The focus of my text is on the Deep State’s “lowest level implementers” of the “private nightmare of public policy” who provide the quasi-unifying story arc of the mature works of the crime novelist James Ellroy: the Bad White Men. My primary concern is with developing the concept of weird noir and Ellroy’s place within it by utilizing a wide variety of theorists of extreme political phenomena, who are read in a complementary manner. I do not provide a unified narrative of my own, but I treat the topic of political anomalies, such as “conspiracies” and “conspiracy theories,” as a lens through which to analyze one or more aspects of the Bad White Men of Ellroy as the autonomous operatives of the clandestine monstrosity that we call the Deep State, or the Dual State, a formless thing that has its origins in the equally deep history of the United States as a colonial-settler Frontier. The Deep/Dual State is understood as a phenomenon of parapolitics, the academic theorization of politics-as-crime, which includes, but is not limited to, the “political exploitation of irresponsible agencies or para-structures, such as intelligence agencies” in the words of Peter Dale Scott. Although parapolitics is a planetary phenomenon, the role that it plays in the American Deep State is especially pernicious, given the history of North America as a settler-colony. As settler-colonialism is eliminationist, the issue of compartmentalization (Frantz Fanon) or containment (Ellroy) is of central importance, as the role of policing in the creation of order is inextricably linked to the enforcement of hierarchical divisions among the colonized and colonizing peoples and territories of American hegemony, encapsulated by the cultural performances of Whiteness. Ellroy’s crime fiction, which I have categorized as weird noir, aesthetically portrays these historical trends through the literary exhumation of the psychic underworlds of the Bad White Men, the “leg-breakers” of world history, whose unifying dramatic narrative is their ultimately futile struggle to enforce compartmentalization within an increasingly chaotic environment of de-compartmentalization, or decomposition. The result is the political disintegration of both the U.S. Deep State along with the psychic structures of its primary enforcers, the Bad White Men. This is the essence of weird noir: if politics is crime, then order is parapolitical and policing is horror.