web analytics

Category: Feminism

Categories
Conservatism Feminism Racial right

And now his watch is ended

‘And Now His Watch Is Ended’ is the fourth episode of the third season of HBO’s fantasy television series Game of Thrones, and the 24th episode of the series. Above we see Lord Tywin in his study with his daughter during the episode. The lion is the symbol of the Lannisters, the wealthiest House in Westeros.

A recurring mistake in Game of Thrones, and I mean a cinematic mistake, is putting a cruel scene and then putting a similar one immediately afterwards. Thus begins the episode, with the continuous torment of Jaime Lannsiter with his amputated hand, and then Lord Varys shows to Tyron the witcher who, in a magic ritual, had castrated Varys as a child (Varys has the witcher locked in a wooden box apparently with his lips sewn so that he can’t speak). A good director doesn’t put the two scenes together. If you have to film them, separate them so as not to overwhelm the viewer. But in these degenerate times TV viewers have already lost their taste for good cinema.

After a few more scenes in various places in Westeros we see a third scene of cruelty. This time Ramsay Bolton, the most sadistic character in the series, returns Theon to the torture chamber to torment him again. Despite three cruel scenes in the same episode, afterwards we hear a dialogue between Jaime and Brienne, from which it is worth quoting what the latter said to him in one night, in front of a campfire, both being prisoners of the Boltons:

‘You had a taste of the real world where people have important things [Jaime’s sword hand] taken from them’.

Much very true. In real life I have come across many people who are absolutely incapable of generating the slightest empathy in the face of some human tragedies simply because, like Jaime Lannister before he lost his hand, they have had a gifted life. It is precisely for this reason that I speak so badly of the racialist bourgeoisie and of those who in the US are called conservatives (a word that means something different in Europe). In fact, after the above words, Brienne tells Jaime that because of his defeatist attitude he now looks like a woman. Similarly, unlike the Nazis the racialists’ attitude is defeatist (who speaks now of taking power, as Hitler and his own did?).

But even in this episode the scriptwriters cannot control themselves and launch their typical feminist message. The Brotherhood Without Banners kidnaps the Hound and Arya and takes them to a secret lair, a cave. In a discussion with all the members of the Brotherhood and the Hound, the leader, Lord Beric Dondarrion says that perhaps the girl Arya is the bravest among all those gathered!

But that’s nothing compared to the scene that follows, in which Dany takes over an entire army by burning the slavers of Astapor with the fire of her recovered dragon, implanting for the first time in the series her Diktat of brave social justice warrior. Then she delivers a liberation speech to her army of mulattoes: ‘Will you fight for me as free men?’ They accept of course.

The triumphant music played for Dany, the conquering SJW woman, ends the crude episode.

Categories
Feminism Film Manosphere Music Patriarchy

Walk of punishment

‘Walk of Punishment’ is the third episode of the third season of HBO’s fantasy television series Game of Thrones, and the 23rd episode of the series.

‘I want you’, poor Stannis said to the witch Melisandre on the beach, almost begging her to stay with him instead of going on a boat in search of someone to sacrifice. One might think that women cast a spell on us. But as some of the MGTOW have noted, that isn’t the case. It is our desire to possess them that makes us annul ourselves at their whim when we are in heat.

Of course, this wouldn’t happen if we had patriarchy like Republican Rome, when women were treated as property. And even in a softer patriarchy, like what we read in Jane Austen’s novels, no stupid laws had been enacted regarding marital rape. We only make a fool of ourselves when we empower them and give up the power with which Nature endowed us to the degree that we allow ourselves to be handled like puppets. That wouldn’t happen if the West regained its judgment and transvalued its values if not as far as the Roman world, at least as the values in Austen’s world.

In the episode Melisandre sees with open contempt the lust of poor Stannis. Declarations of love don’t work. We give them the power to say ‘no’. A king like Stannis Baratheon who can’t control the woman who was always by his side—compare him with the way his brother Robert Baratheon treated women—is not a true king.

In Astapor, on the other side of the world, we heard a dialogue between Jorah and Dany about war. The theme of the sword always reminds me of how feminised white nationalists are:

Jorah: You know what I saw? Butchery. Babies, children, old men. More women raped than what you can count. There’s a beast in every man, and it stirs when you put a sword in his hand.

