Aliens, Predators, and Orlando

Most are no doubt familiar with the late 70’s and late 80’s sci-fi thrillers Alien (1979) and Predator (1987). I assume that most are also well acquainted with the prodigious spinoffs, sequels, prequels, and crossovers spawned (heh) by both franchises. For the uninitiated, Alien introduced  us to a ragtag group of space cowboys returning to Earth aboard the Nostromo after a mission to space when they encounter a signal transmitted from a desolate planetoid. When the Nostromo lands on the planetoid, the crew discovers the wreckage of an alien craft, the remains of a deceased alien within the ship, and a chamber full of alien eggs. During the course of the crew’s assay, one of the eggs hatch and a hatchling attaches itself to the face of one of the crewmen and an alien subsequently bursts from the crewman’s chest while aboard the Nostromo. Unbeknownst to the crew they are explicitly expendable: their employer, the Wayland-Yutani corporation, knows of the creature’s existence and intentionally sent the crew to the planetoid to recover the organism at all costs, likely for development into some sort of biological weapon. Naturally, the mission goes horribly wrong when the target alien unexpectedly gets out of containment and cannibalizes the entire crew save the intrepid Ripley.

Predator, on the other hand, follows a crew of high T special forces agents enlisted by the CIA to rescue a high ranking official being held hostage by guerrillas in the Central American jungle country of Val Verde. Led by Maj. Alan “Dutch” Schaefer and supervised by former commando George Dillon, the team heads into the jungle to rescue the official, only to discover that they are “expendable assets,” intentionally sent there by USG not to extract an official, but to retrieve valuable intelligence from captured operatives. Unfortunately, the mission goes badly awry then the crew encounters the titular antagonist, an extraterrestrial predator that picks the crew off one by one, save the intrepid Schaefer.

On June 11, 2016, many celebratory LGBTQ folks and allies went to the Pulse nightclub (a gay venue) in Orlando, FL to enjoy the freedoms afforded them by virtue of living in an open and liberal society. Unfortunately for them, their celebrations went horribly awry and ended tragically when an American-born Afghani with Islamist leanings and an abiding hatred of faggotry named Omar Mir Seddique Mateen, entered the club and slaughtered 50 unsuspecting homos while wounding 53 more before himself being killed. The event now has the dubious distinction of being the deadliest mass shooting in modern American history and the most significant terrorist attack since the September 11 attacks. Unbeknownst to the party goers, Mateen was known to the FBI and called 911 during the attack to inform authorities that he had pledged allegiance to ISIS.

The question of why these mass murder psyops always seem to happen in June aside, what’s the connection between the three? Let’s begin with the films. What was it that made both Alien and Predator so poignant to viewers both then and now? Certainly, the storytelling in both movies was sterling and both were superbly acted. Nevertheless, the common theme shared by both films is apparent to every viewer. Thematically speaking, the crux of the problem, the catalyst for the supervening events in both films was elite malfeasance-particularly the willingness of elites to lie to and sacrifice non-elites for the sake of some unspecified agenda, whether pecuniary, programmatic, or ideological. In Alien, the Nostromo’s space cowboys were deceived by the Wayland Corporation and sent on a suicide mission so that the Corporation could create the ultimate bioweapon. In Predator, USG sent a cadre of “expendable [CIA] assets” into the heart of darkness to retrieve intel from a guerrilla faction. This is no different from what occurred in Orlando on Saturday night. Granted, cause and effect are much more tenuous than they were in either Alien or Predator, but the impulse remains the same-sacrifice of the lows for the benefit of the highs. The true battle is always and ever between the highs and the lows, with a healthy dose of pretext and a high body count in the middle.

Let us think about things logically. Mateen was known to the FBI and he openly voiced his opinions to anyone who would listen. Yet, he was deemed not to be a threat back in 2013. More abstractly, the Establishment Left struggles to reconcile the fundamentally irreconcilable differences of all the constituent parts of its coalition by falsely advancing the notion that everyone is equally capable of participation in a liberal democracy, that there are no differences between groups worth discussing, and that to suggest otherwise is incorrect and/or racist. The Left has people putting themselves at risk, running around believing utter balderdash that is false on its face: that Islam is not the problem, that it is a “religion of peace,” that it is racist to exclude Muslims from civic participation and from entry into the the U.S., that No True Muslim would do what Mateen did, that the true danger is from Angry White Christian Men, that guns are the problem, that homophobia is the problem, et cetera ad infinitum. So people are left incapable of parsing the truth from the lies. 

