Aryan Skynet

Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch

Staked Alaska

30 Days of Night

October 2017 will mark the tenth anniversary of the premiere of the savage 30 Days of Night, David Slade’s movie adaptation of the graphic novel by Steve Niles and Ben Templesmith. A casual horror fan might remember the film as a decent genre effort, but closer scrutiny reveals a much more interesting find.

The story concerns the plot of a pack of vampires to prey upon the remote community of Barrow, Alaska, which – owing to its proximity to the North Pole – literally experiences a month of uninterrupted darkness. This, of course, makes its isolated inhabitants the ideal platter of victims, with no pesky sun to cramp the bloodsuckers’ style; and the vampires send in their Renfield-like human agent, a Stranger played by the remarkable Ben Foster, to scout and prepare the town for attack by sabotaging potential means of resistance or escape. It falls to Sheriff Eben Oleson, brought to desperate life on the screen by leading man Josh Hartnett, to do what he can to save the ill-prepared townsfolk.

The film opens on Barrow’s last day of sunlight, with the town and its people headed into an allegorically prolonged night. Barrow represents a geographic extreme and a cultural quintessence, echoing the Old West with its sheriff and deputy and its frontier character, while also standing in for the West (or the Global North) writ large. Hartnett, in his audio commentary on 30 Days of Night, describes it as a supernatural western-thriller as opposed to a more conventional horror film, and westerns have always been symbolic, conveying America’s foundation myth. Barrow, then, is a microcosm, its problems both national and civilizational.

One of the first citizens the viewer meets is Beau Brower, played by Sons of Anarchy’s haggard Mark Boone Junior. He is the quintessentially American rugged individualist, but with something of the wild Viking about him, as well. His problem is that he is too individualistic. Beau’s “Keep on Whaling” shirt advertises his selfish, nihilistic rejection of environmental protection, and Eben writes him up for allowing oil to spill onto the ground as he works on his car – “Nothin’ I can’t handle my own fuckin’ self,” Beau scoffs. “He lives all alone out there on the south ridge,” Eben explains to his deputy. “A little citation now and then lets him know he’s a part of this town.”

The town’s isolation – its collective individualism – is at the heart of its identity; but it is also this solitariness that makes it so susceptible. As the vampires unleash their onslaught, man and woman are divided. Eben’s wife, Stella (Melissa George), has left him for reasons the script never articulates, although a clue is provided when she remarks, “I guess it’s good you didn’t want kids, huh? Imagine …” Eben’s devotion to his family and town and his consciousness of the value of social capital, his civic spirit, are incomplete because he has failed to understand that he as well as his co-ethnics must reproduce themselves in order to sustain and perpetuate their community and their civilization as they have known it. Instead, they fight among themselves, divided by politics – worsening an atmosphere of paranoia that descends along with the external threat.

The vampires, a highly exclusive band of hostile exotics with extreme in-group solidarity, arrive on a ship, which is to say that they are boat people – immigrants – and very obviously stand-ins for the Jews with their ethnic malice, craftiness, and parasitic tendencies. The physical appearance of the most prominently featured blood-drinkers in 30 Days of Night is unmistakably Hebraic, and all of them wear tell-tale black clothes. Hartnett, in his commentary, describes the language the vampires speak as “kind of ancient-sounding”. Marlow, the leader of the vampires, is played by Danny Huston, whose previous Jewish roles had included Kalman in the Zionist drama Eden (2001) and Gary Silverman in an aborted television pilot, Torture TV (2002). He would go on to play Ben “The Butcher” Diamond in the gangster series Magic City (2012-2013).

Two other actors – John Rawls, who plays Zurial, and Megan Franich, who is especially memorable as Iris – have had their physiognomies manipulated to appear more Semitic, while others in the pack, notably Andrew Stehlin as Arvin, have a more mongoloid appearance alluding to eastern origins (throwing a bone to the Khazar theorists in the audience, perhaps).

