Why I WriteTrevor Lynch
Why do I write movie and television reviews from a White Nationalist perspective? It’s complicated.
First and foremost, I write because I love film. I think that film is the realization of Richard Wagner’s idea of the “complete work of art” (Gesamtkunstwerk), a form of art that incorporates all other art forms: music, dance, acting, sculpture, painting, architecture, etc. Film better realizes Wagner’s ambitions than opera, since film can show things that opera merely tells.
By integrating so many art forms, film can communicate more, and more deeply, to more people, than any single art form. (The same is true of television. The screen is just smaller.) I loved film long before I became a White Nationalist, and I had been intending to write a book on David Lynch before I had my political awakening.
Second, I write because movies are a force. They are the greatest tool ever invented for shaping people’s ideas and imaginations. In the right hands, they can be a force for good. In the wrong hands, they are a force for evil. Unfortunately, the film industry in the United States and Europe is overwhelmingly controlled by an alien and hostile people, the Jews.
Jews use movies as a tool to promote ideas and values that are destructive of my race and civilization: race-mixing and multiculturalism, white guilt and self-hatred, feminism and emasculation, the valorization of Jews and non-whites, etc. Film reviews are one way that I can fight back.
But I am often asked, “If the movies are full of anti-white propaganda, why not just boycott them altogether—and encourage others to do so as well? If you believe that Jews are using movies and television as tools of genocide against our race, then it is wrong to watch them, encourage others to watch them, or give the people behind them a single dime.” I reject this argument for three reasons.
(A) A complete boycott of movies and TV would be a quixotic and futile gesture. Boycotts only work if there are numerous participants who can monitor each other to enforce compliance. If I boycotted movies and TV, I would be the only one. Nobody would join me, and if anyone did join, they would cheat. They would enjoy warm feelings of righteousness for a few minutes, then reach for the remote.
(B) Moreover, movies and television are so much a part of people’s lives that any White Nationalist who seriously attempted to boycott them would end up even more socially isolated and alienated than is normal for our people. Socializing with friends and family often involves watching TV and movies, or at least discussing them.
There’s also a larger point here: We cannot change the world by disengaging from it. We need to engage it and turn it in our direction. If we want to make a difference, we cannot retreat from the world to preserve our purity. We need to find a way of being in the world, but not of it.
(C) Boycotting TV and movies is throwing away a golden opportunity to reach our people. The film, television, and advertising industries comprise a vast number of highly intelligent, creative individuals with many billions of dollars of capital at their disposal, with which they create a 24/7 matrix of genocidal anti-white propaganda. White Nationalists cannot compete with that. Sure, we can dream of having our own mass media someday. But that will be after the revolution, not before. So what do we do in the meantime?
We can’t get our people to turn off the propaganda. We can’t create anywhere enough of our own television and movie propaganda to counter the establishment’s. But we can teach our people to see through the propaganda. And all it takes is a few perceptive and talented writers, the cost of Netflix and a few movie tickets, and a few dollars a month to host a website. Yet for that small investment, we can negate the propaganda churned out by legions of enemies with billions in capital. This is asymmetrical cultural warfare at its best. Our power is limited only by our readership. But on the web, that can grow very quickly.
Furthermore, I don’t just talk about specific movies and TV shows. I also illustrate the general principles of anti-white propaganda, teaching my readers how to decode propaganda in general. This has two profound effects.
(1) Whenever a brainwashed person is exposed to propaganda, it reinforces the establishment message. However, when we teach people to see through propaganda, then each new exposure reinforces our message instead. Imagine a young man who stumbles across one of my reviews because he is reading up on a movie he wants to see. He might like my interpretation or hate it. He might even reject my claims about the propaganda content of the film. But if he is bright, he will carry away a template for viewing other films, and he will begin to see the same patterns again and again. Gradually, the establishment’s power over his mind will fade, and the nagging little voice of Trevor Lynch will get louder and louder.
(2) When people learn to see through anti-white propaganda, they are often shocked by its omnipresence. It is one thing to see propaganda here and there. It is another thing to see it everywhere. Even I am still shocked when I visit friends who have cable. The anti-white message is everywhere: in every cooking program, every cute animal show, every house makeover program. You can’t escape it, and that’s no accident. When you see the omnipresence of the lie, you have a concrete experience of the system’s totalitarian nature and genocidal intent.
There is, however, a sense in which I boycott television, and I recommend others do so as well. I don’t watch broadcast television, and I refuse to pay for cable. So I don’t watch commercials, and the only TV series I see are downloaded or on DVD. I don’t like being “programmed.” My slogan is “Program yourself.” And I just don’t want to spend the money.
It astonishes me how much money White Nationalists pay to people who hate them in order to have toxic propaganda piped into their homes. It is even more shocking when you compare your monthly cable bill to your monthly donations to Counter-Currents or other pro-white websites, where people are actually fighting against the lies. So if you feel the need to boycott someone, cancel your cable and subscribe to a monthly donation to Counter-Currents instead. Don’t be the sort of person who pays to be poisoned but counts on the antidote to be free.
I don’t write reviews just because I want to pan bad movies. I also want to praise good ones. And from a White Nationalist point of view, there are a lot of good movies out there.
