Counter-Currents
  • Private Events
  • T&C
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
  • Webzine
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • About
  • Contact
  • RSS
    • Main feed
    • Comments feed
    • Podcast feed
  • Advertise

LEVEL2

  • Webzine
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • About
  • Contact
  • RSS
    • Main feed
    • Comments feed
    • Podcast feed
  • Advertise
  • Private Events
  • T&C
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
Print April 3, 2019 3 comments

Racial Exterminationism in Rakka

Buttercup Dew

2,414 words

Rakka is a science fiction short film from director Neil Blomkamp. After being propelled to fame by District 9, Blomkamp went on to make Elysium, a less well-received and overtly preachy movie that has rightly drawn the ire of White Nationalists; both Gregory Hood and Kevin MacDonald have ably covered its breathtakingly arrogant subtext and narrative shortcomings. Following up Elysium with the poorly reviewed Chappie, a multiculturalist movie about rappers and a police robot, Blomkamp has departed from Big Screen ambitions to focus on smaller-scale, independent productions under the branding of “Oats Studios.” The tropes demonstrated in “Oats” helped him secure work with Netflix, pushing much the same implicitly anti-white ideology.

Rakka is Oats Studios’ flagship offering. Oats: Volume 1 is divided up into three “serious Oats” films: Rakka, Firebase, and Zygote, all of which are shorts utilizing Blomkamp’s motif of high-tech body horror. The rest of the volume consists of either computer-generated demonstrations of assets or gallows-humor comedy sketches, or some mix of the two. As shown by the vaporwave mock infomercial Cooking with Bill, Blomkamp is in tune with the aesthetics of our time, if not its ideological undercurrents. Elysium was astonishingly ham-fisted in its attempt to cajole whites into accepting replacement by criminalistic Third-Worlders, with Matt Damon martyring himself for Latinx prostitutes clamoring for free healthcare. The frosty, power-suited Delacourt (a metaphorical power suit, rather than the literal exoskeletal armor of the mercenary she employs) implemented the border policy that we all wish Trump had the will to emulate: defending the border with lethal force, and when this fails, utilizing catch and mass deportation.

Elysium is a bundle of contradictions. It implies that whites who want to escape Earth to build their own society are morally despicable, but also that the trashy, broken societies of the Third World are that way because they are made up of impulsive and violent people (the “hero” is a former car thief). In Elysium‘s “happy” ending, mechanical medical teams fly to Earth to service dindus and MS13 gang members around the globe. It realistically amounts to giving the presently-living members of the goblin races a shot in the arm of free healthcare, before inevitable vandalism and general decay leave the medpods and droids destroyed. What could be more Elysian than communal bike sharing? Yet whenever these schemes are tried by idealistic, wealthy cosmopolitans, operators are routinely forced out of business by non-white vandalism. Are we really supposed to pretend Elysium won’t just become a crime-ridden orbital favela?

Gregory Hood raises a question unmentioned in the film: If the medical care the plot hinges on were able to be abundantly produced at low cost, why would the Elysians jealously guard it from those stuck on the surface? Furthermore, what’s stopping the Third Worlders Matt Damon dies for from simply producing it themselves? Are they incapable? Or are they not interested in forming an advanced society and taking up the civic duty (and basic non-criminality) it requires? If so, why is opening the borders to them such an urgent moral necessity?

No matter how much Elysium implies the White Man is a heinous villain for resisting the replacement of America with Amexica, it’s hard to get enthusiastic about Blomkamp’s self-exterminating, “ultra-cuck” ideology. The film boils down to two mechanically enhanced white men in gladiatorial combat, thus validating the idea that only whites (or those who manipulate whites through subversion) have agency. And running away to space is a form of sentimental and passive resistance, one as embarrassing as Trump’s comments that he “wouldn’t want” the border defended with machine-guns. If other races are prepared to kill for territory on Mother Earth, then we have to be as well, otherwise all negotiations with other groups are overtures to an unconditional surrender. After all:

. . . in the circumstances of group competition which this globe entertains, all groups are partly in competition for scarce resources against all other groups. It doesn’t have to be as merciless as all that. But it is real, and it is extant, and it is ongoing.

Whenever White Nationalists refer to the materialist, expansionist pipe dream of “exploring the galaxy” as some eventual, pseudo-religious historical destiny, the editor in me wants to strike that pie-in-the-sky idea from their otherwise credible and authentic work. We don’t need to explore space to find habitable planets. We are already currently living on one, and are struggling to resist our dispossession on it. It is better to assert ourselves today and worry about the morality of mass deportations later, than to allow ourselves to be overtaken by wishful thinking about living on space platforms.

