I have recently seen a number of “heroic” even “superhero,” films, including the back-to-back viewing of the latest interpretation of King Arthur, which focuses on Excalibur as a magic sword and Logan, what is hopefully the end of the X-Men series of travesty films.

These films both had A-list acting and production values and extremely shallow and easily predicted texts. The leading men were both fine examples of Аrуаn manhood cast in the hijacked version of the hero saga. The subtext of these films, as they are entirely in the hands of Leftist writers and producers and overseen from the Deep State Node of Hollywood, where the Central Insemination Apparatus and Federal Influence Bastion shop scripts from their Hollywood embassies, instructive, in that these are encoded messages to the remaining genetic strands of the Caucasian diaspora, as a subliminal metaphor complex of social expectation.

Such highly regarded films as Children of Men with Clive Owen, The Green Mile, The Shawshank Redemption [decidedly non-heroic but carrying the same message], Gladiator, The Bourne Legacy, The Gunman with Sean Penn, Shot Caller, Brawl in Cellblock 99, Unforgiven, 310- to Yuma and other very well-made films, carry the same heroic message, a seductive twisting of the traditional heroic image, which has been largely negated by the superhero genre and is being rehabilitated into a more useful postmodern form.

A specific treatment of the toxicity of superhero comics and movies will be made later in this project.

The elements of the subtext of the hijacked, postmodern Аrуаn hero are:

-The hero is reluctant to take up the burden of the risk-taker for he knows that he cannot ultimately triumph in a purely Satanic world, where the Father of Lies employs his endless army.

-Satan’s earthly army is entirely composed of white devils.

-The hero only rises against his mirror-image evil after acknowledging the moral superiority of women, children and people of color.

-On behalf of his moral superiors, the Аrуаn hero employees his superior will to defeat the army of evil made in his paleface image.

-The Caucasian savior then domesticates and self-castrates, submitting to the superior moral order of People of Color and women and children, this being the traditional modern theme, now being supplanted by the sacrificial theme that is more authentically Аrуаn and is being resurrected by the priesthood of The God of Things

-If he is not a domesticatable man, but a primal untamed character like Logan [Wolverine] or Bradley [Vince Vaughn’s character from Brawl in Cell Block 99] or Clive Owen’s self-destructive [1] character in Children of Men, then he sacrifices himself. Thus the subtext in this more authentic story, harnesses the ennui of the postmodern Western man sinking into suicidal apathy and decadence, in order to awaken the most potent of these men to their latent power, so that they might, as young men, join the point of the military/police/surveillance state spear, or, as young or old men, go postal or run amok and commit mass murder, reinforcing the need for the hardedge of the military/police/surveillance state, manned by their direct actionist opposites. The Arthurian sword in the stone, a long ago entombed heroic power, which may only be reawakened by members of the bloodline of ancient heroes—the hero tradition as understood in Western literature and having no other source than the Аrуаn tradition—is the perfect subtextual element for harnessing the latent impulse of the now morally disenfranchised direct actionist of European descent.

The Deep State soul control apparatus knows that writers of old such as Robert E. Howard and Edgar Rice Burroughs are being resurrected in the minds of the disenfranchised Аrуаn mind and stand ready to harvest this crop of masculine discontent towards their own, ultimately anti-heroic, ends. If you doubt this, look at the racial makeup of police tactical units, military contractors, special operations military units and the alphabet soup of the federal snoop apparatus, all staffed disproportionately by paleface men, in a world where civic appointments otherwise go disproportionately to people of color and women.

A Well of Heroes, A Dread Grace

1. The self-destructive alcoholic or morally sick man, such as Rooster Cogburn, played by John Wayne and Jeff Bridges in True Grit and Logan in the X-Men series, and John Wayne in The Shootist, reoccur to appeal to men who have fallen into the despair of addiction or self-loathing.