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Category: Feminism

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Feminism Film Henry VIII

Battle of the bastards

‘Battle of the Bastards’ is the ninth and penultimate episode of the sixth season of HBO’s fantasy television series Game of Thrones and its 59th episode overall. This episode is emblematic of the series. It starts with a very easy victory for Dany, much easier than Caesar’s Veni, Vidi, Vici after the Masters invade Meereen with their fleet.

Later we see the Battle of the North—the best melee battle I’ve ever seen from a cinematic point of view. Unlike Dany and the fire of her dragons that burn the invading fleet, in the Battle of the Bastards you can see the ruthless rawness of what war really is, which is reflected in this image of the poor men under the command of the bastard Jon that are about to fight in numerical disadvantage against the army of the bastard Ramsay.

Dany, on the other side of the world in Martin’s fiction, is so powerful that she’s even capable of thinking in exterminationist terms. At the pyramid, which is being bombarded from the ships in the bay, she says to Tyrion: ‘I will crucify the Masters. I will get their fleets afire, kill every last one of their soldiers and return their cities to the dirt. That is my plan’.

The contrast between the Battle of Meereen Bay and the Battle of the Bastards couldn’t be greater. While the men on Jon’s side struggle to remain alive in a battle very realistic thanks to special effects (it is difficult to film a great carnage of horses during direct combat), the SJW Dany is granted everything thanks to the fire of her dragons. It was a great blunder to put both battles in the same episode because it shows how grotesque all this feminism is where the conquering woman appears as ultra-privileged in her warrior powers while the men have to fight every inch of the ground with blood and iron, as two armies fought in the open fields of yesteryear.

In the discussion with Tyrone, her advisor, Dany, before riding her dragon, tells him that she’s completely different from her father, who wanted to burn King’s Landing including men, women and children, even those loyal to the mad king. Tyrion replies: ‘You’re talking about destroying entire cities. It’s not entirely different’.

Another infuriating thing about many episodes, including this one, is the stupid little music they play when Dany rides her dragon and everything comes out smooth and easy—really irritating, especially compared to the eerie music they play right before the Battle of the Bastards is fought. In addition, we must take into account that all this war of Dany against the Masters is due to the latter refusing to abandon the slave system. We can already imagine what fantastic cinema would be like today if the Confederates had won the American Civil War!

Just as in the pyramid of Meereen Dany wants to become genocidal and Tyrone begs her for restraint, in the gloomy north we also see a discussion after the war council in Jon’s tent: another argument between woman and man before the battle, and also with the roles reversed. Sansa says such obvious things to Jon about elemental strategy that it is sad to see the man’s naivety. Sansa also alerts Jon about the psyops Ramsay will use on the battlefield. As we’ll see later, Jon fell flat on one of those tricks, and had it not been for the unexpected intervention of the Knights of Vale at the last minute he would have lost the Battle of the Bastards.

The script is pure rubbish although the battle, as I said, is worth watching. But before it the scriptwriters inserted a scene that reminds me of what I said in ‘On Beth’s cute tits’ although now I’m not referring to breasts but the buttocks of a woman.

Theon and Yara arrive in Meereen and ally with Dany, offering their fleet in exchange for help in overthrowing Euron and acknowledging Yara’s claim on the Iron Islands. This happens after Dany won the battle in the bay thanks to her dragons. There is a memorable phrase in the dialogue of these two women. Yara said to Dany: ‘We’d like you to help us murder an uncle [Euron] or two who don’t think a woman’s fit to rule’. That happens when we look at the image below (from left to right, Tyrion, Dany, Yara, and Theon).

Sometimes it is necessary to introduce our most intimate insights to make a point. When the episode aired on June 19, 2016, I thought how incongruous it was. In this image those who have power are women: Tyrion, the queen’s adviser, is a dwarf and Theon was literally castrated by Ramsay. When I saw the scene in 2016, I thought that we were getting the spectacle of the buttocks of the hyper-masculinised Yara, who negotiates with Dany, but they show us her buttocks in a phallic way.