Rakka, in contrast to Elysium, features alien invaders and colonists instead of masculine White Men as the villains. These aliens are hideous lizards with powerful laser cannons, disgusting solid-slime architecture and spaceships, and a mania for the extermination of humanity. It’s all very gritty and millennial, making excellent use of Blomkamp’s trademark cyborgization body horror, handycam directing, and knack for involving action sequences. A weary Sigourney Weaver (who was 67 when Rakka was released) returns to an alien-fighting role as a resistance leader, commanding United States Army squaddies and negotiating with shady bomb suppliers – given that Weaver is the only believable choice for a female leader. Aside from devastatingly powerful technology, the aliens are able to hypnotize hapless goys by making eye contact (but perhaps the tribe can’t pull this trick off with quite so much ease, and have to rely instead on the broadcast media, like the Reaganite alien colonizers in They Live), a neat feature which means that resistance members have to wear “mind-lock” helmets to prevent themselves from being bamboozled.

Taken altogether, the dynamic action, claustrophobia, and seamless use of computer-generated nastiness in Rakka makes it a more compelling alien occupation offering than the charmless, unimaginative invaders featured in the Tom Cruise vehicles Oblivion, Edge of Tomorrow, and War of the Worlds. That said, Blomkamp just can’t help himself but to virtue-signal. He offers archetypes that are both questionable and useful, and to which White Nationalists (or Preservationists, if we are preserving a white humanity from being subsumed by reptile invaders) would do well to pay attention.

Rakka‘s short, twenty-two-minute runtime is divided into two movie-pitch segments: an overview of the setting and its two principal characters, Amir and Nosh. Both characters are offensive racial stereotypes played wincingly straight. Rakka is presented as serious throughout – something that gels with its intended audience of white men with a taste for guns, militarism, and action. Knowing irony only makes an appearance in its final moments as the heavy metal music accompanies piles of computer-generated skulls and green-glowing technology – an aesthetic throwback to shooter games like Doom, Quake, and Unreal Tournament.

The film begins in “Texas, 2020,” featuring a narration of the invasion story so far. “We were once mankind . . . we were humanity. And now we’re no more than pests.” In a brief scene that could rustle some racially hypersensitive jimmies, a lizard is seen whipping a group of mainly white slaves along into an alien structure. I thought only blacks were allowed a monopoly on slavery victimhood!

“They took our history and culture.” Oh, Blomkamp. If only you knew how bad things really were. “They killed us in waves when they first arrived . . .” Cue visually impressive – and to his credit – imaginative floating slime weapons levelling buildings. But Blomkamp can’t help but riff on his disaster story as being analogous to an oppressive (and, in Elysium, an implicitly white-managed) modern world, even indirectly: “[They are] raising the global temperature, causing our cities to flood.” Could this be the hysterical fabrication of Abrupt Climate Change, another burden of guilt to load onto the shoulders of the white audience? To top off this convergence of catastrophes, “They waged war on Earth. They set fire to our forests. It’s already hard to breathe.”

At its most fundamental, dystopian science fiction speculates on a threat and postulates how a group will respond to it, making it the natural home of Left-wing utopianists and Right-wing ideologues. Without an examination of group dynamics, either within the ingroup or between conflicting groups, there’s no dimension of meaningful social critique. In Space Cadet, The Moon is a Harsh Mistress, and Starship Troopers, Robert A. Heinlein used threatening outgroups to emphasize the importance of valor, masculinity, and diplomacy in political self-determination. John Christopher’s The Death of Grass, which describes a starving world suffering from a crop-killing blight (a premise which makes its way into the Christopher Nolan flick Interstellar), follows a man, his family, and other tagalong survivors who eventually resort to killing unarmed innocents to steal their food. The protagonist experiences a gradual transfer of loyalty away from his family to defending the group as a whole as the situation becomes bleaker (thus illustrating that it is the collaborative group of men that precedes the nuclear family, and not the other way around). His mental remit, under the extreme pressure of starvation, is narrowed to those he can trust.

Blomkamp, in his liberal nihilism, uses his dystopian imaginings as propaganda to lopsidedly expand the mental remit of white men to include all of humanity by contrasting them with a bunch of genocidal aliens, even though the abuses of our collective trust by other ethnicities are innumerable and insurmountable. It’s a small mercy that the aliens aren’t Nazis, but then the propaganda would be less effective. Having offered White Men little to die for apart from Dindweesha’s healthcare bills or a race of smelly insects, Blomkamp’s Rakka is stuffed full of manly white militants shooting aliens to defend “humanity.” As usual, we aren’t allowed to do anything for ourselves; the only moral actions we can take are in the interests of abstract “humanity” as a whole – a race we only belong to in the movie theater, being excluded from safe spaces and deprived of our civil rights in all other regards.

