{"id":138,"date":"2026-05-26T23:07:56","date_gmt":"2026-05-26T23:07:56","guid":{"rendered":"https:\/\/cityflowjournal.com\/?p=138"},"modified":"2026-05-26T23:07:56","modified_gmt":"2026-05-26T23:07:56","slug":"alexander-dugin-versus-sydney-sweeney","status":"publish","type":"post","link":"https:\/\/cityflowjournal.com\/?p=138","title":{"rendered":"Alexander Dugin versus Sydney Sweeney"},"content":{"rendered":"
\n

Sydney Sweeney has upset a lot of people in her short career. Since rising to fame playing \u201ccrazy Cassie\u201d in the edgy Gen Z drama, Euphoria, <\/i>the 28-year-old American actor has been variously accused of degrading the morals of a generation (passim<\/i>), spreading Nazi propaganda (she appeared in a jeans commercial), supporting genocide (she wore a dress by an Israeli designer) and worst of all, disrespecting Taylor Swift (she was briefly involved with pop uber-villain, Scooter Braun).<\/p>\n

Read more Pope Leo\u2019s unfashionable universalism<\/a><\/p>\n

Now, should the worst come to pass \u2014 should Western civilization be erased from the face of the earth \u2014 then those of us who make it to the fallout shelter will be able to add another crime to the list. Annihilation will also be Sydney Sweeney\u2019s fault. A culture that can produce a scene like the one in Euphoria <\/i>season three \u2014 in which Sweeney\u2019s character performs sex-cam work while dressed as a baby \u2014 apparently deserves all the hydrogen bombs coming to it.<\/p>\n

The HBO drama appears to have been the final straw for the influential ultra-nationalist Russian \u201cphilosopher\u201d Alexander Dugin, who earlier this month launched into an extraordinary rant on X, apparently inspired by his late-night TV viewing. \u201cLook: is there at least one argument why the US shouldn\u2019t be erased from the face of the earth?\u201d he asked.<\/p>\n

To those who might respond: \u201cSydney Sweeney in American Eagle jeans\u201d, Dugin offered short shrift. Sweeney may be a MAGA darling \u2014 she is, after all, blonde haired and blue-eyed and comes from a Republican-coded family \u2014 but to a committed Russian nationalist, this is irrelevant. \u201cYou are not the people,\u201d he wrote. \u201cYou are stupid slaves on the Epstein\u2019s menu of cruel cannibal elites. You are eaten, your brains are. It is why you watch Euphoria. Because all of you are perverts. Disgusting civilization. No reason to exist. Please, die.\u201d Thanks \u2014 we\u2019ll take that on board.<\/p>\n

It\u2019s not too hard to see why Euphoria<\/i> \u2014 with its interracial, intersex, into-absolutely-anything cast \u2014 would be a particular trigger for the Kremlin\u2019s on-off court philosopher. Born in the Khrushchev era, Dugin spent his youth vaguely agitating against communism before the break-up of the Soviet Union deeply wounded his national pride. Like every fascist before and since, he became obsessed with the idea of humiliation. He co-founded the National Bolshevik Party \u2014 the \u201cNatbols\u201d \u2014 with Eduard Limonov in the Nineties. The party\u2019s flag was a Nazi-style white circle on a red background \u2014 only instead of a swastika, it had a black hammer and sickle. Russians aren\u2019t generally fans of the Nazis; Dugin admired both the Nazis and <\/i>the Bolsheviks for their Nietzschean will to power. It was the liberal West, with its dangerous ideas like human rights and free speech, that he regarded as the true evil. A hairy ogre of a man, Dugin conveyed his ideas with charisma and force. He was a hard drinker and a rich storyteller with a deep resonant voice in which he delivered mesmerizing monologues about the destiny of Russia to the eager young jackbooted Natbols.<\/p>\n