The Left has turned normies into total retards undesirious of looking at the totality of the evidence, lest they discover something that conflicts with the narrative. Narrative preservation is possible only when every element is viewed as discrete and unrelated. Meanwhile, those made of sterner stuff, those who are willing to call events as they see them, those who might save the world-are actively suppressed.

How is Orlando not a product of the active malfeasance of the political classes? 

How could the Left at once claim to advance the cause of liberal, Western democracy (and its attendant degeneracy) and in the same breath argue for the wholesale importation of individuals from cultures that hate liberalism and openly preach the gospel of its overthrow? How can the Left observe Muslims pledging allegiance to ISIS and shouting Allahu Akbar while gunning people down, and insist that it has nothing to do with Islam? Does it make sense to promote homosexuality as a value while simultaneously promoting a lax immigration policy that would allow in individuals who view the killing of homosexuals as a mitzvah? Casualties will naturally result from these clashing values; Orlando is the most recent evidence of this. Nevertheless, Americans are continually browbeaten by their (((elites))) into welcoming destablilizing elements into the country without questioning their motives, their allegiance to the state, or their compatibility with the wider culture.

Our (((elites))) are no different from the elites in Alien or Predator, actively weaponizing our ignorance and goodwill to use against us. Whether corporate or governmental, in every instance the powers that be are setting us up. In every instance, they know something you don’t know-and they’re not telling. We are being played. They are not above lying to us to get their way. We are all expendable assets in the ongoing struggle for power and supremacy. I feel for the families impacted by the events in Orlando, but this is the reality. We are the prey. And these events will continue to happen, so long as individuals are prevented from accurately identifying the nature of the problem and neutralizing the threat. We will continue to be cannon fodder in the war to vindicate prog ideology.

It’s time for us to begin approaching anything that our (((thought leaders))) and actual leaders advance with intense skepticism. It’s high time that we all become conspiracy theorists. The powers that be will dissimulate, will lie to you, will use you and then will kill you if doing so would enable them to accomplish their ends. Now we know: we are besieged from within and from without.

It’s time to act accordingly.



Film Review: Mad Max: Fury Road (Not Your Mother’s Feminist Movie)

Mad Max: Fury Road is a fantastic film, a stunning vision in X-Pro that is definitely worth the watch. The film is fast paced, visually stunning, and laconic. The acting is superb and overall, the film is a piece of solid cinematic storytelling. In full disclosure, my primary motivation in seeing this film was to find out whether the film was as feminism inflected as critics suggested. While the film confusingly opts to center its story on Imperator Furiosa (played by a butched-up Charlize Theron) in a film ostensibly about the trials and travails of its titular character, “Mad” Max Rockatansky (Tom Hardy) I couldn’t help but notice just how profoundly un-feminist the film was. It pits itself decidedly against the dominant cultural narrative of equalism, godlessness, and relentless modernity and firmly in the camp of radical inequality, mysticism, and tradition. Fury Road is an intoxicating mix of religious iconography, deep ecology, and apocalyptica.


Fury Road returns to the desolate desert in which it was born, to a universe that is even more brutal and unforgiving than the ones preceding it. The nuclear holocaust has come and gone; survival is the only aim. This world, where disfigured hoardes in the valley are counseled against becoming too attached to water lest they come to resent its absence by a disfigured overlord atop a verdant peak as he niggardly doles it out, is indubitably a man’s world. Only the toughest of the tough will survive. Imperator Furiosa drives the war rig and saves the virgin wives, but the men are the real conductors in this universe.

This much becomes clear within 30 minutes of the film when the rig makes a pit stop after a particularly intense chase scene. Max stumbles upon Furiosa and Immortan Joe’s five (supermodel) wives clad in diaphanous white fabrics, cutting off their chastity belts. Max, who is still disoriented from the crash and from having been used as a “blood bag” by the sickly war boy Nux, is initially antagonistic towards the women. Once Nux comes to, eager to return the wives to Joe, Max’s role quickly shifts to that of protector. Max fights off Nux, herds the women back onto the rig, and the set off again towards the mythical “Green Place.” The rig is soon besieged by Joe and his gang and Max finds himself protecting, fighting, and repairing the rig, all while the women cower inside the cab of the rig. Furthermore, it is revealed that Nux has stowed away on the rig. He soon develops an emotional relationship with one of the wives and transitions from antagonist to coven protector.

