For those interested in a more detailed examination of Evola’s understanding of East and West, particularly his conception of Primordial Tradition and the philosophical distinctions between his thought and that of René Guénon, please see the below:

chadcrowley.substack.com/p/julius-evola…

"DISCIPLINE EQUALS FREEDOM" effortpoast

Knowing very few details about "Way of the Warrior Kid", I can still be certain that leftists will never recover from its very existence, let alone its effect on its core audience, which I presume is young White American boys.
Chris Pratt be nagged and chided and interrogated and abused by the usual entertainment press commie harridans because said harridans understand that the movie will have an edifying effect upon young White American boys. And Pratt and Willink will find ways of being diplomatic, of dodging the core thrust of the questions, which will be some form of "Why did you make a movie about and for young White American boys?" as if crafting such a product for such an audience were a mortal sin. But it IS a sin to The Enemy, you see. They hate nothing more than the encouragement and edification of young White American boys. They fear nothing more than young White American boys growing up into confident, capable, dare I say DANGEROUS American men.

And I can already hear the diplomatic parries that Pratt and Willink and Conservatism Inc. will throw out to put the harridans off the scent (as if such a thing were possible).
"The principles in the movie [and book] are universal."
"Well, this fictional story is based on some real people, so it makes sense to have the pretend people look like and act like the real people, right? What's the problem with faithfully adapting a book as-written?"
"Anyone can see themselves in [SEAL uncle] and [boy SEAL uncle trains to be a bad dude], why does everything have to be about politics and race and gender? About IDENTITY?"

But of course, everything IS about politics and race and gender and identity,
because The Enemy has chosen to actively ASSAULT American politics, race, gender, and identity, everywhere, all the time, but in no theater of the conflict more tenaciously and more expensively than in the theater of PROPAGANDA.

The Enemy understands:
The story of the young man who is a weenie and not up to the challenge, who embarks upon a quest to become the sort of man who can fight monsters, rescue damsels, nab treasures, and distribute those treasures to a grateful village, this is an IMMORTAL story. It is THE monomyth. And because we live in a culture that is beyond industrialized, it is not sufficient to have this monomyth retold (and/or reSUNG) verbatim around a campfire. It's not even sufficient to simply reWATCH the best renditions that industrialized media has thus-far crafted.
Sure, you can rewatch The Karate Kid.
You can rewatch Sidekicks.
You can rewatch Rocky.
You can rewatch Star Wars.
You can rewatch The Hobbit or The Lord of the Rings.
You can rewatch Harry Potter etc etc etc.

But our beyond-industrialized culture has grown accustomed to having the monomyth retold to us over and over again AS IF IT IS NEW all the time, and certainly in iconic fashion every decade. New characters, new worlds, new aesthetics, but with the same old story beats that will never not work because they're never not true.
Welp, round about the 2010s, The Enemy decided that it was of the utmost importance that certain people would be positively represented in all of the new versions of the campfire story, and that specifically American men would now assume the role of antagonists, villains, butts of jokes, and never as the heroes of the story. Or they're the heroes just long enough to pass the baton to some unpleasant feminist. If you've been alive and conscious since 2014 you know how it is. Leftist creative technicians and corporate bureaucrats have never been shy about this. In fact, they brag about it all the time! "We hate you, American man! We blame you for our problems! Our objective is to dispossess you from your own country and then pretend you never existed!"
And as I indicated earlier, for almost this entire fight, pro-American cultural 'leaders' have been in the habit of pretending this war has not been happening, that The Enemy is simply stupid or misguided or that surely they will learn their lesson this time after it's clear how unprofitable it is to spit in the face of your biggest/richest/best customers, 'Get Woke Go Broke' bla bla bla.
No.
The leaders, the creative technicians, the MEN who will win this fight today and into the future, if it will be won at all, will not flinch from naming the fight we are in, and in taking aggressive cultural action (including the production of PRO-AMERICAN PROPAGANDA) on behalf of the explicit identity group that The Enemy has never stopped attacking.

