ROMPER STOMPER (2017) IS PURE HOLLYWOOD

ROMPER STOMPER (2017) IS PURE HOLLYWOOD

Those tuning into Stan’s sequel to the 1992 Australian film Romper Stomper expecting gritty realism will instead see a crime thriller.

Any pretence at social commentary is a cynical ploy by its creators to rope the general public into viewing a six-part action drama. The sequel is based ever so loosely, not just on its namesake, but on the reality it purports to represent. Whereas the original did offer social realism the update is just a shameless grab for ratings.

Trading off the controversy of the confrontations which occurred between so-called Patriots and Antifascist Action on the streets of Melbourne between 2015-16 Romper Stomper (2017) makes no effort to depict its subject earnestly. However, it will most likely be regarded as a documentary by globalist commentators despite the patently ‘high concept’ veneer of the production. Tim Soup will doubtless use it as the basis of one of his flat and censorious dissertations.

Rather than the diversity-minus-Islam of the Civic Patriots like United Patriots Front, who marched with Asians and shook hands with Africans at their rallies, the Patriot Blue of this latest incarnation are White Nationalists. This simple detail alone propels it way outside of the gravitational pull of authenticity (remember how Ralph Cerminara et al went out of their way to drive off ‘the Nazis’ from their street theatre?).

The unreality of the series is evident from the opening sequence where Patriot Blue has crashed the entrance to a Halal Festival with a pig on a spit. After Blake, the group’s leader (Lachy Hulme) — who bears a conspicuous resemblance to the UPF’s Blair Cottrell — harangues the festival goers a contingent of black-bloc Antifasc (based on Antifascist Action, or Antifa) arrives tooled-up to ambush the Patriots.

Any pretence at social commentary is a cynical ploy by its creators to rope the general public into viewing a six-part action drama.

In the ensuing brouhaha weaklings with the combined strength of a stuffed toy overpower hardened Patriots. This is, putting it mildly, highly unlikely. Antifa mostly attacked stragglers and old women carrying flags in groups of five and six. Moreover, there was seldom any rally where the police presence did not outnumber those protesters and counter-protesters. The pigs almost immediately nixed any unruliness.

Two of the key protagonists are introduced, Stix (Kad Hartcher) and Kane (Toby Wallace). The latter, it is revealed, is Hando’s son. Later, we discover he isn’t. But at this time the two are welcomed as heroes as they salvage Patriot Blue from the awful ambush by what appear to be emo kids amped on energy drinks.

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The Blair character is not-so-Blair as you think. But he does occasionally blare unlikely WN maxims through a loud hailer

A bloodied Blake invites the pair back to his place for a drink. While there, Blake wails on a henchman for revealing the rally’s location. We learned that Kane and Stix have left the army and are looking for work. Blake and his wife Zoe (Sophie Lowe), who seems an unlikely companion at half his age and hot to boot run a ‘recycling’ business, which must be fruitful since he shares a $15k bottle of Scotch with the pair. Blake offers them work.

The cops turn up to arrest Blake for “obstruction” leaving Kane and Stix alone with the pretty missus. Kane immediately makes a move and right here is one of the signature dramatic problems with the show: apart from the schlocky acting, the story’s timing is inappropriate. As if you would be sipping the leader’s top plonk while fondling his woman’s hair all in the space of an hour of entering his home.

The original Romper Stomper had plausible graduations of sequences but so much is stuffed into the unfolding plot that its pace comes to resemble any contemporary action movie involving Mark Wahlberg.

Rather than the diversity-minus-Islam of the Civic Patriots like United Patriots Front, who marched with Asians and shook hands with Africans at their rallies, the Patriot Blue of this latest incarnation are White Nationalists.

The writers disingenuously try to squeeze social relevance out of the characters while accentuating the politically correct constituents of the story. For instance, back at the Halal Festival, a young Moslem girl is supposedly bashed by Patriots. In the entirety of every rally held there was probably about 20 Moslems who showed up but that would not be sexy for the kind of audience Stan is looking for.

So we have a gratuitous act of cowardly violence against a Moslem girl that would never have happened no matter how high spirits ran at a rally. The producers overlooked how self-conscious about public approval the United Patriots Front were, which was acute to the point of cucking them into non-existence. But this was never about the Patriot Movement. And the ‘victimhood’ narrative of Moslems is now well underway.

