AM I BLACKPILLED?

The beginning of my Passage Prize essay was cut out, probably because it sounded too blackpilled. You can judge for yourself. Here it is:

 

SOME BRACING PESSIMISM

We aren’t going to create any great art ourselves. We didn’t grow up in the right world for it. Enlightened patrons don’t exist, an adequate audience isn’t there, and the schools and institutions are all corrupt from kindergarten onwards so that even if we did have a God-given creative gift there was nobody to guide us or cultivate that talent and turn it into a set of skills. Not by the standards of the more competent creators of the past. Right now there’s no culture that can support great artists, or musicians, or writers, and let them create important art. We have to live with that fact.

We’re probably not going to live to see the next generation produce anything great either. We have a different job. We have to plant the seeds, lay the foundations and otherwise do everything we can to make a culture, a society and a world that will allow greatness in the future, so that maybe our grandchildren will have a chance that we never had.

The chance I’m talking about is the opportunity to look at the world around you and say: I don’t feel ashamed in front of my ancestors: there are great things in this world that are every bit as great as the great creations of the past.

We honor our ancestors, and obviously our grandchildren should too. But what we ultimately want for them is a chance to have contemporaries who are also worthy of reverence because they’re equal to the great men of the past.

We have to study the great men of the past so we can understand what do when we find one among us. We also need to realize that a lot of the men we think of as “great men” are fakes. Some of them have been judged by the wrong standards. Others have simply been promoted by our enemies. But it takes a lot of experience and judgment to be able to tell which ones are authentically worthy of admiration, and which ones were just lucky to have someone put up a statue of them after they died.

 

Is that too pessimistic?

You can see why all this got cut. It’s not exactly encouraging. On the other hand the rest of the essay is just what happened when I sat in front of an art book getting mad.

Now I want to prove myself wrong.

 

HOW DO WE GET OUT OF THIS RUT?

I’ve been trying to tell anybody who’ll listen that I’ve got a plan that can bring all of my friends together. If we can make this plan work, then maybe we have a chance to start winning the “culture war”. There are two big problems with it right off the bat so I’ll say what they are right now.

 

1. If you want to do this you can’t do it as an anon. You don’t have to doxx yourself, or even stop shitpoasting online, but you can’t make this plan work this unless people know your name and your face, and who you are.
2. You’re going to have to do theater. Which means even if you aren’t a fag, you’re going to have to pretend to be a fag. And if you have to pretend to be a fag, you’re probably already a fag or you might as well be.

 

THEATER FOR US?

I know you all hate theater and I hate theater too. Hear me out anyway.

Right now we don’t have any teams of trained operatives who can make anything happen in culture. We don’t have men who can get together and publish magazines, or run an art gallery, or make mainstream fiction movies, or do anything that counts as “real culture”. That means we’re losing this part of the war badly.

If you think you can come anywhere close to winning the “culture war” by fighting it online, on social media or Substack, then you’re just as deluded as the Conserva-dorks in think tanks in Washington who organize conferences for each other, and then get rewarded by being published in The National Review and getting molested in a public bathroom by a senior Republican.

Some of you think you can take over the mass media tomorrow. But if you can’t even get five or six people together to sit in a bar and just talk about shit in public, in real life, like a normal person, without needing a disguise, then how are you going to get together a conspiracy of competent people to actually go do something?

We are going to need real-life teams of men who can regularly meet in person and start circulating our ideas in the real world and putting them into normal people’s heads.

If you want to get taken seriously, you’re going to have to show you can build something that appeals to an audience that isn’t your friends, and you’re going to have to make a product that is better than what the enemy can make.

That’s why I’m telling you: START WRITING PLAYS. START FORMING YOUR OWN SMALL THEATRE COMPANIES. START BUILDING AN AUDIENCE AT HOME.

Show people you can do this on a small scale in a low-stakes environment. Show people you can start an organization, keep it running for more than a year, raise money, develop an audience, develop a base of donors and financial backers, and convince people you have a superior alternative to shitty left-wing “cultural products”.

Theater is the quickest, cheapest, easiest way to do all of this at a local level. The competition isn’t even stiff.

What have you got to lose?

If you succeed at creating something, your worst-case scenario is, you’ll build a team of men who can work together effectively in local politics, as well as local media and culture. You’ll have a team for advertising and PR that doesn’t owe anything to any local political establishment.

Your best-case scenario is, you or someone on your team creates a play that ends up becoming a national or even an international success and gets your whole team famous. And you’ll all have experience in handling audiences and the general public. You won’t be like Jordan Peterson, making his daughter his closest adviser, doing all of his PR and social media in between booty calls with Andrew Tate.

Your first step is getting five or six guys together to be the main team. You’ll have to figure out all the fundraising, all the PR, all the lighting and sound, all the stage management, all the technical stuff and all the box office and front of house stuff, including selling tickets and keeping track of money.

If you can get together six guys who can work together, and commit to working together for at least three or four years, you can do literally all of this. It isn’t rocket science. Look at all the people in your town who do theater. Are you really telling me they’re better than you and can do things you couldn’t do?

 

HOW WE’LL KNOW WE’RE WINNING

It’s going to take a couple of years, but when we have enough of a thing going, we’ll be able to do what we want and nobody will be able to cancel us or obstruct our shows.

The ultimate dream for me is to put on a play about Richard Nixon that demolishes All The President’s Men, the Watergate movie with Robert Redford and Dustin Hoffman that planted the myth of “evil, corrupt Nixon” and “bad Watergate” in everyone’s minds.

