Do Bad Things With You …

By Max Musson:

Years ago the story lines of horror films often featured vampires, and in those early films the vampire was always the villain, visiting terror upon some hapless Transylvanian community, until a suitably handsome hero came to the rescue, saving the community preyed upon, and of course the obligatory fair maiden, from the clutches of evil.

Increasingly however, first vampires and now werewolves and other demons are being portrayed in a sympathetic light.

Through ‘Buffy the Vampire Slayer’, its derivative ‘Angel’, then others and more recently the ‘Twilight’ quartet of films and the ‘True Blood’ television series, we have seen vampires and then werewolves become the heroes of such productions, and the activities of these exotic races have been increasingly sexualised creating a genre that now no longer reinforces the traditional values of our society and which appears to deliberately push the boundaries of what would normally be regarded as acceptable, promoting the seedy and the obscene, the decadent and the pornographic.

Such films now seem to portray the fictional demonic races, by and large, as the only beings that are ‘cool’ and admirable, with super powers and heightened sexual potency, and normal humans, predominantly depicted as White, are invariably portrayed as stupid, flawed, weak and unprincipled characters.

The transformation of the way in which vampires etc are presented in the media, this transvaluation of values, precisely mirrors the transformation in the way that the real races of man have been presented in the media.

Back in the middle part of the last century, most of the output from Hollywood was supportive of and reinforced the traditional values of Western society and of ‘America’ in particular. There was a subconscious acknowledgement of the fact that the modern, powerful and affluent USA had been created primarily through the efforts of the European colonisers of that continent and this was reflected in the story lines of films and television programs in which those who epitomised, symbolised and exhibited ‘American’ (that is European American) values were always cast as the heroes.

During the last three decades of the last century however, Hollywood media moguls began a revolution in the way that Americans and American values were presented in the media, with increasingly sympathetic portrayals of red indian and negro characters and increasingly critical portrayals of White Americans, a trend that has now gone so far that it is now almost obligatory for films to feature; a black hero; a black president; a black scientist; or a black police chief, and to portray almost all of the white characters, particularly those embodying traditional values, as crass, corrupt, flawed and stupid.

The simultaneous development of these two media trends is in my view indicative that they are both intended to serve the same purpose, that of diminishing, disparaging and corrupting everything and everyone that is wholesome and ‘all-American’ in our Western society. Furthermore, whereas the promotion in the media of non-Whites and minority ethnic interests has gone just about as far as it can without completely alienating White audiences and thereby negating the intended mind conditioning, the introduction of vampires etc into the equation adds a subtle new twist that allows the mind conditioning to be taken to another level.

The vampires are generally portrayed as White people, albeit a special kind of living dead White people, and the ‘True Blood’ television series in particular, involves story lines featuring campaigns for the recognition of equal rights for vampires precisely paralleling the kinds of campaigns and arguments that have been used in real life to promote the interests of non-White ethnic groups at the expense of White people in our societies.

Subconsciously therefore, White audiences identifying to some extent with the ostensibly White and certainly visually White vampires, are induced to accept and become more susceptible to those same arguments and the principles contained therein, that are in real life proffered in support of the interests of non-Whites.

Furthermore, viewers are subjected to story lines that present a far greater diversity of character types, and bizarre character types, than would be normally encountered in real life. ‘True Blood’ for example featuring; normal white people, most of whom are stupid and cowardly; real hick ‘hillbilly’ characters; normal negro characters (almost always portrayed more sympathetically than their White counterparts); a homosexual negro; a female negro Voodoo practitioner; an ostensibly White heroine, but one who has the power to read minds; a good vampire; a gay vampire; a shape-shifter who frequently turns himself into a dog; and many more.

This bizarre range of characters then become involved in a convoluted plot that involves; vampires sucking blood from humans, often in a very sexualised manner; humans drinking vampire blood and as a consequence experiencing a heightened sex drive and weird hallucinations during the sexual activity that results; humans draining vampires of blood to sell as an aphrodisiac drug; humans having sex with vampires; shape-shifters having sex with humans etc. etc. and throughout all of this are threaded elements of bondage, sadism, murder, blood lust and debauchery.