Obviously, I am expecting too much from Blomkamp to think he might be a 14/88er who makes propaganda films about the Lizard Menace to awaken White Men. Nevertheless, there is some captivating footage: “They hack into our psyche. Into our minds, paralyzing us, taking control of the cerebrum and the limbic system.” A blonde, blue-eyed girl stares directly into the camera, which then cuts to the lizard hypnotizing her with its ungodly mental powers. In a stupid move for a race on the verge of extinction, the white resistance employs a young woman as a suicide bomber – the plan doesn’t quite work, but she provides enough distraction to blow up some aliens. Blomkamp naturally looks down on the redeeming qualities of combat, as the narrator intones, “I wonder if only sick primordial instinct keeps us marching forward aimlessly. Every rational thought tells us it’s over.” Of course, White Men watching Rakka will only hear this line as an invitation to fight the Gamer Wars harder.

Interestingly, Rakka sends up the Macrons and Merkels of the world in an astonishingly grotesque way: “We are sold a different story by our politicians.” The aliens slice open their skulls to insert a brain-controlling set of electronics, and the resultant cyborg zombie stumbles around preaching, “Do not be afraid!” The aliens have created “a conservatory for us, paradise!” We can do it, Germany! We can get to paradise! Blomkamp admits this is open satire, but of a different target:

I always wanted to do a science fiction invasion piece that had direct parallels with an occupying force in a country, like the Germans in France, or Americans in Iraq. There’s these levels of armed troops that are walking through neighborhoods, and well-built buildings, and local politicians have been turned or manipulated.

In France, at least, the Yellow Vests feel that the police have become an occupying neo-liberal force, and the increasing brutality shown to the Gilets jaunes only supports this conclusion. With the mask slipping completely, given the Jussie Smollett saga and President Trump utterly betraying his base, a disenfranchised white majority turning to militant insurrection appears more likely than ever.

Sigourney Weaver’s character has to negotiate with a deranged pyromaniac, Nosh, in order to acquire more bombs and brain-barrier helmets. The man delights in death, destruction, and all-consuming fire. He hungers for “bait” – sick or suicidal people who can be used to draw the aliens into traps. Nosh, who “can make just about anything out of scavenged junk,” is a cruel caricature of Trump-voting, white American men, right down to his taste for heavy metal and his Slayer jacket.

Amir’s character is equally stereotypical: he a fully African ‘groid, a noble savage archetype with a transhumanist bent. The aliens have experimented on him, leaving him with precognitive abilities. And yet he is mute, beaten, and starving when he is taken in by the resistance; playing into the idea that blacks are eternally victimized objects to be shunted around by other races, yet somehow possess spiritual knowledge unattainable by mechanically-minded whites. The portrayal of the black individual as wiser than whites in a way that has to be “discovered” is the only remotely believable one, as left to their own devices, blacks as a group are self-evidently indolent. It is always left to the White Man to lift the victimized black out of the poverty that has been allegedly induced by colonialism, where he can then flourish and bring the virtue of voodoo vibrancy to stodgy white societies. That Blomkamp is pushing this trope long after its credibility has evaporated is proof that the status quo has no new ideas to offer. Amir is unconvincing in everything except his ability to plead for gibs.

Nosh, however, is more believable, as are the heroic remnants of the US Army hunting down the reptilian invaders. White Men, being rational, resourceful, and capable of large-scale organization and collaboration, are masters of systematic violence. Whites are also capable of being absolutely merciless when there is a consensus that it is both moral and necessary, which is why our enemies channel immense effort into pathologizing the idea of us acting in our own group interests. Sooner than presenting themselves as an immediately visible “other,” racial exterminationists nurtured on a Talmudic belief in their own superiority use crypsis and hypnosis to enact grinding demographic warfare.

Blomkamp’s Rakka is, thankfully, not an explicit mockery of neo-Nazis in von Braun-type spaceships, and is immensely watchable despite its flaws. It can speak to young White Men about resisting occupation – be it aliens from Outer Space, Brussels, or Tel Aviv.

 

Related

  • The Journey:
    Russian Views, Part One

  • ماهية المرأة

  • Top Goy: Maverick

  • Rough Riders:
    The Last Movie about Real Americans?

