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Category: Feminism

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Degenerate art Feminism Tree

The spoils of war

‘The Spoils of War’ is the fourth episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 64th overall. The stills show the Stark siblings reunited in this episode, for the first time after they tragically parted ways in the first season. All the scenes in the series and the novels where a heart tree appears have a special charm (below, Sansa under Winterfell’s heart tree).

The first feminist scene takes place in Dragonstone Cave, where Jon shows Dany some ancient cave paintings. Given that Dany and Cersei are the queens who are fighting to see who will sit on the Iron Throne, one might think that Dany could at least tolerate a single king (Jon) in the far north. But no: she tells Jon that she will only help him defeat the Night King if he bends the knee and accepts Dany as the queen of the Seven Kingdoms. If Jon accepts Dany’s proposal, all of Westeros will be ruled by one woman when the powerful Dany defeats Cersei.

Another ultra-feminist message occurs when Brienne tells her male squire, ‘Move aside, Podrick!’, who had fallen to the ground several times training with Brienne. She says those words to him because Arya requests a training exercise from her. Now these two women are the best swordsmen in Winterfell! (It is useless to reiterate that this is an absolute reversal of sexual roles and historical reality in a medieval castle.)

In the previous post we saw that Dany’s mulatto army defeats the Aryan Lannisters in another castle, Casterly Rock. At the end of this episode Dany’s other coloured army, which as I have said Martin seems to have been inspired by the Mongols, defeated the Lannister on the Roseroad (although this time aided by Dany’s dragons).

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Degenerate art Feminism

The queen’s justice

‘The Queen’s Justice’ is the third episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 63rd overall.

The first feminist message of the episode is the meeting between Dany and Jon at Dragonstone. I’ve been mentioning the nickname ‘Dany’ that Jon would give the queen when, in later episodes, they became lovers. But the official title of this feminist icon is just the way Missandei introduced her queen to Jon: ‘You stand in the presence of Daenerys Stormborn, of the House Targaryen: Rightful Queen of the Andals and the First Men, protector of the Seven Kingdoms, the Mother of Dragons, the Khalessi of the Great Grass Sea, the Unburnt [fire doesn’t burn her] and the Breaker of Chains [i.e., a SJW queen]’.

Regarding the other queen who also claims to be the protector of the Seven Kingdoms, Tycho Nestoris of the Iron Bank tells Cersei that she is the first queen in the history of Westeros. In other words, there had been no women in power prior to the show’s internal timeline.

It’s becoming increasingly clear that the show is, as we have been saying, a projection of the current lifestyles of a dying race to a medieval world that never existed. Later the episode shows us another kind of bad message: Grey Worm’s mulatto army infiltrates Casterly Rock and captures the castle of the Aryan Lannisters.

Then we see how, after Jaime, Randyll and their armies take Highgarden, Jaime Lannister (pic above) speaks one last time with Olenna before she drinks a poisoned cup.

YouTube fans are already starting to talk about the new series that HBO wants to premiere next year: a prequel to Game of Thrones based on Martin’s fiction (something akin to what Peter Jackson did after his LOTR trilogy). From the casting we can guess that feminism will apparently continue, and perhaps this time one of the main characters is a black man. Hopefully the US dollar will collapse before its release so that the circus will stop looking funny to these degenerate whites…

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Feminism

Stormborn

‘Stormborn’ is the second episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 62nd overall. We see the first feminist message in Dany’s war council that used to be Stannis’ headquarters. Dany invited three powerful women, Olenna Tyrell, Yara Greyjoy, and Ellaria Sand as allies to overthrow another woman, Queen Cersei. Olenna, Yara, and Ellaria are hawks while Tyrion recommends restraint to avoid unnecessary genocide.

The warriors with balls are women, and those who care for civilians are men (Varys is also in the Dragonstone war council as Dany’s counsel). That eagerness to behave like a hawk is even more noticeable when Olenna is left alone talking to Dany, haranguing her to honour her Targaryen surname, that she becomes a true dragon.

We see the second feminist message of the episode when Sansa, once again in the war council of Winterfell with the lords of the north, again contradicts, and resoundingly, the decisions of the king of the north, Jon. In the real world, an insolent woman who had done a scene like the one Sansa had done in the previous episode would not have entered the war council room again. But here, obviously, the male kings tolerate these mouthy little women, even the Mormont girl who opens her little mouth again at Jon’s war council to show her disagreements.

The worst thing is that, when Jon Snow accepts the invitation to visit Dany in Dragonstone, he leaves Sansa as Guardian of the North in Winterfell. So now three women rule Westeros: Cersei in King’s Landing, Dany the invader (who has allied with Olenna, Yara and Ellaria), and Sansa as guardian of the north while Jon Snow returns from his dangerous diplomatic mission.