All of which keeps the viewers mind perpetually in the gutter and lures them into a mindset ‘that anything goes’, and in most cases oblivious of the fact that the media moguls’ aim is to ‘do bad things’ with their minds; their sense of propriety; their sense of right and wrong; and their sense of what is decent and wholesome. We see before us the mind conditioning that is a prerequisite for the creation of a dysfunctional, decadent, and permissive society.

The issue here is not one of personal disgust at graphic displays of such promiscuous behaviour, its a matter of the clearly planned, insidious erosion of traditional values and morality coupled with an insidious erosion of the White viewers racial/ethnic pride through a constant undermining of the values that underpin such pride. This is not just a feature of vampire genre material, it is an increasingly recurrent feature of most of the output provided by our mass media in recent decades.

White characters, particularly those in positions of traditional authority are continually portrayed as corrupt, immoral, drunken and cruel, while God and increasingly the only benevolent portrayals of a US President involve the ubiquitous Morgan Freeman and increasingly, every good scientist, doctor, school teacher, police chief, etc., is portrayed by a Black man or woman.

In the media in recent times non-White groups and individuals are invariably portrayed as innocent victims of White/Western aggression/oppression or discrimination. Even in instances where there is a central White character who is the hero of a story, such as in the 2009 film ‘Avatar’, such an individual is presented against the backdrop of a corrupt and/or decadent White society and is a renegade required to rebel against the mores and customs of that corrupt White society in order to achieve justice.

These white heroes are invariably portrayed as coming from dysfunctional and broken family backgrounds despite the reality that White society has traditionally suffered much less from family break up, divorce and single parenthood than occurs among ethnic minority groups.

Furthermore, despite the reality that an overwhelming proportion of the charitable giving in this world is done by White people giving to Third World/ethnic minority causes, White people are increasingly portrayed in film as uncaring and our White heroes are frequently portrayed falling back on the apparently selfless support and generosity offered by the non-White characters and their families.

This is a particularly prominent feature of the film ‘Avatar’, in which the hero of the film, the character ‘Jake’ played by Sam Worthington, undergoes a procedure through which his mind is transplanted into the body of an alien, so that the audience experiences even more confused feelings, identifying with the Sam Worthington character because he is essentially a ‘White’ character and the hero of the film, while simultaneously identifying with him and sympathizing with the cause of the non-White aliens, because of his racial transformation during the film.

A further effect of Jake’s racial transformation in the film is that racially conscious White viewers identifying from the outset with the essentially White character of the hero, are lured once the racial transformation has taken place, into subconsciously identifying with the blue humanoid Na’vi character that the hero becomes, such that when he pursues a romance with a Na’vi female, played by negro actress Zoe Saldana, they unwittingly undergo the mind-bending experience of subconsciously being induced to will the fulfilment of the sexual union between the racially transformed hero and his Na’vi mate, whilst at the same time being conscious that on another level they are also witnessing the portrayal of interspecies sex, i.e. bestiality, performed by a White actor simulating alien sex with a negro actress. The whole experience is quite bizarre!

When one looks back over the output of our mass media, particularly in recent times, the exponential growth in output; of the film and literary genres discussed above; output depicting occult practices and the scandalising of the Catholic Church; story lines designed to contrive the portrayal of and acceptance of interspecies sex; and output depicting the corruption/decadence of Western civilisation in all its manifestations, one cannot but conclude that there is a deliberate intention to effect a transvaluation of values and create a cultural milieu in which everything good and wholesome is regarded as evil, while every evil that exists is tolerated and accepted if not regarded as good.

While many people reading this may think to themselves that they are able to separate these issues in their minds and can enjoy watching these kinds of films without it affecting their subconscious, psychologists would disagree and so it is important that nationalists generally reject such film, television and literary productions and especially shield their children from them.

A well-documented psychological phenomenon is that one’s subconscious mind is like a sponge and is not able to filter out mind-conditioning material designed to act directly upon the subconscious. For this reason it has been found that even the most resilient people will eventually conform to the customs and the social mores of the environment in which they find themselves There is a saying that I am sure I have quoted before:

Vice is a creature of such awful mien,
that to be hated needs but to be seen.
But seen too often,
too familiar with his face,
first we pity,
then endure,
then embrace.

By Max Musson © 2013

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