Wednesday, February 23, 2011
A blast from the not-too-distant past today: a 1993 version of Shakespeare's Much Ado About Nothing. It is interesting how a casting strategy can change the feel of the entire play, and turn a bucolic romantic comedy into a modern day talmudized lesson in blackworship.
With Denzel Washington cast as Don Pedro, we meet the flawless black leader of gangs of flawed whites. [Funny how Washington serves this function in yet another film, as he did in Unstoppable, in our last post].
On hearing of Don Pedro's approach, the white townspeople, male and female, young and old, become positively orgasmic with glee. The sexual nature of their excitement is suggested by the frantic undressing, the flurry of naked white butts that hurry into warm foamy suds, women powdering their breasts--all to welcome the mighty, broad-smiling black prince.
I wouldn't be so bothered by this casting decision if, like Othello, the character of Don Pedro had any historical ties to Africa (though it would seem that even Othello should essentially be a Moroccan instead of a sub-Saharan negro).
But the character of Don Pedro is based on Peter III of Aragon, who was no Moor. In fact, he learned military lore from his father's reconquista against the Moors. He represented the white European re-conquest of the Iberian Peninsula against invading hordes of Africans.
It is thus a double slap in the face that this white masterpiece (the play itself) about a white hero (Pedro) becomes nothing more than another Jewish tool to disseminate the meme of blackworship.
Typical pink rabbit move.
Saturday, February 19, 2011
Transatlantic flights allow me to see the kinds of movies I would normally avoid--the kinds of brainwashing sessions to which mainstream America and the world in general is relentlessly subjected and--what is even more tragic--even pays hard-earned money to see.
Unstoppable is one such film. Like the appalling brainwashing-session-disguised-as-a-film Far From Heaven, also seen on a transatlantic flight (see the posting for November 26, 2010), Unstoppable runs rife with Anti-White imagery.
Indeed, such is the Anti-White bias in airport films that I am beginning to suspect the FAA has some hidden requirement that all airlines must propagandize for ZOG. Unstoppable shows one situation after another in which whites are shown as corrupt, dumb, incompetent, lazy, or vulnerable--whereas blacks are in every case morally flawless, giving, caring, concerned--the knowing benefactor.
The trailer alone gives us plenty to work with.
Here, within the first five seconds, we know it is the white man who can't keep a domicile intact. The white man is "sorta" married, while Denzel Washington proclaims proudly that he has "two beautiful daughters."
At :10, a gaggle of white kids are being instructed in railroad safety by their black teachers.
The white girl at :15 seems impossibly frail and vulnerable next to the train bearing down upon her. But fear not, for a fearless black woman is there to save the day at :21--or at least she would, were it not for the bumbling, incompetent whites that surround her at :22. These dullard white men are responsible for the disaster that the black heroine spends most of the film trying to clean up.
This heroine and Denzel Washington, between them, are at their wits end trying to manage teams of white lackeys and pawns. But they are often frustrated by typical white incompetence. It is hard to perform miracles when your tools are so dull. See :38 and :40. You see, Mr. Washington needs to know where that train is, and probably would know, were it not for the whites at the other end, manning their control tower with boundless idiocy.
The screaming white kids at :48 wear on the nerves of the black heroine at :49. How will she save them? How will she save whites from their own incompetence?
Denzel Washington's white co-worker needs to be prodded into action. Without the black hero to coach them, train them at heroism, the whites will perish en masse in a world that they themselves have pushed towards catastrophe.
This film claims it was "based on true events." IMHO, you can file this film under fantasy...or even theater of the absurd.
Thursday, February 17, 2011
I find it hilarious that according to so many commercials, we whites are clueless, utterly at sea unless black people give us the answers.
This is, of course, the opposite of how reality works. I shouldn't have to remind people that whites invented aspirin and the modern pharmaceutical industry and the internet and television and a thousand other things. So why is it that I am being sold these drugs over this television or this internet by a know-it-all negress?
This is not a rhetorical question, but an actual one.
I know commercials are designed to make people feel like they need something, that unless they purchase brand X they are missing out in life. But why do we get this message in the context of an Anti-White Media barrage? Why would you want to purchase Aleve after viewing such an ad? Continuing to consume their product after they insulted you like this would make you about as brain-dead as the whites in this commercial.
[I have returned from my trip. Thanks for your patience while I was on the road. Normal posting pace should now resume.]
Friday, February 4, 2011
It's nice to see Progressive Insurance is an equal opportunity white male humiliator. No matter whether the white male is their employee or their customer, they will still find a way to humiliate them.
And not only will they humiliate them, they will spend millions of dollars on a marketing campaign that seems more geared towards humilating them than advertising their insurance products.
[Still on vacation on the road. Posting will be intermittent for one more week. Till then, keep vigilant.]