“Elysium”—Hollywood Open Borders Propaganda Concedes “Nativists” Are Right

James Kirkpatrick, VDARE, August 10, 2013

Los Angeles is an overpopulated Third World wasteland, where swelling masses of non-whites scramble through the ruins of a once-great city. The rich and powerful live figuratively and literally above the ruins, experiencing luxuries and pleasures that most Angelenos can only dream of.

Also Matt Damon stars in a new movie set there. The only difference is that, in his futuristic version, the rich live in space.

Elysium is in its own way a masterpiece. It’s a dystopian morality play oblivious to its own absurdity, earnest to the point of kitsch, equally self-righteous and sentimental. In the world of the future, the middle class is a thing of the past, and so, apparently, is irony.

Yet despite it all, Damon and writer-director Neill Blomkamp give us something timeless. They have achieved artistic immortality in capturing the premises, the delusions, and the peculiarly poisonous moral idealism behind the ideology we call “Open Borders.” Elysium succeeds because it shows us what it is to believe that “citizenship” itself is the root cause of oppression.

Ironically, Elysium inadvertently concedes that today’s “nativists”are right. The futuristic Los Angeles is a decrepit, overcrowded ruin. The English conversations of the main characters are simply for the American audience—all the casual encounters in the film are in Spanish. Matt Damon’s character, “Max,” is the fulfillment of VDARE.com Editor Peter Brimelow‘s projected but unwritten concluding Alien Nation chapter about the last white family in Los Angeles, except that “Max” was raised by (Spanish-speaking) nuns.

At no point throughout the course of the film do we see an American flag. While there is the occasional vague reference to “the government,” there is no sense of American national identity, culture, or civic unity. There are simply the exploitative rich (who have literally abandoned the planet for the eponymous space-based refuge) and the resentful Third World masses.

In contrast, “Elysium” itself seems to have a semblance of identity and culture. This orbital refuge for the rich is almost entirely white, except for a few token Asians and a weak and cowardly Indian “President Patel” (Farhan Tahir). The real power in Elysium: Defense Secretary “Jessica Delacourt” (Jodie Foster in a comically bad performance). Foster gleefully veers into outright camp, affecting what can only be called a “supervillain” accent. We see her speaking French with the attractive “citizens” of Elysium and talking about giving presents to various blonde children—in today’s New America, this is the kind of “character development” that shows how evil she is.

Secretary “Delacourt” favors a hard line in defending her habitat. When challenged by the sniveling “Patel” over her tactics, she pronounces that unless someone has children, they can’t understand her willingness to do anything to defend what has been built for them and their children’s children.

Of course, we never actually see “Delacourt” with her children—or husband—interesting, considering Foster’s own personal life. But insofar as we are given any insight into Foster’s character, it is as someone who is willing to do anything to defend what has been built for “ourselves and our posterity.” This is seen as the very definition of evil.

And make no mistake—this is a morality tale about immigration policy. Thus the desperate Third World masses occasionally try to fly to Elysium in crude spacecraft. These are referred to as “undocumented” ships. “Delacourt” orders her Earth-based agent “Kruger” to “shoot them down.” (“Kruger,” needless to say, is a white South African—apparently they are still running around being oppressive centuries in the future. Director Blomkamp is himself a liberal white South African who, surprise, moved with his family to Canada after white rule ended). When one craft does make it to Elysium and the refugees scatter, they are referred to as “illegals”who are to be sent to “deportation” when captured.

The great attraction of Elysium, other than attractive aesthetics and artificially-created “natural” beauty, are its “Med-Pods,” advanced devices that can instantly cure injuries and disease in a matter of seconds. Most security, service, and administrative tasks are performed by droids of various sorts. These droids are produced by Armadyne, headed by “John Carlyle” (William Fichtner).

“Max” works in Armadyne’s factory, where is he treated as utterly disposable and pushed to produce as much as possible as cheaply as possible. Because of a cruel supervisor, he is accidentally given a lethal dose of radiation and has only five days to live. With nothing to lose, he agrees to do a job for “Spider” (Brazilian actor Wagner Moura) an immigrant smuggler, in exchange for a ticket to Elysium and a chance at survival.

The job: to hack into the mind of Armadyne boss “John Carlyle” himself. But as “Carlyle” is scheming with “Delacourt” for an outright coup on Elysium, the result is “Max” gets the codes to Elysium itself—the ability to determine who is and who is not a citizen and command of the security systems. The codes are (SPOILER ALERT). implemented in “Max”’s brain. In the end, as you may have guessed, “Max” is able to defeat “Kruger”, take control of Elysium’s system, and open the gates of Elysium to everyone.

Of course, there are various subplots involving powered exo-skeletons, futuristic weaponry, and “Kruger”’s betrayal and murder of “Delacourt” when he tries to take over Elysium himself. But these are all distractions. What is important is the moral vision underlying the film, which is entirely consistent and utterly predictable.

“Max”’s childhood love is “Frey,” a Latina woman (and single mother, naturally) with a daughter dying of leukemia. (She is played by Alice Braga (pictured right) perhaps significantly another Brazilian).

She is caught up in the violence when she helps a wounded “Max.” In the post-Christian culture of the post-West, the cinematic trope of the saint-like single mother with a child (and entirely absent father, a modern Immaculate Conception) serves as the new moral center for male protagonists—utterly blameless, totally altruistic (“Frey” is a nurse, of course), and the worthy object of sacrificial love. “Frey”’s daughter is the personal symbol of the entirely innocent and virtuous Third World masses whom the cruel (white) masters of Elysium are sentencing to death.