It is another outsider, the mysterious Stranger played by Ben Foster, who renders Barrow vulnerable by undermining its defenses; and, with his eccentric redneck appearance, backwoods manners, and strange supernatural beliefs, he seems to represent the fifth column of evangelicalism. “They’re comin’,” the Stranger warns the sheriff. Then, presumably referring to the Promised Land, the contemptible Shabbos goy continues: “This time they gone take me with ‘em. Honor me – yeah – for all that I have done.” After the Stranger attacks the sheriff’s brother at the station, Eben shoots him and handcuffs him to the bars of his cell in a mockery of the crucifixion of Jesus, leaving him to suffer with his wound without medical attention.

Later, when the vampires return to the sheriff’s office, Marlow assures the Stranger, “We will take care of you.” The tearfully reverential awe with which the hillbilly looks up at the magic Jew-vampire is one of the most disgusting and most bitingly satirical moments in all of horror cinema. “The things they believe,” Marlow says contemptuously before finally killing his slave. A church steeple towers over the town in long shots, indicating that this is a Christian community; but it is interesting to observe that the church at no point in the film serves as a sanctuary from the carnage. “God?” Marlow taunts one of his victims, looking up at the empty sky. “No God.”

30 Days of Night Iris

Megan Franich as Iris in 30 Days of Night

“We should have come here ages ago,” Marlow reflects. “It took centuries for us to make them believe we were only bad dreams,” he tells his companions, referring to the way in which Jews have successfully marginalized “anti-Semitism” and long-standing “conspiracy theories” concerning their race’s covert activities. “We cannot give them [i.e., gentiles beyond the immediate killing zone of Barrow] reason to suspect. Destroy them all.” They even shriek as they swarm on their quarry – literally crying out in pain as they strike you! “Do not turn them [i.e., convert them into vampires],” Marlow also instructs his followers, alluding to Judaism’s non-universalizing and exclusivist tendency among the world’s religions; or, as Arthur Aouizerat puts it, ideological Jewishness vis-à-vis the goy “is a purely racial quality and cannot therefore be related to any acquired moral or universal qualities. So, when a Jew addresses a goy ‘as a Jew’ he/she simply highlights this racial quality and thus automatically defines the goy, without that, as inherently inferior.” “What a plague you are,” says Marlow, echoing Susan Sontag’s Jewish supremacist assertion that “The white race is the cancer of human history”. Marlow’s nihilist formulation of Manifest Vampire Destiny is, “What can be broken must be broken.”

30 Days of Night Marlow

Danny Huston as Marlow in 30 Days of Night

 

In perhaps the most overtly philosophical piece of dialogue in 30 Days of Night – a line that for gullible post-9/11 audiences probably signified nothing other than Muslim beheadings – Marlow says, “The heads must be separated from the bodies.” This, in the literal sense, is his instruction that wounded humans should not be permitted to live long enough to turn into vampires; but, read figuratively, the line could just as easily and more satisfyingly be read as a metaphor for cultural Marxist currents dividing man’s intellect from his common sense and his natural understanding of the world. Indeed, European man and woman have become too sophisticated, too preoccupied with moral abstractions, to worry about their racial survival – either that or too greedy to bother to factor their betrayal of posterity into the equation. The heads, too, have been “separated from the bodies” in the sense that those genuine in their compassion for the immigrant/settler-colonizer and the “refugee” have become too accustomed to thinking with their hearts alone, impervious to the importunings of their shriveled amygdalae.