The best movies are what I call the Goebbels Awards laureates. These are movies made by mainstream modern directors that Joseph Goebbels would not change a frame of. These include The Lord of the Rings trilogy, Gangs of New York, A History of Violence, Miller’s Crossing, Cabaret, and Quiz Show.
Of course, most good movies that are useful from a White Nationalist perspective are also flawed, some of them slightly (like Fight Club or The Dark Knight), some of them deeply (like Pulp Fiction and The Matrix). It often takes some adroit thinking to separate the good elements from the bad.
But the potential rewards are immense. Many White Nationalists justifiably lament the decline of education and rampant cultural illiteracy. People used to learn Latin, but now they devote their brain power to memorizing sports statistics. People used to read Plato and Shakespeare, but now they stare at shining screens. Kids today know more about Batman than George Washington, more about the Battle of Helm’s Deep than the Battle of Lepanto, more about Middle Earth than the Middle Ages. How can reactionary old cranks live in the past if nobody knows anything about it?
Now, I would like nothing better than to write essays about Plato, Nietzsche, and Evola for the rest of my life. And I would be doing just that, if my race were not being marched into oblivion. I want to fight, and that means I need to communicate. So I stopped lamenting other people’s cultural illiteracy and started correcting my own: my pop-cultural illiteracy. Because there is no more powerful medium than film at implanting images in people’s minds, and if we know those images, we can use them to communicate our ideas. And as I have shown, one can use Pulp Fiction to teach Plato, Batman Begins and The Dark Knight to teach Nietzsche and Evola, etc.
As a writer, editor, businessman, and community organizer, I have to divide my time finely and spread myself pretty thin. But if I could delegate some of my jobs to others so I could focus full time on just one thing, I would write movie reviews. Not because it would be the most personally fulfilling, but because there is nothing I can do for our cause that is more effective at unplugging our people from the Matrix and showing them the path toward the White Republic.
Of Donkeys and Men: A Review of The Banshees of Inisherin
Trevor Lynch’s Classics of Right-Wing Cinema
Race and Ethics in John Ford’s Stagecoach
John Wayne’s The Alamo & the Politics of the 1960s
The Banshees of Inisherin
My Salinger Year: Chamber Music for a Writer
Guillermo del Toro’s Pinocchio
Well, Goebbels would certainly have more than one thing or frame to object to Cabaret…
Something I would like to add: Let’s also not forget that the movies started more than a hundred years ago, and we do not need to look only at contemporary Hollywood products… in the classic movies of the silver screen one can find and experience the very soul of Europa, in such a way that they become almost painful to watch nowadays. The “Germanness” of Murnau, Pabst, Lang, Wegener, Fanck, Harlan, Riefenstahl, Käutner; the “Englishness” of Michael Powell, David Lean, Hitchcock, the Kordas and Ealing studios; the “Frenchness” of Renoir, Carné, Delannoy, Vigo, Bresson, Truffaut; the “Italianness” of Blasetti, de Sica, Visconti, Fellini; the “Scandinavianness” of Sjöström, Dreyer and Bergman; the soul of Eastern and Slavic Europe in the films of Tarkovsky, Sokurov, Vlacil, Jancso, Wajda… not to forget the America of directors like Griffith, Ford, Hawks, Vidor …
‘I don’t watch broadcast television, and I refuse to pay for cable. So I don’t watch commercials, and the only TV series I see are downloaded or on DVD. I don’t like being “programmed.” My slogan is “Program yourself.”’
This would make excellent advice to newly budding White Nationalists.
Even if you haven’t fully disconnected the cable front the idiot box (admit I have not, I like watching the 24-hour news channels to much!) one can still compile a worth-while stash of acceptable or Pro-White DVDs.
Having a bad day? Just too much multi-cultural propaganda this afternoon? Did Shaniq-khan, the new AA hire make a snide comment that set you off? Well just pull out a DVD from your stash! My own includes Red Dawn, Conan the Barbarian, Equilibrium, Some John Hughes flicks, and Starship Troopers. It is much easier to work to improve the World for Whites after you have viewed something to cheer yourself up.
I’d add LA Confidential to the list…very interesting racial technique. Doesn’t elevate whites, just thoroughly trashes the usual Hollywood icons: Jews, queers, blacks, spics. Which is why it got only 2 AAs, instead of the 10 or so it deserved. A true Nest of Vipers noir, best I’ve ever seen. Also: neo-fascist film [email protected] http://ostrovletania.blogspot.com
For what it’s worth, this excellent little essay has prodded me to resume my own pro-WN writing. I teach reading film in class and have abundant material to write about. It’s just that my motivation has been confused lately. This essay gives me clarity.
“However, when we teach people to see through propaganda, then each new exposure reinforces our message instead.”
Bang on. Dick Morris called this technique “political ju-jitsu”, using your enemies strength against them.
Morris was talking about a political campaign he managed over 20 years ago.
The opponent had mega bucks and put out an attack add on Dicks client.
There was something faulty or over the top in the adds, I can’t remember what, but Dick had his candidate put out a short blurb pointing out the flaws in the big bucks opponents add. Every time the flawed add ran, it reinforced what Dick had gotten out to the public.
What I do sometimes is talk about a current TV commercial and point out the anti-white elements. Then every time the person I talked to sees the add campaign again, we get the same ju-jitsu effect
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