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Jago (C) and Blake (R) stick it to ‘forthright educated Moslem’ Laila (L)

Interviewed by a news crew in the aftermath of the attack on her sister, Laila (Nicole Chamoun), an “educated forthright Arab”, becomes a hero of the Antifasc. She also falls into the sights of Jago (David Wenham), the homosexual right-wing TV commentator loosely styled on Alan Jones, who has his eye on Kane. He and his Asian assistant (yes, there is more than one ironic device employed in the sequel) hoodwink her into coming on his show. Shocked to find Blake is also a guest, she reels as the pair demolish her on-air.

Meanwhile, Antifasc is reviewing video footage of the rally to identify the unknowns. This is an accurate portion of the show because as we know the craven polyps of the real Antifa occupy themselves in exactly this fashion. Here too is another disturbing accuracy. We encounter the mysterious McKew (Syd Zyglier).

McKew is the anonymous source behind The Slacker’s Guide to Fascists which is a blatant reference to Slackbastard. We even find out that ‘the Slacker’ is a university professor which confirms our contention professor Rob Sparrow of Monash University is one of the originators of Slackbastard. This also raises questions about how au fait with Slackbastard the media truly is as this is by no means a coincidence. The only other conclusion to draw would be that the writers of the show sourced their material from us.

The original Romper Stomper had logical graduations of sequences but here so much is stuffed into the unfolding plot that its pace resembles any contemporary action movie involving Mark Wahlberg.

As the show unfolds, the Slacker turns out to be an arsehole, which is the only time the show touches on fact.

The Slacker, as with the true life Slackbastard, manipulates the Antifasc to do his bidding. Thus the heroic and idealistic Laila is drawn into the world of Antifasc which will ultimately spell her doom. Here too we encounter Petra (Lily Sullivan), one of the show’s female powerhouse trio, and a senior Antifasc figure. The third ‘forthright female’ is the oddest one of all to explain in terms of the storyline.

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Zoe, Blake’s Missus, is seldom without a glass of vino

Kane has a little foster sister named Cindi who breaks out of a girl’s home after a visit from her surrogate brother. Cindi is cunningly installed with Antifasc whom she encounters while on the lam and hungry. Heading to a soup kitchen she meets up with two of the Antifasc barnacles and thence returns on Kane’s instruction to join the fold without much vetting.

This is another dodgy bit of plot since supposedly on the run from authorities it is remarkable that no effort is made to apprehend her nor is she recognised by any member of the public. She also seems to achieve the impossible, getting by without any scratch to cover her living costs. Antifasc must be better funded than we’d imagined.

It is between Kane, Zoe, Jago and two reprises from the original movie, Cackles (Dan Whyllie) and Magoo (John Brumpton), that the story heads to its propagandistic conclusion. However, along the way are other characters, some of which play integral roles, others serve to underscore the message Australians are fundamentally racist.

As the show unfolds, the Slacker turns out to be an arsehole, which is the only time the show touches on fact.

We meet an Arab Mixed Martial Arts fighter named Malik (Jamie Abdallah) who is disgusted with Laila’s brother Farid (Julian Maroun) for being beaten by the Patriots. While out with his Arab mates, he belts a truck driver defending the honour of his female partner who’s being crudely ogled by one of his passengers. Defending himself, Malik’s skills come to the fore. He drops the driver who cracks his head and nearly dies. The thoughtful Moslem seeks solace in prayer. The viewer is left to regard the Aussie as a victim of his own racism and hubris. The wisdom is only to be had in the mosque listening to the Imam with whom Malik confers.

Then there is the moral ambiguity of the Africans who are sent packing from a late-night convenience store by Kane’s Patriot Blue Night Patrol. The two gangster-rap gun-toting blacks tell the ‘White boys’ “These are our streets”. Chased off, they afterwards end up kidnapping Noddy (Sam Parsonson) and torturing him before dumping him at Blake’s place. While Noddy is bound and gagged the writers allow the APEX ringleader to lecture him with a parable of a “lost little sheep”. In actuality the black is the voice of globalism and Noddy, the lost sheep, represents any Australian who would vainly stand up to him. There is no resolution for this sadistic act (events intervene) that is well-deserving of Patriot retribution. Hate begets hate appears to be the lesson. What’s more, the Night Patrol itself requires comment since we have heard much about Patriot groups proposing such action, but nothing we see has ever been reported, such as Moslems being bashed, and an Ice lab turned over. It is all a big ‘what if’.