Barrow’s Inuit minority, while not in itself very problematic, becomes a liability on the arrival of the Jew-vampires, with semi-assimilated Inuit Carter Davies (Nathaniel Lees) becoming infected and turning into a bloodsucker himself. It is another character of Inuit descent, Malekai Hamm (Pua Magasiva), whose bad driving results in the auto accident that strands Stella in Barrow and ironically facilitates her reconciliation with Eben. The graphic novel features the Inuit more prominently, Complex’s Tanya Ghahremani reveals of the whitewashing of the Eben character for the movie:

An excuse for whitewashing and racebending often used by filmmakers is that they couldn’t find an actor of the correct race as gifted as the white person they cast. While casting 2007’s 30 Days of Night, producer Sam Raimi felt that Josh Hartnett was the best fit for the role of Alaskan sheriff Eben Olemaun, who in the comic book the film is adapted from is of Inuit descent.

In fact, to make Hartnett’s casting work, they changed the character’s surname to Oleson. The film is still set in Barrow, Alaska – just like it is in the comics. Neat fact about Barrow: The town has a population that’s 57% Native American. White people account for 22% of the population. But in 30 Days of Night, there’s only one Inuit character, and he’s portrayed by a Samoan actor [Nathaniel Lees].

30 Days of Night Josh Hartnett

Josh Hartnett as Sheriff Eben Oleson in 30 Days of Night

Eben, ironically, is a Hebrew name meaning “stone”; but, in writing and casting the movie, the filmmakers have made a conscious decision to Aryanize the protagonist, even going as far as to give him a Scandinavian surname. Marlow calls him “the one who fights”; and, when the time has come for the two to have their final confrontation, he chooses to address the sheriff in German, strangely enough, saying, “Kommen sie” or “Come [here]”. Is this, as some in the audience would probably like to believe, because vampires are evil, mean, and murderous and therefore somehow Naziesque? Or does Marlow recognize in “the one who fights” some resurrection of a previous adversary, addressing Eben in a language he expects him to understand?

Before his fight with the vampire chief, Eben has come to the conclusion, “We can’t fight them the way we are.” “It’s hard to stop someone when their family’s at stake,” he reflects, musing aloud, “The things you’ll do to save your own …” The thing Eben chooses to do to save his own is, paradoxically, to become his enemy by injecting himself with vampire blood, the aim being to take on their attributes long enough to defeat Marlow on his own terms before finally succumbing. 30 Days of Night appears to suggest that one way – perhaps the only way – for Europeans to beat the Jew is to take on certain Jewish characteristics – a kamikaze strategy that entails at least a partial loss of identity and potential self-destruction. One is reminded of Nietzsche’s aphorism: “He who fights with monsters should look to it that he himself does not become a monster. And if you gaze long into an abyss, the abyss also gazes into you.”

Rainer Chlodwig von K.

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About icareviews

Propaganda Minister of #AryanSkynet

20 comments on “Staked Alaska

  1. Tyrone Trump
    July 8, 2017

    “Marlow’s nihilist formulation of Manifest Vampire Destiny is, “What can be broken must be broken.””

    Nietzsche 🙂

    The parallel between Foster and the evangelical zionists is a good find.

    Liked by 1 person

  2. icareviews
    July 8, 2017

    Reblogged this on icareviews.

    Like

  3. smartwhiteguy
    July 8, 2017

    I wish I saw that movie.
    I got dragged to see the new “Transformers” and “Wonder-Woman”.
    Two VERY semitic productions.
    OY GEVALT!

    Liked by 1 person

    • icareviews
      July 8, 2017

      Yeah, the trailer alone satisfied my Wonder Woman requirements for this century. I can’t remember if I showed you this article about how the Transformers are Jewish. You could probably write an article like this about the secret Jewish meaning of pretty much any sci-fi or superhero movie, though.

      http://forward.com/culture/film-tv/375181/why-the-transformers-movies-are-really-stories-of-jewish-resilience-and-ada/

      Liked by 1 person

      • smartwhiteguy
        July 9, 2017

        Interesting how deception is such a major part of their culture.
        Like all professional criminals they’re actually proud of it.

        Liked by 1 person

    • Hipster Racist
      July 12, 2017

      @smartwhiteguy

      I have to ask, did the new Wonder Woman movie have any references to the, er, “theme” of the original comics?