I don't know if "Way of the Warrior Kid" will actually be a GOOD movie. I don't know how it will measure up to the other great boy-gets-dangerous media artifacts that I mentioned before, or whatever one happens to be your favorite. What I DO know is, this movie's existence is a heartening sign, and I want infinity more signs just like it.
Something else that's interesting about this story, that distinguishes it quite a bit from other big media renditions of the monomyth: the boy's mentor is HIS BLOOD.
Yes the 'A story' (or main story) shown in the trailer is the story of the boy getting dangerous with the help of the SEAL uncle.
But the 'B story' that the trailer hinted-at but did not flesh out, appears to be the story of the SEAL uncle restoring (or establishing for the first time) a relationship with his sister and his sister's son. SEAL uncle has skills, has purpose, has been of-use to his country, but he is incomplete without dragging the treasure of his hard-won skills BACK TO THE VILLAGE to be shared with his people, his FAMILY.

We've entered an older time, folks.
A time where The State, The Country, The Empire, and The Nation are not necessarily synonyms.
A time where those of us who offer our productive efforts and skills to OTHER identity groups will diverge from those of us who offer all that primarily to our OWN groups.
A time of boys who will grow up to be warrior kings.
A time of great danger, of great sacrifice, of great heroism.
A time of MEN.

And 'Discipline Equals Freedom' ain't just about YOU being free anymore, dude.
It's about your PEOPLE being free.

What is an American?

An American is White.

“Nothing beautiful without struggle.”

— Plato, The Republic

For those who are curious, this excerpt is from my graduate school translation of Plato’s Republic, Book VI, 497d.

Remember who you are

The erasure of our Ancestral memories is not the result of gentle forgetfulness… but a deliberate attack on our spirit producing Cultural Amnesia

For those interested in a more detailed examination of Evola’s understanding of East and West, particularly his conception of Primordial Tradition and the philosophical distinctions between his thought and that of René Guénon, please see the below:

chadcrowley.substack.com/p/julius-evola…

It was not so much a fascination or fixation with Eastern mysticism. Rather, Evola did not regard the East as something fundamentally foreign to the West. He believed that both Eastern and Western civilizations preserved fragments of a greater primordial Tradition, understood in as a transcendent metaphysical order whose principles found expression in the spiritual institutions of ancient civilizations. This is to be distinguished from tradition in the ordinary sense of inherited customs or folk beliefs. Tradition, with a capital T, was not simply the accumulated inheritance of a particular people, but a universal and supra-historical reality of which the various historical traditions were particular expressions. Evola traced its earliest manifestation to a primordial Hyperborean civilization that, in his understanding, preceded the historical differentiation of East and West.

His interest in Vedism, Hinduism, Buddhism, and Tantra arose from his conviction that the East had preserved primordial initiatic doctrines and spiritual disciplines that the modern West had largely forgotten, having increasingly pursued a materialistic and Faustian course of technological development. Unlike René Guénon, who increasingly regarded the East as the principal surviving repository of authentic Tradition, Evola sought to recover its specifically Western, aristocratic, and heroic expressions, particularly through his examinations of the Indo-European world, most notably the Roman and Germanic peoples.

Herein lies one of the fundamental distinctions between the two thinkers. Whereas Guénon affirmed the spiritual preeminence of the sacerdotal or priestly caste over the warrior caste, Evola challenged this hierarchy, maintaining that the highest traditional authority could be embodied in the sacral king or spiritually realized warrior. For Guénon, the priestly principle represented the superior authority of contemplative knowledge, whereas Evola accorded particular significance to the heroic principle, through which transcendence could be realized in action rather than through contemplation alone. His ideal was not the warrior divorced from spiritual authority, but the warrior who embodied that authority in his own person.

For Evola, therefore, the fundamental distinction was not between East and West, but between the primordial world of Tradition, whose metaphysical principles transcended the particular civilizations through which they found expression, and the spiritually exhausted, decadent world of modernity. His engagement with Eastern doctrines was consequently an attempt to recover something he believed had once belonged to the West itself, rather than an attraction to an essentially foreign spirituality.

“Contrary to what the bourgeois and liberal polemics claim, the warrior idea may not be reduced to materialism, nor is it synonymous with the exaltation of the brutal use of strength and destructive violence.

Rather, the calm, conscious, and planned development of the inner ics; love of distance; hierarchy; order; the faculty of subordinating the emotional and individualistic element of one’s self to higher goals and principles, especially in the name of honour and duty—these are the elements of the warrior idea, and they act as the foundations of a specific ‘style’ that has largely been lost.”

