Thomas Krieger

[End Wokeness @EndWokeness]

Feminists… until they enter the doorway of a mosque:

[Lee @LeePheonix360]

I will NEVER stop posting about Iryna Zarutska

We need to keep her memory alive

RIP Angel 🙏🏻🙏🏻🙏🏻🙏🏻
@elonmusk @mayemusk

[Thomas Krieger @HeManClix]

@WilliamSteelma2 @MelGibsonstory I was about to mockingly say "there was that one really bad George Clooney movie" 😂

[Thomas Krieger @HeManClix]

@jeremiahod @MarindaVannoy1 you're 100% right, except for the first 3 words "I don't get"
yes you do; you're right there sir. the lie is the point. the Left has no values, and they try to weaponize your values against you.

[Thomas Krieger @HeManClix]

@toomanyjoes @MarindaVannoy1 thanks, I'm going to need those tissues 🤧😪😖🤧

[Thomas Krieger @HeManClix]

@CarsonCars @MarindaVannoy1 ✌️
two for me please

[Commentary Trump Daily Posts @TrumpDailyPosts]

It appears the first video of the Clancy Jury has leaked

[Thomas Krieger @HeManClix]

@TrumpGirlLove oh? they'd call it what it is? would they?
tell that to the 250 THOUSAND victims of Pakistani rape gangs in England.
"I don't think you have, mate."
you're wrong. it's tragic that your wrong, but you are.
I like the fire, but I'm afraid you're shouting at the wind 💔

[Christy 💕 @Christy4Change]

One of these women were ruthlessly murdered on public transit, the other murdered her 3 children in cold blood.

Guess which one liberal women support.

We live in a demented world.

[Juanita Broaddrick @atensnut]

Tomorrow, most likely a Mistrial will be declared. That’s just despicable.

[Mrs. S. @hshLauraJ]

The bottom line…
🤔🤔

[Theoros @theoros33]

The Dark Passenger Leaves the Symbol
Lindsay Clancy, her supporters and the mainstream agenda

There is a point at which a symbol stops being symbolic.

In my previous piece, I used the Dark Passenger to describe the degeneration of a generative principle when it becomes polarized. The lunar principle receives, nourishes, gestates and transforms. Its power is not weakness or passivity; it is the extraordinary power by which something received is protected until it can emerge as a life distinct from the one carrying it.

Its dark inversion begins when reception becomes sovereignty, when what is entrusted to the self is no longer recognized as another being with its own claim to protection, but is absorbed back into the will, suffering or identity of the one who contains it.

The Lindsay Clancy case is difficult to look at because it takes that inversion out of the realm of symbols.

Cora was five. Dawson was three. Callan was eight months old.

Their mother strangled them, one after another.

There are explanations people can offer for how a human being arrives at such an act. But explanation does not change the moral nature of what happened. Whatever explains Jeffrey Dahmer does not make what he did to his victims less atrocious. Understanding the mechanism by which an atrocity became possible and recognizing the atrocity are two different things.

This is the first layer of the Dark Passenger: the inversion enacted physically.

The person from whom these children received life, and upon whom they depended for protection, became the agent of their deaths. The generative relation was reversed at its deepest point. The dependence that should have produced the strongest duty of care ended in destruction by the person upon whom that dependence rested.

But Clancy herself is not what makes the case culturally revealing.

The reaction around her is.

An OB-GYN, herself a mother of three, addressed Clancy with words that are difficult to forget: “I believe you.” “I don’t know what else you could have done.” “You have galvanized us women in a really powerful way.”

That moves us into a second layer.

Nobody listening to those words has strangled a child. The violence is no longer physical. It takes place in the moral idea.

Consider what has happened to the centre of the story. Three children are dead, yet the event is somehow capable of becoming a source of identification between women. The mother becomes the person to believe, the person whose experience must be understood, the person around whom solidarity is organized.

Cora, Dawson and Callan begin to move toward the edges.

This is the second Dark Passenger: the inversion reproduced as moral identification.

The disturbing part is not compassion itself. Human beings can feel compassion for almost anyone, including people who have done terrible things. The problem begins when compassion changes the architecture of the event, when the person who committed the act gradually becomes its primary moral subject and those upon whom the act was committed become elements in her story.

There is a simple way to test for this.