A few years ago I visited the Tower of London and saw Henry VIII’s armour. I was surprised by the large metallic bulge in the genital area of the armour. Whoever was directing the tour spoke of it as a psychological weapon or psyop. But here, and I’m following my soliloquy from years ago when the episode premiered, it is Yara’s buttocks that we see, who is not only a dyke but wants to be the first queen of the Iron Islands after killing Euron. The emasculated Theon who really has the right to rule the islands once again supports, now in front of Dany, Yara’s claim and in the end these two women reach an agreement right there, in the enclosure of the pyramid that we see above.

Anyone who remembers what I said in my article about Beth’s tits will see that a creature whose buttocks seduce us cannot be a great warrior that beats us too (or a world chess champion, in Beth’s case). This topic is so important that that essay of last November will give the title to the book of my next collection of articles, although this time the central theme will be feminism. What I noticed when I saw the episode for the first time is how the language of the images seduces us: how they put Yara in tight pants so that her buttocks are drawn next to the humble Theon, the broken man.

Women have bigger buttocks than us. Years before I had already noticed this trick and also by another pair of Jewish directors, the Wachowski brothers. I’ll never forget how in The Matrix we see very well drawn the buttocks under the pants of another woman, Trinity, when she is about to board a helicopter immediately after receiving a brief course to pilot it. In cinematic language, they used a low shot by showing us this brave female warrior from behind. But this time the psyop was not the armour protrusion for Henry VIII’s balls, but Trinity’s elegant buttocks in a nonsexual scene.

Categories
Architecture Degenerate art Feminism Stanley Kubrick

The broken man

‘The Broken Man’ is the seventh episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 57th overall. Here the series exacerbates its previous feminism to surreal levels. It is not enough that the show introduces a woman as the feudal lady of the beautiful medieval castle that we see above. She is a ten-year-old girl. And worst of all, the fans loved this new character!

Some Americans wondered yesterday how the judicial system gave in to the BLM threat by condemning a white cop in the case of the black man who died on the asphalt. One clue to how the West got to this point is simply to notice what TV fans like: a world upside down. In the episode this brat, Lady Mormont, speaks authoritatively as a feudal lord, and initially disparages Jon Snow and Sansa Stark who ask for help in their campaign against the Boltons.

In Volantis we see Yara and another woman making out publicly. But Yara is not a lesbian in Martin’s novel. This is another excess of the scriptwriters to demoralise the white viewer. (Yara also harangs her ‘little brother’, the phrase she uses, so that he stops being a broken man.)

The penultimate scene is even more surreal than that of the ten-year-old feudal lady. Arya, seen here in Braavos with the background of a kind of Colossus of Rhodes, is stabbed several times in the stomach by the Waif and she survives the attack! All of these images come from this episode, including Blackfish’s Castle below, and above with Jaime Lannister on the bridge.

The trick used by the creators of Game of Thrones is to mix the beauty of Aryan architecture with poisonous messages for the white soul. It reminds me of Kubrick’s virtuosity in filming 2001: A Space Odyssey so that his next movie, A Clockwork Orange, was so poisonous that it was banned in England for several decades.

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Feminism

Blood of my blood

‘Blood of My Blood’ is the sixth episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 56th overall. In the pics we see the moments when Samwell Tarly, Gilly, and Little Sam arrive at Horn Hill, the seat of House Tarly.

The first female-male role reversal occurs when stupidly Mace Tyrell asks his mother Olenna ‘What’s happening?’ He cannot see something so obvious. His mother angrily replies: ‘He’s beaten us. That’s what’s happening’ referring to the High Sparrow. The writers always put Olenna as a very clever woman and her son, the head of House Tyrell, as a goofball.

The second inverted message belongs to another order of magnitude. In the huge semi-desertic area known as the Dothraki Sea, there is a dialogue between Daario and Dany that perfectly portrays Dany’s figure. Daario tells her that she is not made to sit on a throne, but that she is a born conqueror. With a horde of Dothraki following them faithfully, I couldn’t help but think of the figure of Alexander the Great in the wake of successful conquests that Dany has left in several seasons: Astapor, Yunkai and Meereen (in the eighth season she would also conquer King’s Landing, Westeros’ capital).

Then Dany, mounted on her dragon of course, gives a conquering harangue to this horde of ‘Mongols’ so that these coloured savages invade Westeros, on the other side of the sea, kill their white enemies ‘in their iron suits and tear down their stone houses’. As expected, with a roar of Dany’s dragon the stupid episode ends.

