Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
Radix Journal’s Gregory Hood, in a mostly well-written review of the 2014 horror-fantasy suckfest Dracula Untold (“The Monster We Need”), has some fine and commendable things to say about “the terrible responsibility of acting in defense of [racial and national] survival.” Unfortunately, Hood’s endorsement of this shallow CGI-saturated saga, along with his forced interpretation of it as a piece de resistance of “subversive” white nationalist cinema, is wrongheaded and counterproductive.
For several decades, but with intensified emphasis during the present century, the West has witnessed the rehabilitation of monsters, symbols of evil, and figures representative of disease and corruption – hence the sympathetic portrayal of rotting corpses in A Little Bit Zombie (2012) and Warm Bodies (2013); demons in Little Nicky (2000), Hellboy (2004), and Maleficent (2014); pedophilia in The Woodsman (2004), Kick-Ass (2010), and Bad Grandpa (2013); serial killers in the TV series Dexter and God Bless America (2011); perpetrators of torture and mass murder in Zero Dark Thirty (2012), Lone Survivor (2013), and American Sniper (2014); and bloodsucking parasites in the Underworld and Twilight franchises. Now comes Dracula Untold.
The vampire phenomenon, one notices, has received a particular emphasis during decades that have seen Jewish-Zionist power reach its most astonishingly absurd heights, with multiple American military engagements launched purely for Zio-financial interests, mass media giants totally Jewish-controlled, Jewish distortions of western history taught in public schools and universities, fat rat bankers bailed out to the tune of hundreds of billions of dollars by impoverished paycheck-to-paycheck tax peons, and terrorist Benjamin Netanyahu still receiving dozens of standing ovations before Congress in 2011 and again in 2015. The increasingly gloomy and grotesque cultural ideals thrust before the American public, therefore, cannot be properly understood except as Jewish triumphalism.
“Dracula Untold is actually the perfect Halloween horror movie for the modern Left,” Hood argues. “The traditional vampire in Western culture is a figure of the Right – aristocratic, sexy, dangerous, wealthy, and superior. [. . .] Vampires can be progressive,” Hood continues, “but they can’t really be egalitarian.” This is because the bloodsuckers are Jewish supremacists rather than mere leftist ideologues. As for these well-to-do parasites’ “sexy” credentials, that would seem to be little more than an actualization of Jewish wishful thinking, a project for the mass-engineering of gentile consciousness toward the re-creation of man in Jews’ own psychological image.
As literary scholar Tyler Tichelaar writes in The Gothic Wanderer,
Stoker’s personal feelings toward his famous character are equally difficult to determine; he appears to have both loathed and sympathized with Dracula, and therefore, placed Dracula in the role of outcast, a role with which Stoker, as an Irishman living in England, may have identified. Dracula’s role as racial outsider results from Stoker giving him Jewish attributes and largely basing him on depictions of the Wandering Jew. Although not Jewish, Stoker’s first name, Abraham, may have resulted in people believing he was Jewish. His role as Irish outsider may have further allowed Stoker to identify with the Jews as outcasts. Finally, Stoker’s homosexual inclinations meant he had to hide his true nature, so Stoker may have felt he was living under a false identity as Dracula must conceal his vampirism to survive [. . .]
While Stoker’s interest in the Wandering Jew carried over into aspects of Dracula’s character, Stoker’s use of Jewish characteristics for Dracula also reflected the growing anti-Semitism of late Victorian England. Anti-Semitism was becoming popular at the end of the nineteenth century because of increased migrations of Eastern European and especially Jewish people into England [. . .]. During this period, the press continually discussed the Jewish “problem,” largely by attacking the immigration of Jews into England and the financial world, with which they were stereotypically associated [. . .]. While Stoker could have had his novel consist of Jonathan Harker’s visit to Transylvania, Stoker’s decision to have the novel center around Dracula’s migration to England is intended to symbolize the migration of Eastern European Jews to England in the late nineteenth century [. . .]. Dracula’s intent to colonize England with a race of vampires reflects an English fear that the Jews would take over England. The destruction of the “Jewish” Dracula becomes a “socially acceptable” way to express a widespread English desire to rid England of the Jews [. . .]
