Norwood obsession with the Sopranos
#21
(09-30-2022, 06:05 PM)stab Wrote:
(09-30-2022, 01:42 AM)Guest Wrote: I do wonder if Mad Men will be the next Norwood fixation. In some sense, it already is.

Mad Men is a perfect analogue to the Sopranos, in the sense that it constantly presents ""cool white patriarchy"" while ultimately messaging the exact opposite. I don't think it'll become a Norwood phenomenon, though, as it doesn't participate in the state-approved safe edginess nearly as much as the Sopranos - maybe due to it's focus on WASP-esque corporate life. There's no easy "I cooka da meatball" sanitized humorless raycism to for troonposters to exploit that comes to mind. If it does though, it'll be sad. There have been some great posts of Don and Roger.

I've never met a man who watched Mad Men. Conversely, numerous females in my life have raved about what a great show it is. That's enough reason for me to never bother with it.
#22
Norwood television can in part be traced back to Seinfeld, which is actually a well-written show, as is Curb Your Enthusiasm. All you might say about Larry David's ethnic composition and his style of comedy is true but moot here. Seinfeld was an enormously successful show, and very divisive in its time. It had trouble getting off the ground. It was perhaps the first great television show that was unwaveringly ironic, in which the characters are petty and unlikable, not even evil, and are never redeemed (this is a common theme in all "Norwood Kino"). A show about nothing, like Catcher in the Rye: a book about nothing, or John Cage's 4'33, a composition without notes, or those paintings by Alphonse Allais. It seems to have been popular with people at varying levels of intelligence, with the working class and the college educated, with total outsiders and normies. It found a way of exploring that kind of black comedy in a way that regular people could digest, and of course this is why the object of our polemic is still fond of it. I see Seinfeld's influence in all the shows mentioned here, in Something Awful's strain of humor, in Arrested Development, and much adult humor cartoons in the West.
#23
Memetic Runaway really does have terribly negative, diluting and decelerating effects.

I will be unable to watch The Sopranos because it has gotten away from itself too much and now only exists in its runaway state. These warped artifacts as a representation got to me first and have entrenched themselves into my mind as "The Sopranos".

It might actually be based, beautiful and brilliant but I am unable to escape this construction of "The Sopranos" in my mind upon any approach and I cannot help but turn away in disgust.


"The Soypranos."
#24
I remember watching the Sopranos as a tween before it became an internet sensation and thinking it was #keyed because the big Italian guy was violent and selfish and was the good guy and because of this it will always have a tender place in my heart, but every attempt to examine the show since has revealed to me how vantablack it's meaning is. As I said, you can read good morals from shows made to be libtarded, but in doing so you are still valorizing a show created by a faggot about how smart and oppressed blax peoples be.
#25
Post-Godfather mafia fiction is just disgusting in general. It's a conscious, deliberate celebration of degeneracy and destructive antisocial behavior. Obviously there's nothing new about media romanticizing criminals, but mobsters aren't really comparable to pirates or wild west outlaws. Pirates were disgraced royal sailors or bored young men looking to make more of themselves. Outlaws usually carried a grudge from the civil war or were a consequence of Gilded Age corruption. Mobsters were foreign opportunists who brought filth into a prosperous and progressive country (Unsurprisingly, many mobsters were Jewish). The fact that movies and shows glorifying mobsters are made by Italian-Americans shows their contempt for America and the Anglo-Saxons who built it.
#26
Guest Wrote:Post-Godfather mafia fiction is just disgusting in general. It's a conscious, deliberate celebration of degeneracy and destructive antisocial behavior. Obviously there's nothing new about media romanticizing criminals, but mobsters aren't really comparable to pirates or wild west outlaws. Pirates were disgraced royal sailors or bored young men looking to make more of themselves. Outlaws usually carried a grudge from the civil war or were a consequence of Gilded Age corruption. Mobsters were foreign opportunists who brought filth into a prosperous and progressive country (Unsurprisingly, many mobsters were Jewish). The fact that movies and shows glorifying mobsters are made by Italian-Americans shows their contempt for America and the Anglo-Saxons who built it.