      The original author had certain ideas about human nature and the benefits of, er, a certain kind of discipline, which he believed was good for building character.

      The original author, William Marston, was a psychologist with some fascinating ideas:

      https://infogalactic.com/info/William_Moulton_Marston#Themes

      Marston’s “Wonder Woman” is an early example of bondage themes that were entering popular culture in the 1930s.[1] Physical submission appears again and again throughout Marston’s comics work, with Wonder Woman and her criminal opponents frequently being tied up or otherwise restrained, and her Amazonian friends engaging in frequent wrestling and bondage play. These elements were softened by later writers of the series

      Though Marston had described female nature as submissive, in his other writings and interviews[citation needed] he referred to submission as a noble practice and did not shy away from the sexual implications, saying: “The only hope for peace is to teach people who are full of pep and unbound force to enjoy being bound… Only when the control of self by others is more pleasant than the unbound assertion of self in human relationships can we hope for a stable, peaceful human society… Giving to others, being controlled by them, submitting to other people cannot possibly be enjoyable without a strong erotic element.”

      Just throwing that out there …

      Liked by 2 people

      • smartwhiteguy
        July 12, 2017

        Yes, I’ve read that, although I’ve forgotten where, but no, it was just another Hollywood formula picture. They didn’t get very philosophical. She came from a peaceful lesbian utopia that was attacked by the Germans. I’m serious.
        The action was placed in the WW1 era so we got another healthy snoot full of anti-German (anti-White) propaganda, and, as usual, it was all projection of their own psychopathology onto Whites.
        There was even an evil German female character who was gifted at creating lethal gasses which she tested on prisoners of war. Remember, this was supposedly 1918.
        Also, as far as I know the Germans never violated the Geneva convention unlike our greatest ally has a tendency to. I mean come on, WW2 ended over 70 years ago, when will they stop vilifying those poor Germans? They’ve even completely surrendered their country to alien peoples. You just can’t virtue signal louder than that, but I guess nothing they do can remove that taint of trying to free themselves of debt slavery.

        I see a new jewish holiday gestating.

        Liked by 1 person

  4. bob saffron
    July 9, 2017

    “Keep on Whaling” is less about whales and more about SJWs, and how best to offend their sensibilities.

    Like

  5. BMan
    July 9, 2017

    Reblogged this on B'Man's Revolt and commented:

    Rainer finds many jews in this woodpile. Excellent.

    Liked by 1 person

  6. guest
    July 9, 2017

    Speaking of movies, that’s a good podcast:
    Merchants of Sin: Jews and Film – AN 062617

    Liked by 1 person

  7. Sam J.
    July 11, 2017

    I know it’s easy to get discouraged but remember the Jews have been kicked out of every single country that they’ve ever been to in any significant numbers. More and more people, as they dump the lying press, find alt-right sites and most of these are fairly upfront about the Jews being nothing better than a menace. Vox Day has great post where he says he no longer gives shit if he’s called anti-Semitic and then links to where the Jews talk about their religion where everyone will be there slaves. I think getting this out would do great harm to them. The very idea that their religion is to enslave everyone is an abomination and everyone knows the, so called , secular Jews are no better or worse. Before they’ve been able to move on and lack of communication kept others from knowing what they were up to. We’re at peak Jew right now. They are going down. Even if they mortally wound us others will take note and never again will they be allowed the leeway the West has given them. Peak Jew, celebrate.

    Liked by 1 person

    • icareviews
      July 12, 2017

      I don’t expect them to be expelled from western countries again, but increasing public awareness of their history and present activities will certainly be something they’ll have to factor into their calculations. They may simply be planning on flooding Europe and the United States with rapidly reproducing undesirables at such a rate that white awareness won’t be as much of an issue. At the very least, though, whites having consciousness of who their enemies are is a step in the right direction.

