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Category: Feminism

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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.

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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!

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Feminism Sex

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.

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Feminism

The watchers on the Wall

‘The Watchers on the Wall’ is the ninth and penultimate episode of the fourth season of HBO’s fantasy television series Game of Thrones, and the 39th overall.

The episode begins with one of those typical reversals of sexual reality. Conversing on a cold night between bonfires very close to the Wall, Ygritte tells another of the band of wildlings that she had killed more people in Mole’s Town than him: a tough warrior who is even a cannibal. And worst of all, just as male warriors fight verbally in camps, after the cannibal says unkind things to Ygritte, she gets up and confronts him even though the sturdy cannibal is much taller than the very slim woman.

We then see a conversation about love and women in the Castle Black library between Sam and Aemon.

Aemon is the Maester at Castle Black and the most important advisor in the Night’s Watch. (The actor who played Aemon’s character died at ninety-three in December 2016, which means that he didn’t get to see the last seasons.) He was born Aemon Targaryen and was the last known Targaryen in Westeros. He is the great-uncle of Dany and, unbeknownst to him, the great-great uncle of Jon Snow. Aemon’s origins have long been forgotten by most, as he remained dedicated to his vows as a Maester and a brother of the Night’s Watch for many decades.

The rest of the episode lacks scenes for this critique of feminism, although they had to film the moment when Ygritte died in the arms of Jon Snow during their failed assault on Castle Black. What old Aemon could have said to Sam about love and women would have been far more interesting than this typical cheesy Hollywood scene.

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Feminism

The mountain and the viper

‘The Mountain and the Viper’, the eighth episode of the fourth season of HBO’s fantasy television series Game of Thrones, begins when Mole’s Town is sacked by the wildlings near the Wall. Among the wildlings is the beautiful redhead Ygritte. Because of her leptosomatic muscles all the scenes in which they put her as one more murderer among the male raiders are unreal. Ygritte doesn’t even have the body of a Valkyrie like Brienne: she’s a slender woman in the prime of her age for childbearing.

While characters like Ygritte are audiovisual creations to destroy the Aryan race, or more precisely to brainwash the Aryan male, later in the episode we see another redhead, Sansa Stark. As I have already said Sansa is the only main character who at least until this season assumes a feminine role, as medieval women really were. Here we see her in her room at the Vale.

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Feminism

First of his name

‘First of His Name’ is the fifth episode of the fourth season of HBO’s fantasy television series Game of Thrones, and the 35th overall. Here we see Bran Stark north of the Wall in this episode. In the following seasons the stupid directors cut off his hair very short, robbing him of virtually all of his jovial charm.

The first scene that I disliked from the episode was seeing Arya practicing one morning with her small rapier called ‘Needle’. Many white nationalists have not realised the extraordinary damage that feminism is causing to their race. Perhaps it is pertinent to quote what James Bowery said a couple of days ago in the comments section of The Occidental Observer:

Civilisation’s dissolution of the masculine is a regression to the precambrian more-feminine life pattern. The appearance of multicellular predators thence male intrasexual selection—mano-a-mano—did more than merely select for skeletal remains that give the appearance of an explosion in the fossil record. Male intrasexual selection created boundaries within which speciation could occur more rapidly. Thence, the Cambrian Explosion of life forms.

Throughout evolutionary history, the more successful attempts to extend mano-a-mano violence to group violence have ended in females parasitically castrating their offspring to produce sterile workers as extended body parts—eusocial species: Ants, termites, bees and naked mole rats that engage in perpetual war. Civilised man is clearly heading in that direction and is doing so at the expense of the most individualistic races—especially the heterosexual men of those races.

Any racial appeal to the individuals of an individualistic race must emphasise the moral superiority of their race as an individualistic race—a race that says ‘Yes!’ to that which created not only them, but the diversity of life.

Tonight I’ll watch one more episode to write something tomorrow morning about Game of Thrones.

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Feminism

Oathkeeper

‘Oathkeeper’ is the fourth episode of the fourth season of HBO’s fantasy television series Game of Thrones, and the 34th overall. After what I said in the entry about the previous episode, I don’t want to continue describing the nonsense of this show (such as the triumphant entrance of the blonde Dany, the chain-breaker, to Meereen while the freed swarthy masses acclaim her).