For all his mad array of influences \u2014 Hitler, Stalin, Guy Debord, Terminator, Lao Tzu, Mishima, Rosa Luxemburg, Ren\u00e9 Gu\u00e9non \u2014 and his fondness for terms like \u201crhizomatic\u201d and \u201chermeneutic circle\u201d, Dugin\u2019s philosophy is actually pretty simple. In Foundations of Geopolitics<\/i> (1997), he argues that Russia must reverse the humiliation of the Soviet collapse by rebuilding itself as the core of a new Eurasian empire that is destined to challenge and ultimately dismantle Western (i.e. American) hegemony. America and the EU in this vision are not merely political rivals like China, India or Iran, say \u2014 but decadent forces, intent on dissolving Russia\u2019s identity and historical purpose. Beneath the book\u2019s strategic language lies a messianic strain: a wounded civilization is redeemed through expansion, action, spiritual renewal and permanent struggle. Only Russia, with its spiritual depth, its powers of endurance, its capacity for hard action, is capable of saving the world from the liberal antichrist. The book has become a set text for Russian military leaders and seems to have guided Vladimir Putin\u2019s strategy in Ukraine. Asked what policy Russia should take towards its Western neighbor as early as 2014, Dugin\u2019s response was: \u201cKill! Kill! Kill! There can be no other discussion.\u201d<\/p>\n

Dugin\u2019s pronouncements became more deranged following the assassination of his daughter Darya in a car bomb in 2022, and his targets have become a little more scattergun. He has a particular hatred of the popular Russian cartoon character, Cheburashka, for example \u2014 \u201cthe concentrated expression of that very feeblemindedness against which I have battled my whole life\u201d \u2014 and frequently rails against Marvel movies, McDonalds, and various other symbols of American cultural power.<\/p>\n

But Euphoria <\/i>\u2014 in which literally every character is performing sex work to support their crystal meth addiction and\/or gender reassignment surgery \u2014 would strike Dugin as a representation of everything evil and degrading in Western culture. And the fact that America permits <\/i>this depiction of itself\u2014 indeed, that Euphoria <\/i>has launched the careers of some of its most lauded stars, including Sweeney, Jacob Elordi and Zendaya \u2014 is further evidence of the moral degeneracy of a culture. In his fawning interview with that useful American idiot, Tucker Carlson, Dugin declared that the dystopian futures depicted in Hollywood movies like The Matrix <\/i>and Terminator<\/i> were not warnings, but actual visions<\/i> of where the West was heading. Why do American filmmakers never depict happy families or thriving communities in their future visions, he asked. It\u2019s because Americans are willing on this apocalypse. Thus Euphoria<\/i>\u2019s self-loathing, atomized, narcotic, nihilistic, multi-racial hell is basically a warning \u2014 this is what America would impose on the rest of the world, a staging post on the way to Skynet.<\/p>\n

What\u2019s interesting about all this \u2014 and what Russocurious American conservatives like Carlson often seem to miss \u2014 is the strain of messianism in Russian thought. Americans are so accustomed to thinking of their culture as the envy of the world and their eccentric conception of \u201cfreedom\u201d as the universal absolute that the idea Russia might have its own global vision seems not to have occurred to them. They are more comfortable patronizing Russia as a backward, violent, pitiful place \u2014 much of which goes back to those images of Russians in the Eighties queuing for Big Macs in Red Square and going crazy for Levis (which clearly made Dugin furious). Thus Carlson could tour a Moscow supermarket in 2024, simply amazed that they have affordable groceries. But this cultural complacency frequently leads non-Russians to miss Russian critiques of the West (say, of American racism) and to underestimate the very real strain of messianism in Russian thought \u2014 that is, Russia\u2019s own <\/i>mission to save the world.<\/p>\n

So as ludicrous as Dugin often appears, there is a coherent set of ideas behind his philosophy \u2014 and in any case, recent history tells us that it is the ludicrous people we need to take most seriously. To understand where Dugin is coming from you need to understand the Eurasianist tradition of which he is a mutant 21st-century outgrowth, as well as Russia\u2019s dual conception as both an Asiatic and <\/i>Christian civilization. There are many ways this dichotomy manifests. You can see it in the rivalry between the two capitals: St Petersburg, constructed by Peter the Great as a \u201cwindow onto Europe\u201d, and Moscow, the older Slavic center of Orthodoxy and imperial memory. But there are two key moments in Russian history that the Eurasianists have drawn upon to lend grandeur to their vision.<\/p>\n