  • Brokeback Mountain

  • Just Like a Woman

  • “I Write About Communist Space Goths”:
    An Interview with Beau Albrecht

  • Patrick Bateman is a Tranny

Tags

Buttercup Dewmovie reviewspost-apocalyptic fictionrace warscience fiction

3 comments

  1. Buttercup says:
    April 4, 2019 at 12:26 am

    I did watch it, but I didn’t think there was enough in it to write about. Thanks for the feedback though.

  2. Wanred says:
    April 7, 2019 at 4:45 am

    “A weary Sigourney Weaver (who was 67 when Rakka was released)”

    Let’s hope there won’t be any underwear shots this time around, then!

    I’m giving this a go. Knowing about all the SJW-propaganda beforehand will hopefully not make me turn it off prematurely but simply enjoy the movie instead. It can only get better from there rather than worse, right?

  3. Sam J. says:
    April 7, 2019 at 7:37 am

    Blomkamp, I believe, is showing what happens when White areas are taken over by diversity. He does within the the bounds of what he can get away with but it’s unmistakable to me. I look at whatever project he’s done and he shows clearly the dystopia when the vibrants move in?

    He shows the Whites as not playing nice by not giving up all their stuff but at the same time you can’t help but notice, as you did, that it was the Whites that made all this good stuff.

    I think he’s doing the best he can under the present system. If he didn’t do as he has then he wouldn’t make movies at all. His new projects on the net might be his way to get out from under the system eventually.

    If you look at it the right way you see a massive amount of snark in everything he does towards political correctness.

Comments are closed.

If you have Paywall access,
simply login first to see your comment auto-approved.

Note on comments privacy & moderation

Your email is never published nor shared.

Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.

  • Recent posts

    • This Weekend’s Livestream
      Karl Thorburn on The Writers’ Bloc

      Greg Johnson

    • A Tale of Two Speeches, Part 1

      John Morgan

      7

    • The Counter-Currents 2022 Fundraiser
      Viva la nazione! 

      Kathryn S.

      21

    • Elvis Presley, Professor Quigley, & the Africanization of Youth

      Kerry Bolton

      2

    • Flip-Flop Nationalism

      Nicholas R. Jeelvy

      8

    • Ian Smith’s Great Betrayal

      Spencer J. Quinn

      37

    • Ask Not What They’re Doing to Trump — Ask What Trump Did For You

      Jim Goad

      64

    • Stop LARPing & Start Preparing

      Aquilonius

      5

    • The German Colonial Empire:
      A Miracle of Progress

      Morris van de Camp

    • The Rise of the “Bubble People”

      Stephen Paul Foster

      10

    • Weimerican Horror Story

      Tom Zaja

      3

    • Hunter S. Thompson:
      The Father of Fake News, Part 7

      James J. O'Meara

      2

    • Counter-Currents Radio Podcast No. 474
      Anthony Bavaria Brings the Best Month Ever on The Writers’ Bloc

      Counter-Currents Radio

    • Remembering Philip Larkin:
      August 9, 1922–December 2, 1985

      Greg Johnson

      8

    • The Selfie Poet

      Margot Metroland

      6

    • Philip Larkin on Jazz:
      Invigorating Disagreeableness

      Frank Allen

      8

    • Quidditch By Any Other Name

      Beau Albrecht

    • صحفي أسترالي وجحر الأرانب الفلسطينية

      Morris van de Camp

    • The Worst Week Yet:
      July 31-August 6, 2022

      Jim Goad

      29

    • Hunter S. Thompson:
      The Father of Fake News, Part 6

      James J. O'Meara

      3

    • The Journey:
      Russian Views, Part One

      Steven Clark

      4

    • Counter-Currents Radio Podcast No. 473
      Ask Me Anything with Greg Johnson

      Counter-Currents Radio

    • This Weekend’s Livestreams
      Ask Me Anything on Counter-Currents Radio & Anthony Bavaria on The Writers’ Bloc

      Greg Johnson

      1

    • The Counter-Currents 2022 Fundraiser
      Raising Our Spirits

      Howe Abbott-Hiss

      6

    • Hunter S. Thompson:
      The Father of Fake News, Part 5

      James J. O'Meara

      11

    • The Freedom Convoy & Its Enemies

      Gunnar Alfredsson

      3

    • The China Question

      Nicholas R. Jeelvy

      52

    • Rozhovor s Alainom de Benoistom o kresťanstve

      Greg Johnson

    • Your Donations at Work
      New Improvements at Counter-Currents

      Greg Johnson

      13

    • Mau-Mauing the Theme-Park Mascots

      Jim Goad

      19

    • The Overload

      Mark Gullick

      13

    • Knut Hamsun’s The Women at the Pump

      Spencer J. Quinn

      3

    • Remembering Knut Hamsun
      (August 4, 1859–February 19, 1952)

      Greg Johnson

      8

    • Tito Perdue’s Cynosura

      Anthony Bavaria

    • Hunter S. Thompson:
      The Father of Fake News, Part 4

      James J. O'Meara

      4

    • Counter-Currents Radio Podcast No. 472
      Hwitgeard on The Writers’ Bloc

      Counter-Currents Radio

    • Ask A. Wyatt Nationalist
      Is it Rational for Blacks to Distrust Whites?