— Julius Evola, Men Among the Ruins: Post-War Reflections of a Radical Traditionalist

Julius Evola: Beyond East and West

x.com/CCrowley100/st…

Sir Oswald Mosley on Our First Duty

On “idea” versus “ideal”:

"Upon awakening to myself... contemplating a beauty of extraordinary magnitude, and convinced (πιστεύσας) then, more than ever, that I belong to a higher order (κρείττονος μοίρας),... having become one with the Divine (τῶι θείωι εἰς ταὐτὸν γεγενημένος)"
Plotinus - Enn. IV.8

The Wild Hunt, by the German painter Franz von Stuck, is a dark, somber painting depicting the Germanic god Wotan, known to the Anglo-Saxons as Woden and to the Norse as Odin. As the chief of the Germanic gods, Wotan was a god of war and wisdom whose dominion extended into the phecy, and fate. He was both the giver of victory and the gatherer of the glorious slain, the Einherjar, those chosen warriors who dwelt in Valhalla, feasting and preparing to fight alongside him at Ragnarök, the final battle of the gods. A mysterious and formidable figure, Wotan embodied the duality of existence itself: its creative and destructive forces, through which life emerges and ultimately returns to death.

In the painting, Wotan rides on horseback, leading a spectral procession of the dead through the night, a haunting manifestation of the Germanic folkloric tradition known as the Wild Hunt. Anyone observing the figure of Wotan may immediately recognize his striking resemblance to Adolf Hitler. The fact that the painting was completed in 1889, the very year of Hitler's birth, has further fueled the theory that this work of art, in some mysterious way, prophesied his rise.

For anyone interested, I would highly recommend Carl Gustav Jung's 1936 essay, Wotan, in which he explores the reawakening of the ancient Germanic deity as a psychological, archetypal force within the collective unconscious of the German people and its manifestation in the rise of National Socialism.

For those interested in the painting above:

x.com/CCrowley100/st…

Going LIVE at 7PM EST - On Revolutionary Cynicism - To survive in this movement, you need a certain cynicism and self-awareness, because morality is a weapon. But that doesn't mean embracing nihilism. It just means that real nobility can only be found in action. Link below.

For those even more inclined to explore the Wild Hunt and other aspects of the European pagan tradition, I would highly recommend the works of Claude Lecouteux (1943–2025), the recently departed French medievalist and former professor at the Sorbonne.

Lecouteux wrote extensively traditions of Europe, particularly their supernatural and folkloric dimensions. His work explores a world in which the boundaries between the living and the dead were far less distinct than those generally recognized today.

Of particular relevance here is his “Phantom Armies of the Night: The Wild Hunt and the Ghostly Processions of the Undead,” in which he investigates the European traditions of supernatural armies and wandering spirits, tracing their persistence and transformation throughout the medieval period.

I would also highly recommend his “Encyclopedia of Norse and Germanic Folklore, Mythology, and Magic” and “The Return of the Dead: Ghosts, Ancestors, and the Transparent Veil of the Pagan Mind.” Both are excellent works that illuminate the remarkable persistence of Europe’s pre-Christian beliefs and their continued influence upon the European mind.

For those even more inclined to explore the Wild Hunt and other aspects of the European pagan tradition, I would highly recommend the works of Claude Lecouteux (1943–2025), the recently departed French medievalist and former professor at the Sorbonne.

Lecouteux wrote extensively traditions of Europe, particularly their supernatural and folkloric dimensions. His work explores a world in which the boundaries between the living and the dead were far less distinct than those generally recognized today.

Of particular relevance here is his “Phantom Armies of the Night: The Wild Hunt and the Ghostly Processions of the Undead,” in which he investigates the European traditions of supernatural armies and wandering spirits, tracing their persistence and transformation throughout the medieval period.

I would also highly recommend his “Encyclopedia of Norse and Germanic Folklore, Mythology, and Magic” and “The Return of the Dead: Ghosts, Ancestors, and the Transparent Veil of the Pagan Mind.” Both are excellent works that illuminate the remarkable persistence of Europe’s pre-Christian beliefs and their continued influence upon the European mind.