Besides his literary origins in the Wandering Jew, Dracula has numerous other Jewish attributes, especially his role as a racial outsider. Dracula fears recognition as an outsider while he is in England, so he explains to Jonathan Harker that he wishes to blend in with English society. Dracula’s role as “Other,” however, largely operates from his being a vampire and his perverse sexual behavior represented by his blood sucking. Dracula as “Other” poses a sexual threat in the novel that flourishes upon myths that Eastern and dark skinned men, including Africans and Jews, have greater sexual prowess than Western European men [. . .]. Such sexual fears of the “Other” resulted in numerous stereotypes of the Jewish people during the Victorian period, including their being rapists, cannibals, and polygamists. Dracula’s forced seduction of Lucy and Mina are symbolic of rape. Rape was an activity associated with Jews because of the murders committed by Jack the Ripper. Among the suspects for the identity of Jack the Ripper was a Jewish kosher butcher who had the instruments and the skills required to carry out the mutilations the Ripper inflicted upon his victims [. . .]. The widespread belief that Jack the Ripper was Jewish reflects the racism of Victorian England that sought to blame the Jews for its problems. Stoker capitalized upon this racist stereotyping by depicting Dracula as a sexual predator.
(Tichelaar, when he wrote these scolding words, was unaware that DNA testing would prove that Jack the Ripper was, in fact, a Jew named Aaron Kosminski.)
Many Jews, in their increasing boldness and comfort with their traditional roles, have embraced the vampire as their collective mythical avatar. Rabbi Mark Blazer, in his Rosh Hashanah sermon “Why Jews Are Like Vampires”, is happy to concede that “you and I, my fellow Jews, are vampires.” This, Blazer reassures, is no reason for worry. “Vampires are beyond cool,” he explains. “Yes, Vampires have always been exotic and romantic, sometimes pitied, but always feared. But not anymore, not in their current phase. Now they are accepted, open about their lifestyle and highly sought after as love interests.” Blazer elaborates:
Vampires since their introduction in gothic literature have always been non-Jewish fantasies on what Jews are. The most obvious aspect is that Jews were often seen as a dark exotic tribe feeding on the energy of the gentile populace. There were serious charges of blood libel, of using gentile blood for Passover matzah, that resulted in the real murder of Jews throughout the middle ages, and even as recently as 19th century Syria. Jews were often called “bloodsuckers” by their neighbors.
And further look at what weapons were used against the vampire, crosses and holy water. The imagined amulets that a Jew would be repelled by. And the vampires were destroyed by holy warriors like Van Helsing, doing the holy work of Christendom.
So the most amazing thing about this new gestation of vampirism, is that no longer secretly feared, the vampire is now openly loved. Edward Cullen and Bill Compton are to die for, quite literally. They are hot. Right ladies. And today the human characters in these tales willingly embrace and join the ranks of the tribe.
And doesn’t this mirror the state of being Jewish in 21st century America?
We are accepted, open about our lifestyle and highly sought after as love interests. Just look at the hundreds of thousands of converts, and those who haven’t formally converted, but who share this exotic and passionate ways currently. We live in a world where our gentile neighbors have finally realized that Judaism has something exciting to give back to the world. Which is why humans are feeding on vampires in True Blood. But these, friends, are only part of why I believe that we Jews are vampires, metaphorically speaking. Consistent throughout the lore, is that vampires, while they can be destroyed, are timeless beings.
Time does not have the same effect on them as it does for normal humans. Vampires can live for thousands of years and therefore have memories that stretch back through human history. And this, is the greatest lesson we should be reminded of by our nocturnal substitutes. We Jews are a timeless people, who have witnessed every era, and we have a collective memory that recalls the beginnings of the universe.