Elysium ultimately is transformed when “Spider” is able to use the code to literally transform everyone on earth from “Illegal” to “Legal.” As a result, the robots begin flying Med-Pods to Earth to instantly heal everyone. One hesitates to consider the effects of this policy on the “overpopulation” bemoaned at the beginning of the film but never mind.

“Max” allows “Spider” to remove the codes from his brain even though he knows the effort will kill him. Thus, although initially motivated by fear of death, “Max” ultimately sacrifices himself to destroy Elysium and save the masses on earth. The sacrificial white hero (and the moral glory he achieves by saving the helpless brown people from themselves) is the quintessential liberal fantasy.

In contrast, the white South African villain as a symbol of absolute depravity, sadistically violent, utterly disloyal…and, oddly, sexually obsessed with the random and rather average-looking Frey.

The premise underlying immigration enthusiasm of both Left and Right is that, like droids, modern civilization is an automatic program, something that can run on autopilot regardless of the actual population.

Further, like the “Med-Pods,” resources are infinite and it is simply a matter of taking them away from selfish people and giving them to the virtuous poor.

But in the real world, medical care is expensive and resources are limited. This mass immigration has been utterly devastating to hospitals around the country. As Obamacare takes effect, the result will be worse health care for everyone.

Furthermore, while we are supposed to sneer at the sheltered whites living in luxury on Elysium, the logic of the situation opening its borders will simply turn the space colony into what opening the U.S.A.’s borders have turned Los Angeles. Civilization is not just some program that can be transferred like a flash disk—it is a fragile, precious thing. Already it is being wiped out in entire neighborhoods, regions, and even countries of the Western world.

Denying people free medical care and luxury living might indeed be monstrous—if these benefits cost nothing. But in the real world, imposing limits on medical care, living space, and access to resources is necessary for a people to survive.

However, as Damon’s character “Max” illustrates, the movie’s implicit point is that whites are obligated to die—even when it does no good in the long run.

But what do the likes of Matt Damon and Neill Blomkamp care? Blomkamp crows, “This isn’t science fiction. This is today. This is now.”[Future Shock, by Sean Smith, Entertainment Weekly, August 2, 2013]

This is now—but not in the way Blomkamp thinks. We already live in a world where national solidarity and civic virtue has collapsed. But mass immigration is a reason for that collapse, not an alternative to it. And whatever their sloganeering, the likes of Damon and Blomkamp will be isolated from the consequences of the policies for which they are morally responsible.

If the movie had wanted to be realistic, the citizens of Elysium would keep a secure border for themselves but would use their money and power to make sure it was still open for everyone else. “Kruger” would be beating up patriotic activists. Secretary “Delacourt” would commit her murders in the name of democracy and equality. “Spider”, because of his Snowden-type violation of the cyberstate, would be called a racist terrorist.

At the end of the movie, Elysium is to be opened up to everyone. So what comes next for our heroes, now that the whole planet will become just one big nightmarish Los Angeles?

I can take a guess. Don’t count on a sequel.

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  • I remember that Star Trek episode where it was so crowded on one planet, people were elbow to elbow. I think Earth is due for a population trimming war sometime this century.

    It’s still not too late to turn Elysium into a back door Mass Effect prequel.

    • sbuffalonative

      The evil white man’s medicine keeps interfering with nature.

      • baldowl

        Don’t forget his foolish altruism.

    • Triarius

      In the past wars usually happened when there was a surplus of men, among other reasons like poverty, etc. But men with no women and no future or prospects is almost always a top contender in every war. If this is true in the modern world, then top candidates are India and China, both with excess men in the hundreds of millions and a shortage of women. That is my prediction for the next major war. Whether it is India vs Pakistan, China vs Japan, or something else all together is anyone’s guess. Possibly against each other?

    • Mark Hillyard

      The Earth is not over populated. When you fly from San Francisco to Chicago and look down it’s amazing how much land is un-populated. Most people consider Lyndon LaRouche a nut case, however he does have some interesting ideas on how to open up all that land for people. The money powers probably don’t like to think about it as the concept would open up so much land that property values would drop (I guess). etc.

      • Puggg

        The Earth can be over populated and not look like it is. It’s not just space, it’s the support mechanism for all those people. Agriculture, water.

        • Sick of it

          Fresh water would be the main limitation and we can fix that today via desalination.

        • Mark Hillyard

          When you factor in the corruption ie, warlords, governments, bandits, Jihad, war, environmentalists, etc. You are somewhat correct. This Earth can sustain a lot more people, but the corruption in places like Africa prevents food production and distribution. A little research will show you that.

  • I’ll be able to say more when I’m able to see Elysium this coming weekend. But I think this movie is getting a bad rap from lamer cons. I think, if understood and interpreted properly, this movie could be sort of a Sci-Fi version of H.M.S. Pinafore, an allegory about elitist hypocrisy, the typical “for me but not for thee” arrogance of people who run away and shield themselves (in Elysium’s case, in an orbiting Stanford Torus hundreds of miles above the ground) from the mess they helped create.

    • Eagle_Eyed

      Which makes it all the more ironic that Matt Damon stars in it.

