NoYank. Remove All American Media And Culture From Your Life

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Remove All American Media And Culture From Your Life

Anti-imperialist comm to help you in your personal journey of cultural anti-imperialism.

American culture has spread all over the world, it has dumbed down and impoverished our variegated pre-colonial and non-capitalist cultures. Every time you yank yourself, a bit of their culture worms its way into your mind. Sometimes it's explicit propaganda like Top Gun, but sometimes it's subtle: the contempt shown for the poor, the celebration of selfishness, the value-system of their empire.

All inputs enter the mind, are absorbed, and blossom as thoughts and deeds. Mass-produced culture dulls you and makes you a boring, mass-produced personality. And nations are losing their personality by letting one imperial power do this to them.

That the empire is doing this as a more-or-less deliberate tool of influence doesn't need stressing.

Stop doing this to yourself. Don't watch their television. Don't watch their films. Don't read their stupid news and politics: ABC and CNN and NBC and the rest. Don't be so fucking boring. You don't have to be boring and stupid. Turn off your TV. Pick up some of your country's classic books, or listen to African funk, or go to a storytelling night.

Examples of posts that are welcome

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For maybe 4 or 5 years, I haven't voluntarily consumed any USA news, books, or entertainment.

I've made exceptions where it was socially expected of me (e.g. the niece wanted me to see Avatar 3 with her) but only a few per year.

Some changes in my psyche –

  • My mind doesn't ask "Is this Western or non-Western?" as a first reflex. I don't see 'Western culture' as a unit. Some things from the so-called West are weird; some things from outside it are comfortable. (I'm also in China and Africa a few times a year; NoYank isn't the only factor.)
  • Lots of world culture I don't get, it's too weird for me, e.g. Nollywood and Bollywood. But other things, e.g. African literature, do feel familiar.
  • Yanko pop culture seems MORE strange and exotic to me than many things that are further in time&space. I read 14th-century Tibetan philosophy and it feels normal, homey, human; Anthony Robbins seems too culturally distant to understand.
  • NoYank makes me read more, consuming video-form content less. It is very expensive to make film (Seedance might change this) so more film is made by well-capitalised entities. Books are often written by broke people. Film is made by corporations; a book is the self-expression of an artist.
  • Related: I am far from any internet addiction. I spend more time on the sports field than on the internet.
  • People at the pub talk to me about Republican or Democrat, I roll my eyes thinking "who cares, they're all yanks". They all think they can dictate to us without understanding or respect. If I'd been watching their internal struggles on the news I'd be more conditioned to see the difference.
  • Related: culture war shite. I don't make the distinction between [politically correct side of culture wars] and [alt-right side]. The dialectic I make is [people who've had their brains broken by culture wars] vs [normal people].
  • Irish casualties of propaganda annoy me a lot. It's mostly ages 15 to 25, vulnerable minds who've been broken. They open their mouth and foreign propaganda comes out; their highest purpose in life is to be a propaganda-repeater, very sad.
  • The mad notions of Yanks I meet pop out to me. They make a virtue of lying (if you lie that means you are clever). They will openly sneer at people for being working-class ("OMG, I'm not hanging out with a bus-driver ew"). I look at them and think they're quare fish; those notions might be normalised if I yanked myself silly for hours a day like some people do. And holy shit they are obsessed with race, they can't go three sentences without mentioning race. Both actual yanks and East Yanks with broken minds. It's notable that they can sneer at class so outrageously while also being so hypersensitive to race.
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cross-posted from: https://hexbear.net/post/7525458

Also the show makes it clear restrictions on security agencies is a bad thing. Bureaucratic red tape is brought up quite often.

And not a single one of the DEA agents is corrupt.

And operation Condor was a mexican initiative.

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a phenomenal - and I contend, the best - spy thriller series.

no james bond shit and minimal "magic" hackings, endemic to the last 20+ years of TV and film production; if you're not into that sorta stuff, won't bother you none.

stellar cast, led by the fantastic Mathieu Kassowitz, exceptional showrunner with a great script, tight direction and very competent professionals.

1st season was remade last year as "the agency", with michael fassbender. pas mal, but stick with the original.

available wherever you get your torrents.

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https://www.imdb.com/title/tt36733027/

https://en.wikipedia.org/wiki/Nobody_(2025_film)

The little pig demon decided to leave Langlang Mountain and form a grassroots team with the toad demon, the weasel demon, and the gorilla demon, to start the journey to the west.

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Southern Chronicles (2024), a Lithuanian black comedy set in the early 1990s, during the country’s post-Soviet period of austerity. A working-class teenager who cares only about hustling and rugby becomes infatuated with an upper-middle-class girl and starts reading poetry to woo her. Hilarity ensues as he gets up to all sorts of mischief in the bleak economic landscape of the era. This is the only notable work to date of director Ignas Miskinis. Currently the top-rated Lithuanian film on Letterboxd.

