'Hereditary' Offers More Over-Rated Subversion



By Gith Yankee


Hereditary is the newest entry in a strange new genre: Brooklyn Horror. This new genre offers movies whose trailers promise jump scares and creepy dead things, but instead deliver two hours of tedious, slightly tense drudgery. In the theater, the effect is mainly to amplify the crinkling Twizzler plastic. At home, the effect is to put you into a nice deep sleep, to emerge with a headache and a wish to reclaim lost time. Audience ratings for these films are in the C- to D+ range, but the critics unanimously approve with high ratings. They are quite profitable with Hereditary having a budget of ten million dollars, a box office of twenty-six million dollars, an audience rating of 56% on Rotten Tomatoes and a critic score of 90%. Other films in this new genre include The Witch (2015) and A Quiet Place (2018). These three films in particular avoid the enforced diversity of the big budget superhero action films, but generally use their White-presenting cast to pursue an anti-family agenda.


Plot summaries are for untermenschen: In a nutshell, a neurotic family is consumed by a Satanic cult.


The first thing an Alt-Right movie review must do is Name the Jew, so let's dispense with that now. The producers of the film are Jews, the writer/director is Jewish and both child-leads are Jewish. The wealthy parents with vague jobs (artist & psychiatrist?) are of course gentiles. This is the typical Hollywood movie family; extremely rare occupations for parents completely unrelated by appearance to their children. The son, played by Alex Wolff, appears to be from an entirely different continent. Gabriel Byrne, playing Steve Graham, joins a long line of Irishmen who physically resemble Jews and essentially portray them. More recent examples are Sally Hawkins from The Shape of Water and Kylo Ren from Star Wars: The Last Jedi. Byrne's profession may not be made clear in the film. I certainly don't recall it and there isn't a single online review that mentions it. Toni Collette is a White Australian who appears gaunt and tired throughout, possessing the mothering skills of a board with nails driven through it.


As far as eugenic values go, these films all portray outwardly intact nuclear families beset upon by demonic forces that ultimately "win" and either kill or take over the family. Hereditary especially claims to be intellectual fare, "family tragedy evolving into horror" to quote 31 year old director Ari Aster, but is really an uninteresting family drama with a sudden, magical realist injection of supernatural doings after an hour or so. The final hour consists of the usual genre jump cuts with creepy kids in the background followed by the Satanic ritual denouement. The Witch was superior in that the acting, setting and introduction of magic were more skillfully handled.


One interesting fact about The Witch, A Quiet Place and Hereditary are that there are no characters from the global south. This is certainly helping these movies make excellent profits. The younger Jews seem more aware of the anti-diversity zeitgeist and are doing a better job of goyim farming than the clueless diversity hires currently running Lucasfilm into the ground. Hereditary dog whistles the urban liberal perfectly: artsy, educated main characters and the edgy satanism and dark secrets of the mundane suburban family. A24, the company producing Hereditary, is a Jewish run film distribution company worthy of its own article. Suffice it to say, they essentially dominate faux-art house movies in the US (Get Out, The Room, Moonlight, The Witch) and we will be seeing many more of their profitable anti-White, anti-family movies in future years.


I have not mentioned the Satanic ritual elements of the film as this would better be handled by an occult expert. Perhaps, there is all manner of Satanic globalist messaging in this movie. Perhaps, Paimon is the manifestation of some deeper sinister meaning, but really this is shallow fare easily digested by gullible urban Whites unconsciously eager to see themselves on the big screen.


This movie would not be made in the ethnostate and exemplifies the filmic conundrum for White men: we can see big budget superhero movies featuring White weaklings saved by our diverse betters or we can see art movies featuring "White" families as deconstructed by Jewish writers and actors. The best we seem to be able to hope for are movies that don't entirely hate us such as Blade Runner 2049 or Dunkirk. Hereditary is a terrible film that will probably launch the director into a high level of success and influence, the usual Hollywood trajectory.

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