      Greg Johnson

      29

    • سكوت هوارد مجمع المتحولين جنسياً الصناعي لسكوت هوار

      Kenneth Vinther

    • Europa Esoterica

      Veiko Hessler

      21

    • Hunter S. Thompson:
      The Father of Fake News, Part 3

      James J. O'Meara

      4

    • Yarvin the (((Elf)))

      Aquilonius

      12

    • Counter-Currents Radio Podcast No. 471
      Ask Me Anything with Greg Johnson & Mark Collett

      Counter-Currents Radio

      1

    • The Worst Week Yet:
      July 23-30, 2022

      Jim Goad

      37

    • Hunter S. Thompson:
      The Father of Fake News, Part 2

      James J. O'Meara

      2

    • Real Team-Building

      Nicholas R. Jeelvy

      10

    • Counter-Currents Radio Podcast No. 470
      Greg Johnson Interviews Bubba Kate Paris

      Counter-Currents Radio

    • This Weekend’s Livestreams
      Bubba Kate Paris followed by Mark Collett on Counter-Currents Radio & Hwitgeard on The Writers’ Bloc

      Greg Johnson

      2

    • Význam starej pravice

      Greg Johnson

    • The Counter-Currents 2022 Fundraiser
      Reasons to Give to Counter-Currents Now

      Karl Thorburn

      1

    • Hunter S. Thompson:
      The Father of Fake News, Part 1

      James J. O'Meara

      16

  • Classics Corner

    • Pulp Fiction

      Trevor Lynch

      46

    • Now in Audio Version
      In Defense of Prejudice

      Greg Johnson

      31

    • Blaming Your Parents

      Greg Johnson

      29

    • No Time to Die:
      Bond’s Essential Whiteness Affirmed

      Buttercup Dew

      14

    • Lawrence of Arabia

      Trevor Lynch

      16

    • Notes on Schmitt’s Crisis & Ours

      Greg Johnson

      8

    • “Death My Bride”
      David Lynch’s Lost Highway

      Trevor Lynch

      9

    • Whiteness

      Greg Johnson

      30

    • What is American Nationalism?

      Greg Johnson

      39

    • Notes on the Ethnostate

      Greg Johnson

      16

    • Heidegger & Ethnic Nationalism

      Greg Johnson

      14

    • To a Reluctant Bridegroom

      Greg Johnson

      26

    • Lessing’s Ideal Conservative Freemasonry

      Greg Johnson

      16

    • Restoring White Homelands

      Greg Johnson

      34

    • Introduction to Plato’s Republic, Parts 1 & 2

      Greg Johnson

      2

    • White Nationalist Delusions About Russia

      Émile Durand

      116

    • Batman Begins

      Trevor Lynch

    • The Dark Knight

      Trevor Lynch

    • Leo Strauss, the Conservative Revolution, & National Socialism, Part 1

      Greg Johnson

      22

    • The Dark Knight Rises

      Trevor Lynch

      22

    • Introduction to Aristotle’s Politics

      Greg Johnson

      16

    • Hegemony

      Greg Johnson

      11

    • Reflections on Carl Schmitt’s The Concept of the Political

      Greg Johnson

      14

  • Paroled from the Paywall

    • What Is the Ideology of Sameness? Part 3
      Ethnocentrism, or the Principle of Diversity

      Alain de Benoist

      1

    • Arthur Nersesian’s The Fuck-Up

      Anthony Bavaria

      5

    • Literal Human Garbage:
      Trashiness as a Revolt Against the Modern World

      Nicholas R. Jeelvy

      7

    • Counter-Currents Radio Podcast No. 463
      Riley Waggaman on Russia Since the Sanctions

      Counter-Currents Radio

    • Contemplating Suicide

      Greg Johnson

      7

    • What Is the Ideology of Sameness?
      Part 2

      Alain de Benoist

    • On the Use & Abuse of Language in Debates

      Spencer J. Quinn

      26

    • Counter-Currents Radio Podcast No. 462
      The Best Month Ever on The Writers’ Bloc with Cyan Quinn

