Wednesday, November 30, 2011
Another Anti-White Media movie review.
Meet The Fockers (2004) was written by Jews and directed by Jews and produced by Jews and tells a story starring Jews who tell square, cold, aloof, passionless, white gentile non-Jews that warm, happy Jews have insights into life and love.
And it made $515 million at the box office, mostly from non-Jews who paid Jews to tell them a story written by Jews and directed by Jews and produced by Jews and starring Jews who tell square, cold, aloof, passionless, white gentile non-Jews that warm, happy Jews have insights into life and love.
But seriously, does anyone else find it ironic that the same tribe that is always crying about making schools, businesses, and baseball teams (and just about anything else under the sun) more "diverse" is the same tribe that displays a serious lack of diversity when it comes to their own Hollyweird and bankster rackets?: When it comes to their own strangleholds on power, it's all Jews all the time, without a shred of remorse, a second thought, or the slightest apology. It's one rule for them and another for the rest of us.
Meanwhile Peter Jackson makes The Lord of the Rings and The Hobbit with an all-white cast and he's called rayyyyciss!
It seems anti racism is just a code word for anti white.
Monday, November 28, 2011
Another vile ad promoting miscegenation.
The sexual innuendo here -- she asks for a "long, black" coffee -- only draws attention to the fact that all the people in the queue are white women. So it is specifically white women (all white women and only white women) who cannot resist the black guy. They'll line up like soulless zombies in order to get their chance to tame the savage Afro-beast.
And they intentionally cast a slightly chubby, dumpy white girl in the lead role here. She contrasts with the gym-built black guy in order to get us to think that we should actually be grateful that high-value blacks would condescend to sleep with such dumpy white girls. The black guy is doing the white women a favor! Seeing this ad, white women would have a subtle sense of their depreciated market value, and thus be more inclined to "sell low" (i.e. sleep with blacks).
Hat tip: an anonymous contributor.
Sunday, November 27, 2011
Here we have Wuthering Heights (2011), produced by Robert Bernstein.
At first I thought "You. Have. Got. To. Be. Kidding. Me."
But really nothing surprises me anymore.
Friday, November 25, 2011
Video 1) White male, wimpy, gets ignored/shut down by black woman.
Video 2) White male, weak, can't keep up. Wife, tired of his crying, must take charge.
Video 3) Black guy is calm, strong, reasonable. White woman tries to be "cool" and "with it" in his presence.
Boycott Wal Mart this holiday season.
Sunday, November 20, 2011
Uh...Maybe you have to be Italian to fully get this one.
All I need to know about it is that it causes a gag reflex. It is perhaps even worse than THIS one, which we featured here a few years back.
How far the Italians have fallen from the old days of Marcus Aurelius, Leonardo, Galileo... Cato...
Hat tip to an anonymous commenter/contributor.
Saturday, November 19, 2011
The "big black one" is the "most beautiful," says the white woman.
Would you see a quote like this in any films of the 1930s or 40s?
This brief scene might seem innocuous by today's Anti-White Media standards. But the portrayal of these amoral whites, juxtaposed with the noble, powerful black guy, is an early sign of things to come, preceding Flame in the Streets (1961) by a year.
Thus from an archivist's standpoint I wanted to get Kubrick's "classic" logged here.
Friday, November 18, 2011
How Steven Soderbergh's Contagion (2011) was able to turn a global pandemic into such a snore-inducing film is beyond me. Perhaps if he wasn't so concerned with being PC (which, in the Anti-White Media lexicon stands for Post-Caucasian more than it stands for Politically Correct) he would have given more thought to how he might keep his audience awake.
But he just had to make his film Post-Caucasian. This requires white male characters to be stupid janitors who don't even know that you don't ask the black head of the Center for Disease Control about diagnosing your kid's autism. "I'm not that kind of doctor" Laurence Fishburne informs the dolt.
The film is little more than slow-motion vignettes of Fishburne talking to his white female colleagues. Together, they save planet earth.
Compare Kate Winslet's respectful, attentive, careful, concerned, engaged gaze at Fishburne at :39, with the way in which, in the scene immediately after, she blows off the big white male dork that she has been forced to work with (1:01). Note how the white guy just can't keep up in the airport. He's only there to hold Winslet back from saving humanity: "I'd like to get started if that's POSSIBLE" she says (1:13).
As if the special relationship of late-night, tender phone calls with one driven, white female CDC doctor isn't enough for this film, Fishburne also must be shown in another, insightful, productive, tender relationship with Jennifer Ehle's character. It's the same relationship, doubled-up, reinforcing the film's ideological arc: white men are bystanders to the black man and white women who show professionalism and courage.
Fishburne, despite heavy emotional ties with his white female staff, is married to a black woman who, conveniently, gets attacked by masked white males(!) Another white male, who challenges Fishburne's credibility (Jude Law), proves in the end to be yet another unscrupulous criminal(!)
Can you believe that fifty years have passed between Flame in the Streets (1961), (discussed in our last post) and this year's Contagion?
FIFTY YEARS of Anti-White Media propaganda. Let's all wish an unhappy birthday and a short life to this civilization-destroying mental contagion.
