The Matrix Reloaded

1,996 words

About twenty minutes into The Matrix Reloaded I was feeling sick to my stomach — literally. The scene was in “Zion,” the last bastion of the human [sic] race. Picture the ugliest industrial junkyard on the planet and then drop it down a hole to the ninth circle of hell.

Morpheus, played by the ugly, fat, pock-marked, gap-toothed Negro Laurence Fishburne has just delivered a speech in that deep, resonant, over-modulated, phony-sounding stage voice that Negro actors are wont to use — an affectation that leads me to think that the speaker only half-understands what he is saying.

Then the jungle drums start beating, and we are treated to an excruciatingly long dance/orgy intercut with the lovemaking of Neo (Keanu Reeves) and Trinity (Carrie-Anne Moss, already looking like a crone with a facelift or two). More than 90% of the revelers are non-White: Negroes, Orientals, Mystery Meat. There were even Polynesians with face tattoos. (Or maybe they were just record store clerks from L.A.)

I did not spot any sombreros or bandoliers.

Then, in close succession, I was treated to a spider-strand of spit glistening between the mouths of Trinity and Neo and the slow-motion spectacle of a blue-black, dreadlocked African primitive shaking himself like a wet dog and showering his partners with droplets of sweat. I gagged. My lunch was halfway up my throat before I could control the reflex.

My mind was racing. I was thinking: if this is what the human race is coming to, I would prefer it become extinct. Let the forests grow back. Let the beasts of land, sea, and air multiply. Let them tremble again before worthier kings than man: lions, eagles, great white sharks. (To borrow sentiments from Savitri Devi.)

Then I realized: the human race has ALREADY come to this. The world is already close to 90% non-White, and since there are no real barriers to non-White immigration, the only thing that stands between us and Zion is . . . time. Zion is the end of our present road of migration and miscegenation. And it is singularly appropriate that this decadent and debased world is called “Zion,” because the Jews are primarily responsible for promoting it.

But I would just call it “Hell,” and I hope that I was not the only White person in that theater who was nauseated by the spectacle. Honestly, I do not think that most Whites are brainwashed and deracinated enough yet to view that scene without some unease. This is the world that is being prepared for you, my brothers and sisters in race: your cultures, your genes, your lives and aspirations, submerged and obliterated in a tide of mud to the mindless, monotonous thumping of jungle drums.

I really wanted to walk out, but I thought of my duty to my readers and resisted the impulse. My mind was swarming with clever titles for negative reviews, but then . . . somehow . . . I started liking this movie.

Yes, the casting is ridiculous: a complete inversion of reality with an anti-White genocidal agenda. Virtually all the villains are White men: big, clean-cut, athletic White men; handsome, sophisticated, French-speaking White men; brilliant, professorial White men. The heroes, however, are a very different, very “diverse” bunch: dreadlocked bucks, high-yellahs with cool shades, patronizing old mammies oozing bullshit from every pore, gooks of the fleet-footed and pencil-necked varieties, all manner of career girls, lipless dykes with spiky hair, Cornell West, and other assorted freaks and misfits. (I am surprised that there were no openly Jewish or gay male heroes.) I suspect that the Learned Elders of Zion were actually played the Berkeley City Council.

Of course the main hero is Keanu Reeves. Tall and handsome, with almond eyes, high cheekbones, flower petal sunglasses, and a black cassock, he looks like a Slavic priest and flies through the air like Superman. But he is half white, one quarter Chinese, and one quarter Hawaiian, so he doesn’t really count either.

Looking at a movie like this, you would almost believe that White civilization could not have been created without the contributions of Blacks, Browns, Yellows, Jews, pathological misfits, stressed-out career twats, etc. In fact, just the opposite is true. Their contributions — if there really are any NET contributions at all, once you deduct all the destruction caused by such people — are WHOLLY DISPENSABLE. White civilization could exist without them. But they could not exist without White civilization. These people are parasites. (No, White civilization could not exist without women — wives and mothers — but it could get along very well without career girls. Women’s work is the same in every culture. What makes cultures distinct is primarily the work of men.)

Yet Hollywood broadcasts the lie that the parasites are necessary while the hosts are not. This is deadly. It is deadly to everyone, for once the host perishes, so will the parasites. The Jews think that by pushing this poison, they are advancing their collective interests. But they are deluded. They too will be destroyed by the system they are creating. Thus it is tempting to say that the Jews themselves are ultimately just pawns of a larger cosmic force, a force of darkness and evil, death and decay, a force that seeks to arrest and reverse life’s upward striving and return the splendid diversity of natural forms that have evolved to the blind chaos of undifferentiated matter, the primordial mud. (Excuse me, I was momentarily possessed by the character of “the Architect.”)