    • Anna Tree

      And all the liberal leftist politicians, media and stars will of course be the first there, leaving poorer whites in the mess they created, as you wrote.
      They are the true supremacists…

  • Luca

    This review leads me to believe the script was actually written by Obama, Pelosi, Reid and Napoletano. It certainly is a liberal fantasy-propaganda piece and about what I would expect from those elites who control Hollywood.

    But I was totally puzzled about two things: no homosexual subplot and no black super hero.

    Since these essential liberal ideals are missing, it leads me to believe they have now placed immigration and health care on the front burners.

    • IstvanIN

      Obama can’t write, must have been his ghost writer.
      Napoletano probably thinks she looks like Jodie Foster.
      Reid fantasizes himself in the Matt Damon role.
      Pelosi just wishes there were MedPods, since she looks like time is running out.

    • newscomments70

      “But I was totally puzzled about two things: no homosexual subplot and no black super hero.”
      Hollywood is starting to get it. They know they will enrage most of the productive sector of the population if they push those agendas on us. They want people like us to buy their movies and their other agendas. At this time, you cannot buy a movie ticket with an EBT card. I believe I am even seeing more whites in advertisements. Our hate mail must be getting through to them. It is only a pacifier though. Their aggressive agenda to exterminate us is still at full speed.

  • din_do_nuffins

    More fallout from GSU’s White Student Union.

    Good News: Recent report clams White students drop out of campus organizations when Diversity reaches 30%, because of “uncomfortable” situations.

    Bad News: White students prove they tolerate Diversity below 30% by staying in campus organizations, even though they know the future will become unbearably dark.

    Hoped for News: White students abandon campus organizations when first Diversity shows up.

    • dulouz

      The Dark skins like to hide behind the weakness of females, don’t they?

  • kjh64

    “At no point throughout the course of the film do we see an American flag. While there is the occasional vague reference to “the government,” there is no sense of American national identity, culture, or civic unity.”

    This is the “futuristic Los Angles”? Exactly how is it different from the LA of today????

  • IstvanIN

    The sequel will be entitled Section Eight in Space.

  • Spartacus

    “In contrast, the white South African villain as a symbol of absolute depravity, sadistically violent, utterly disloyal…”


    Gee, I wonder if the Ziomedia’s description of Afrikaaners is what leads to this :

  • MerlinV

    Leftbots won’t be happy until America resembles the bar scene in Star Wars.

  • CaptainCroMag

    I saw this movie and enjoyed it immensely. Like District 9, how you feel about the movie depends on where you are coming from philosophically. I saw it as a movie about racial reality and a warning about open borders and overpopulation. Though the director is supposedly a hard left liberal, the movie did not pull any punches when showing the mestizo wasteland that is future Los Angeles. The film showed a massive browned population living in their own filth and the White protagonist is mocked derisively for holding down a job, while everyone else seems to do nothing more than breed and commit crime. Those in charge are Whites of northern European descent. The few Hispanics that are shown to have any brains are White Mediterranean looking Hispanics. There are no unrealistic genius Blacks or mestizos like we usually see in Hollywood films.

    The squalor that everyone lives in is shown as being self inflicted. The city is covered in trash and graffiti and no one even makes an attempt to better their communities. Most are covered in tattoos and body piercings and third world ghetto behavior has become the norm. At no time while watching the film did I feel that sympathy for the people left down on Earth, with the exception of Matt Damon’s character. He was a White man trapped into a world that he was obviously better than. He was the representation of the working class White that was left behind by his ethnic kin. That was the theme of the movie for me: White flight from the brown horde and the Whites that didn’t have the means to escape. Matt Damon’s depressing life down on Earth showed exactly why Whites would want to flee Blacks and Browns. His actions at the end of the movie are not heroic, but instead done out of bitterness over being forced to live among the brown rabble his whole life. Only Blacks, Browns and Lefties will see him as a hero. He was a sad character whose only dream in life was to escape Los Angeles and join his fellow Whites on the paradise in the sky that they had created. And in the end, when that dream couldn’t be fulfilled, he destroyed the very thing that he longed for.

    • Tinfoil A22hat

      Thanks for providing an alternative review, very interesting that there are no magic, wise, proud, strong vibrant diversities. That in itself is refreshing, at least.

    • baldowl

      I have not seen “Elysium,” had in fact determined not to do upon being nauseated by the first trailer I saw; but your take on it is an interesting one, and now I’ll definitely see the picture when it’s available for free somewhere.

    • sbuffalonative

      He was a White man trapped into a world that he was obviously better than. He was the representation of the working class White that was left behind by his ethnic kin.

      Haven’t seen it an I likely never will. Not because of the themes. I gave up on movies years ago. Too many subplots and odd friendships between whites and non-whites that don’t exist in nature.

      What I know about the film I only know from articles like the ones above.

      I have no idea what message the writers and directors were trying to send.

      Have the writer and director had an epiphany about a third world invasion or are they pointing the finger at white elites for not sharing the wealth and helping the less privileged? Is this movie meant to shame whites into doing more the help non-whites before it gets this bad?

      I like your two line summary. But what does it all mean? Is this a warning to whites to get away or a manifesto for them to work to make the lives of the non-whites better before it’s too late?

      I suspect it’s an ink blot and people will see what they want to see.