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Feminism

The Door

‘The Door’ is the fifth episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 55th overall.

The first bad message of the episode is seen in the gloomy House of Black and White: two teenagers, Waif and Arya, fight in an exercise of their training. No healthy society trains cute teenagers to become ruthless assassins. (Remember that what Arya did in a previous episode is worthy of a sadistic scene filmed by a madman like Tarantino.) Jaqen H’ghar, who presides over the temple, has no male apprentices: only those two girls and some silent servants. He doesn’t even have a sexual interest in the girls. The way these shots, while fictional, put pressure on the collective white psyche should never be underestimated. Much of today’s psychosis in the West is due to whites wanting to imitate what they see on TV.

The second bad message of the episode is seen when Theon, at the Kingsmoot gathering, supports Yara’s claim to the throne before Euron arrives. Far away, in Vaes Dothrak, Jorah makes a fool of himself telling Dany, in front of Daario, that he loves her—even though he knows that Daario, not him, has been banging Dany. Typical of an emasculated man in front of the woman’s figure.

Feminism also reigns in the great pyramid of Meereen even with Dany absent. Kinvara, the ‘High Priestess of the Red Temple of Volantis, the Flame of Truth, the Light of Wisdom, and First Servant of the Lord of Light’ speaks to Tyrion and Varys with such amazing clairvoyant powers that she leaves this pair dumbfounded, presumably the smartest pair of males in Westeros. Never in the series had Varys been psychologically beaten like that.

Categories
Feminism Racial right

Book of the Stranger

‘Book of the Stranger’ is the fourth episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 54th overall. Tyrion, Varys, and the mulatto couple outside Meereen are barely seen in this photo.

From this episode Sansa loses her femininity and begins to speak like a man. Interestingly, yesterday I saw a video from a Spaniard about ultra-Orthodox Jews in Jerusalem. I had never heard a rabbi speak in such perfect Spanish. The customs of these ultra-orthodox Jews allow them to have families of a dozen children, just what the Aryans need for the Master Plan of conquering the world.

If white nationalism were not fake, the first thing they would do would be to reclaim their women. And that can only be done through a transvaluation of current values to common patriarchal values in the West until not long ago. Such transvaluation would explode the Aryan population to world-conquering levels, the healthiest thing we could imagine. If Jews have power, it is because they respect male-female bipolarity. If the Aryans are dying out, it is because they believe that a beautiful nymph like Sansa can suddenly begin to think like a general, advising Jon Snow how to get Winterfell back from the Boltons. All messages from Hollywood, the media and the universities are toxic to whites. But if whites weren’t crazy, they would write reviews exposing every feminist message of the most famous television series.

It’s not just Jon, at the Wall, who is reluctant to wage war on the Boltons. At King’s Landing the High Sparrow allows Margaery to visit her brother Loras, both prisoners in the dungeons of the Faith Militant. And just as Sansa harangues Jon to fight, Margaery harangues Loras not to give up, as psychologically he seems a broken man. Margaery, on the other hand, is presented as the strong one who resists the pressure of religious fanatics. But Loras replies that he can’t be strong, even though Margaery wants to encourage him.

As if that wasn’t enough, after escaping from Ramsay, in the Iron Islands Theon talks to his sister Yara. Once again the male-female roles are reversed, to the point of rendering Yara as incredibly manly and Theon as another broken male. Those games in kindergartens where boys and girls exchange clothes are unnecessary in this brave new world if we see it even in hours of television entertainment, like this series that so many millions have seen. Worst of all is that Theon tells Yara that it is she, now that their father has died, who must rule the Iron Islands. (Remember that no woman has ever been the queen of that wild kingdom of fishermen that assaults their neighbours as the Vikings did.)

Then Sansa convinces Jon to declare war on Ramsay, but the role-reversal scenes don’t end there! In Vaes Dothrak, Dany provokes the gathered khals and kills them by setting fire to the Temple of the Dosh Khaleen (she is miraculously unburned). Martin seems to have been inspired by the Mongols to describe the Dothraki, who are even more primitive than the most barbarous in Westeros. To make matters more ridiculous, after cremating alive the great khals Dany is left with the armies of these ‘Mongols’ for her own SJW purposes. End of episode!