But I asked myself: Is there anything about this movie besides the casting that is anti-White? If the same script were shot with a different cast, would there be anything objectionable? The answer is no. The Matrix Reloaded is entertaining, thought-provoking, and beautifully crafted. And, aside from most of the cast, it is wonderful to look at. It has something for everyone: fantastic fights and car chases for the video game and NASCAR fans, philosophical conundrums and mythical and literary allusions for coffee house intellectuals. This is a movie that is going to be talked and analyzed and enjoyed to death.

An amusing incident: While the screen was filled with brilliant and heroic Negroes, the audience was filled with Negroes of a very different caliber. They heartily enjoyed it when an obsequious White Step-‘n’-fetchit carried the bags of a dreadlocked Negro (Neo and Trinity carried their own bags). But when a character known as “the Merovingian” began to discourse on freedom and determinism, I looked around and saw only eyes like pop-up headlights When the Architect took half a reel to explain how the matrix allows and then co-opts rebellion, they started fidgeting and talking and tittering. Soon a good number of them decided this was a good time for a bafroom break. They must have felt like they were in school or something.

Both Matrix movies are useful for White Nationalists. The casting is so blatantly anti-White that it provides an excellent elementary lesson in propaganda.

The Matrix movies also offer a vivid and compelling image of a world precisely analogous to our own: The human race has become enslaved by a race of mechanical parasites (the Jews). The machines keep humanity docile by hiding their slavery from them (ideology). The machines accomplish this by using technology to link human minds together (the mass media) and create an illusory world in which the slaves think that they control their own destinies (consumerism, democracy). This is, of course, a modern version of the parable of the cave in Plato’s Republic, in which an enslaved humanity is bewitched by a shadow play cast on the cave wall by puppeteers.

As in the parable of the cave, some people break free from this illusory world to live in the real world. They return, however, to the illusory world from time to time, to help free the minds of others who are trapped there. Most people resist them, however, because almost nobody wants to hear that his life — his friends, his family, the ideals he cherishes, the places and things that he loves — are all unreal.

This presents some options that all would-be revolutionaries should contemplate. Do we unplug the matrix and liberate people by destroying their lives? This seems to be the preference of the crazed emancipators of The Matrix. Or do we simply leave humanity in chains and enjoy our freedom with a select group of friends in the real world? It might be a kindness to leave people their illusions, but it is not a kindness to leave them their chains. But there is a third, truly humane option: to eliminate the parasites and leave people’s cherished illusions intact. This would be accomplished not by unplugging the matrix, but by taking control of it, by placing power not in the hands of parasitic and exploitative foreigners, but in the hands of an elite drawn from the people, an elite with a sense of organic connection to it and responsibility for it.

One thing that I did not like about the first movie is that it seemed metaphysically incoherent. On the one hand, the whole matrix system was perfectly consistent with a non-mystical, scientific naturalism: Plato’s cave created by modern science. On the other hand, there was a mystical element: “the Oracle” and the “prophecies” of a savior, “the One.” Furthermore, at the end, love conquers death when Trinity brings Neo back to life. Although this movie does not exactly explain how love conquered death in the first movie, Neo returns the favor in a way that follows the rules of the matrix.

I was pleased, however, that Reloaded does explain the Oracle and the prophecies in terms of the rules of the matrix. As I understand it, in the world of these movies, freedom is a real and perpetually destabilizing force. Thus the machines needed a way to control it. When the first human rebellion rose against the machines, they crushed it, but appreciated that future rebellions were inevitable. Rebellion cannot be eliminated, but only contained. Therefore, the machines planted the seeds of the next rebellion by starting Zion over again, to serve as a haven for the people who would eventually awake from the matrix. But this time, they sought to control the rebellion by creating the Oracle and her prophecies. After all, what is prophecy? A prophecy is a prediction of the future, and if one believes that one’s future has been predicted, then one believes that one does not have any real freedom. Prophecy is, therefore, a way of controlling people’s freedom by convincing them that they are not free, but instead are merely realizing a predetermined destiny.

Now, if I have understood this correctly, this seems to be a very good illustration of two important truths. First, the best way for a system to suppress rebellion is not to crush it, but to encourage phony forms of rebellion that safely channel discontent into dead-ends. Second, if the system cannot crush freedom, it will try to denature it by promoting religious superstitions about “destiny,” “providence,” “oracles,” “fate,” etc. Doesn’t this cast some light on our popular culture?

If you are a White Nationalist and enjoy science fiction and action movies, then I recommend The Matrix Reloaded for two reasons. First, if you can manage to keep your lunch down for the first twenty minutes, there is much to enjoy. Second, millions of bright young White people are going to see this movie. They are going to like it, because there are many genuinely likeable things about it. It will make a very strong impression on them; its images and ideas will stick with them, including the image of the hellish mud pits of Zion. Movies like this are the myths and the literature of our post-literate culture. Yes, the movie is a piece of enemy propaganda, but it is clumsy propaganda for their cause and good propaganda for ours. It can easily be seized and turned against them. Just the sort of fancy fighting this movie is famous for.