Yeah, I know the Deep State and the media did it originally, and there was a book that the movie was based on. But you weren’t alive in 1972 or 1973 and neither was I, and you probably had to watch that movie in history class as part of your teacher’s liberal brainwashing techniques. It’s the movie that transformed the whole fake story into “history”.

Did you watch the play Frost/Nixon, or see the movie version? That’s another piece of fake history that makes people think Nixon was the bad guy. But that was fifteen years ago. Everybody’s forgotten about it already. If we create a new counter-myth, we can create the counter-myth that turns into “history”.

We can’t do it yet. We need to build up experience and resources first. We’ll also need a network of allies and collaborators who will help us and have our backs. We’re going to have to have audiences in every town and city that are willing to show up and pay money to support us. Let’s build up all of that, so nobody will be able to ignore us or “cancel” us. Then we can roll up our sleeves and start trying to rehabilitate Richard Nixon.

We are also going to have to make a “scene” in every city. We have to be the ones throwing the parties that everyone wants to go to. It’s part of the game.

If the people who want to shut us down start to think of themselves as our allies, and feel social pressure to become our “friends”, then they’ll be fucked. They’ll be too cowardly to criticise us after they’ve eaten too much of our free food and drunk our wine and smoked our cigarettes and weed at our parties. They won’t know how to attack without risking getting shitkicked.

What we should aim to do before we even think about trying to take down targets like the shitlib/Deep State Nixon myth is create powerful counter-narratives that aren’t even political.

My team’s goal has to be to become strong enough and popular enough as an institution to write and stage THE TRAGEDY OF RICHARD NIXON so that we start to kill fifty years of liberal brainwashing. If we can start to convince people around us that our view is the right view, and can do this play in a major city night after night without getting cancelled or shut down, we’ll know we’re finally winning.

My team calculates we will need four years of doing at least two plays a year, maybe three, to create enough goodwill among the local theater community so that we have actors willing to act in our plays without asking too many questions. We also have to develop our creative team, or production team and our PR operation so that we can pull in an audience with this and decisively win them over.

What’s our “rate-determining step”? Our team needs to train up writers who have the chops to make this work. We have two right now. We’re going to start testing our work in front of audiences in a few months. We have to train ourselves in how to win over an audience, and make things that entertain them, one step at a time.

In the short term, before we even get to doing anything about Nixon or McCarthy, we have to forget politics and just concentrate on making art. If we can start successfully creating stage productions that people will sit through for two hours, and genuinely enjoy, then we’ll accomplish the first step. The final step is to do all of that and finally convince the entire audience that Richard Nixon is a genuine tragic hero. Like I said, I think we can do that within five years.

When you make a movie, you don’t know how successful you’re going to be until it’s too late. You can’t predict how audiences are going to react to what you make. It’s expensive just to find out what people think. In a theater it’s different. You know whether or not you’re a failure immediately. Night after night there’s no way to hide from your failure. Your audience is right there in front of you.

Your aim has got to be to create an organization in your city that is so popular and successful that gay men and slutty women (the best actors and actresses in any city, on or off the stage) are fighting each other not just for the tickets to see your shows, but to have a chance to star in them, then you’ll know you’ve finally found the winning formula.

 

THE TRAGEDY OF RICHARD NIXON

You have to make propaganda that normal people actually enjoy. You have to make propaganda that doesn’t look like propaganda and doesn’t feel like propaganda. It has to feel like entertainment. It actually has to be entertainment.

Right now we have a lot of movie reviews and book reviews and philosophy essays and criticism. We have a lot of guys yelling at each other on Twitter to go and make “right-wing art”. We also have blogs where some of you guys sperg out and argue about whether the Oppenheimer movie was secretly Communist or the Barbie movie was secretly right-wing. That’s fine. Keep on doing it. Getting doctrine/theory right is important work. We just need to actually start making something now.

It’s going to take time. We need to start making things, failing in front of an audience, learning from our mistakes, and trying again. Theater is the fastest, cheapest way to do this. It’s out best route to start training men who are going to be in a position to start making TV and movies.

Non-captive audiences don’t lie. You can’t hide from them, and they can’t hide from you. Sometimes they don’t even show up. And when they do, you find out pretty quickly whether they like you.

I know some of you like to sit around thinking you can direct a movie. You’ll keep on saying that because you know nobody’s ever going to call your bluff. Well, if you can’t direct a cheap play in a black-box theater for an audience of fifty people a night, and keep people coming back every night for two weeks, they why would anybody trust you to blow millions of dollars of other people’s money directing a movie?

Theater is the easiest way we all have at every step of the creative process to see who has the talent to help us win the “culture war” and who is better off just giving moral support.

We are not going to win the “culture war” if we all stay in the shadows. We need to start building clear, viable pathways for safely coming out into the sunlight without compromising ourselves. And I’ll know we’ve got there when the two most popular stage plays in America nationwide are The Tragedy of Richard Nixon and Senator McCarthy: A True American Hero. Once we can make that happen, we’ll know that we’re firmly in control of the narrative.

 

FINAL FAREWELL

I’m sure The Tragedy of Richard Nixon is a retarded idea that can’t even be made into a meme. Show me how. Show me why. You should start talking about this as loud as you can.

Me, I’m staying out of the conversation. I’m through with being an anon. From now on I’m focusing my efforts on doing shit in the real world, in real life, and I know some of you are doing God’s work by staying in the shadows, but me, I’m willing to make compromises now.

I hope I get so successful that my anon friends get jealous, call me a sellout and decide to doxx me. On second thought, maybe not. I hope my anon friends aren’t bitches. Either way, I’d better find ways of bringing my anon friends out in to the sunlight with me without compromising any of them or emasculating their important work, because if I can’t then all of us are fucked.