Dany then scolds his two loyal advisers, Jorah and Barristan, when they advised her not to sell one of her dragons in exchange for an army of mulattos. The scene represents a very bad message for the white viewer. And the irony is that Emilia Clarke, the actress who played the role of Dany in all seasons, has a very feminine character in real life; so much so that she had difficulties filming scenes in which she appears as a dragon-woman in full command of her leader personality. But that’s the point of Game of Thrones: to reverse male-female roles in the perennial campaign of the media, government and universities to brainwash the white man. Dany’s dialogue with the mulatto woman Missandei, the translator she just got in Astapor while trying to sell one of her dragons, epitomises the feminist message:

Dany: And what about you? You know that I’m taking you to war. You may go hungry. You may fall sick. You may be killed.

Missandei: Valar Morghulis.

Dany: Yes, all men must die. But we are not men.

Missandei smiles. But in the penultimate episode of the last season, during the war of the bitches Dany and Cersei (note that the most powerful were queens, not kings), the latter orders Missandei be beheaded in front of Dany. But back to the episode ‘Walk of Punishment’, in the scene at Littlefinger’s brothel the Jewish director manages to keep the viewer from craving any of his white whores. I can imagine if the Germans were in charge of the cinema instead of the Jews. What would whites be watching now on the small screen?

The degenerate music of the end credits is the final insult, after Locke cut off Jaime Lannister’s hand (in the novels Locke is a cruel man sworn to House Bolton, considered by Roose Bolton as his best hunter). Again, if the Germans had won the war what music would we hear in the end credits of films today?

Categories
3-eyed crow Feminism Tree

Dark wings, dark words

‘Dark Wings, Dark Words’ is the second episode of the third season of HBO’s fantasy television series Game of Thrones, and the 22nd episode of the series. In King’s Landing the messages that put men as silly continue. In the castle gardens we hear this conversation:

Olenna Tyrell: ‘Do you know my son, the Lord of Highgarden?’

Sansa: ‘I haven’t had the pleasure’.

Olenna Tyrell laughs: ‘No great pleasure, believe me: a ponderous oaf. His father was an oaf as well, my husband, the late Lord Luthor’.

But in the Riverlands, Rickard Karstark tells King Robb a great truth: ‘I think you lost the war the day you married her’, referring to non-white buttocks.

In the North, while heading to the Wall, Bran Stark has a dream, where he tries to kill the three-eyed raven, but a boy tells him that this is impossible because the raven is Bran himself. When he wakes up and they continue with the march, Osha suspects that someone is following them and goes out to investigate. At this moment the boy from Bran’s dream arrives and reveals that his name is Jojen Reed. Another message in which the male-female roles are reversed is seen when Jojen, who is accompanied by his sister Meera, tells Bran’s caregiver Osha: ‘I’m unarmed. My sister carries the weapons’.

But the writers were still unsatisfied with those two scenes and included one more scene that reverses the male-female roles. Travelling North, Arya, Gendry, and a fat boy nicknamed Hot Pie are discovered by a small group called The Brotherhood Without Banners led by Thoros of Myr, who suspect the three of them have escaped from Harrenhall. Arya draws her sword to face alone the group that has found them while her two friends, Gendry and Hot Pie, hide behind the rocks. We can already imagine in the real medieval period a girl doing that, in the context of crossing a dangerous forest where there could be highway robbers!

Back at King’s Landing, the erotic scene between Tyrion and Shae is disgusting. Those scenes, and many other erotic scenes of Game of Thrones would never have been shot in a healthy West.

En route to the Wall, Bran receives from Jojen the first revelation about what has been happening to him since Jaime threw him from the tower of his home. Jojen says that, like Bran, he is also a greenseer: as those gifted with clairvoyant powers (out-of-body experiences, also known as astral projection) were called in the ancient religion. Greenseers also have retrocognitive powers (seeing the past paranormally) and precognitive powers (glimpses of the future). Jojen explains that the three-eyed raven that appears in Bran’s dreams means someone who ‘brings the sight’.

Bran still ignores it but the old man in a hiding cave under a huge weirwood tree on the other side of the Wall, who has been sending him those dreams under the image of the raven, is the most powerful man in Westeros even though he can no longer move (in Martin’s novels Bloodraven’s power in Westeros affairs is more conspicuous than in the HBO series). Jojen, another gifted psychic who tries to guide Bran, tells him that he too has had the same dream and that he has followed Bran believing that the boy will play an important role in the future. But even during that conversation between two gifted thanks to the old religion, the reversals of roles arise between the women who follow Hodor, Bran and Jojen from behind:

Osha: Isn’t he [Jojen] ashamed, your brother, needing you to protect him?