The first is the Battle of Kulikovo in 1380, when the forces of the Russian principalities defeated the Tatar army of the Golden Horde and began to free their lands from their Mongol oppressors. In the Russian cultural memory, this event has mythic significance: the point at which Russia begins to define itself through resistance to, and absorption of, the steppe world. \u201cOur path runs through the steppe \u2013 and boundless anguish \/ Your anguish, O Russia!\u201d wrote the symbolist poet Aleksandr Blok in his cycle On the Field of Kulikovo<\/i>(1908), which conjures a \u201choly banner\u201d and the \u201cKhan\u2019s sabre\u201d rising against a blood-red horizon. The idea this animates is Russia as a land formed of Mongol violence and Christian redemption \u2014 with a destiny of, hurrah, \u201cboundless anguish\u201d.<\/p>\n

The influential Central Asian scholar (and virulent antisemite) Lev Gumilev \u2014 son of the appallingly persecuted poets Anna Akhmatova and Nikolai Gumilev, both acquaintances of Blok \u2014 built an entire civilizational theory from this image. He argued that the Mongol period had not merely been an occupation but a formative synthesis. Rather than seeing Tatar horseman rampaging through Russian villages, raping Russian women, burning Russian crops as a catastrophe, he reframed it as a creative ethnogenesis. The Russian \u201cethnos\u201d, in Gumilev\u2019s formulation, emerges from a fusion of Slavic and Turkic elements, formed through long cycles of what he calls \u201cpassionarity\u201d \u2014 a kind of heroic fusing of land, soul and idea. Gumilev developed an entire theory around this \u201cethnos\u201d, arguing that this was no mere abstract theory but a \u201cbiophysical reality\u201d.<\/p>\n

Read more How France stole my freedom<\/a><\/p>\n

From here comes the notion that it is actually the liberalizing, secularizing, Enlightenment Europeans who are actually the dangerous ones \u2014 since they want to flatten out all ethnoi <\/i>into one rainbow coalition of consumerism. Or as Dugin had it in his rant on X: \u201cWhites? They are destroyed the world and themselves. To be white means to be nihilist. It is self hatred race. It caused so meany troubles to others and to itself. It lost the right to be something. No arguments to support their existence.\u201d (He is said to speak 15 languages, and you have to wonder if his grammar is as bad in the others.)<\/p>\n

The second foundational moment was the fall of Byzantium in 1453, when Constantinople was conquered by the Ottoman Turks. From this rupture emerges one of the most consequential ideas in Russian political theology \u2014 of Moscow as the \u201cThird Rome\u201d. As Philotheus of Pskov argued in the 16th century: \u201cTwo Romes have fallen, but the third stands, and there will be no fourth.\u201d Rome itself had fallen into heresy (i.e. Catholicism), Constantinople to conquest, which meant that Moscow remained as the final guardian of true Orthodoxy. This notion would guide Russia\u2019s self-conception not only as a state, but as a providential civilization \u2014 the nation destined to preserve and ultimately redeem Christendom itself and, certainly, its near neighbors like Ukraine and Georgia. So, Russia is no mere country but a vessel of sacred history, a restraining force against chaos \u2014 a katechon <\/i>holding back dissolution; the dissolution of Sydney Sweeney, Zendaya, Jacob Elordi and friends.<\/p>\n

This is the deeper ideological field upon which later debates about Russia\u2019s destiny take place. Whenever \u201cWesternizers\u201d have argued that Russia should reform itself along liberal, democratic, secular lines (Dugin would say \u201cwhite\u201d lines), there are always \u201cSlavophiles\u201d to argue that this is not the Russian way. In the 19th century, Slavophile philosophers like Aleksey Khomyakov and Ivan Kireevsky argued passionately against European modernity, insisting instead that Russia\u2019s strength lay precisely in what Europe had lost: Orthodoxy, communal life, and a form of spiritual wholeness they called sobornost<\/i> \u2014 a notion of organic unity in which truth emerges not from isolated individuals but from a living moral community.<\/p>\n

