – no livable future seemingly being available to them here.

Rainer Chlodwig von Kook

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Baytown Outlaws poster

Prospective viewers may be disappointed to discover that ostentatiously billed Billy Bob Thornton has only a potty-mouthed supporting role as villain Don Carlos in this violent ersatz-Tarantino concoction disingenuously passing itself off as genuine good ol’ boy entertainment. The film concerns the reckless redneck exploits of the Oodie brothers, Brick (Clayne Crawford), Lincoln (Daniel Cudmore), and McQueen (Travis Fimmel), as they rip through an array of ridiculous comic book adversaries to rescue a handicapped teenager (Thomas Brodie-Sangster) from Don Carlos’s clutches.

The Baytown Outlaws is lightning-paced and at times diverting, but too condescending and mean-spirited to squarely hit its target. Worse, its perpetrators (writer-director Barry Battles, is that your real name?) betray a disturbing moral confusion and an obvious disregard for human dignity and life, as typified by the scene in which one of the brothers accidentally shoots and kills a maid and says, “Oh shit. My bad, lady”, and then goes casually about his business. Flippant to excess, this one may appeal to ADHD-afflicted consumers of films of the Snatch or Cat Run type.

3 out of 5 stars. Ideological Content Analysis indicates that The Baytown Outlaws is:

11. Drug-ambivalent. Don Carlos abuses pills. Liquor’s antiseptic quality comes in handy during a medical emergency. “You want one of these?” Brick asks, offering a minor a cigarette after a battle and telling the boy, “You earned it.”

10. Ostensibly Christian. Brick wears a cross on a necklace, but this fashion statement would appear to be the extent of how his faith expresses itself. The Oodies claim with sarcasm to have been in church while they were actually out raiding a residence and exterminating its occupants. “This Is Our Song”, a southern-fried hip-hop tune that plays over the end credits, says, “Folks round here still believe in God” and “Tell the government to leave my check and church alone”. A cross tattoo on a hitwoman suggests that the Christian content of the film is something less than sincere, however.

9. Anti-police. Celeste (Eva Longoria) wants peace of mind, “something the cops can’t give me,” she says. Officers catching sight of the Oodies locked in rowdy highway warfare turn a blind eye and give no pursuit.

8. Anti-corporate. “I kind of look at my future empire as the Wal-Mart of bottom dollar retail crime,” Don Carlos explains to impertinent underlings who have approached him about a raise. “I need stockers and cashiers and mercenaries and mules.”

7. Localist/pro-vigilante. The sheriff resists federal meddling and even eschews the law itself, maintaining the Oodies as his personal vigilante squad to keep criminals off the streets and spare the court system the trouble.

6. Gun-ambivalent. A t-shirt reads, “If guns are outlawed, only outlaws will have guns.” The Oodies are poor poster boys for responsible handling of firearms, however, and kill several people by mistake.

5. Pro-immigration. Illegals are bright, talented, underappreciated professionals like nurses who, if given a chance, would be a boon to the U.S. What is more, they are whites’ intellectual betters. “Your ignorance is unbelievable,” a valiant wetback bimbo tells Brick when he says, “You’re a nurse. You oughtta be helpin’ people,” and suggests she become naturalized. “Your country doesn’t make it that easy for us,” she complains.

4. Black supremacist. The black sheriff (Andre Braugher) enjoys sassing and establishing his mental superiority and official authority over whites. “Just do what you’re told,” he scolds a deputy. In a scene that is seemingly intended to draw an ironic humor from racial role reversal in view of the hoses that were once turned on civil rights agitators, the sheriff unsmilingly sprays a white child with a garden hose for no apparent reason and tells him, “I don’t even know you.”

3. Family-ambivalent/anti-marriage. “This Is Our Song” includes the line, “God and my family is all I need”; but, with the exception of the Oodies’ mutual loyalty, the representations of family relationships in the film are derogatory. The Oodies have “no known mother” and the irresponsibility of their father, an abusive Ku Klux Klansman, necessitated their being transferred to foster care. Don Carlos is another negative father figure whose relationship with Celeste has ended in violence. “There goes the longest relationship I ever had,” McQueen reflects after he and his brothers dispatch a bevy of biker hitwomen.

2. South-ambivalent. “Welcome to the South, motherfuckers!” The Baytown Outlaws is something of a Trojan horse where the South is concerned, any regional pride it evinces being superficial and devious. Brick Oodie, who, along with his brothers, seems never to bother changing his clothes, always wears a sleeveless shirt bearing the Confederate stars and bars – but, as with his cross, more as a fashion object than as a proclamation of political philosophy. The hell-raising, empty-headed redneck, forever the film industry’s favorite image for the perpetually stereotyped southern white male, appears in The Baytown Outlaws as a kind of cute, quaint, grotesque curiosity, something like a dog to be petted and encouraged in its animal eccentricities, but also restrained by a master’s leash. The redneck can be an endearing type and useful as long as his wild ways are harnessed by a black representative of the state made wise by his sufferings during the struggle for civil “rights”. That one of the brothers, a brutish mute, is named Lincoln may be interpreted either as a sarcastic joke or as an indicator that progress is being made in the South and that northern dictators now vie with General Lee in the christening of white trash children. Alabama, it is observed, has its own pace but is “behind the times”.

1. Un-p.c. and repeatedly racist! The Baytown Outlaws is an exercise in what is termed hipster racism, which occurs when progressives knowingly appropriate stereotypes for their own putatively innocuous purposes and so expect a free pass for their playful, winking insensitivity. The Baytown Outlaws strains the confines of this classification, however, with its depiction of a group of Indian assassins who scalp their victims and shoot arrows. There is also a pack of vicious, foul-mouthed blacks, one of whom feels compelled to warn another, “This time, try not to hit the motherfuckin’ baby.” Other instances of political incorrectness include the use of “faggoty”.

Rainer Chlodwig von Kook

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