      • CaptainCroMag

        Yes, the film is an ink blot much in the same way that the director’s previous film, District 9, was. Some saw that movie as a message against apartheid, but others saw it as a warning against mass immigration. From my point of view, I could see it as nothing but the latter. The aliens in that film were disgusting and behaved awfully and could not be assimilated into the host culture. They also bred uncontrollably, which was specifically highlighted in the film’s epilogue. If the aliens were meant to represent third world immigrants then no right thinking person would want them in their country.

        In Elysium, the director presents pretty much the same message, but doesn’t use any metaphor. The non-Whites have ruined the Earth with their out of control breeding and turned it into a third world hell hole. This message is blatant. In the depictions of Los Angeles, almost everyone is mestizo or Black with only a few Whites to be seen. The director is said to be a Leftist, but whatever his political bent, he is clearly a race realist. I can’t remember any recent Hollywood film that shows non-Whites in such an unflattering light as his two movies have. Whether intentionally or not, he shows, through his film Elysium, the real future of a browned America.

        • evilsandmich

          Thanks, I was wondering about that. I’d always thought that District 9 was a ‘complaint’ film of sorts in that it said that apartheid, which was needed, was ruined by some over-zealous types. Likewise, I’m given to think that there’s some meaning buried in this film; kind of like how Chris Nolan has to go through the trouble of burying conservative based themes under tons of shellac so that there isn’t a big liberal freak-out.

        • sbuffalonative

          District 9 has been on cable. I watched some but I find current political reality too depressing to exacerbate such feeling with fiction.

          I have not seen either film (though I did read the non-opinion, straightforward synopses of both on www themoviespoiler com).

          It’s difficult to know what the writer and director were going for.

          In one sense, it could be a warning to whites to find a way to protect themselves against this non-white onslaught. Conversely, it could also be an appeal to whites to solve the problems of non-whites before those problems get so big that whites will be crushed.

          Judging by the synopsis I read, the ending of Elysium is an egalitarian dream.

          The white people who have isolated themselves and withheld their life saving technology from non-whites have their day of reckoning and are forced to give up their privilege.

          The message of Elysium seems to be the latter. White people must work now to solve the problems of non-whites or suffer the inevitability of non-whites taking by force everything whites have.

          I believe the film sides with the leftist. Namely, it’s a warning to whites to solve the problems of non-whites now or face the consequences later.

          • Anna Tree

            I disagree, here is my analogy to explain: the third world on Earth may have taken the golden eggs but it killed the hen laying those golden eggs at the same time: with Elysium, or more precisely the Whites on Elysium, destroyed, the stolen white technology will not survive Elysium very long.
            With the death of Europe (the US etc), the world will not survive very long.

        • Anna Tree

          Yes this could be a modern version of La Fontaine. If a white racialist was in Hollywood and wanted to send a warning to whites, Elysium could be it.
          Its ending is the destruction of those whites in the sky, but this could be not a anti-white message, but again just a warning.
          I am a optimist white realist, but some are pessimist white realist…
          Thank you also for sharing your opinion on District 9.

    • 48224

      I saw it last night. ALL the good people in the movie were brown and ALL of the bad people were white Europeans except for Matt Damon. Would we EVER see a movie depecting all browns as bad and all whites as good?
      I think not. As I have said in the past, many white leftist liberals think that kissing minority butt demonstrates how smart the liberals are.

      • CaptainCroMag

        You’ve really oversimplified the movie. With exception of the nurse and her daughter, practically all the brown characters were thieves or murderers. Who would see them as the good guys?

        The only truly villainous characters were Kruger and his henchmen. I didn’t find Jodie Foster’s character to be a bad person. She did what was necessary to protect her people. Her speech against the liberal policies of President Patel echoed the feelings of many nativists who warn against unchecked immigration. She could only be seen as a villain by those on the Left. Personally, I sympathized with her.

        Don’t get hung up over what you suppose the movie is trying to portray and just focus on what is actually depicted on screen. The people of Elysium were well dressed Whites with families whose only crime was wanting to live a good life away from the festering brown horde down on Earth. Yes, to a certain demographic, they would be the bad guys. But there’s no reason why you should see them that way.

    • Triarius

      I want to see this movie, but cannot stand Matt Damon, he makes normal leftists look like moderates. I wish they would have went with their first choice (Eminem). But I will see it without Hollywood getting a dime. Like what others have said, it is incredibly easy. Hollywood has not see a dime from me in years while I pick and choose what I want from them.

    • Clytemnestra

      I agree with your synopsis. I also agree with the critics who thought that Elysium would have made more sense to their own narratives if the protagonist had been cast with and written like some saggy-pants, backwards baseball capped, Urban Whigger like Eminem.

      If you think about it, both the critics from the discourse coming from both the left and right side of the paradigm are correct. The right is absolutely justified in its belief that unlimited Third World immigration into the USA is going to be disastrous to the country by Blomkamp’s presentation of his vision of late 22nd century Los Angeles. The left is absolutely justified in its belief that Whites of Elysium are selfish elitists who don’t want to share the good life with anyone who is not a White of Elysium.

      Blomkamp is a pretty shrewd character in his own right. If he had not used a mushy-headed, DWL Celebretard like Matt Damon and if he had stuck to an intellectually honest ending, the subtheme of his movie would have been all too obvious to the critics currently raving about his film and they would have wasted no time panning it or pointedly ignoring it in hopes that it would tank. Like I said, Blomkamp starts out pretty honestly and only pulls his punches at the end.