Southern Chronicles: https://tankie.tube/w/uv2ubV5Nve7ZxpezRqBZfu

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https://en.wikipedia.org/wiki/Asura_(TV_series)

https://www.imdb.com/title/tt34570673/

Four sisters face turbulence when their father's affair is exposed. Embodying the tumultuous "asura" demigods, they clash over differing outlooks on love yet find moments of connection amid conflict and growth.

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a backlash against the encroachment of U.S. technology is boiling over.

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cross-posted from: https://lemmygrad.ml/post/9665212

No clear morality too.

Even the bad guys are stand-ins now for "losers" of society and usually their backstory is that they were someone "down on their luck" and rejected by society and I guess that makes them evil later on.

I realize that I have dark thoughts or pessimistic or cynical attitudes at time, maybe to an extreme degree in some instances.

I need something with more hope and less "moral greyness" at this point; it just seems that it's clouding my mind and I'm trying to recover from a depression and disthymia.

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cross-posted from: https://hexbear.net/post/6619930

When watching most shows, movies, whatever from the West, I feel like I'm slamming my head against a wall. There are a few exceptions that are at least better, but seriously. My head hurts because of how mad I am at blatant copaganda. The show was even portraying police in a negative light, but my sometimes-leftist sibling and bootlicker dad were spouting the copaganda. Sibling seems to think the law applies to cops, and Dad can hardly comprehend the US did things like genocide or police brutality. Sure Jim Crow wasn't that bad, right?? Ugh. And Law and Order SVU trying to pretend law enforcement and ICE aren't buddy-buddy. Or that those are bad cops, but we're the good guys. Tell that to your dude who just beat up a man with schizophrenia to get him to confess to a crime he didn't do, and you just went "Oops. Wrong suspect."

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cross-posted from: https://lemmygrad.ml/post/9548683

The series is inspired by a report in The Washington Post newspaper.

As the current U.S. administration ramps up its anti-immigrant policy and weaves a narrative of hate that stigmatizes these people, a good portion of whom come from Latin America, as criminals who come to harm the peace of the U.S., a Mexican series reminds us that this, or rather, works the other way around.

For decades, Mexico has been the natural escape destination for numerous American convicts, persecuted in their country for acts (truly proven, not the result of a Yankee president's racist imagination regarding foreigners) involving bloodshed, first-degree murder, extortion, theft, and fraud.

While this evasive route is well known—as American television and film have emphasized it over time, sometimes from a xenophobic and contemptuous perspective toward the host country—what is less widely known is the story of those who pursue and capture them within Mexico.

Premiering on television, the series, Cazadores de gringos (Netflix, 2025), brings into the audiovisual universe the daily work of the members of the International Liaison Unit, a Mexican brigade based in Tijuana, whose mission is to search for, arrest, and return these criminals to the U.S. In 23 years of work, the Unit captured more than 1,600.

Inspired by a report in The Washington Post, the series not only has the virtue of airing this truth or vindicating the effectiveness of these police officers. It also has the merit of showing a more diverse Mexico, one that is far removed from the stereotype: from within, from a local rather than a foreign perspective, one that neither denigrates it nor displays it through that eternally xenophobic postcard of ochre, sepia, and yellowish tones with which Hollywood portrays it.

Unfortunately, beyond these virtues, there are no other reasons to boast.

There's an element of plot and script that tends to undermine both the narrative balance and the more objective portrayal of the arrests of these fugitive criminals. These are fleeting figures, of whom the viewer will only know or appreciate, if at all, their photos in the police file, their names, a brief description of why they're wanted, and the moment of their arrest.

A 12-part procedural series must address many elements that a newspaper article—especially due to space and its nonfiction nature—can't include. And one of these is the delineation, the individualization of the characters.

Almost ghostly presences, a greater degree of emphasis on the personalization of these outlaws is lacking throughout the material (several of them are ridiculous sketches, such as Nancy Baker in the fourth episode), understanding that the emphasis of the series is intended to fall on the Mexican agents, not the fugitives.

Now, if we were to heed this logic, we would run into the problem that there isn't much introspective focus in the Latin American demographic either. When describing the members of the Tijuana police elite squad, the script team didn't do so with much dedication or care.

With the Netflix algorithm in full swing, Mexican agents are the condensation and summation of what constitutes a police force according to the Yankee serial machine. Consequently, the denotative features of their identity are reduced only to language, or when they go out for tacos.

And the police officer with unorthodox qualities within the team (that autistic person who solves a years-long case in just a few minutes) bears a suspicious resemblance to another character, played by Ximena Sariñana in Las azules (Apple tv+ 2024).

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While Gaza burned, Disney’s CEO donated $2 million to Israel — and Marvel prepared to release an Israeli Mossad “superhero.” Actors who say “Free Palestine” are silenced. IDF soldiers become Disney stars.

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DON'T CONSUME IT

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