Meera: Where’s the shame in that?

Osha: Any boy his age who needs his sister to protect him is gonna find himself needing lots of protection.

Categories
Feminism

The prince of Winterfell

‘The Prince of Winterfell’ is the eighth episode of the second season of HBO’s medieval fantasy television series Game of Thrones. It premiered on May 20, 2012.

Feminist messages continue in the opening scene. Yara Greyjoy humiliates her brother Theon in Winterfell. This pseudo-Viking is the commander of the garrison of men who, in the absence of Robb Stark due to war, took the main castle of the North. At this point in the series it’s clear that feminism is the Leitmotif of Game of Thrones. As if that weren’t enough, in Theon’s prolonged discussion with Yara the scriptwriters put the man as stupid and the woman as the smartest.

This image appears a few seconds before Cersei said some words to her brother Tyrion: ‘You, on the other hand, are as big a fool as every other man. That little worm between your legs does half of your thinking’. These words resonate with what I said in my previous post about the blunders that three horny males commit in various parts of the world.

Then we see an argument with a vengeful Cersei, as women are, but behind that ugly argument we see that the thing about the male was true, as the stupid Tyrion has fallen in love with a whore: a woman who, as we shall see in a later season, is worse than Cersei.

‘You’re beautiful’ says the poor devil Tyrion to the whore. He ignores what’s coming in the future. Cersei was right: Our weakness lies in letting what hangs between our legs do fifty percent of our thinking. After that scene and a few words from Tyrion we see that he’s truly in love. ‘I would kill for you. Do you know that?’ Tyrion said that to Shae, the whore who in Season Four will deliver the biggest blow against him during a life and death trial. All these scenes are disgusting in that they put men as idiots, although not all of us are like that.

Another absolutely stupid conduct in this episode: King Robb and Lord Roose Bolton, the head of House Bolton of the north, discuss very serious matters of state when Talisa enters Robb’s military tent. Letting this woman freely enter the king’s tent in times of war wasn’t enough. Stannis Baratheon is about to invade King’s Landing and in these moments when Robb argues with Roose, the latter immediately leaves the camp tent to let Talisa enter with the words ‘My lady’ so that she and Robb may speak in private. Naturally, Robb won’t discuss tactics or strategy with Talisa, the one with the non-white buttocks.

Hardly in the Middle Ages a king wasted his time chatting with a woman alien to his race, putting aside all military plans. Robb and Talisa talk about the biographical past of ‘non-white buttocks’, as I should call Talisa from this line on. But worst of all is that after that King Robb declares himself to her telling her, in the tent, that he no longer wants to marry the Aryan girl from House Frey. Then we see a ridiculous erotic scene between the two and even there you can see the scriptwriters’ feminism as, already naked, we see the female on top of the king.

In Qarth the black man and the warlock give a coup to the Thirteen (or rather the Eleven), the group of merchant princes within Qarth, and remain as sole governors of the city. Dany wants to stay in the city to get her dragons back but Jorah tells her it’s is dangerous, to which he adds: ‘You know I would die for you. I will never abandon you’, which is true as in the last season Jorah will die protecting the one who, in that same season, will be revealed as the worst tyrant of the entire series.

Categories
Feminism

A man without honor

Originally aired on May 13, 2012, ‘A Man Without Honor’ is the seventh episode of the second season of HBO’s medieval fantasy television series Game of Thrones. In the image we see Tyrion and Cersei in the only moment I remember from the series with compassion and empathy between the two siblings (I know from my own experience that it’s very difficult to have such a moment with most of our siblings).

Another feminist line began, already from the previous episode, with the relationship between Jon Snow and the captive wildling Ygritte, who in real life became married with ‘Jon’ while filming Game of Thrones (although Kit Harington, who played the role of Jon, fell into depression when he finished filming the last season). Being held captive by Jon in a desolate landscape across from the Wall, Ygritte tells Jon: ‘I’m a free woman’.

Wildlings are enemies of the members of the Night’s Watch, which Jon belongs to, and Ygritte speaks insolently although Jon could kill her at any moment. In fact, killing Ygritte had been the order that Jon’s superior entrusted to him before Jon parted ways with his group seeking wildlings. After some scenes south of the Wall, Ygritte continues lecturing her captor even though she is tied to a rope.