      Forget about the protective camouflage of Max getting moony over Frey and Matilda Santiago. Max Da Costa is one of the last Whites left working in the dystopian multicultural world of tomorrow. Max Da Costa represents the remnant of working class Whites who saw their jobs in-and-outsourced to foreigners, saw their neighborhoods block-busted then overwhelmed by urban blight into extinction, and saw any hope of upward mobility stymied by affirmative action and diversity quotas that displaced them in university admissions and in the workforce.

      All of this at the agency of the class made up by the Jessica Delacourts and the John Carlyles who cheered Truman on as he integrated the military, Eisenhower as he desegregated Southern schools at bayonet point, Johnson as he squandered millions of dollars on food stamps, Medicaid, and free housing to Black welfare queens, Ronald Reagan as he signed off on the first amnesty bill, etc. ad nauseum ad infinitum. All of this diversity was imposed on Da Costa’s people by the Delacourts and the Carlyles who saw to it that they themselves would never know enrichment by diversified vitality.

      Even today, White Nationalists have this really huge blind spot about the White Hierarchy itself in their fulminations against Non-Whites and Jews. Dr. Kevin McDonald carries on like there was no such thing in any White society as a hostile elite until Jews acquired positions of power. Yet, throughout White history, the White elite have gorged themselves in mansions while the White poor have starved in hovels, unable to even hunt a rabbit or be executed for poaching.

      To know where Blomkamp is coming from, remembering where Blomkamp came from says it all to me. Blomkamp who came from Boers comprising yeoman farmers and the working class who saw the South African elites import all these Bantus from all over Africa for cheap labor for their mines and negotiated their own separate peace with them by enfranchising them, knowing it would throw working class Boers under the bus. Apartheid’s end was catastrophic for the Afrikaner working class who saw their farm cousins murdered and themselves pushed out to third world hovels by the new black government while the elites continued to live their pampered poodle lives in gated communities patrolled by
      private security forces.

      White nationalists refuse to either accept or to understand that there is and always has been a certain, competitive, status-conscious class of Whites whose idea of true success involves remaining in a superior position to other Whites. Non-Whites don’t figure into their equation except, of course, as a tool to oppress and victimize lower-order Whites.

      Throughout the West these days, what we really have is not an undeclared race war, but an internecine class war disguised as racial divisions. In Europe of yesteryear, the nobles comprising the White elite used Jews to collect rent and taxes from their White tenants. In America of today, the White elite use blacks and now Hispanics to terrorize and aggravate and humiliate lesser Whites.

      It should be noted that Blomkamp demonstrates Max’s initial racial solidarity with the Elysium citizens when he refuses Frey’s request that he smuggle Matilda into Elysium. Max’s idea is to get his hands on one of Elysium’s Med-pods and bring back the technology to cure Matilda on Earth’s soil. Likewise, Max initially refuses to alter the program to make everybody on earth a citizen of Elysium.

      I suspect that Blomkamp was forced to substantially revise the ending he wanted
      to write, because if the ending had not been so disingenuous and dishonest, it would have been more than evident that Max sacrificing his own life to make Elysium citizenship available to poor Non-Whites was NOT an act of mercy toward his little colored friends, but the White working class outlier’s final act of revenge against the Elysium Whites. The best analogy I can make is a suicide bomber.

      How could Max Da Costa see how safe, how clean, how prosperous, how homogenous Elysium was without feeling a sense of outrage, betrayal, bitterness and an overwhelming rage over what the Whites of Elysium allowed to happen to the little chunks of Elysium that Working class Whites used to occupy on Earth in the interests of enriching them with vibrant diversity?

      Has the real message that Obama’s re-election by working class White eluded the White elite? I was listening to Rush Limbaugh when he asked some White why he didn’t vote for Romney and that old boy said better to let the Democrats drive the country over the cliff at full throttle than allow the Republicans to ease it over the cliff. Do the wealthy White liberals of rich, beautiful Whitopian enclaves in places like Marin County, California and Westchester, New York know how absolutely gleeful the Obamanation’s new HUD initiatives targeting their areas for vibrant diversification through building low-income housing in their neighborhoods has made poorer Whites?

      Surely with all the Third World immigration that has poured into the United States despite all the foreign aid that the United States has distributed to the Third World, ONLY intellectually dishonest liberals would believe that the Non-Whites of Earth would only be satisfied that Med-Pods were coming down with cures for disease from Elysium when all that safety, cleanliness, and prosperity was now within their reach! Working class Whites know better. No, it wouldn’t take any time before Elysium would look like Earth. Better yet, it would be run by Non-Whites with grievances against the selfish Elysium Whites for spending all those years withholding Elysium from their people!

      • Anna Tree

        Great post with so many wise insights! Thank you.
        I hope you don’t mind if I borrow some of your thoughts to spread them.
        Do you think that their “useful idiot” and accomplice Jews will again trigger their own group to be the scapegoat again? Or do you see another outcome this time (hopefully not the one foresee in the movie)?

  • Tinfoil A22hat

    I’m thankful for the intelligent review. I thought the special effects looked good in the commercial — now I have been saved from an hour or two of risking aneurysm. Also, whoever “created” this film is pretty openly flirting with plagiarising “Ready Player One”.

  • sbuffalonative

    Los Angeles is an overpopulated Third World wasteland, where swelling masses of non-whites scramble through the ruins of a once-great city.

