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453. The gentle (IX)



There is a general expectation that when James Bond returns he will be rejigged in some way to conform with progressive demands, some say Bond will be a black man and some say he will be a woman—or non-binary. The discussion has been in this direction for at least a decade, if not more. In the last film Bond was killed—an event that has never happened in the franchise before. We can tell the franchise is not retired because in the credits the customary tag, “James Bond will return,” appeared—the question is what form he will reincarnate in.


Bond’s death is in line with a general trend in masscult where straight white men are killed and replaced either by women or black men—holy objects in the Anglosphere’s civic religion. Bond, a figure who personifies British masculinity in particular and masculinity in general, represents a big “head” for progressives to sacrifice.


Sometimes this causes humorous problems: the latest Star Wars films feature a hero who defects from the Empire—a stormtrooper. In line with policy, he is played by a black man. When he is introduced he awkwardly says words to the effect, “I was a stormtrooper, but they’re not all like me.” The line was added because the writers—after congratulating themselves on creating a black character—realised that the stormtroopers never remove their helmets. You can imagine the conniptions the writers experienced: “We’re implying the Empire’s thugs who beat people up are all black. They’ll say we’re saying blacks are evil. We need a line where he says—very clearly—not all stormtroopers are black or we’re fucked.” And so the odd line came to pass, the civic religion was appeased.


As it happens, Bond was always “cope”; he was created after WWII when Britain had collapsed. Bond is an escapist fantasy where you can just about imagine that while everything else has fallen apart there are still British super spies behind the scenes. Conscious of Cold War tensions, Bond rarely fights the Russians but really fights “the Nazis” again—personified by Blofeld and SPECTRE. Blofeld is the skinhead neo-Nazi with eugenic visions and a fascination for rockets—shades of von Braun; and SPECTRE models those post-war networks that helped SS men become military advisers in Peru or Egypt. Britain collapsed after WWII, and the country obsesses over WWII because it represents the last moment Britain was a coherent ethnic entity with power. Bond replays Flemming’s wartime intelligence role in a new environment; the “real enemy” is SPECTRE, primordial European identity, and not the USSR—sometimes an uneasy ally, as in the war. Bond is progressive.


The reality was that Britain’s foreign intelligence service was run by Communist homosexuals—the Cambridge Spies. Farcically, the section responsible for catching Soviet agents was itself run by a KGB agent—Flemming’s super-competent Bond was unreal. Bond has been “woke” forever; in the mid-1990s, his boss was Judy Dench—women on top, although she had a close cut so perhaps she was a lesbian with a masculine attitude. Prolefeed products like Bond have always served the civic religion; Bond’s “misogyny” was relatively, in the 1970s, part of a general decadent pornographisation in society that was then imperative; now women and blacks are imperative—so the product has been altered.


Bond is malleable but not infinitely so, I think a black Bond or female Bond will kill the franchise at heart; though it will limp on. Cinematic mythologies are important—as the progressives rightly note vis-à-vis role models for blacks and women—and the white boys who are about to be demonised by masscult will suffer. Ultimately, the entertainment industry produces defective mythologies; there is no answer to nihilism in the “they”—rather than worry about progressive themes in masscult, themes that have always been there, cut engagement with masscult; it is all schund, as the Germans say, and should be ditched—read the Bible, learn French, build model aeroplanes; ignore masscult, except to dissect it.

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