While reading and annotating the balance of Julius Evola’s Metaphysics of War, I enjoyed the viewing of standard, network television, on a channel that hosts two Chicago-based dramas, the title I remember being Chicago Fire, the other one, about a crime fighting team of cops, waging a pitiless war on the army of middle-aged, white men slaughtering people of color, being equally toxic in tone.

Having not watched the previous episode my mother and aunt were surprised to find out I picked out the terrorist right away, because he was a white man who lived by himself and kept an American flag standing on a pole in his living room. Once I mentioned it, these two old ladies agreed that having a flag hanging inside was creepy. It is fascinating that the people who raised me believe in all of the new abominable norms that have recently been implanted by the popular media. I am convinced that any person married to a TV will soon suffer a divorce from reality.

I was reminded of their other favorite crime drama, Criminal Minds, in which hundreds of fictional white serial killers have been brought to justice, but never a black murderer, although spree killers are 30% or more likely to be men of color. What fascinated me about this is that many people believe that only white men have ever been serial killers, demonstrating the clear link between TV crime programing and people’s appreciation of reality.

The tropes in these action dramas are the same as in every other TV show I have recently seen.

The only dominant white man yells and snarls like a mafia capo.

Most actionists are ultra-sensitive white males who remain mysteriously single.

All heroic risks are taken by petite females possessing a form that Tamerlane would have awarded his warlords.

Moral systemic authority resides entirely with women and men of color.

The villains are a reversal of the Clint Eastwood/Charles Bronson hard man template of the 60s and 70s, being highly intelligent and quiet, as if FBI and CIA script writers have been shopping villain characters that fit the masculine, Аrуаn role of the classical hero, for obvious reasons.

The focus of this set of TV drama episodes was that firefighters must join the war on white patriot terrorists and put an end to the slaughter of Americans.

I then switched to reading the newspaper, only to discover that the Mayor of Baltimore has just allocated $200,000 to assist illegal [yes, admitted law breakers] aliens in fighting federal deportation.

Putting the paper down I pick up Evola again only to be treated to a Netflix crime drama about the search for the murderer of a teenage girl, by a lead female detective and her big, and very wiggerish, assistant. In this film, set in The People’s Republic of Freattle, Somali immigrants, well known in the real world for having the lowest IQs and highest instances of insanity in America and to be involved in a highly disproportionate number of violent crimes against Caucasians, are depicted as peace-loving victims of police prejudice and middle class Caucasian brutality. This TV series is also subject to all the same tropes as those listed above, all having one thing in common, the total negation of Caucasian [1] masculinity outside of a narrow law enforcement actionist role, under the supervision of morally superior women and people of color.

This all strikes me, oddly, as a psychological warfare prologue to a physical move to place men of European descent in one of three roles:

1. Weapon of the state

2. Enemy of the state

3. Assignment among the chemically sedate

1. The only physical person on the large Criminal Minds crime-fighting team is a black man, light enough of skin not to frighten liberal whites.