    And who is their savior? A white man.

    Hollywood sees the future that we’re creating today as a nightmare.

  • Jefferson

    In Elysium, most poor people are Nonwhite and most wealthy people are White. It reminds me of Rio De Janeiro when I was there on vacation.

    Even the houses where the poor live in Elysium, resemble the favelas of Rio De Janeiro.

  • A Freespeechzone

    There are parts of Los Angeles that are as the article above describes–it’s chronicled in a blog that has not been added to since 2008; but, it is the same or worse today.

    If you have time, search the Internet for “Why Los Angeles Sucks”….revealing reading.

    No Apologies.

  • Robert11110

    i think I saw an article not too long ago that said 60 percent of Americans no longer go to the movies anymore. I haven’t seen a film in the theatre in years and that’s because I’ve figured out they only serve one purpose, to indoctrinate people. As an example, movies like “Mrs. Doubtfire” are meant to promote deviancy, cross dressing and show homosexuals in a positive light. The mother was a manipulative militant feminist who destroyed her marriage and then played the victim. I used to watch the “Star Trek” movies and liked them until I woke up and realized these things are promoting communism, race mixing and gender neutrality, among other things. This stuff is pretty powerful and even when you know its intent, it still has an effect on your mind. The same with TV programs. I used to be a big couch potato until there was a noticeable decline in the quality of the shows since the millennium started. Even watching old shows are full of subtle messages. I began to notice something odd about Dr. Smith and his relationship to Will Robinson and there’s little doubt in my mind that this was intentionally scripted that way. Do yourself a favor and boycott Hollywood and cancel your satellite or cable provider. Hit them right where it hurts, in their wallet. Otherwise, they’ll use the money from the ticket you purchased or the service you’re using to fund some left wing cause to work against you.

    • Nathanwartooth

      Everything can be gotten for free that is on TV after being just a little creative. I haven’t paid a dime to see anything except in theaters in a long time and haven’t seen a commercial in years.

      I watch Dexter, Breaking Bad, Big Bang Theory, Wilfred and a few others. There are some good shows on TV, you just have to look around.

      • Robert11110

        I don’t know about most of these shows but I do remember Breaking Bad although I’ve never watched it. It’s a story about two guys who sell drugs. That’s not exactly healthy to digest. These programs appeal to the cultural rot going on in this country.

        • sbuffalonative

          I agree.

          All these critically acclaimed award winning shows like Dexter, Breaking Bad, The Sopranos, et al highlight the worst in white behavior.

          The only time you see reality on TV is when you watch a show like Cops.

          If you watch them critically as morality plays and learn valuable lessons on how not to live your life then they have value.

          Unfortunately, I believe they function as propaganda to poison people’s minds that white people are disproportionately low life creeps and dangerous too.

          • Nathanwartooth

            Yes, let’s make shows about people who are completely normal and solve every problem with hugs and rainbows.

            You do know that conflict is what makes dramas interesting, right?

            Also, I don’t think that it shows the worst of White behavior at all. Tony Soprano was a mob boss, and a great one at that. Family and work were the most important things to him. He also wasn’t evil, he didn’t just kill people randomly.

            In Breaking Bad, Walter White only sells drugs because he is dying of cancer and would leave his family with nothing. Again, a person who is driven by his love of his family and dedication to them. Of course it ends up twisting who he is and he has turned into a killer who has no remorse. Walter also succeeds because he is always the smartest guy in the room.

            Dexter is about a psychopath who only kills people who are bad. He is what is called an anti hero. He does bad things but only to bad people.

            Not every show is just anti White propaganda. It’s would be crazy to think so.

          • sbuffalonative

            You do know that conflict is what makes dramas interesting, right?

            As an adult, I know this but I was speaking of when I was a young boy.
            I could go into a very long discussion of why I no longer watch movies, plays, TV dramas, etc but you won’t buy my reasons and I’m not in the mood to invest the time to discuss it.

            What it boils down to is that I see too much reality that I don’t need fiction to find ‘entertainment’. Also, regardless of how realistic a drama may be, I find most dramas to be artificial.

            I know that conflict is the driving force of drama but I don’t crave conflict as entertainment or in my life. I hate conflict which is why I hate diversity. I don’t seek out conflict. In real life I have to deal with it. I have enough conflict ‘entertainment’ in my life that I don’t need to go looking for it or be entertained by it.

            I’ve written before why I didn’t like The Sopranos. I have heard your arguments before about Tony looking out for his family.

            To me, Tony was a self-serving, reprehensible criminal. That he had one virtue, he cared for his family, don’t justify his ‘line of work’. I know, conflict, drama, entertainment.

            It’s been awhile but one episode I watched totally turned me off. Tony killed a teenage boy without mercy and in the end lied to his wife that the kid was killed by blacks.

            I know you don’t want me to read too much into these things but the message I believe the audience got unconsciously was that Tony (a white man) murdered a white teen and then lied by blaming blacks.

            That was the unconscious message. That’s the unconscious image planted in people’s minds; white people can do evil things and then blame it on blacks.

            This kind of entertainment only feeds the notion what the left believes. White people are evil and racists.

            If you like the show, the drama, the entertainment you get from it, that’s fine. But for me, these fictions simply reinforce Hollywood’s lies about white stereotypes.