There are traces of this in many of the great 19th-century Russian novels. Fyodor Dostoevsky, indeed, had his own Euphoria <\/i>moment when he visited London in 1862 and was appalled by what he saw. \u201cEveryone is drunk, but drunk joylessly,\u201d he wrote. \u201cEveryone is in a hurry to drink himself into insensibility\u2026\u201d But what unsettled him most was not vice but order \u2014 or rather, the promise of a new kind of world order. He was one of millions of international visitors to the Great Exhibition in Hyde Park, which featured 28,000 exhibitors from dozens of nations showcasing steam engines, telegraphs, leech barometers, machine tools, Japanese prints, American cocktails \u2014 the whole world assembled in one glass pyramid. Forever after, the \u201cCrystal Palace\u201d recurred in Dostoevsky\u2019s work as a horrifying hallucination of mankind forced into rational order through science, commerce and industrial progress. Where Western visitors might have seen a vision of global harmony, Dostoevsky saw spiritual erasure: atomization, loneliness, the reduction of human beings to interchangeable units in a vast rational machine. If you have ever toured the shopping malls of Los Angeles or Dubai, you may have experienced a similar shudder.<\/p>\n

\u201cAll Europeans try to attain one and the same goal,\u201d Dostoevsky later wrote \u2014 that is, \u201cthe universally human ideal\u201d. But in striving toward this abstraction they dissolve the very cultures that give human life meaning. Only Russia, he concluded, had the spiritual vigor to withstand such a fate. Russia possessed \u201ca distinct peculiarity of its own\u201d \u2014 a \u201ctalent for universal reconciliation, universal humanity\u201d. This is the essence of sobornost<\/i>: a paradoxical unity that preserves difference within a shared spiritual whole. This idea is the great theme of Dostoevsky\u2019s Pushkin speech of 1880, where he presents the Russian national character as uniquely capable of absorbing and reconciling all <\/i>cultures while remaining spiritually intact. It is also a theme Dugin resumes in his X commentary: \u201cTo be on the side of Russia, of Iran, of China, of multipolarity is to be on the side of the being against the non-being. The (post)modern West is the citadel of the non-being, of nihilism.\u201d Liberalism, in his reading, is a project to liberate the individual from any <\/i>form of collective identity \u2014 be it Church, family, nation, empire, even gender (trans-related scare stories are a particular source of horror).<\/p>\n

So Russia\u2019s mission is to save the world from all this \u2014 and especially its near neighbors in the so-called Russkiy Mir<\/i>, a telling phrase. Mir <\/i>in Russian means \u201cworld\u201d and also \u201cpeace\u201d \u2014 but it also has a connotation of a peasant village community (as opposed to svet, <\/i>which means \u201clight\u201d but also high society). So when Putin appeals to the Russkiy Mir <\/i>he is not merely referring to the Russian-adjacent peoples of Belarus, Georgia, Kazakhstan, etc \u2014 but harking to an idea of organic peasant communal life. Come back to the village-empire! (Mir <\/i>is, of course, also what Russians call the International Space Station. The progenitors of the Soviet space program often referred to the idea that the USSR, owing to its enormous spiritual depth, was the most suitable nation to represent Earth in the cosmos.)<\/p>\n

All of this would be wonderful if Russian peasant life were not famously brutish, miserable and subject to ultraviolence from on high. In Dostoevsky\u2019s The Brothers Karamazov,<\/i> Alyosha recounts the story of an eight-year-old peasant boy who accidentally injures his master\u2019s favorite hunting dog while throwing stones. The landowner orders the child to be stripped naked and spend the night in a miserable hovel. In the morning, he is torn apart by hunting dogs in front of his mother and the whole village. For Alyosha the story represents the failure of any kind of system \u2014 Christian, political, philosophical \u2014 to account for human suffering: \u201cIf the sufferings of children go to swell the sum of sufferings which was necessary to pay for truth, then I protest that the truth is not worth such a price. I don\u2019t want the mother to embrace the oppressor who threw her son to the dogs! She dare not forgive him!\u201d In other words, any system or theory that tries to justify or excuse the suffering of the innocent is obscene. The realism of Dostoevsky\u2019s depiction of this horrific event \u2014 and the social hierarchy that permits it \u2014 serves as a convincing repudiation of any argument that could be used to justify it.<\/p>\n