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Degenerate art Feminism

Dragonstone

‘Dragonstone’ is the seventh season premiere episode of HBO’s fantasy television series Game of Thrones, and the 61st overall. Almost all episodes begin with a minute and a half opening credits in which we listen to the musical theme of the series that became so popular. Here, instead, David Benioff and D. B. Weiss kicked off the season with an ultra-feminist scene. In my previous post I said that the girl Arya had killed the principals of House Frey. But this girl is so powerful, and let’s remember that we are in the scene before the opening credits, that she manages to kill the rest of House Frey—dozens of them, all males, and in the end she walks over the corpses.

The imbecile fans loved the scene. For me, the fact that millions of fans didn’t mind that a single girl was capable of killing all the males in their own feudal castle, shows that the Aryan problem encompasses the Jewish problem. Not wanting to see that the masses are surreally brutalised is part of the blindness of white nationalists, who don’t quite understand what’s happening.

But the opening scene is only the overture of what comes next. In Winterfell, the Mormont girl returns with her practice of lecturing a feudal lord and Jon Snow allows Sansa to confront him before the lords and ladies of the north. Sansa is not the wife of Jon, the king of the north. In the real feudal world she had to be completely subordinate to the will of her stepbrother. She shouldn’t even have a voice on the war council. But we are in a series in which the same actor who played Jon said in an interview that Game of Thrones was a feminist show.

It is true what I said in my previous post: the great hits of white culture should be studied more than the subversion of the Frankfurt School. But reviewing these episodes represents a great test of patience for me. However, since there is no blogger among racialists who dedicates himself to exposing every bad message on television series, I feel compelled to do so at least with the most popular series of all, no matter what bile my body secretes by imposing this homework on me.

Returning to the initial episode of the season, it ends when Dany arrives with her armada at Dragonstone, from where she plans how to defeat the other queen, Cersei.

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Feminism Kevin MacDonald Psychohistory

The winds of winter

‘The Winds of Winter’ is the tenth and final episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the sixtieth overall.

It opens with artistic scenes in the Great Sept that are worth watching even if you don’t see the rest of the episode. Martin was obviously inspired by the medieval church.

High Sparrow: ‘Will you fight to defend your faith against heretics and apostates?’

Brother Loras: ‘I will’.

But even in the Big Sept the writers put up a damn feminist scene. Addressing the High Sparrow, Margaery blasphemes (‘Forget about the Bloody Gods and listen to what I’m telling you!’) in front of the Faith Militant, a sort of inquisitors, and all the nobles gathered at the trial of Loras and Cersei.

This is something as inconceivable as a woman shouting something similar to the pope of other times in St. Peter’s Basilica with the Holy Inquisition present.

The scene is ultra-feminist because Margaery not only curses in a holy place. She’s so clever that she senses that somehow the Great Sept is going to be attacked—something unbelievable within the plot itself. After the Night King killed the old man tangled in the tree only his disciple, the new three-eyed raven, has the power to know these things clairvoyantly (wildfire cache about to explode under the Great Sept).

Even worse, much worse, is what happens after the Great Sept explodes killing everyone, religious and nobles included. This level of feminism is so repulsive that I will tell it very briefly. The girl Arya, who should be dead from the stab wounds she received in a previous episode, single-handedly murders the feudal lord of House Frey and his sons. (Before that scene, Tyrion, supposedly the most intelligent man in Westeros, tells Dany ‘I believe in you’ and Dany turns him into Hand of the Queen with all the ritual of kneeling before the queen, etc.)

But the ridiculous feminist messages don’t end there. In Winterfell, after a few words from Jon Snow now that the Boltons were defeated for good, the prepubescent Mormont girl lectures three mature feudal lords! And it is this girl who, speaking to all the assembled lords of the north, proposes, now that there is no longer a guardian of the north, Jon Snow as the king and all acclaim him.

I have said it elsewhere and it bears repeating. To understand the darkest hour of the West what is needed is to understand the greatest hits of mass culture, as it was in the 19th century Uncle Tom’s Cabin (remember that Lincoln told its author: ‘So you’re the little woman who wrote the book that made this great war!’) and Ben-Hur: A Tale of the Christ, which also became a tremendous bestseller in the United States. In the 20th century, the film based on it would win eleven Academy Awards, and in the 21st century BLM would inherit the message from the little woman Lincoln spoke to.

It is there, the hits, where we can calibrate the pulse of the white man’s collective unconscious. In other words, to understand the dark hour it’s better to understand Game of Thrones than the boring texts of the Frankfurt School. It’s pop culture that drives the stupid masses, not so much what Kevin MacDonald discusses in The Culture of Critique.

To culminate the end of the sixth season, after the suicide of King Tommen there are no longer any men sitting on the Iron Throne. Now it’s a woman’s turn:

Qyburn: ‘I now proclaim Cersei of the House Lannister, First of Her Name, Queen of the Andals and the First Men, Protector of the Seven Kingdoms. Long may she reign!’

But Cersei is not the only queen. In the final scene of the season we see Dany with a massive armada, with her dragons flying above, crossing the sea to conquer Westeros.

The Battle of the Bitches is what lies ahead…

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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.

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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.

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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!