But since I am focusing on the feminist messages of the series, I must say that the dialogue between Olenna and Margaery, in their precious private corner at the garden of King’s Landing, represents yet another inversion of human sexuality. Olenna tells her granddaughter that in order to marry a powerful nobleman, she gave him a tremendous sexual session one night when she sneaked into his bedroom.

It doesn’t take much experience in sexual matters to realise that this story smells of ink, not of real sexuality in the Middle Ages. But let’s remember that in Game of Thrones this is a fantastic medieval period in which it is the females who ride the males on the bed.

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Feminism Hate Kali Yuga Miscegenation

The Rains of Castamere

‘The Rains of Castamere’ is the ninth and penultimate episode of the third season of the HBO fantasy television series Game of Thrones. It centres on the wedding of Edmure Tully (Catelyn’s brother) and Roslin Frey, one of the most memorable events in the book series, commonly called ‘The Red Wedding’ during which Robb Stark and his banners are massacred. The title of the episode is a song belonging to the Lannister family, the lyrics that herald the Red Wedding and which the band plays at the wedding just before the slaughter begins.

The first scene of the episode provides the viewer with a bad message. King Robb asks his mother Catelyn for advice, who should have stayed safe at the castle of her uncle Ser Brynden Tully, popularly called ‘Blackfish’, whom she just visited. But the mother is in the tent of the King of the North in a military campaign against the Lannisters. Robb seeks advice from precisely this stupid woman who started the war by arresting Tyrion Lannister for a crime he didn’t commit. So not only is Robb going on a honeymoon at the most serious time of his life, but he asks his mom for advice early in the episode.

During the wedding, Walder Frey beckons Robb of what he missed (a true nymph, by marrying non-white buttocks) while Edmure Tully is the one now marrying Roslin Frey. ‘Father, Smith, Warrior, Mother, Maiden, Crone, Stranger…’ Immediately following this, still speaking simultaneously, Edmure and Roslin recite their vows. The groom says ‘I am hers and she is mine. From this day, until the end of my days’ while the bride at the same time says ‘I am his and he is mine. From this day, until the end of my days’. Secular whites today should know that even for pagans—there are no Christians in Martin’s universe—marriage was the most sacred institution.

At Yunkai, Dany’s watchdogs open the city gates for her SJW whims and come back in blood, Daario bowing once more to Dany and saying ‘The city is yours, my queen’. But let’s go back to The Twins, sometimes known as the Crossing, the castle and the seat of House Frey. Before the climax of not only the episode but the season, Robb kisses his wife even though, standing in front of Lord Frey, that is an insult as Robb broke his promise to marry a Frey girl. But Lord Frey had it all planned out, and Robb and his banners didn’t realise that the wedding between Roslin and Edmure was a trap.

If white fans of Game of Thrones weren’t the worst dung since prehistoric times they would celebrate the stabbing of non-white buttocks, Walder Frey’s little wedding gift to the couple, just as the Visigoths celebrated the murder of a mixed couple. But contemporary whites are the worst dung. Their values, including some of white nationalists, have been inverted in pursuit of the evangelical message and now good turns bad in the eyes of viewers.

Feudal Lord Frey, on the other hand, enjoys the reckoning. Catelyn and Robb have already been wounded by crossbow arrows and non-white buttocks lies lifeless on the ground, stabbed right into her pregnant belly by a Frey man. Stunned like an imbecile, Robb stares at the corpse while his wounded mother, who appears to be the one with the guts, tries to negotiate with Frey for her son’s life.

These reversals of roles are very good in that they even portray many white nationalists who don’t give a damn that their women have been empowered (see for example what I have said about ‘revolutionary’ novelist Harold Covington on this site). If values hadn’t been inverted by Christianity and neochristianity Walder Frey would be considered one of the heroes of the series.

In 2019 I had already said something about the Red Wedding and women’s reaction to it. Interestingly, among the videos I’ve seen on YouTube only David Bradley, the English actor who played the role of Walder Frey, seemed to enjoy the bloodbath because Robb broke his word. Afterwards, both Robb and Catelyn are finished off by Frey men and die. Immediately afterwards the credits appear: the only episode I remember they don’t play any music.