            As for Dexter killing bad people? He’s still the media stereotype of a white serial killer. The same for Walter. Reinforcing the stereotype that white people are the real drug dealers.

            These are three stereotypes of whites that the media are all too willing to provide as entertainment.

            Will Hollywood produce a drama about the black killing fields of Chicago? No. That would be a racist stereotype.

          • Nathanwartooth

            Tony Soprano was not a high IQ character. His father was in the mob and Tony was raised into it. Since he wasn’t very bright, he really didn’t see himself doing anything else that could be anything close to lucrative.

            The character that Tony had killed was Jackie Aprile Jr. Jackie thought that he could hold up a card game that the mob was having to gain status and get his foot in the door. But everything went wrong and they ended up killing one person and shooting another in the leg. Since these guys were made, they had no choice.

            Even though Tony knew that made guys got shot and everyone wanted vengeance, he still let Ralph decide his fate since he was dating his mom at the time. Tony explained that Ralph could give the kid a pass if he wanted to. In the end, Ralph decides to kill him and the kid was hiding in a ghetto so they blamed it on Blacks.

            So, I’m thinking you didn’t follow the show close enough? I’m not sure.

            About Breaking Bad, the REAL drug kingpin, Gus was Black. Walter was only working for him.

            In Dexter, Dexter is super smart. He got into medical school but decided to become a cop so that he could kill murderers more successfully. I also must stress again that he only kills bad guys. Even though he is White, I couldn’t see any other race except -maybe- Asian play it and even then it just wouldn’t feel right.

            If you try to see a hidden conspiracy in everything you watch, you would never enjoy anything. I think that is what you are doing, reading too much into things that actually have no meaning.

          • Sick of it

            Law enforcement would be more successful if they hired people like Dexter Morgan.

    • flyingtiger

      Lost in Space was on when I was a child. At school, we had a visit from Officer Friendly. He warned us about getting into a car with a stranger. He then asked the class for an example of a creepy stranger. I had to think. The rest of the class didn’t have to. They shouted in unison, “Dr. Smith!” The nun asked who doctor Smith was. Officer Friendly said that he was a television character and that all the kids in other classes shout his name. Kids those days knew.
      He also acted very creepy around Penny. You have to wonder what kind of parents the Robinsons were. Mrs. Robinson was in modern terms an enabler. I would have sent him out of the airlock in the second episode.

      • ShermanTMcCoy

        Oh, the pain! The pain!

      • sbuffalonative

        They show Lost in Space on cable.

        I too knew what a creep Smith was. I remember asking a friend why he was in the show. As an adult, it’s clear there would be no show without his antics.

        Watching it as an adult, I now wish that Don had set up a booby trap for Smith when he asked Smith for help.

        All Don had to do was set up a high power line for Smith to touch and the Smith problem would have been eliminated.

        • Sick of it

          If Don and Smith had taken each other out, that might have made for a happy ending. I wasn’t fond of either.

    • Luca

      Almost every movie now exploits race, sex, victimology and class warfare. It pisses me off that such a potentially nice movie like “Under the Tuscan Sun” simply had to inject and weave meaningless homosexual themes into the movie that lent no value to the story line. Nothing more than gratuitous liberal propaganda and subliminal messages.

      • sbuffalonative

        It’s also obvious that they inject inter-racial friendships into these films. You also see it in commercials.

      • David Ashton

        What would race realist patriots consider the best 10 films ever made?

        (NOT including Birth of a Nation, Triumph of the Will, or Abbot & Costello go to Mars.)

  • sbuffalonative

    If anyone is interested in knowing more about this movie, there’s a website called www themoviespoiler com.

    It’s not a movie review site, They specialize in a straightforward synopsis of any movie. Just the facts of the plot. No editorializing. Cliff Notes for movies.

    • jane johnson

      Bookmarked; thank you!

      • sbuffalonative

        You’re welcome!

  • Paul

    Coud there be anyone of any stripe that saw this movie and didn’t feel horrified at the thought of that third world horde descending on a white enclave?

  • MarcB1969

    This article makes me wonder if Blomkamp is actually a subversive right winger, getting his own message out within the framework of the Cultural Marxist den that is Hollywood. I suspect he is mocking the Southern California liberals as they slowly become locked away in their own gated lifestyles a la Brazil. District 9 was a not so thinly veiled meditation on the horrors of being drastically outnumbered by violent and degenerate invaders.

    • sbuffalonative

      If you go to www themoviespoiler com you can read the opinionated synopsis.

      I believe it’s clear that the message is that white people need to solve the problems OF non-whites (not their problem WITH non-whites) before non-whites take what they have been denied and are entitled to.

      I believe the writer and the director side with and sympathies with the plight of non-whites and are asking whites to fix these problems before it’s too late.

  • Anglokraut

    “Elysium” makes me think of “The Jetsons.” No non-whites there, either.

  • NeanderthalDNA

    It’s too bad, looks like a visually stunning flick and I love the sci-fi genre, but…

    My racial awakening has seriously affected my enjoyment of Hollywierd and its pervasive liblefty civilization destroying message. As Mark Ruffalo’s Bruce Banner said, “Well, this is…horrible…”

    On the other hand I’ve consoled my distaste with some classic Pekinpah and Leone, as well as the quintessential Mel Gibson – the Mad Max trilogy.

    But I had that feeling, based on the director and a few previews, that this thing would be the vilest anti-White/White genocide flick imaginable. Looks like I was right.