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Feminism Kali Yuga

The Red Woman

‘The Red Woman’ is the sixth season premiere episode of HBO’s fantasy television series Game of Thrones, and the 51st overall. From a cinematic point of view the first shot, and indeed the opening scenes of this season, are a masterpiece. The camera zooms in on the Wall on a night in Castle Black as Jon Snow’s direwolf Ghost begins to howl, though we haven’t seen it yet. The next scene keeps the mystery, when we finally see Ghost and later Ser Davos until the close-up towards Jon’s corpse.

Far from there and already in the daytime, on the sea crossing from Dorne to King’s Landing we see that the blonde Myrcella, Jaime and Cersei’s daughter, has been fatally poisoned. A priest of the fourteen words would think that that was better than Myrcella marrying her non-white fiancée and fathered a café-au-lait prince to unite Houses Lannister and Martel.

Then we see the most grotesque scenes of the episode. Ellaria Sand and her daughters carry out a coup, killing Doran and his son. We can already imagine four Muslim women staging a successful coup by killing the caliph and the young prince, taking over the caliphate! But let’s remember that we are facing the most serious disinformation campaign in Western history regarding the roles of men and women. And the most serious thing of all is not what these Hollywood Jews do, but that white people consume their liquid poison as Myrcella consumed hers, with their eyes closed.

The last scene, which gave the episode its title, is as well done as the first scenes but once again: from a strictly cinematic point of view. We see that the witch Melisandre is actually much older than she appears, thanks to her dark magic.

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Feminism

Hardhome

‘Hardhome’ is the eighth episode of the fifth season of HBO’s fantasy television series Game of Thrones and the 48th overall. In the picture we see Jorah, the poor knight in love with Dany, expelled from the city for the second time by the woman he loves!

Now that I see some passages of these episodes on Blu-ray, I have the option to change languages including the voices in Latin American Spanish for the voices of the Spanish language as used in the Iberian Peninsula. Hearing Dany how the Spaniards speak, she reminded me of the television series Isabel about which I have written an article. In this episode Dany looks somewhat like what I saw years ago in the Spanish series.

The trick of both series, Isabel and Game of Thrones is to put these little women as if they were mature statesmen perfectly capable of their work. But if you want to see how women reign when empowered in the real world just look at what happens around the West, for example in Sweden.

In this episode Dany is still in the semi-desert region of Meereen, as you can see in the above pic of the pyramid. But feminism continues even in the Arctic world, on the other side of the Wall, in the town Hardhome. When Jon Snow meets with the announced elders of that primitive town, the one who stands out from that group of ‘elders’ is a young woman. Years ago Kit Harington, who played Jon, probably the character most beloved by fans, declared in an interview that Game of Thrones was a feminist series.

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Feminism Schutzstaffel (SS)

Sons of the Harpy

‘Sons of the Harpy’ is the fourth episode of the fifth season of HBO’s fantasy television series Game of Thrones, and the 44th overall. For personal and selfish purposes that have nothing to do with religion, Cersei empowers an army of religious fanatics. After two centuries of inactivity she revives the Faith Militant: the military section of the Faith of the Seven (see pic: here), now led by the High Sparrow.

Today these militants would be like a kind of Antifa and BLM combined. Just as Jesus drove merchants out of the temple, after Cersei’s empowerment the Faith Militant drives out merchants from King’s Landing who sold liquor and other profane things, and break into Littlefinger’s brothel where they castrate a sinner. They differ from the Antifa in that they are very puritanical, but the fanaticism is of the same intensity as what we see today.

In another story that runs parallel, this one in the cold north, the writers don’t refrain from degrading the male before the female. After Melisandre tries to seduce Jon Snow in Castle Black, she tells him exactly the words that the now-deceased Ygritte used to tell him: that he knows nothing about life.

But it is in the desertic Dorne where see one of the most offensive feminist scenes in the entire series. Ellaria Sand reunites with her daughters and together conspire to do something that sparks a war between Dorne and the most powerful kingdom in Westeros. The episode shows them as extremely masculinised female warriors, true Amazons although located in an environment similar to the Islamic! Except for the Faith Militant parallel story overseas, the plot is so incredibly stupid that sometimes I think the only thing worth watching are certain shots, like the one below where we see Dany from the top of her pyramid at Meereen.