Ultimately, after a series of chase scenes and intense pyrotechnical feats, the gang arrives at the Green Place, and finds the place barren and populated by a group of leathery crones called the Vuvalini. Even though Furiosa claims to have made the run to the Green Place several times before, she appeared to be unaware of the Green Place’s actual condition. She also learns that her matriarchal clan has been decimated, its members dwindling down to the last. Realizing that the Shangri-la that she intended to deliver the girls to does not exist, Furiosa cooks up an abortive plan involving riding into the desert on motorbikes with 160 days of provisions. Realizing the plan to be nothing short of suicide, Max presents Furiosa with a map outlining a path back to the Citadel, the only semblance of a society that still exists. On the chase back to the Citadel, Furiosa is gravely injured, Nux sacrifices himself to ensure that the women may return to the Citadel safely, and Max provides Furiosa with a blood transfusion. At the movie’s conclusion, Max slips off into the crowd, allowing Furiosa and the wives to return to the Citadel victoriously.

This is no feminist fantasy. This is brutal realism, patriarchy at its finest. While Furiosa is the spitting image of the “strong, independent woman who don’t need no man,” she nevertheless does need a man (several men in fact) to help liberate the wives from Joe. Furiosa is employed by Joe, and her position as right hand woman (heh) is what gave her the latitude to have the audacity to steal his wives from right under his nose. As the action heats up in the desert, it becomes manifestly clear that Furiosa and the wives rely on Max both materially and emotionally. Max is the one who must make the physical and psychic sacrifices to facilitate the women’s freedom. It is Max who ventures into the dark to recover ammunition and returns covered in blood. It is Max who battles off hostiles on top of a moving rig. It is Max in all his taciturn splendor who the women turn to when they are inquieted by a sudden and unexpected turn of events.

This theme deepens once Nux defects to the good side. One of the wives quickly develops a bond with Nux and he quickly develops a sense of responsibility for her well-being. Many a wistful gaze and truncated wave is shared; many a sleepy nuzzle shared in the rig’s cab. Ultimately, Nux literally self-immolates to insure that the wives are ushered to safety, at last obtaining his elusive entry to Valhalla. This is pure chivalry: that a male character would sacrifice himself for the female characters

Analyzing the last third of the film does nothing to dislodge this hypothesis. If anything, it highlights just how patriarchal the world of Fury Road is. The Green Place turns out to be a mirage. The stark reality is that this fabled place was naught but a desert wasteland inhabited by a nomadic band of women vainly attempting to eke out an existence in the barrenness. Their only link to life and civilization is a case of seeds carried around by one of the elders. Thus we see the futility of matriarchy: it created nothing and could sustain nothing. It could not protect the downtrodden. Far from being a powerful and independent force, matriarchy is fundamentally weak and dependent, powerless to offer even a modicum of solace to the oppressed. Furiosa took the wives away from the forces of masculine oppression, signified by Joe and the society of the Citadel only to bring them into the hopeless abyss.

The return to the Citadel is also telling. The Vuvalini understand that they cannot help the wives and were themselves eager to return to the Citadel. The Citadel is the only semblance of civilization remaining, a true oasis in the nuclear desert. The return to the Citadel is the acceptance of the failure of matriarchy and is the tacit recognition that a return to the masculine is the only thing that will preserve life. The Return to the Citadel is the characters prostrating themselves before the supremacy of masculinity and its ability to synthesize life out of the void, to create civilization out of nothingness.  In this world, women are not the equals of men, nor could they be. The harshness of the environment necessitates hierarchy and precludes modernist fantasies of gender equality. Even Max’s blood transfusion to Furiosa is testament to this life giving property of the masculine. The protector of life becomes the resurrector from death in the face of all but certain oblivion. For all its feminist posturing, Fury Road is a paean to masculine virtue that succeeds in its honesty and unforgiving realism.