Of late, on the edge of Infotech Night, when private corporations using governments as meat-puppeteers, will loom as monstrous arbiters of thought, I have become interested in subtextual development under the invalidating gaslight of RightThink matriarchy. Recently I have viewed numerous good movies featuring masculine heroics in culturally realistic circumstances which many awakened minds cannot stand to view because “the POZ” is so strong, there are so many politically correct elements, cucked Caucasians “white-knighting” for “POCs” across stages suffused in the deep shadows of vaginal authority. Hold the Dark, Gran Torino [perhaps the pilot of subtextual movie making under the new thought tyranny], The Baytown Outlaws, Drive, Brawl on Cellblock 99, Hostiles and Valhalla Rising come to mind. All of these films feature doomed Caucasian heroes who will not reproduce caught among the implacable forces of cultural negation. Some of my friends view these movies and want to puke because of all of these inauthentic elements, such as the deeply feminist Bodyguard Netflix TV series.

But are these movies inauthentic?

The fact is, heroism is a ghost people invention, with the hero a figure of European type and even in an age when everything ghost man is bad, non-ghost heroes still ring dully in the addled well of heterogeneity.

They show the future in a creeping authentic light which is so predictive that I have observed that movies predict cultural norms 10-15 years out. What is happening, is movie makers who want to show authentic heroics have a checklist they must fill out in order to get funding from their masters, a checklist that leaves no room for visions of ghost men controlling their own destiny and reproducing, as the powers behind Hollywood—the propaganda arm of the Postpolitical order—are dedicated to the erasure of all European culture other than the strangely suicidal egalitarian impulse that northern Europeans shared with Amerindians of the Eastern Woodlands, which somehow became the only aspect of Native American and European culture approved for replication in the dronish future.

The Iliad, the story of Achilles’ rage over a lesser man, Agamemnon, taking his prize, was likely only sponsored by the potentates of ancient Hellas because an entire chapter was devoted to Agamemnon’s heroic qualities—even though he was a scheming bitch. That is the sell, how you get the patron to go along with your story by putting idiot elements in to please his moronic sensibilities. Whoever wrote Sicario used the Homeric playbook well. The film starts out with an explanation of the title that reflects glowingly on the culture of the Hollywood elite who are dedicated to erasing European Identity, Independent Christianity and African American masculinity.

The film then presents the two lead heroes: a door-crashing ghost-female FBI tactical officer and her mothering, squeamish, sissy, emotional, emasculated ebony male sidekick and body servant. Just about every man I know is done with the movie right there, click.

This is the sell, lolling the sissy censors in their mean minds into the mind frame that the movie is sufficiently feminist and anti-ebon masculinity, to be funded.

To ice the cake Josh Brolin and other ghost men are introduced as smug, evil, nationalistic fiends intent on breaking and bending all civic worship statutes in order to preserve their sick idea of an autonomous USA.

Throughout the entire film the ebon emasculate and the feminine ethicist are the moral, judgmental core of the movie with all morality flowing through them from the greater globalist society like God’s power through Jesus Christ. The ghost men are all real politic animals with no compunction to kill in service to their wrong-headed objection to Mexican drug cartels filling up houses with bodies and poisoning the suicidal Murican ghost zombie population.

Movie sold, globalist money acquired for funding the production.

Now, enter Benicio Del Toro and the increased marginalization and domination of the ϲunt FBI agent and her sissy man-mammy. This movie makes the Trump case for a border wall better than Trump ever could, funded under the very noses of the Hollywood elite who wish America to become a Latin American, African American, Arabic American war zone, and has fun doing it.

The FBI ϲunt gets everything a globalist meat-puppet deserves and Benecio Del Toro delivers the single best line of the movie:

“You are not a wolf. This is the land of wolves now.”

Sicario is the best man movie I’ve seen in a while, but its written to keep you from wanting to watch it.

Literary Impressions of the Prose and Verse of Robert E. Howard