These scenes are completely unreal but they sell us is the image of a liberated woman, retro-projected to a fantastic medieval world even north of the Wall, where supposedly human societies were more primitive and nomadic than those of the south.

The last straw is that Ygritte tells Jon, still held captive by the rope, that she can initiate him sexually as apparently Jon is a virgin. All of this contrasts with the scenes from Beowulf and Grendel, a 2005 fantasy adventure film directed by the Icelandic Sturla Gunnarsson (loosely based on the Anglo-Saxon epic poem Beowulf) where Beowulf also ties Selma with a rope. But in this film the alpha male thus controls the beautiful redhead. In Game of Thrones, however, after a scene in Qarth with Jorah serving Dany, Ygritte continues to openly mock the one who’s holding her captive, even making sexual allusions between the two.

South of the Wall, in the military camp, the prisoner of the Starks, Jaime Lannister, provisionally escaped. When they catch him Rickard Karstark, an important northern lord whose ancestors were also Stark, says something about King Robb that is worth picking up: ‘He brought that foreign bitch [Talisa] with him!’

Apparently, terrible blunders are being committed in various parts of the world—in the icy north with Jon and Ygritte, in the city at the middle of the desert (Qarth), and at the green military camp because of the infatuation we feel towards women: Jorah swearing to the mysterious Quaithe that he will never again betray the blonde Dany, with whom he is in love; Jon letting his red-haired prisoner escape with whom he had spent a night out in the open, and Robb was about to lose his precious prisoner, Jaime Lannister, by following another woman’s non-white buttocks, away from the military duties of his camp.

But all of this is never overtly suggested in the episode. I am drawing my own conclusions. The episode simply continues the feminist propaganda so ubiquitous throughout the series.

Categories
Feminism Rape of the Sabine Women

The old gods and the new

‘The Old Gods and the New’ is the sixth episode of the second season of HBO’s medieval fantasy television series Game of Thrones. In the image we see the warrior nicknamed Hound carrying Lady Sansa as if she were a doll, when in the episode he saved Sansa from the rabid mob that wanted to rape her. (The image evokes the rape of the Sabine women that I have talked so much about on this site.)

The Spice King, one of Qarth’s ruling Thirteen, tells Dany a great truth: ‘The silver hair of a Targaryen’, addressing the black man who wants to marry her, another member of the Thirteen, ‘she is far too lovely for a glorified dockworker like yourself’. But the feminist messages continue in this episode. Feminism isn’t only what we have been seeing, putting women as capable as men in physical and intellectual matters, but hiding some historical facts.

In the gloomy castle Harrenhal, feudal lord Tywin Lannister chooses the adolescent Arya, a prisoner, as his cup maid (or cup server): a poetic euphemism since Homer for acquiring a loving ephebe (Zeus with Ganymede) or a girl as a sexual servant. But despite the soft porn that we have seen in the first seasons, so often of very bad taste (like Littlefinger’s brothel or the homo scenes I’ve already talked about), in a situation that really lent itself to sexually use the ‘cup server of my study’, the feudal lord doesn’t do it. And he fails to do it because of the plot armour for Arya not only in the following seasons when blood runs, but because the feminist figure par excellence of the series, the one destined to kill the Night King in the last season, cannot be erotically touched without her consent.

Many fans believe that the series is realistic because of the deaths of three of its main characters, Ned Stark, and his wife and son in the Red Wedding, but nothing is further from the truth. You just have to understand the motivation of the screenwriters to realise that this girl was, on HBO, what on Netflix recently was Beth in The Queen’s Gambit. In both cases the reversal of reality was absolute (in real life the woman cannot surpass the man in physical—Arya—or intellectual—Beth—combat).

Robb Stark returns to see Lady Talisa in the military camp, in Westerlands. From here a relationship starts between them. That means that all the scenes in this and subsequent episodes with Robb and Talisa piss off the viewer that is a priest of holy words. If Robb had kept his word to marry the one hundred percent white girl from House Frey, he wouldn’t have lost the war as he lost it by the end of the next season.

But at least this fictional relationship between Robb and Talisa leaves a moral for us priests: we should never let ourselves be carried away by the needs of our cock, but by the head.

Categories
Feminism St Paul

The ghost of Harrenhal

‘The Ghost of Harrenhal’ is the fifth episode of the second season of HBO’s medieval fantasy television series Game of Thrones. It premiered on April 29, 2012.