      Counter-Currents Radio

    • A White Golden Age Descending into Exotic Dystopian Consumerism

      James Dunphy

      1

    • Counter-Currents Radio Podcast No. 460
      American Krogan on Repatriation, Democracy, Populism, & America’s Finest Hour

      Counter-Currents Radio

      2

    • Cryptocurrency:
      A Faustian Solution to a Faustian Problem

      Thomas Steuben

      1

    • Counter-Currents Radio Podcast No. 458
      Gregory Hood & Greg Johnson on Burnham & Machiavellianism

      Counter-Currents Radio

      3

    • Brokeback Mountain

      Beau Albrecht

      10

    • Counter-Currents Radio Podcast No. 457
      Greg Johnson & Millennial Woes on Common Mistakes in English

      Counter-Currents Radio

      12

    • Deconstructing Our Own Religion to Own the Libs

      Aquilonius

      20

    • Counter-Currents Radio Podcast No. 456
      A Special Juneteenth Episode of The Writers’ Bloc with Jim Goad

      Counter-Currents Radio

      2

    • “I Write About Communist Space Goths”:
      An Interview with Beau Albrecht

      Ondrej Mann

      6

    • Christianity is a Vast Reservoir of Potential White Allies

      Joshua Lawrence

      42

    • Counter-Currents Radio Podcast No. 455
      The Counter-Currents 12th Birthday Celebration, Part 2

      Counter-Currents Radio

    • Counter-Currents Radio Podcast No. 454
      Muhammad Aryan on The Writers’ Bloc

      Counter-Currents Radio

      8

    • Counter-Currents Radio Podcast No. 453
      The Counter-Currents 12th Birthday Celebration, Part 1

      Counter-Currents Radio

      3

    • Look What You Made Me Do:
      Dead Man’s Shoes

      Mark Gullick

      4

    • Rome’s Le Ceneri di Heliodoro

      Ondrej Mann

      8

    • Anti-Semitic Zionism

      Nicholas R. Jeelvy

      11

    • Counter-Currents Radio Podcast No. 452
      The Best Month Ever on The Writers’ Bloc with Stephen Paul Foster

      Counter-Currents Radio

    • No More Brother Wars?

      Veiko Hessler

    • After the Empire of Nothing

      Morris van de Camp

      2

    • Counter-Currents Radio Podcast No. 451
      The Writers’ Bloc with Josh Neal on Political Ponerology

      Counter-Currents Radio

    • Counter-Currents Radio Podcast No. 450
      The Latest Ask Me Anything with Greg Johnson

      Counter-Currents Radio

      3

    • Counter-Currents Radio Podcast No. 449
      Greg Johnson & Gregory Hood on The Northman

      Counter-Currents Radio

      2

  • Recent comments

    • Spencer Quinn Ian Smith’s Great Betrayal Thank you so much for saying that, Alexandra. It means a lot, and I am glad you get so much out of...
    • John Morgan A Tale of Two Speeches, Part 1 Orbán doesn't use the word "white" in his discourse because "white" has no currency in Hungary, and...
    • John Morgan A Tale of Two Speeches, Part 1 What does that have to do with this essay?
    • Lord Shang Ian Smith’s Great Betrayal I ought sometime to review for CC the late 1990s book, Henige, Numbers from Nowhere. It destroys the...
    • Normie Whisperer A Tale of Two Speeches, Part 1 I really cannot stand right wing criticism. It is unhelpful. It plagues us across the entire...
    • John Morgan A Tale of Two Speeches, Part 1 Hello Jud, I certainly agree that Orbán is Hungary's best choice for the present moment, and he's a...
    • Sinope Cynic A Tale of Two Speeches, Part 1 If we are to develop a political vision that is compelling to large numbers of ordinary people, we...
    • Vauquelin A Tale of Two Speeches, Part 1 Orbán is good. That much is certain. He does much for his country and does much to obstruct...
    • Jud Jackson A Tale of Two Speeches, Part 1 Excellent article John.  You point out some bad things about Orban that I did not know before but...
    • Traddles Ask Not What They’re Doing to Trump — Ask What Trump Did For You Good points, Thiel.
    • Thiel Ask Not What They’re Doing to Trump — Ask What Trump Did For You I agree. If anyone is looking for the perfect, flawless Republican candidate, and won't vote for him...
    • Alice Cooper Ian Smith’s Great Betrayal The problem with South Africa, Rhodesia and any other white settlement in Africa or really anywhere...
    • Razvan Flip-Flop Nationalism Diversity is meant to bring violence and distrust. And it is not only the racial or ethnic, but also...
    • Kök Böri Ian Smith’s Great Betrayal Many ZA-Jews have supported ANC and Mandela. Ronnie Kasrils, for example, trained in the SU.
    • Kök Böri The Counter-Currents 2022 Fundraiser
      Viva la nazione! 
      I have used the Arabian word Maghreb (West) just as it is most known in the West. I do not mean here...
    • WWWM Ian Smith’s Great Betrayal The real great betrayer is Smith himself, and white men like him. Only they never even realize it. I...
    • Kök Böri The Counter-Currents 2022 Fundraiser
      Viva la nazione! 
      no guns, no knives, no lassos Take bows and arrows. Horse, bow, arrows. Sometimes that was enough...
    • Kök Böri The Counter-Currents 2022 Fundraiser
      Viva la nazione! 
      Garibaldi and his masonic brand of nationalism was, however, thoroughly anti-tradition, and in my...
    • Golem The Counter-Currents 2022 Fundraiser
      Viva la nazione! 
      This recrudescent petty nationalism is intriguing insofar as further ethno-linguistic divisibility,...
    • MBlanc46 Ask Not What They’re Doing to Trump — Ask What Trump Did For You All fair enough. But what’s the point of a longish indictment of Trump? It doesn’t do much to...
  • Book Authors