    • sbuffalonative

      I gave up on films years ago as I did most plays.

      I gave up arguing with people that Willy Lowman (Death of a Salesman) was not a tragic hero but a lowlife, adulterer, and lousy, uncaring, neglectful, emotionally vacant father.

      That play has taken on such a mythic aura that I don’t believe anyone sees it for what it really is.

      • NeanderthalDNA

        Have not read it since high school…

        Maybe more of an anti-hero? I did not like his character (Willy Loman) either, but did not feel I was supposed to.

        I always saw it as the complex and slippery slope of mental illness, bad decisions, more mental illness, and immorality all swirling together and feeding each other til dude did the ultimate pathetic stupid-evil.

        I loved that blow-hard hallucination-Uncle, who had marched into Africa and pulled out a diamond, lol…

        Don’t know what Miller was going for but art is only partially the artist’s intent anyway. Artist creates, then the reader/viewer experiences and makes it his own, changes it in the experiencing. Becomes a combination of both and who is to say which is right? The best artists leave a good grey area for the reader/viewer to fill in, in my view, thence 2 people with reasonably good taste viewing the same work possibly quite differently, eh?

        My it’s nice conversatin’ with my own folk. Talking about art and science and all the amazing nooks and crannies of the great big rolling miracle known as life and all existence! All knowledge is teleological.

    • Anna Tree

      Maybe it is a white racialist movie: read CaptainCroMag and Clytemnestra’s posts above (worth the time in my opinion) or the short post of Guest a bit below and Sailer’s take in Takimag. Even District 9 now looks different to me…

  • ShermanTMcCoy

    Whites obligated to die for the teeming brown hoards? Reminds me of “Gran Torino,” and the death of Clint Eastwood.

  • Evette Coutier

    In the movie Avatar, the culminating liberal moment was when the bad white guy said, “how does it feel to betray your race.” If fact the good guy had a sexual relationships with an animal of a different species. So in Hollywood the message is that sleeping with another species is good old fashion diversity. They have lost all touch with reality.

    • Sick of it

      An especially unrealistic/utopian notion is that people could be transformed into a completely alien species.

  • Robert11110

    That’s utter rubbish. I suppose “The Birdcage”, another Robin Williams special, was another conservative film? I believe it’s obvious to the majority of people that these films are pushing more than entertainment. I say turn it off and run them out of business.

  • drekkkkk

    I read Sailer’s take on this at Takimag. He’s of the opinion the
    director is a race realist who is conning Hollywood. It’s bizarre to
    read 2 articles with polar opposite interpretations of the same movie. Might have to watch this movie to figure it out.

  • watling

    Slightly OT but I recently watched “Source Code”. It was nauseatingly politically correct.

    I won’t spoil the plot for those who want to see it but you can guess the PC message: whites are either the flawed heroes or the evil baddies; non-whites are always clever, sophisticated, successful, law-abiding and peaceful.

  • ncpride

    People always bring up the fact that America was built by immigrants which is very true. However, what they won’t admit is that those immigrants were White Europeans from various countries, who were invited and checked in at the gate. That’s what makes me furious when liberals are pushing for open borders……that all those useless third world masses actually helped build this country which is a flat out lie, and NO ONE will call them on it!

  • David Ashton

    Jared did write an article on the race of the Founding Fathers.

  • RyanP

    What I found most amusing about this movie was more about economics than race.

    If we ever advance to the point where a few seconds in a machine can diagnose and cure all diseases, even the poorest will have some kind of access to it. It may be an older model that doesn’t catch some of the trickier diseases, and there might be a line up to use it. But it is not like they will be stuck with stone age medical technology.

    This movie was also filled with many of the “Evil businessman” Hollywood cliches. My favorite was when the billionaire factory owner was concerned that the radiation poisoned employee(Matt Damon) might result in the changing of bed sheets on a medical gurney.

    On the racial side I did find it interesting that they had an Indian president. I mean, if you want to present pure evil you have to go full white 😉

  • fiscal2020

    Well white flight is not contested by the left so far as I know. The “nativists” as you call them are actually wrong, because you can’t defeat the human spirit. People will always go where there is a better life and follow, unless there are artificial boundaries in place. Real capitalism is about as open borders as you can get with businessmen being able to hire whoever they want at whatever price they want. To be logically consistent you must admit that pure capitalism is flawed, instead of hiding the problem by appealing to protectionism and nationalism.

    Much of the “nativist” message is at odds with conservative business experience. The greatest antithesis to open borders (which is pro business) is not American style libertarianism but ironically European style socialism. Europeans have the greatest sense of cultural identity but at the same time their socialism predicates that citizens have a duty to their government, and those who do not fulfill that duty are not true citizens. Until recently the ideal socialistic states like Norway Sweden etc, had conscription. So everyone has an “assault rifle” but is also obligated to pay for that with service. Definitely not American style libertarianism, which is quite hypocritical in many respects and without the real world success of conservatism.

  • Cannot Tell

    The movie reminded me of the white nationalist fiction book Hold Back This Day by Ward Kendall. In that book Earth has practically been destroyed by multiculturalism and anti-white political policies. At the end racially conscious whites flee to another planet.

  • Anna Tree

    I hope you don’t mind if I reuse this great thought of yours:

    “Overpopulation is not about the space, it’s about the quality of the people in it. Space is self limiting. Population quality is not self improving.”