After this senseless task that I set myself, watching a daily episode of Game of Thrones to comment on it the next day, it will be very refreshing to read some SS pamphlets that I’ve just requested.

Categories
Feminism

The House of Black and White

‘The House of Black and White’ is the second episode of the fifth season of HBO’s fantasy television series Game of Thrones, and the 42nd overall. We see the first absurdly feminist scene of the episode when Brienne, with the meagre help of her male squire, defeats several Littlefinger soldiers after speaking with Sansa in a tavern in the Vale.

The second feminist scene is even worse, and reminds me of my father’s abject codependency before my mother. Cersei manifests a vehement desire and Jaime will risk his life to fulfil it. The dynamic is typical: the female demands something and the male feels obliged to comply. Cersei ranks higher than her brother-lover Jaime at King’s Landing castle, as she is the mother of the king (and the people mustn’t know that Jaime is the real father of the king). So do men obey women that even in the city of Braavos, a sort of Venice in Martin’s world, Ternesio Terys takes Arya to the gates of the House of Black and White, the headquarters of the Faceless Men: where the young girl will be trained as a professional assassin.

Another toxic scene for the Aryan spirit is to see the blonde daughter of Cersei and Jaime strolling through the water gardens of Dorne with her fiancé: the swarthy Trystane Martell. Recall that in Martin’s world Dorne seems to have been inspired by Islamic culture.

The feminist scenes continue in Dorne. Ellaria Sand tells Prince Doran Martell that she and her daughters will avenge the death of Oberyn (killed in the previous season). Thus, it is women who have the initiative to start wars, or rescues like what Jaime will try in Dorne. Ellaria, who is not even a woman of noble birth, even threatens Prince Doran by asking him, extremely upset, the rhetorical question of how long will he reign. Just imagine a Muslim woman speaking like that to the Caliph of Baghdad!

Categories
Feminism Sexual "liberation"

The Children

‘The Children’ is the fourth season finale of HBO’s fantasy television series Game of Thrones, and the 40th overall. It was written by series co-creators David Benioff and D. B. Weiss, and directed by Alex Graves.

The first surreal scene of the episode opens with an argument between Tywin and his daughter Cersei, who told her father the truth about her incestuous relationship with Jaime. Then she goes to Jaime and confesses that she has just confessed the truth to their father. The drama was caused because Cersei didn’t want to separate from her son, thus prioritising her maternal instincts over her obligation to remarry.

The unreal thing about the plot is that there is no record of highborn women throwing these tantrums, not marrying an immensely wealthy man joining the richest Houses of Westeros, disobeying the father. The feminist message is obvious. And the worst thing is that stupid Jaime plays along with her sister-lover, allowing himself to be seduced instead of hating her when she has just instigated the court to execute their brother, Tyrion, of whom Tywin says that he would be executed the next day. All those feminist scenes should make the white man nauseous. But Jaime even fucks her in front of the cameras on a table.

Finally, Bran and those who help him reach their destination far north of the Wall (click on the image to see the details), where they would meet the Children of the Forest. It is a pity that the writers and the director have spoiled the next scene with absurd violence emerging from the snow that had nothing to do with the spirit of that arrival at the most mysterious place in Martin’s novels. Whoever lives in the labyrinthine cave under the weirwood tree is a mummified man, although he is alive. This is how he appears in Martin’s prose rather than how he was filmed in various HBO seasons.

On the other side of the Wall we see another feminist scene. After her knight-errant duties, Brienne finds Arya in the Vale and tells her that her father taught her to use the sword. A conversation ensues in which they tell each other that neither of their respective fathers originally wanted to train them in the martial arts, but they yielded after the girls’ insistence.

We then see the scene where Brienne defeats the much-feared Hound in single combat. The viewers swallowed the whole scene without questioning its historical accuracy, as this type of sexual inversion against the best fighters of a kingdom didn’t occur in the Middle Ages (or even in our times).

The final scene of the season, after Tyrion killed Tywin, becomes unreal again. Arya, now freed from the Hound, gets a free raid to Braavos through the sea in search of adventure. We can already imagine what would sexually happen in the Middle Ages to a pretty teenage girl who tried to travel half the world without male company.