Not all tribe commentators approve of this new brazenness, however. Marjorie Ingall, writing at Tablet, bemoans the anti-Semitic theme of a 2012 episode of True Blood in which audiences are informed that God is a vampire and are “treated to a loony communion scene in which several characters drank blood drawn straight from their spiritual leader’s wrist, while chanting vampire-inflected, bastardized Hebrew.” Ingall suggests “that the lesson of Jewish history, much like that of a horror movie, is that once you think the danger’s past, something horrible leaps out of the dark. Unintentionally, perhaps, invoking blood libel and Hebrew prayer is a reminder that we’re more Other than some of us would like to think.”
Hood, who prefers to see Dracula as a “White advocate” and a “figure of the Right”, was also impressed with the “fascist” ethos he creatively read into The Dark Knight Rises (2012), the pungent Jewishness of which eluded him. Bruce Wayne is a blood-drinking parasite – a bat man – whose wealth as a military-industrial magnate is fueled by war and gentile suffering. Like Superman and other heroes, he represents the crypto-Jew. In one significant sequence of The Dark Knight Rises, Batman rushes to rescue his tribesmen at the Gotham Stock Exchange – a detail that was not lost on Culture Wars publisher E. Michael Jones: “If Batman wants to defend America, he has to come to the defense of Capitalism because Capitalism embodies the essence of what we are as a people. [. . .] In fact, Dark Knight Rises is so over the top in its defense of Capitalism and all its wretched excess that it makes Glenn Beck look like Noam Chomsky by comparison. ”
“Batman is Jewish,” Jones states bluntly, adding that “Someone had to motivate the goyim to support the system of Jewish usury which has enslaved them.”
Christopher Nolan has answered that call with Dark Knight Rises. He knows that now, as during the 1930s, is no time to be an overtly Jewish hero, as Portnoy was in the ‘60s and Woody Allen was in the ‘70s. Contemporary Neoconservatism and its Jewish economic twin Libertarianism are now every bit as odious to the Americans who know what is going on as communism was in the 1930s. The reasons are obvious enough. At a time when Jewish economic geniuses like Alan Greenspan, Larry Summers, and Robert Rubin, the architects of the repeal of the Glass-Steagall Act, have ruined the economy by turning the stock exchange into one big casino for the super-rich, and at a time when Neoconservative Jewish geniuses like Kristol pere et fils, Paul Wolfowitz, and Richard Perle have led us into disastrous multi-trillion dollar wars in the Middle East resulting in unrepayable debt, the Jewish superhero is better off reverting to his WASP cover identity as Bruce Wayne, the billionaire weapons manufacturing philanthropist, and riding out the storm. Let Batman and the cops beat up Bane and Occupy Wall Street crowd as Lloyd Blankfein and Jamie Dimon look down approvingly from the boardrooms of Goldman Sachs and J.P. Morgan Chase. That’s the intention behind Dark Knight Rises [. . .] In producing a propaganda flick like Dark Knight Rises, Christopher Nolan has done us all a favor by spilling the beans and letting us know who Batman is really working for.
Jones goes still further:
By now it should be obvious that the Jewish superhero is also the Antichrist. The Jews rejected Christ because he was not a powerful military leader who would restore the Kingdom by military might as David had done. The Jewish Messiah is, in other words, Superman, which is to say a caricature of the real Messiah that they rejected. The superhero is the Jewish Messiah who brings about tikkun olam, the healing of the world, at a time of economic crisis, but in a non-communist way that did not jeopardize his standing as a good American.
Batman shares this satanic quality with the Shabbos goy protagonist of Dracula Untold, who in his moment of victory proclaims himself the son of the Devil.