Indeed, it is never entirely clear what the Russian Utopia actually looks like \u2014 beyond \u201ceternal anguish\u201d, that is. Nor have I ever seen any of these thinkers truly spell out what those in the Russkiy Mir <\/i>are supposed to get from their spiritual communion; the millions of Kazakhs who starved during collectivization, for example, or the Siberian tribes slaughtered\u00a0as the Russian Empire marched eastward; or for that matter the more than 350,000 young men (predominantly from the Muslim-dominated monotowns of the South) who have died\u00a0fighting to impose brotherhood on the disobedient Ukrainians. A vision of nationhood that promises redemption through suffering is quite useful when you want to explain away millions of dead. The hardest pill to swallow for many following the Soviet collapse was the idea that all of that suffering meant nothing \u2014 <\/i>hence the ever-escalating need to put all the famines, all the wars, all the purges and sieges and atrocities into the service of some higher ideal.<\/p>\n

Still, rather like the oligarchs of America who romanticize honest blue-collar work but have no idea what it actually consists of, the great romantics of ordinary Russian life tended to be from the svet <\/i>as opposed to the mir<\/i>. Most of the Slavophiles were serf-owning aristocrats. Putin\u2019s legitimacy, such as it is, is largely predicated on his ability to provide shopping malls and farmers\u2019 markets for a Moscow elite who are quite happy to shuttle back and forth to their villas in Dubai, Zurich, London, Nice and Cyprus when it suits them. Dugin himself seems to spend an awful lot of his time watching HBO and scanning social media \u2014 and, I would suggest, not enough time reading Dostoevsky.<\/p>\n

It seems outside of Dugin\u2019s philosophy that Euphoria<\/i> might itself be a critique of precisely the kind of societal atomization that capitalism produces \u2014 and that this capacity of Western democracies to critique themselves might indeed be a source of strength. Putin has been careful to provide modern capitalist comforts to Russian elites, but he has meanwhile cranked up the state censorship machinery to pre-Glasnost levels, so any Russian who attempts anything like an honest depiction of Russian life will soon be censored, banned, banished, imprisoned, or voluntarily exiled, like the recent Cannes Grand Prix winner, Andrei Zvyagintsev. It\u2019s not as if Russian youths are all happily singing patriotic songs as they march towards the drones of the Donbas.<\/p>\n

Meanwhile, the third season of Euphoria<\/i> does gesture towards redemption. After she winds up in the home of a family of Texan true believers, the character of Rue (played by Zendaya) experiences a growing religious obsession \u2014 culminating in an epiphanic vision of God and a hint that there is, in fact, a higher meaning, beyond lonely pleasure-seeking. As Dostoevsky wrote: \u201cLove is such a priceless treasure that you can redeem the whole world by it, and expiate not only your own sins but the sins of others.\u201d<\/p>\n

Read more Mutants are on the march<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Sydney Sweeney has upset a lot of people in her short career. Since rising to fame playing \u201ccrazy Cassie\u201d in the edgy Gen Z drama, Euphoria, the 28-year-old American actor has been variously accused of degrading the morals of a generation (passim), spreading Nazi propaganda (she appeared in a jeans commercial), supporting genocide (she wore […]<\/p>\n","protected":false},"author":1,"featured_media":137,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51],"tags":[],"class_list":["post-138","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"yoast_head":"\nAlexander Dugin versus Sydney Sweeney - \u0421ity Flow Journal<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityflowjournal.com\/?p=138\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alexander Dugin versus Sydney Sweeney - \u0421ity Flow Journal\" \/>\n<meta property=\"og:description\" content=\"Sydney Sweeney has upset a lot of people in her short career. 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