For Italian-Americans the appeal is obviously reclaiming an image of masculinity and power after losing the civil rights wars. They lost their own pieces of America, were disarmed and denied any power of self defense or control of space. In Moldbug's analogy of nobles and commoners, Italian Americans had a very visceral and traumatising experience of being rendered commoners and having a hostile nobility imposed upon them. Like all white Americans they experienced heavy dispossession and there's a desire for acceptable copes. Mafia LARP is politically correct because it's all about defining yourself as tough for aggression against white coded civil society.
#27
anthony Wrote:For Italian-Americans the appeal is obviously reclaiming an image of masculinity and power after losing the civil rights wars. They lost their own pieces of America, were disarmed and denied any power of self defense or control of space. In Moldbug's analogy of nobles and commoners, Italian Americans had a very visceral and traumatising experience of being rendered commoners and having a hostile nobility imposed upon them. Like all white Americans they experienced heavy dispossession and there's a desire for acceptable copes. Mafia LARP is politically correct because it's all about defining yourself as tough for aggression against white coded civil society.
The idea that Italian immigrants were "traumatized" or in any way mistreated by Anglo-Americans is bullshit written by the same tribe that wrote the tales of black oppression and the shoah. (A tribe with whom Italian immigrants fraternized more freely than they did with Anglo-Americans, BTW. See: Ellis Island Fraternity) Furthermore, they were, never, ever nobles. Italian immigrants to the United States were overwhelmingly southern Italians, meaning swarthy folk indistinguishable from Mexicans at a glance. Despite that, life in America was better for them in every single way than it was in their homelands because they arrived during the Progressive Era when economic reforms were curtailing the abuse of American workers by big businesses. They would have never left Italy if that were not the case. Whatever "pieces of America" they had were not earned, but gifted to them by the founding stock. The only thing they lost was the privilege of being a minority once they were arbitrarily declared white.
#28
Guest Wrote:The idea that Italian immigrants were "traumatized" or in any way mistreated by Anglo-Americans is bullshit written by the same tribe that wrote the tales of black oppression and the shoah. (A tribe with whom Italian immigrants fraternized more freely than they did with Anglo-Americans, BTW. See: Ellis Island Fraternity) Furthermore, they were, never, ever nobles. Italian immigrants to the United States were overwhelmingly southern Italians, meaning swarthy folk indistinguishable from Mexicans at a glance. Despite that, life in America was better for them in every single way than it was in their homelands because they arrived during the Progressive Era when economic reforms were curtailing the abuse of American workers by big businesses. They would have never left Italy if that were not the case. Whatever "pieces of America" they had were not earned, but gifted to them by the founding stock. The only thing they lost was the privilege of being a minority once they were arbitrarily declared white.

The Italians were given a place in America. But they still worked quite hard. It was a deal. A very favourable one, but still a deal. I don't attribute any trauma there. I'm talking about the civil rights era. I'm talking about nigger invasions of settled urban areas and the government forbidding self defense and basically ordering them without ordering them to evacuate to suburbs. E. Michael Jones has an obvious agenda (Catholic conspiracy theorist) but the thesis of 'The Slaughter of Cities' seems uncontested wherever I've looked. Continental European ethnics were ethnically cleansed from American cities via the great migration and civil rights.

I believe that the identification with mafia follows from here. Basically ejected from an established civil place in American life as Italians and reduced to suburbanite tax-cattle post-cultural humanoid things, the idea of mafia becomes an appealing fantasy. And that's very much to the point, it remained a fantasy for these people. If you want to address real ingratitude you should talk about the actual mafia.
#29
I'll be honest; I don't really understand how 'norwood' is being used any differently than 'millennial' in this thread. Sopranos, Breaking Bad, The Office, one person mentions Seinfield. All massive shows with massive audiences. Most of your critiques of why people like these shows are valid but are not unique to norwoods.
#30
Guest Wrote:I'll be honest; I don't really understand how 'norwood' is being used any differently than 'millennial' in this thread. Sopranos, Breaking Bad, The Office, one person mentions Seinfield. All massive shows with massive audiences. Most of your critiques of why people like these shows are valid but are not unique to norwoods.

It's usually the fake schizophrenics who talk about stuff like gnomes and MKUltra, but then they stop at those basic bitch rabbit holes and stick their head into those pedestrian tastes you mentioned. South Park, Seinfield, The Office will always be there to comfort you no matter what happens. "Stop what you're doing, you'll still be the edgy esoteric guy." That's norwood, which I honestly at that point conflate it with "poser".
#31
Guest Wrote:I'll be honest; I don't really understand how 'norwood' is being used any differently than 'millennial' in this thread. Sopranos, Breaking Bad, The Office, one person mentions Seinfield. All massive shows with massive audiences. Most of your critiques of why people like these shows are valid but are not unique to norwoods.

>I don't really understand how 'norwood' is being used any differently than 'millennial' in this thread
now u r beginning to c...



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