    • Anthony M. Ludovici
    • Beau Albrecht
    • Buttercup Dew
    • Christopher Pankhurst
    • Collin Cleary
    • F. Roger Devlin
    • Fenek Solère
    • Francis Parker Yockey
    • Greg Johnson
    • Gregory Hood
    • H. L. Mencken
    • Irmin Vinson
    • J. A. Nicholl
    • James J. O’Meara
    • Jef Costello
    • Jim Goad
    • Jonathan Bowden
    • Juleigh Howard-Hobson
    • Julius Evola
    • Kerry Bolton
    • Leo Yankevich
    • Michael Polignano
    • Multiple authors
    • Savitri Devi
    • Spencer J. Quinn
    • Tito Perdue
    • Trevor Lynch
  • Webzine Authors

    Contemporary authors

    • Howe Abbott-Hiss
    • Beau Albrecht
    • Aquilonius
    • Anthony Bavaria
    • Michael Bell
    • Alain de Benoist
    • Kerry Bolton
    • Jonathan Bowden
    • Buttercup Dew
    • Collin Cleary
    • Giles Corey
    • Jef Costello
    • Morris V. de Camp
    • F. Roger Devlin
    • Bain Dewitt
    • Jack Donovan
    • Ricardo Duchesne
    • Émile Durand
    • Guillaume Durocher
    • Mark Dyal
    • Guillaume Faye
    • Stephen Paul Foster
    • Fullmoon Ancestry
    • Jim Goad
    • Tom Goodrich
    • Alex Graham
    • Mark Gullick
    • Andrew Hamilton
    • Robert Hampton
    • Huntley Haverstock
    • Derek Hawthorne
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Richard Houck
    • Alexander Jacob
    • Nicholas R. Jeelvy
    • Greg Johnson
    • Ruuben Kaalep
    • Tobias Langdon
    • Julian Langness
    • Travis LeBlanc
    • Patrick Le Brun
    • Trevor Lynch
    • Kevin MacDonald
    • G. A. Malvicini
    • John Michael McCloughlin
    • Margot Metroland
    • Millennial Woes
    • John Morgan
    • James J. O'Meara
    • Michael O'Meara
    • Christopher Pankhurst
    • Michael Polignano
    • J. J. Przybylski
    • Spencer J. Quinn
    • Quintilian
    • Edouard Rix
    • C. B. Robertson
    • C. F. Robinson
    • Hervé Ryssen
    • Kathryn S.
    • Alan Smithee
    • Fenek Solère
    • Ann Sterzinger
    • Thomas Steuben
    • Robert Steuckers
    • Tomislav Sunić
    • Donald Thoresen
    • Marian Van Court
    • Dominique Venner
    • Irmin Vinson
    • Michael Walker
    • Aylmer Wedgwood
    • Scott Weisswald
    • Leo Yankevich

    Classic Authors

    • Maurice Bardèche
    • Julius Evola
    • Ernst Jünger
    • D. H. Lawrence
    • Charles Lindbergh
    • Jack London
    • H. P. Lovecraft
    • Anthony M. Ludovici
    • Sir Oswald Mosley
    • National Vanguard
    • Friedrich Nietzsche
    • Revilo Oliver
    • William Pierce
    • Ezra Pound
    • Saint-Loup
    • Savitri Devi
    • Carl Schmitt
    • Miguel Serrano
    • Oswald Spengler
    • P. R. Stephensen
    • Jean Thiriart
    • John Tyndall
    • Francis Parker Yockey
  • Departments

