I figured the obvious tell that vampires were stand-ins for Jews was the fact they were allergic to crosses.
Now they are accepted, open about their lifestyle and highly sought after as love interests.”
Here Glazer is almost certainly referencing True Blood, but the vampires in True Blood are more stand-ins for gays, not Jews. In case you didn’t get the point, the director hammers it home with the opening sequencing having protestors holding up signs reading “God Hates Fangs.”
As for vampires as romantic creatures in women’s erotica, this is simply yet another entirely pedestrian aspect of women’s masochism, eroticising the sadism of an “alpha male” type character.
Full disclosure, I fell asleep half way through Interview with a Vampire and only saw the first two episodes of True Blood. I’ve neither read nor watched Twilight. So I’m not an expert on vampires at all, really.
Hood, who prefers to see Dracula as a “White advocate” and a “figure of the Right”, was also impressed with the “fascist” ethos he creatively read into The Dark Knight Rises (2012), the pungent Jewishness of which eluded him.
While I am a great fan of Gregory Hood, he unfortunately is of the “new right” which is as much about fantasies of the return of some hereditary aristocrasy as it is promoting the interests of White people. Radix, Counter Currents, the entire “neo-reactionary” movement in general – simply sticking up for the interests of White people is too boring, it has to be accompianed by a posture of high culture and long winded diatribes about classical or medieval history. If I have to read one more comment about how the Ancient Roman Empire fell because x, y, z, I’m going to plotz in my shonde!
Hood’s valiant hero is such a putz he still believes the 9/11 Commission Report.
Again, Gregory Hood is one of the best WN authors out there, but his insistence he believes in the “official 9/11 story” hints that he spent more time reading Pliny than Newton.
Not that there’s anything wrong with that…
Radix Journal’s Gregory Hood, in a mostly well-written review of the 2014 horror-fantasy suckfest Dracula Untold (“The Monster We Need”), has some fine and commendable things to say about “the terrible responsibility of acting in defense of [racial and national] survival.” Unfortunately, Hood’s endorsement of this shallow CGI-saturated saga, along with his forced interpretation of it as a piece de resistance of “subversive” white nationalist cinema, is wrongheaded and counterproductive.
For several decades, but with intensified emphasis during the present century, the West has witnessed the rehabilitation of monsters, symbols of evil, and figures representative of disease and corruption – hence the sympathetic portrayal of rotting corpses in A Little Bit Zombie (2012) and Warm Bodies (2013); demons in Little Nicky (2000), Hellboy (2004), and Maleficent (2014); pedophilia in The Woodsman (2004), Kick-Ass (2010), and Bad Grandpa (2013); serial killers…
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