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Like many in the Alt-Right, I am quite suspicious of the American entertainment industry and its effects on our subconscious assumptions as a society. As Joe Biden stated, “gay marriage” is a consequence of “Jewish leaders in the [entertainment] industry” and their “immense influence” over our culture. Biden’s statement was discussed so widely because all who heard it recognized that he was speaking a seldom-voiced truth: that the progressive social degeneracy of the last 50 years is due in large measure to Hollywood and a certain class of studio moguls and filmmakers. This has reached into every realm of commercial entertainment, including children’s movies.
Two recent Disney-Pixar films, Tangled and Frozen, however, seem to me to be largely free from such subversive elements, as well as being excellent and highly entertaining films. Both movies are set in beautiful representations of Nordic worlds. Tangled takes place in a magical Grimm Brothers, Germanic setting, and Frozen takes place in a similar but Scandinavian kingdom no doubt based on Norway, complete with beautiful fjords and ice-capped mountains. Both movies involve princesses, and each of the settings is politically monarchical. The films provide a rich tapestry of Middle-Ages and Renaissance-era European society, complete with classical art, ships, taverns, horses, and sword-fighting.
Both movies are also rooted in what I would call an idealized, “Tolkienist” culture, which is instinctively familiar to us as Europeans and European-Americans. William S. Lind has talked about how true conservatism is rooted in and loyal to a set of values, tastes, and ethics represented by the “Shire” of Tolkien’s Middle-Earth. Lind states that this is based in a combination of the Ten Commandments, and Christian-influenced Northern European morals, along with the small town, small-c capitalism and bourgeois values of 18th and 19th century Britain. One can debate the positive and negative influences of Christianity upon Northern European culture, but for the most part I accept Lind’s hypothesis, and I would add Nordic honor codes to the list as well.
This confluence of three major influences: Anglo-Saxon “Shire”-esque small town agrarian capitalism, where each man has a trade and is a master of his own destiny, mixed with the moral influence of Christianity, and the Nordic honor codes of pre-Christian Europe, is what I call “Tolkienism” and is what defines the societies that Tangled and Frozen are set in.
The films are also for the most part free from PC and subversive elements. There is a little bit of intentional “soft feminism” to distinguish the movies from earlier Disney “helpless princess” storylines. Both Rapunzel (Tangled) and Anna (Frozen) are capable, independent female characters, and the movies pointedly shy away from them being rescued by men or having their identity be based on their relations to male love interests.
However, both female characters are fully interested in finding love, and both end up getting married at a young age. Furthermore, the male love interests in each film are highly masculine characters. Both Flynn Rider (Tangled) and Kristoff (Frozen) are tough, capable men. They are physical guys who do not shy away from fighting, who do not supplicate themselves to the female love interests, and who, one could argue, exude the “tactical virtues” of strength, courage, mastery, and honor that Jack Donovan outlines in The Way of Men.
Indeed, it is somewhat surprising the films did not receive more opposition from progressive critics, as 100% of the characters in each are ethnically white, and there were no random inclusions of non-whites in background shots for the purpose of political correctness, as we regrettably saw in Peter Jackson’s The Hobbit. Furthermore there is even the inclusion of a hook-nosed, Shylock-esque merchant (the Duke of Weselton, in Frozen), who exhibits predatory designs upon the small Scandinavian kingdom.
Overall I am very grateful for each film. As the proud parent of a blond little three-year-old Viking child who loves them, I am happy for him to watch them, and build a love for — and an identity based on — the lands and cultures and values of his ancestors. As the modern incarnations of the European lands portrayed in the films continue to be destroyed by corporatist-multiculturalism and white ethno-suicidalism, it is my hope that nostalgia for the past will cause more such art to be made, and that it will help inspire a generation of European and European-American men to rise up and fight to save the lands these films portray, and re-embrace the “Tolkienist” values that gave birth to them.
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9 comments
I still find Frozen a controversial movie. I personally don’t know what to make of it. Greg Hood wrote about Frozen as being a king of bait and switch movie for opposite valves. Frozen is everywhere, from Wal-Marts to Toy stores. Whites fall for it like mice to cheese. We can stare at White Women and admire the ancient-European environment…. But something is not right.
Another movie at the time, The Wind Rises (Kaze Tachinu), was nominated for best animated feature and lost to Frozen. This movie, although Japanese, is very far-right and disturbing. No white people, but the valves are there. Frozen, you have the white people, but the values are particular.
If both were to collide, I can assure the Kwisatz Haderach would form.
What ruins Frozen is the overtly Jewish snowman and trolls. There’s a subtle current of cynical Jewish humor in the songs that totally sours the movie for me, and not because it’s actively subversive but because it dominates the tone of the film and clashes noticeably with the European folklore flavor. Tolkien was never sarcastic, and neither was Sleeping Beauty, The Little Mermaid, or Brave. Tangled is one of my favorite Disney movies, so I don’t think the issue is just its modern humor; it’s a recognizably Jewish sneer underneath the beautifully European aesthetic.
Brave is another film I would also add to this category.
My third blond haired aryan child is due next month, and I couldn’t agree more. Tangled and Frozen are great, largely pc free, movies with great music and animation that I am not ashamed to watch with my kids, and we watch them over and over again. I also watch Princess Sofia with my daughters, even though it does have a multicultural aspect, but these are rulers from other kingdoms, and I can live with the feminist push that women can do what men can, etc. It is still better than most anything out there. Hell, most people on the altright, including myself, and that is full of feminist heroes. But back to Sofia, I love the high production value of its songs and animation as a tv show. It also displays a late medieval kingdom where every individual has a role and is proud of that role. Disney entertainment like these are about the best thing I can find for my children.
“Hell, most people on the altright, including myself, and that is full of feminist heroes.”
I meant to make this a reference to anime, how many altrighter watch anime, I did not mean that the altright is full of feminist heroes. God that came out horribly.
Great essay. I agree.
Brave is not as good as either of these, but still not too bad, all things considered.
are you guys being racist? White supremacy much?
Just got back from watching Frozen II with my two daughters and things have changed a bit since this article was penned.
Arendelle, the Nordic kingdom sisters Elsa and Anna call home now has a high level of enrichment, mostly sub-Saharan Africans from what I could tell. One of the main characters is a brave and heroic sub-Saharan African soldier who can be relied upon for wise advise and saves the life of Anna.
The plot (spoiler, look away now) sees the sisters learn that their evil grandfather had oppressed the nearby tribe (American Indian or Sami looking), and the only way for this wrong to be righted is for Arendelle to be destroyed. I understand this as a metaphor that white people must relinquish control of their civilisation to atone for the sins of their ancestors who oppressed various peoples.
It turns out Elsa and Anna’s mother was of this tribe, making them mixed race so they don’t have to feel too guilty, in fact Elsa decides to go native and live amongst these people. The final scene is a big Kumbaya celebration of the unity.
Can’t wait for number three, how woke can they go.
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