      Like

  8. Pingback: Staked Alaska | Hipster Racist

  9. Nightingale
    July 23, 2017

    Great analysis. I look forward to seeing the movie. This is quite different from normal Hollywood fare in which the villains are all muslims or blonde Aryans, often with Russian accents.

    One question occurs to me. Producer Sam Raimi is Jewish. As are the studio executives who greenlit and distributed this film. So what do we think is going on here with this allegorical film?

    A) Sam Raimi is unaware of the metaphor? It’s in the graphic novel and played up by Director Slade in casting, makeup, etc. but the Jewish producers (and Jewish studio distributors) just didn’t notice or didn’t care enough to notice?

    B) Raimi and other involved Jewish Hollywood players are controlled oppostion here? Giving sites like aryanskynet a movie to analyze? Controlling both the overwhelmingly Jewish Hollywood content AND the “anti” content like this?

    C) Raimi and other involved Jewish Hollywood players are sending some other message they believe in:
    i. Some jews really are vampiric (see banking, lobbying, etc.) and it takes intelligent, liberal, Hollywood Jews to see it and call it out through art. The vampires represent the “bad” ones– the Rothschilds, organized crime, etc. etc.
    ii. Gentiles will see a movie like this and feel confirmed, consciously or subconsciously, in their anti-semitic beliefs. And anti-semitism among the Gentiles can be useful. It helps the Jewish market-dominant minority claim victim status, it justifies crackdowns on free speech, on rednecks, etc. If it really gets out of hand it generates more Israelis, which some zionists want. Etc.
    iii. The Jewish Hollywood players identify with the vampires and celebrate their strength. Of course the vampires prey on a town of dumb goyim. Of course the only way for the goyim to fight the vampires is to abandon moral pretense and employ the same fighting strategies. This movie makes Jews look monstrous, sure, but also dominant, strong, and contagious.

    What do people think? A, B, Ci, Cii, or Ciii? Or other?

    Like

    • icareviews
      July 23, 2017

      You have to remember that Jews are racially conscious while whites, for the most part, are not. I don’t think this is a case of a goy writer or director pulling a fast one on the Jews. Vampires have always been subtextually Jewish, which is a theme I’ve written about here more than once; but that’s not to say that gentiles are aware of this literary and folkloric heritage. Jews are able to make movies like this because, for the vast majority of the audience, the esoteric level will go over their heads. When Leonard Nimoy incorporated some sort of Jewish ritual gesture into his characterization of Spock with the famous hand sign, he wasn’t purposefully conveying anything to the goyim; it was just a kind of inside joke. The average person’s associations with Jews are 1. the “Holocaust” and a centuries-long history of suffering and 2. disproportionate representation among likable comedians like Adam Sandler and Jerry Seinfeld. Until very recently, with the advent of the internet, the Alt-Right, and so forth, there wasn’t much danger of criticism of Jews as a group among the general public. It’s getting harder for them to flaunt their disproportionate power without people noticing, though. Hopefully, Jewish power crested with the 2003 Iraq invasion.

      Like

  10. Nightingale
    July 23, 2017

    Okay, so your answer, which is solid, suggests that my option Ciii (celebrating the vampires) was my closest guess. Would you agree with that? (Although your suggestion is more subtle than mine. In both cases it’s sort of happening “over the heads” of the gentiles. But in my suggestion I’m projecting onto the Jewish artists a goyish “rah rah vampires,” while your suggestion (I think) is a more subtle and sophisticated scenario of artists playing around with various themes–some celebration of the vampires’ strength, some playing around with stereotypes, etc.)

    Like

    • icareviews
      July 24, 2017

      Yes, ciii was closer to the way I view it. There’s arguably Jewish acknowledgment of their parasitism, too, in the character of Batman – the bat man, or vampire – who in the Christopher Nolan movies is a billionaire military-industrial contractor who rushes to the rescue of the Gotham Stock Exchange – in other words, helping out his fellow parasites against the parody populist Bane.

      Like

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