We recently discussed the TV series Fortitude, which follows on a trend of narratives exhibiting the following traits:
1) The eroticization of bondage and visceral torture;
2) The affirmation of torture as a factually useless, but nonetheless just and moral endeavor deserved by its victims;
3) The heroism of international law enforcement and international mores as impartial, and more caring, than anyone personally known can be;
4) The demonization of local law enforcement and local mores as affected by conflicts of interests, and brutally unconcerned about people personally known;
5) The inherently violent, unavoidably sick nature of people of European descent ("white");
6) The inherent repugnance of white people, white culture, and white communities, which when unchecked by homosexuality or non-white intervention, develop into apocalyptic forms;
7) The necessity of exterminating white people and white communities in order to protect the world.
We'll look at Fortitude, True Detective, and Prisoners as paradigms of this model.
At this point in the discussion, in Terra 2015, it is incumbent upon us to insist upon a lack of racism. Accordingly: we've previously discussed a number of instances of cultural fabrication that have attacked African elements of humanity; see, e.g., Knew or Should Have Known and The Whytaissance. From the standpoint of economic philosophy, we've done the Let's Make a Movie series, in which we've examined propaganda (from the very same bankers) making the opposite arguments to the ones discussed in the instant essay--arguments of white supremacy, Objectivism, creepy pro-ruralism, and individualist ethnocentricities that provide bankers with a valuable counterpart to the race-war-promoting tropes they're using in the narratives reviewed here.
This is ultimately why TWMNBN are so clever. It's not as simple as identifying one of their assumed identities, or critiquing but one of their innumerable plans for division. You can only know them by their actions. Certainly there are correlations to be observed at present, or over the past thousand years, between their masks and their doings, but those only last so long. Don't take too much satisfaction in identifying them now.
As before, in discussing this subject, take note that this part of the analysis--the specific focus on the narratives involved--does not imply either an endorsement or a repudiation of any of the agendas presented in these interconnected projects. As to the stories themselves, we're just looking at what they've been designed to do, whether for right or for wrong.
1) Avowedly Italian or avowedly Jewish atheist creators portray heroes who pursue white or Christian villains. Denis Villeneuve, a Jewish director, and Aaron Guzikowski, a Jewish screenwriter, created Prisoners, in which Jake Gyllenhaal--the brilliant, good-hearted, mentally-stable Jewish homicide detective--pursues Paul Dano--the perverted, mentally retarded Christian white criminal--who, along with his perverted white Christian mother, is on a psychotic quest of serial kidnap and murder. In Fortitude, produced by Fox Affiliate Sky PLC, the brilliant, good-hearted, mentally-stable, cryptologically religiously-undisclosed Italian-American, Stanley Tucci, pursues several white Christian rapists, psychotics, thugs, and murderers. In True Detective, the cryptologically non-religious Italian, Nic Pizzolatto, employs two white atheists (Matthew McConaughey and Woody Harrelson) as lying, murdering, cheating, neurotic, substance-abusing detectives who pursue a vast network of white Christian rapists, psychotics, thugs, and murderers.
2) Small communities are filled with sick white people who are so mentally weak that they produce and cling to sick white religions that spread like cancers as a result of the failure of white city people to exterminate white rural populations decisively enough. True modernity and civilizational advancement can only be achieved by the murder of rural whites and their subordination to urban atheists.
(A side note: this agenda is part of what Dubya was advancing when he began to force police departments to "integrate their records" and "talk to one another." In reality, what the DHS' integration process is meant to do is to prevent State, county, or regional law enforcement agencies from having any autonomy, allowing federal agencies to peruse all local records and subvert any attempt by local officials to not enforce corrupt laws that benefit the D.C. private financial zone at the expense of its hosts.)
Prisoners regales us with the tale of Hugh Jackman's children being kidnapped in a small Pennsylvania community by perverted white Christians who have been on a quest to kidnap and murder children, until they are stopped by big-time homicide detective Gyllenhaal. Gyllenhaal pushes aside the stupid local cops who have been too weak of mind and body to put an end to this trend, and uses his high intellect to solve the crime. True Detectives goes even further, with the lying, drunken, idiotic white cops managing to stumble their way--with substantial outside support, and an educated willingness to reject the traditions of their families and peoples--into the exposure of a decades-long rape/murder cult supported by the rural white Christian community. In Fortitude, which is as-yet unresolved (the corporate media is working hard to drum up more viewers into a Season 2), a small white town's history of jealousy, rape, murder, and drunkenness is exposed when London flies in the dour-faced Tucci to prevent the corrupt local white cop from letting his residents get away with inappropriate crimes. Even if the local white cop had been non-corrupt, though, he isn't smart enough to notice things that Tucci notices.
3) White men with glasses aren't actually intelligent, the way traditional imagery suggests. Actually, they are disgusting perverts who use their knowledge, if any, only to abuse white women and children, who should be removed from their care as swiftly as possible. Paul Dano's perverted retard in Prisoners is an obvious exemplar of this, but Fortitude's Darren Boyd, the bespectacled pervert who maliciously overfed his wife and clung to evil Nordic traditions, is in line to take Dano's place at the end of a power drill. That annoying Boyd just can't shut up about how much "science" he thinks he "knows" because he's a children's "teacher." Luckily, urban homicide detective Tucci is there to briefly, condescendingly converse with him about trivia before moving on to more important matters.
4) Okay, we admit that torture might not actually "work," but it's deserved when it happens. Prisoners turns torture into a fetish, showing off Hugh Jackman's elaborate torture of Paul Dano. It pretends to send the "torture is wrong" message by someone other than Paul having custody of the kidnapped children, but at the end, reveals that Paul was the kidnapper, that he was lying, and that he definitely deserved the torture. True Detective runs into similar torture, but again, that torture is proven to be deserved, if not effective: the torture victims were tortured because they were part of the evil white Christian criminal organization, and "tried to get out"--given the atrocious things they participated in before trying to leave, the moral message, "torture is deserved, even if studies finally showed even Americans that it doesn't produce effective information, what with Abu Ghraib and all," sticks with the viewer. Only future Fortitude episodes will show if the exotic torture of Darren Boyd's white, annoyingly-Nordic character, at the hands of African immigrant and devoted father Frank Sutter, was deserved not just because Darren is an unlikable pervert who abuses his wife, but also because he knew more about the mammoth-larval murder than he was letting on. Like all whites, of course, Darren makes regular threats of aggression in the workplace, although none of his fellow whites took any action because privilege.
Time will tell if another white bespectacled pervert knows more than he's letting on, ergo deserved the torture. In any case, the erotic bondage, sadistic beating, and luscious fingernail-pulling-off that the heroic Sutter performs against that perverted white scum Boyd is a suitable prelude to the show's implied final solution for white people and white communities. The destruction of Boyd--the only white person in the entire series who publicly presents the image of desire for marriage, children, and family--can be viewed through other culturally critical lenses, as well.