Into the mix comes a detective named Marco (Jeremy Lindsay Taylor), who happens to be “handling” Blake. This is an interesting theme seeing as how we have Neil Erikson who just about everybody knows is, or was prior to his recent charges, most definitely being handled. We know too that UPF members had been approached by ASIO. But apart from operating the Patriot Blue leader, Marco is also cheating on his missus by rooting Kane’s estranged millionaire mum, Gabe (Jacqueline McKenzie); another character from the original movie who basically does nothing. Well, she does do something, at the very end she tells Kane that Hando is not his father but rather his grandfather, her father, Martin — who regularly abused her and is seen in the show dying of dementia — sired the prodigal Patriot. Not that we told you that, readers. To do so would be a spoiler, which would require an alert.

We won’t spoil things either by  letting slip that Kane ends up killing Blake when the Patriots visit Magoo’s country hideaway which is a veritable armoury of WW2 weapons and Nazi paraphernalia. Blake is both jealous and suss of his young protege and puts him through a test warning him to stay away from Zoe. He gets about two minutes of gloat time when he passes before a seemingly pacified Kane pushes him down an escarpment. But revealing such would only ruin things for when he shacks up with Blake’s Jesus freak missus (Blake could not get it up due to the ‘roids’) who sees Kane as a Christlike figure come to save Australia. Nor will we reveal how the wily Cackles, who owns a white goods business (get it), had all along recruited Kane and Stix to take over Patriot Blue and usurp Blake. And there is no way in hell we’ll tell you about the inspiring scene where the Patriots annihilate Antifasc on a Melbourne beach while they hold a solemn ceremony with Blake’s ashes.

Furthermore, while not spilling  spoilers such as the above we shan’t mention the bullshit ironic device number two which has Magoo meeting with his Asian daughter, who he is ripped apart at not being able to be with. Now that would truly have been a righteous portrayal of a Civic Patriot.

Our lips are also sealed as to how the whole thing ends with Magoo talking his way into an event with a pro-multiculturalism politician and blowing up the two Antifasc, Kane’s sister, and countless others with a bomb jacket created by Cackles, the real power behind it all. No, because, that would be a prick act and our name isn’t Slackbastard. But we will say this, the whole thing is just tawdry entertainment created with the knowledge it will be blindly accepted as cutting-edge real-life drama. The globalist instruction is pungent and the audacity strong: to depict an Aussie as a terrorist bomber while the Moslems are the level-headed copers.

As Nationalists, we must condemn the series on about a thousand levels, but one really stuck in our craw and that is the depiction of these rock ape Patriots as White Nationalists. Back in 2015, we suffered badly trying to help the Patriots. They were thankless, they took what they wanted, and they threw us under a bus. We have never forgotten and those now claiming to be pruned from the same Nationalist branch as ours have never apologised for it either.

It is irksome to hear Blake spouting WN maxims, and reciting Henry Lawson. Lawson is a Nationalist hero and we’re pretty sure 99.9% of those original Patriots have never heard of him. They would be much more likely to quote Milo Yiannopoulos.

What is really sick though is the creation in the public’s mind that terrorism is where Nationalist politics is inevitably destined to end up. The Antifasc in the show is treated more sympathetically with their destructive acts simply shown to be well-meaning blunders. We have had those pass through our movement who have attempted to draw Australians into criminal acts, such as Squadron 88’s New Zealander leader. But this is not how we roll. To be depicted in this light shows either very poor research or very conscious design and we feel it’s the latter. Additionally, Facebook Patriots should receive royalties since the show is mostly written from their online interactions.

Like John Safran, it seems everyone made money out of the Patriot Movement except those who were in it (with the exception of notable scam artists who know who they are). This is just another cash-in on something which has been and passed. Moreover, if you pay to see it, you are giving Fairfax money, as they happen to own Stan. They are also behind all the defamatory attacks upon our people.

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Hmm, the media knows all about Slackbastard. And judging by the portrayal of his character they know he’s a bitch

 

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FEAR AND LOATHING ON THE REDNECK RIVIERA

FEAR AND LOATHING ON THE REDNECK RIVIERA

 

We promised ourselves when we started this blog that we would engage with globalist popular culture, rather than be po-faced stick-in-the-muds about it. To that end, we present a review of the new Netflix drama Ozark, as seen through White Nationalist eyes and with spoiler alerts.

The new Netflix ten-parter, Ozark is a slow burner, if ever there was one, the plotlines and character arcs take a few episodes to gel but, by the midway point, things really start to boil over and it has some interesting things to say about White America.