After attempting to maintain peace for his Ottoman-occupied homeland by holding negotiations and paying humiliating tribute to the Turkish Sultan – in other words, by appeasing radical Islam, just like Barack Hussein Obama! – Dracula gets disgusted and makes a decision to throw down the gauntlet, even if it means selling out to the Jews. The Muslims “brought war to our land [i.e., perpetrated 9/11],” claims Dracula, who therefore swears that “they will pay dearly for it.” In other words, Hood’s valiant hero is such a putz he still believes the 9/11 Commission Report.
The prince’s initiation into neoconservative thug life occurs in a shadowy meeting with a repulsive Hebraic creature inside a cave. This black-clad Master Vampire, who tellingly wears a close-fitting cap resembling a yarmulke, licks Dracula’s neck just to show him upfront what a degenerate Jew he will be working with. This scene, the most important in the film, functions as a founding myth for ZOG. “Having granted the darkness a worthy offering,” the Master Vampire warns by way of a disclaimer, “you will become its vessel as I am – a scourge on this earth destined to destroy everything you hold dear [. . .]”
“I have waited an eternity for a man of your strength, your gifts, your will, a man worthy of the dark and all its powers,” confesses the Master Vampire, “for if I am your [Christian Zionist] salvation, you are mine [i.e., in the financial and geopolitical sense].” Once Dracula drinks blood, this nocturnal eminence grise admonishes, “your thirst for human blood will be insatiable” – and, sure enough, the protagonist soon goes into total war mode.
“Do not ask me what happened on this field tonight,” Dracula warns his men after a massacre of Muslims. “Trust only that I will use all I have to keep us safe.” In other words, do not ask questions about the motivations of those in charge or their reasons of state in time of war. Be grateful that the Patriot Act is keeping America safe. Control freak Dracula, like the NSA, also “insists on doing his own reconnaissance [i.e., surveillance].”
“I used to think there were too many of you,” taunts one of Dracula’s Shabbos goyim before biting into a Turkish soldier. “Now there’s not enough.” This acknowledgment of demand for enemies could refer very easily to the intelligence complex’s manufacture of bogeymen to keep the military-industrial gravy train rolling smoothly. No more Soviet Union? Conjure Al Qaeda, and when the goyim get tired of battening on that, tell them that it has metamorphosed into ISIS – Hood’s naive acceptance of which as an ardent band of Islamic warriors waging jihad to establish a Caliphate, rather than the NATO mercenaries and snuff film hoax propagandists they really are, might be excusable if not for the fact that so many readers take Hood’s effusions seriously.
During the Cold War, deterrence had meant conveying a credible threat to dissuade your opponent from hostile action. Israel had never subscribed to that view. Influencing the behavior of potential adversaries required more than signaling what Israel might do if sufficiently aggravated; influence was exerted by punitive action, ideally delivered on a disproportionate scale. Hit the other guy first, if possible; failing that, whack him several times harder than he hit you: not the biblical injunction of an eye for an eye, but both eyes, an ear, and several teeth, with a kick in the nuts thrown in for good measure. [. . .]
The process of aligning U.S. national-security practice with Israeli precedents is now essentially complete. Their habits are ours. Reversing that process would require stores of courage and imagination that may no longer exist in Washington. Given the reigning domestic political climate, those holding or seeking positions of power find it easier—and less risky—to stay the course, vainly nursing the hope that by killing enough “terrorists” peace on terms of our choosing will result. Here too the United States has succumbed to Israeli illusions.
One might toss in the normalization of sadism, torture, and false flag terror as other successful implementations of Israeli security policy.
No amount of literary exegesis, however, can do as much to dispel the illusion that this film is a statement of white nationalism than simply glancing at its provenance. Dracula Untold was produced by one of Hollywood’s most powerful Jews, Michael De Luca, more than one of whose movies – Deep Cover (1992), The Long Kiss Goodnight (1996), and Wag the Dog (1997) among these – betray more than a passing familiarity with deep state machinations. His feature production previous to Dracula Untold was Captain Phillips (2013), which, like this film, functions as a neoconservative allegory. Among the other notable projects of this American patriot and upholder of western tradition are the interracial drama One Night Stand (1997), the porn-immortalizing Boogie Nights (1997), the anti-racist scare film American History X (1998), the transsexual punk musical Hedwig and the Angry Inch (2001), and – more recently – the endearing romcom Fifty Shades of Grey (2015).