    • Book Reviews
    • Movie Reviews
    • TV Reviews
    • Music Reviews
    • Art Criticism
    • Graphic Novels & Comics
    • Video Game Reviews
    • Fiction
    • Poems
    • Interviews
    • Videos
    • English Translations
    • Other Languages
      • Arabic
      • Bulgarian
      • Croatian
      • Czech
      • Danish
      • Dutch
      • Estonian
      • Finnish
      • French
      • German
      • Greek
      • Hungarian
      • Italian
      • Lithuanian
      • Norwegian
      • Polish
      • Portuguese
      • Romanian
      • Russian
      • Slovak
      • Spanish
      • Swedish
      • Ukrainian
    • Commemorations
    • Why We Write
  • Archives
  • Top 100 Commenters
Sponsored Links
Alaska Chaga Antelope Hill Publishing Paul Waggener Breakey Imperium Press American Renaissance A Dissident’s Guide to Blacks and Africa The Patrick Ryan Show Jim Goad The Occidental Observer
Editor-in-Chief
Greg Johnson
Books for sale
  • Trevor Lynch’s Classics of Right-Wing Cinema
  • The Enemy of Europe
  • Imperium
  • Reactionary Modernism
  • Manifesto del Nazionalismo Bianco
  • O Manifesto Nacionalista Branco
  • Vade Mecum
  • Whiteness: The Original Sin
  • Space Vixen Trek Episode 17: Tomorrow the Stars
  • The Year America Died
  • Passing the Buck
  • Mysticism After Modernism
  • Gold in the Furnace
  • Defiance
  • Forever & Ever
  • Wagner’s Ring & the Germanic Tradition
  • Resistance
  • Materials for All Future Historians
  • Love Song of the Australopiths
  • White Identity Politics
  • Here’s the Thing
  • Trevor Lynch: Part Four of the Trilogy
  • Graduate School with Heidegger
  • It’s Okay to Be White
  • The World in Flames
  • The White Nationalist Manifesto
  • From Plato to Postmodernism
  • The Gizmo
  • Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies
  • Toward a New Nationalism
  • The Smut Book
  • The Alternative Right
  • My Nationalist Pony
  • Dark Right: Batman Viewed From the Right
  • The Philatelist
  • Confessions of an Anti-Feminist
  • East and West
  • Though We Be Dead, Yet Our Day Will Come
  • White Like You
  • Numinous Machines
  • Venus and Her Thugs
  • Cynosura
  • North American New Right, vol. 2
  • You Asked For It
  • More Artists of the Right
  • Extremists: Studies in Metapolitics
  • The Homo & the Negro
  • Rising
  • The Importance of James Bond
  • In Defense of Prejudice
  • Confessions of a Reluctant Hater (2nd ed.)
  • The Hypocrisies of Heaven
  • Waking Up from the American Dream
  • Green Nazis in Space!
  • Truth, Justice, and a Nice White Country
  • Heidegger in Chicago
  • End of an Era: Mad Men & the Ordeal of Civility
  • Sexual Utopia in Power
  • What is a Rune? & Other Essays
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
  • The Lightning & the Sun
  • The Eldritch Evola
  • Western Civilization Bites Back
  • New Right vs. Old Right
  • Journey Late at Night: Poems and Translations
  • The Non-Hindu Indians & Indian Unity
  • I do not belong to the Baader-Meinhof Group
  • Pulp Fascism
  • The Lost Philosopher, Second Expanded Edition
  • Trevor Lynch’s A White Nationalist Guide to the Movies
  • And Time Rolls On
  • Artists of the Right: Resisting Decadence
  • North American New Right, Vol. 1
  • Some Thoughts on Hitler
  • Tikkun Olam and Other Poems
  • Summoning the Gods
  • Taking Our Own Side
  • Reuben
  • The Node
  • The New Austerities
  • Morning Crafts
  • The Passing of a Profit & Other Forgotten Stories
Sponsored Links
Alaska Chaga Antelope Hill Publishing Paul Waggener Breakey Imperium Press American Renaissance A Dissident’s Guide to Blacks and Africa The Patrick Ryan Show Jim Goad The Occidental Observer
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
Copyright © 2022 Counter-Currents Publishing, Ltd.

Paywall Access





Please enter your email address. You will receive mail with link to set new password.

Edit your comment