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Tangled, Frozen, & “Tolkienist” Values

743 words
tangled-movie-poster [1]

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 [2], “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.

Frozen_group [3]

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 [4] 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.

Tangled_poster_c [5]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.

Poster-tangled-7 [6]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 [7].

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 [8]. 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.