De Luca, whose mother is supposed to have been yet another “Holocaust” survivor, says he “felt like an alien” growing up, so his typically Jewish political behavior in donating $7,500 to the Bush-era National Republican Senatorial Committee and $6,500 to California Attorney General, LGBT champion, and gun control zealot Kamala Harris, as two examples, should come as no surprise. A search of his Twitter account will also retrieve denigrations of white males and (those darned) conspiracy theorists.
“When Michael De Luca was named president of production at New Line Cinema in 1993 at the mind-boggling age of 27, he became as famous for his style as his substance,” notes The Hollywood Reporter. “Tales of late-night carousing with the likes of Courtney Love mingled with reports of wild adventures on a Harley. His unconventional image – black T-shirt, boots and a single hooped earring – merged with accounts of being evicted from his favorite restaurant, Chaya Brasserie, following a brawl.”
De Luca is still remembered for his past as a reckless degenerate, who, as The Los Angeles Times reported in 1998, “is known almost as much for his brash conduct and impulsive, don’t-give-a-damn attitude as for his keen creative instincts” and “clearly crossed the line last weekend, when, at a party attended by some of Hollywood’s top stars, agents, producers and executives, he dropped his pants and engaged in oral sex with a young woman as several guests looked on”, necessitating his removal from the party by security. Following this episode, however, he is supposed to have “immersed himself in a monastic life”. Whatever personal peace De Luca may have achieved, however, his films continue to get filthier, more ultraviolent, and war-horny – more Jewish, in other words.
Hood’s misunderstanding of the significance of the vampire plague in Dracula Untold causes him to misapprehend the ending. “The movie has a pathetic, tacked on ending,” he gripes. “Vlad is resurrected for some stupid reason, apparently does nothing for about 600 years, and shows up walking around modern Europe. [. . .] Plus the Master Vampire (Charles Dance aka Tywin Lannister [of Game of Thrones]) who initially turned him is there for some reason. Roll credits, set up crappy sequel.” This very appropriate conclusion reveals what the movie has been about all along – the present era of warfare, conventional and psychological. “Let the games begin,” the Master Vampire commands as he strides forth in his role of the Eternal Jew, probably set to unleash his decrepit western golem against ISIS or some other Islamo-Nazi chimera du jour as a phase of the CIA’s Great Game of globalist domination.
Rather than wasting the change it would take to rent Michael De Luca’s neocon opus, the reader might do best to reflect on the insights of Ugly Truth blogger Mark Glenn relative to the genuine horror classic The Lost Boys (1987):
It was one of the most relevant and – considering the times in which we find ourselves today – profound lines ever uttered in a movie. The scenario is thus – In the film The Lost Boys, “Max” (played by actor Edward Herrman) has just been “outed” as the “capo di tutti capi” – meaning the head vampire leading a gaggle of them responsible for terrorizing a small California town. A few of the more vigilante-oriented/vampire-conscious community members (the Frogg brothers) had suspected he was a bloodsucker and had set up a series of tests involving all the usual anti-vampire-related items – garlic, holy water, mirrors, etc – to find out if indeed he was one, all of which turned up negative results. When circumstances finally forced Max to “come out of the closet” as it were and admit he was indeed a vampire, the others said puzzlingly to him “. . . But you passed all the tests,” to which Max responded with a mildly amused and chiding look on his face –
“Never invite a vampire into your house you silly boy . . . It renders you powerless . . .”
[For more about Jewish bloodsuckers, read “The Vampire Elite”]