Accountant Marty Byrde (Jason Bateman) is partnered with the garrulous Bruce Liddell in a small financial planning business based in Chicago; their main customers, however, are a particularly terrifying Mexican drugs cartel, whose millions in illicit cash they launder.

Things quickly go pear-shaped when it comes to light that Bruce and some of their sub-contractors have been skimming money from the laundering operation; upon discovering the theft gang lieutenant Del, played by Esai Morales is forced to act to bring the treachery to a gruesome end, Marty being spared only because of his gift of the gab and assurances from his hapless partners that he was not in on the scam.

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Jason Bateman and Laura Linney as the Byrdes, strangers in a strange land

Marty Byrde is a fast talker and a financial genius so he is able to buy himself and his family three more months of life after convincing Del that he can repay the gang their stolen funds and set up a new laundering operation far from big city scrutiny, in the “Redneck Riviera”, the Lake Of The Ozarks, in Missouri.

The flight to the countryside and the scramble to make up the shortfall in drugs money forms the backbone of the plot, however the cast of rural White characters then encountered by Marty, his wife Wendy, played by the criminally underrated actress Laura Linney and their teenaged children Jonah and Charlotte are gothic, menacing and surprisingly well devised.

These are not the pathetic victim archetype of Jesse Pinkman in Breaking Bad, nor are they the degraded psychopaths and losers of Justified or True Detective; they are post-GFC survivors, these river-rats, beachcombers, strippers, odd job men and farmers.

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Marty Byrde meets the Langmores, one of a host of characters who want their piece of the action

There are the trailer dwelling local ne’er-do-wells, the Langmores who alternate between larceny and honest work to get by; guided by their imprisoned older brother via the hand of his mean, whip smart young daughter, Ruth, the family quickly see the opportunities inherent in an influx of dirty money into their community.

Marty’s road to redemption with the gang brings him into contact with sleazy dive owner Bobby Dean, corrupt Sherrif John Nix and eventually the deeply unsettling Hillbilly duo of Jacob and Darlene Snell, played to a tee by Peter Mullan and Lisa Emery, who have an illicit operation of their own to look out for and a low tolerance of outsiders.

The main storyline is interesting enough but it’s the subplots, supporting characters and mise en scéne, if you will, which caught the eye of our writers; to those who are used to seeing, at best, neutral portrayals of rural Whites on screen and, more often, the sadomasochistic (((Hollywood))) fetish of the Redneck as Pogrom in waiting, Ozark is refreshingly patient with its subjects.

These are not the pathetic victim archetype of Jesse Pinkman in Breaking Bad, nor are they the degraded psychopaths and losers of Justified or True Detective; they are post-GFC survivors, these river-rats, beachcombers, strippers, odd job men and farmers.

There is the almost, but not quite defeated hotel owner Rachel (Jordana Spiro) who enters a business arrangement with the Byrdes on the basis of knowledge, but not wanting to know, what her new investors are up to.

Rachel’s business seems doomed until she makes her deal with the Devil and like many of her neighbours, the dying old man Buddy Dikert who allows the Byrdes to take over his home as long as he can see out his last days as their tenant and Michael Mosley’s idealistic preacher, they exist in a sort of limbo forced upon them by economic circumstance and the actions of bureaucracies beyond their control.

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Never cross a Hillbilly

Even the “Gay” character, Jason Butler Harner as F.B.I agent Roy Petty is nuanced; Petty is mean, manipulative and obsessive, using his sexuality as a device of power projection, much like the eminently unlikeable Joe McMillan, portrayed by Lee Pace in Halt And Catch Fire.

Woven through the episodes are glimpses of the condition of poor, rural American Whites; the growing problem of opioid addiction among older White people is explored, the hollow-eyed, middle-aged junkies sitting in their Bass boats and skiffs waiting for their dealer to deliver a fix in the middle of the lake are a particularly poignant sight.

The middle classes, as exemplified by the Byrdes and their former associates as well as the summer tourists from Chicago and St Louis who pour into the town are also given harsh scrutiny by the writers, the mutual distrust, alienation and loss of identity in the information age are all interesting plot points.

In all, Ozark, series one, sets a solid foundation for the next series, which we trust will be released by Netflix as soon as possible; far from being the usual, paranoid, (((Old-World))) tinged  anti-White drivel this program is unlikely to upset the sensitive WN viewer, it is actually an example of Peak TV which is worth watching.

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Agent Roy Petty talking down to his negro ex-lover; he is more like a Gay Paris Trout than the narrative version of homosexual males