Reactionary dictatorships can be broadly distinguished by the segment of the ruling class whose interests they primarily represent. These are just preliminary thoughts and there are definitely others, but rough classifications might look like this:
The old ‘conservative authoritarian’ regimes of interwar Europe were deployed to uphold pre-liberal power structures and values (church, crown, aristocracy) and revitalize them with experiments in corporatism and militarization. Many of these regimes attempted to mimic fascist revolution in the 1930s-40s – such as Salazar's Estado Novo or Pétain's Révolution nationale – but dedicated fascists were marginalized or crushed and, in the case of Portugal and Spain, these para-fascist dictatorships were later able to defascistize into purely conservative, ‘integral Catholic’ ones. It seems to me that at least in Europe, this type of regime died in the 1970s with the Carnation Revolution, the death of Franco, and the collapse of the Greek junta.
In societies where the power of traditional elites has been wiped out, there are those regimes whose reaction is fundamentally bourgeois; Pinochet is probably the most well-known example, and authoritarian tendencies in liberal and neoliberal democracies are microcosms of the same phenomenon. A significant subcategory, or possibly heavily overlapping separate category, is neocolonial kleptocracies reinforced from outside, including the Marcos dictatorship, the Shah's Iran, and Operation Condor.
Also fundamentally bourgeois, but distinct from your Parks and Pinochets, are conservative ‘electoral autocracies’ mostly peculiar to the twenty-first century which combine ‘reformist’ ultra-nationalism and religious conservatism to gradually ‘authoritarianize’ the political system. There are distinctions to be made within this: Putin, Erdoğan, and Modi all embrace a militaristic machismo that seems to be alien to Orbán, for instance. Early Fascist Italy was something like this, with the important difference that Mussolini came to power on the back of an overtly revolutionary and totalitarian mass movement that the others lack.
And lastly there are places where traditional elites were never marginalized at all but successfully adapted ultra-conservative power structures to an increasingly globalized capitalist world, allowing royal, religious, aristocratic, and tribal elites to partner fully with the bourgeoisie in engineering a system both thoroughly modernized and profoundly reactionary, Saudi Arabia being the most infamous living example. It occurs to me that Imperial Japan may have been on the way to something similar.
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President Bong Bong Marcos (PBBM) is CORRECT when he pointed out that bringing our Territorial Dispute with China to the United Nations (UN) won’t accomplish anything except antagonize and further demonize China.
We already supposedly “won” the 2016 Arbitral Ruling, and yet up to now it is just a piece of Paper, we can’t even use it to force our supposed “Ally” the United States (US) to drive China out of the South China Sea (SCS).
This RISA HONTIVEROS is just again seems to be using China for Publicity Purposes, to put her Name in the News and keep herself popular for whatever Elections she decides to run in the near future. She is very likely just a FAKE and PRETEND “Nationalist”, if she weren’t so then why is she consistently SILENT on the Issue of SABAH, ‘aber’?
I challenge her to file a Resolution to bring the Issue of Sabah against Malaysia to the UN. She likely won’t do that, and continue to keep silent about Sabah and pretend it doesn’t exist
SOURCE: Bongbong Marcos doesn’t see how Hontiveros’ Resolution will make UN scold China {Archived Link}
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Will we ever get anything quite like Code Geass again?
I don't think it's possible.
Code Geass is Japanese nationalist propaganda disguised as a global political drama, disguised as a military mecha show, disguised as yaoibait, disguised as a teen melodrama, disguised as a high school romcom, disguised as a Pizza Hut commercial...
...except those layers aren't layers at all, but are instead comingled in a giant snake ball of insanity.
The lead writer, Ichirō Ōkouchi, only ever worked as an episode writer for other shows prior to Code Geass, and never took the helm of an anime series ever again. And it shows. [EDIT: Several people have pointed out his other lead writing credits to me. So I misread Wikipedia—sue me. I maintain that this guy is a better episode writer than he is a lead writer.]
The minute-to-minute pacing is impeccable from a mechanical standpoint, with tension and stakes rising to ever-higher peaks, balanced out by the slow simmers of the b-plot and c-plot. It keeps the viewer on the edge of their seat at all times. Meanwhile, the large-scale plot is the most off-the-wall middle school nonsense I've ever seen, continually surprising the viewer by pulling twists too dumb to have ever have been on their radar—and therefore more effective in terms of raw shock value.
"Greenlight it!" was the mantra of this anime's production. It must have been. It has, in no particular order, all of the following:
Character designs from CLAMP, the foremost yaoi/BL group in Japan at the time—for characters who are only queer insofar as they can bait the audience, and only straight insofar as they can be more misogynist to the female cast.
Speaking of the female cast, hoo boy the fanservice. We've all seen anime girls breast boobily, with many cases more egregious than Code Geass, but there's something special about it happening immediately after—or sometimes in the middle of!—scenes of military conflict and ethnic cleansing.
Pizza Hut product placement everywhere, in every conceivable situation. High-speed chases, light slice-of-life scenes, intimate character moments, all of it. Gotta have Pizza Hut.
The anime-only Pizza Hut mascot, Cheese-kun. He wears a fedora.
The most hilarious approximations of European names—which I would love to see more often, frankly. Names like, I dunno, "Count Schnitzelgrübe zi Blanquezzio."
A depiction of China that is wholly removed from any modern reality, with red-and-gold pagodas, ornamental robes, scheming eunuchs, and a brainwashed child empress. There's a character named General Tsao, like the chicken.
Inappropriate free-form jazz in the soundtrack, intruding at the most unexpected times.
A secret cabal not unlike the Illuminati, run by an immortal shota with magic powers, holding influence all across the world, at the highest levels of government. They matter for approximately three episodes.
An unexpected insert scene of a schoolgirl using the corner of a table to masturbate. She's doing it to thoughts of her crush, the princess Euphemia—because she believes Euphemia to be as racist as she herself is, and that gets her off. This interrupts an unrelated scene of our protagonist faction planning their next move, which then resumes as if uninterrupted.
Said schoolgirl, in a fit of hysteria, threatens to detonate a worse-than-nuclear bomb in the middle of her school. She then goes on to develop an even more destructive version of that bomb, and become a war criminal, in a chain of cause-and-effect stemming from the moment she finds out that Euphemia wasn't actually that racist.
A character called "the Earl of Pudding."
A premise that asks us to believe that the name Lelouch is normal enough that he didn't need to change it when he went into hiding as an ordinary civilian. "No, that's not Prince Strimbleford von Vanquish! That's our classmate, Strimbleford Smith."
The collective unconscious, a la Carl Jung, within which the protagonist fights his villainous father for control over the fate of humankind. After this is over, the anime just keeps going for about ten more episodes.
An episode in which a mech tosses a giant pizza.
A gay yandere sleeper agent who can manipulate the perception of time.
Chess being played very badly, even to the untrained eye. Lelouch frequently checkmates his opponent by moving his king. This goes hand-in-hand with the anime's crock of bad chess symbolism.
A fictional drug that can most succinctly be described as "nostalgia heroin."
Roller-skating mecha in knightly armor, and some of the most sickass mecha fight choreography that I've seen.
I could go on and on, but I think you get the picture. This anime is what the average Westerner in 2006 thought anime was, and it was made in a confluence of factors that cannot be replicated. I've never had so much fun watching something that I found so... insulting. Repugnant. Ridiculous. Baffling. I love it sincerely.
Catch me cosplaying Lloyd Asplund at a con sometime, or maybe even the big gay loser himself, Lelouch vi Britannia.
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