After every explanation has been given, after every context has been supplied, after every institution has been blamed and every suffering has been described, ask one question:

Who is still standing at the centre?

If the answer is no longer Cora, Dawson and Callan, then something deeper than compassion has happened.

And this brings us to the third layer, because the most consequential Dark Passenger does not look dark at all.

It looks humane.

It speaks the language of understanding, context, systems, care and compassion. It does not say that killing children is good. It does not need to. It simply reorganizes attention until the original moral fact is no longer the centre of gravity.

The movement is subtle. Three children are killed, but the story increasingly becomes about what their mother experienced, what pressures surrounded her, what institutions failed, what society should learn, what women endure.

Each individual question can sound reasonable. Together they can perform something remarkable: the killer acquires biography, interiority and explanation, while the victims increasingly acquire only the status of what happened to her.

This is the mainstream Dark Passenger.

The first inversion is violent in action.

The second is violent in idea.

The third hides the displacement inside the language of compassion.

And because it sounds compassionate, it can travel much further than the first two.

This is also where the old solar-lunar symbolism becomes useful again.

The lunar principle is not evil. Quite the opposite: without receptivity, nourishment, gestation and transformation, generation is impossible. But its healthy form contains a crucial movement outward. It receives another life so that this life may eventually emerge as itself.

The dark lunar inversion reverses that movement.

What is dependent is reabsorbed into the sovereignty of the one on whom it depends. The other ceases to possess an independent moral centre. Its existence is interpreted through the subject who contains, protects, suffers or chooses.

In physical form, the dependent life can be destroyed.

In ideological form, its independent claim can be subordinated.

In the mainstream form, it can simply disappear from the narrative while everyone continues speaking the language of care.

That is why the reaction to Clancy matters more, culturally, than Clancy herself.

An extreme act is extreme precisely because almost nobody will commit it. A moral grammar, however, can be reproduced by millions of perfectly ordinary people.

It can enter journalism, activism, medicine, entertainment and ordinary conversation. It can train us to ask first about the suffering of the powerful party in a dependency relation and only afterwards about the vulnerable being whose entire existence depended upon that party.

No explicit celebration of violence is required.

The displacement is enough.

A culture can sincerely condemn an act while gradually adopting a language in which the person who committed it receives richer moral visibility than the people destroyed by it.

The atrocity remains verbally condemned.

Its moral geometry changes.

And perhaps that is the most advanced form of an inversion: not persuading people that darkness is light, but moving the light until they no longer see what has been placed in shadow.

Cora.

Dawson.

Callan.

Their names matter because they restore the distinction the Dark Passenger continually threatens to erase.

They were not extensions of another person's suffering.

They were not supporting characters in someone else's tragedy.

They were three separate human beings whose dependence should have intensified their claim to protection.

The first Dark Passenger destroyed that protection.

The second turned the person who destroyed it into a point of identification.

The third risks constructing a compassionate language in which the children disappear once again, this time not physically but morally.

[Thomas Krieger @HeManClix]

@GEOGY74 @libsoftiktok I'm not sure what you mean by that. please explain

[Thomas Krieger @HeManClix]

@BFirstParty �� which party are you with?
🤦 did you read the fu|<in sign or not mate?

[Libs of TikTok @libsoftiktok]

Liberal white women are outside the courthouse supporting Lindsay Clancy who strangled her three children

Something is very wrong in our society

[Rob Schneider 🇺🇸 @RobSchneider]

Texas Republicans GAVE TEXAS Pakistan Day, while in Pakistan, Pakistanis BURN CHRISTIAN CHURCHES!
Why are we ALLOWING these people with their ANTI-CHRISTIAN HATE in OUR COUNTRY?!!
ASK @GregAbbott_TX @KenPaxtonTX @DanPatrick

[Matt Walsh @MattWalshBlog]

Unspeakably evil. This whole thing has been eye opening in the worst ways. I’ll never be able to unsee thousands of women rallying to the defense of a demon who strangled her children to death. One of the darkest things I’ve ever seen in my life. Between this and the Karmelo Anthony fundraiser, we are getting a glimpse into a kind of cultural rot that cannot be easily waved away.

[LifeNews.com @LifeNewsHQ]

Massachusetts Governor Maura Healey signs the bill for abortions up to birth as Democrats celebrate.

[Thomas Krieger @HeManClix]

@HJB_News__ all hail King Charles the Cuk