Tuesday, November 15, 2011
An AWM history lesson: Anti-White Media in the UK began in earnest with Flame in the Streets (1961), which depicts a kind, gentle, morally flawless black guy preaching to an impressionable white woman about the virtues of Jamaica and the evils of whitey.
Britain's elitesters had imported blacks by the thousands all through the 50s, and racial tensions soon skyrocketed. So "films" like this started coming out, which were actually little more than social engineering propaganda weapons, spearheading a campaign to make the Brits feel they "needed" blacks in order to bring a little cheery sun into their otherwise dreary, frown-filled, and damp little world.
Kathie Palmer, played by Sylvia Syms, is here seduced by the idea that she is "different" than the sad, bland race that the black guy describes. She gets a false feeling of moral supririority that is both a cause and an effect of her dating a black guy.
Think of how many impressionable white girls saw this film in 1961 and thought: 'Hey. I don't want to be numbered among these "sad" pasty-skinned stream-polluters!' - and with that thought first began driving Britain, gradually through the ensuing decades, towards wholesale deracination and national suicide.
Saturday, November 12, 2011
I went to a public school that was racially "integrated" and in all my years there I never saw anything like this. On the contrary, usually black boys would prey on the solitary, the weak, and the vulnerable - not selflessly seek to help them.
Note how they cast not just any white boy, but a frail, almost girlish-looking white boy. Note how he isn't smart enough to figure out how to dunk his cookie. This kid is pathetic. But thank heavens the black genius comes to his rescue.
The ad below is by the same Jewish director, Matt Smukler. Note any similarities? Who is the powerful force of nourishment? Who is the helpless sissy? Hmmm. Coincidence?
Hat tip: Anonymous contributor.
Sunday, November 6, 2011
Why am I not surprised that Sally Jesse Raphael's real last name is Lowenthal?
Such TJB (Typical Jew Behavior):
1) Hide your real name and ethnic identity.
2) Promote racemixing and "diversity."
3) Make $£$£$£$£$ by undermining social norms and white ethnic interests.
Saturday, November 5, 2011
This show depicts whites as dumb on all levels. The white guest seems borderline retarded, but even she feels like white men are beneath her intellectually and generally beneath contempt.
Then black women, who also seem borderline retarded, try to edu-mackate dis white ho 'bout how dere black brothaz be usin' dem and sheet caws deys so stooopid.
Is it any surprise that Ricki Lake is of The Tribe? Must they always be so obvious in promoting their vile Anti-White agenda?
More bad news: if you think this poisonous show is off the air, think again. They're bringing it back.
Friday, November 4, 2011
Often, as we have repeatedly shown, Anti-White Media depicts a kind of Bizarro World reality in which all the negative stereotypes associated with blacks are inverted. In movies such as Source Code or Unstoppable or Green Mile or Far From Heaven (the list goes on and on) - blacks are genius physicists or genius mystics or generally misunderstood genius geniuses. They are always ALWAYS contrasted with stupid, misguided morally corrupt whites.
This commercial is no different. It inverts the statistically provable trend of the absentee father in the black community by presenting us with a protective, present, conscientious, alert, and nurturing black father figure. But he cannot just be an active principle of goodness alone. No. He must be juxtaposed with some degraded white kids. What incompetent Caucasian parental unit has let their kids run feral?
The black guy looks at the white kids with a kind of strange self-righteousness in his eye that says "Hell no is my kids gonna end up like these crazy ass white boys, throwin' theys money around."
And Montreal-based BMO Harris Bank thinks this ad is going to endear whites to them?
Perhaps their marketing strategies and PR marching orders simply come to them from on high, directly from Rothschildlandia.
Pure speculation there. But it wouldn't surprise me.
Hat tip: Anonymous & Artur @ crimesofthetimes.com
Wednesday, November 2, 2011
To the uninformed, this public service announcement might seem to be just stating the fact that when we have our eyes closed we can't tell what color people's skin is.
It is true, after all, that most creatures in the animal kingdom use their eyes to see color.
But this ad goes further. It is explicitly selling interracial sex.
And, even more explicitly, it is promoting sex between a black guy and a white girl.
The black guy at :01 is paired with the white girl at :04. This is a technique called bookending: even though a few other faces flit on the screen between them, the white girl and black guy share the first scraps of dialogue. THEY are having the conversation. It doesn't matter that other races then join in on that conversation; the conversation was initiated between the black guy at :01 and the white girl at :04, and the fact that it was a black guy and a white girl was no accident of casting or editing.
Notice there are no prepubescent kids in this ad. This is because it is rife with sexualized innuendo: the final line of the white girl at :24, saying "when we turn out the lights," is essentially an invitation to come to bed. Note too it is implied that her bed partner will not be white, because then the game doesn't work: if she turns out the lights to have sex with a white guy, no longer does the lack of light erase the differences between the two bedmates - indeed, there would be no difference to erase.
The ad sets up a game that can only be played by finding a bedmate of a different skin tone and then turning out the lights in order to abolish that difference. That is the game. Now play it you raceless zombies.
Follow the money: this ad is put out by the Art Institutes, a division of the federally subsidized (there's those tax dollars at work again) Education Management Corporation (EDMC).
41 percent of EDMC is owned by Goldman Sachs.
Why on earth would Goldman Sachs promote interracial breeding?