In the first bad message of the episode we see Theon Greyjoy with only one ship assigned for a sort of Viking raid that they plan while his sister obtains thirty ships for a similar campaign. We can already imagine the Vikings in real history doing something similar!

When the female warrior Brienne of Tarth takes her loyalty oath with Catelyn Stark she utters these words: ‘I swear it by the Old Gods and the New’. As Martin was inspired by the history of the West, this would be equivalent to saying in a medieval parallel world: ‘I swear by Zeus and the Olympian Gods and by Yahweh and the new Christian saints’, which never happened.

Yahweh didn’t tolerate any other god. Remember the second commandment of the Hebrew Decalogue, which Christians also follow. And the saddest thing is that white nationalists, supposedly awake to the Jewish question, continue to obey that command. It wouldn’t even occur to them to put old Zeus together with the new Jesus in their prayers. They lean one hundred percent towards the latter, and then these idiots don’t understand why the Jews have so much power in the West…

One of the reasons why, despite its crazy feminism, it’s perhaps a good thing that many normies have seen Game of Thrones is because it is a parable of the West (‘Westeros’ in Martin’s prose). And since the common normies are never going to be educated about Aryan religions, and I mean pre-Christian religions, this fantastic tale can be an introduction to their past (always keep in mind the Weirwood tree).

The common normie is familiar with what we used to hear in the churches about Paul’s epistles. Many of us remember that passage from the first letter to the Corinthians that says ‘While I was a child I spoke like a child, felt like a child, reasoned like a child; but when I became a man I put aside the childish things’. The problem begins when normies refuse to put aside childish things, let’s say what they see on TV, and begin to become familiar with their true Aryan roots.

We see another bad message from the episode when the big black guy from Qarth I was talking about in my previous post proposes to Dany, and even wants to have coffee-and-milk princes and princesses with the blonde!

A bit of hindsight: Jorah Mormont comes from House Mormont, the Lords of Bear Island. Jorah had a distinguished early career and participated in the Siege of Pyke during the Greyjoy Rebellion, for which he was knighted. Now, in Qarth, where the black guy wants to marry the blonde, the dialogue between Jorah and Dany is incredibly feminist: ‘There are times when I look at you and I still can’t believe you’re real’.

This absolute idealisation of a capricious woman is unworthy of a medieval knight. Anyone who has read chivalric literature knows that women were indeed idealised, but as women: not as generals who should lead armies and conquer iron thrones. Jorah is painted by the series more like a loyal dog than a legit son of Jeor Mormont.

Categories
Feminism

Garden of bones


‘Garden of Bones’ is the fourth episode of the second season of HBO’s medieval fantasy television series Game of Thrones, where feminist messages continue. Almost at the beginning of the episode Robb encounters field nurse Talisa, who cuts off a survivor’s leg after the battle to keep it from gangrene. When I was a kid I watched movies on the big screen like Gone with the Wind where the doctors who cut off legs after violent battles were men, and women didn’t have the stomach for it.

That woman, Talisa, would seal Robb’s fate in the penultimate episode of the next season because he would marry her, breaking the pact he had with Lord Walder Frey to marry his beautiful daughter, who unlike non-Aryan Talisa is completely white. It doesn’t matter to spoil forward to the end of the next season, where you can see where Robb’s stupidity of messing with a non-Aryan commoner after being engaged to a beautiful Aryan of noble birth came to be. What matters is to denounce the feminist bombardment with which Game of Thrones overwhelms us.

I could even mention my family. As I tell in Whispering Leaves, in his capacity as a surgeon in the royalist army, my Catalan ancestor came to New Spain to join forces that fought against the Mexican insurgents, made up mostly of non-whites. That’s true history: a male serving as a field surgeon for real-history battles.

Worst of all in the HBO episode is that with the dead still on the battlefield Talisa lectures Robb, the King of the North, because this little woman dislikes war. Total surrealism. This sort of thing—a commoner scolding a king right after a bloody battle—never happened in the Middle Ages or in later times, as in the wars of independence in the Americas.

In the episode Talisa continues to argue with the King of the North in a derogatory way, and Robb is not offended.

What madness! I don’t want to read how those passages appear in Martin’s novel because Martin is also a feminist, although the pair of Jews who produced the episode exacerbated Martin’s feminism on the television version.

Never did women speak like this, especially after a bloody war with streams of blood from the dead still running in the field. Why white men haven’t rebelled, since 2012, with lots of negative reviews after scenes like this?

In the last bad message of the episode a black man is shown as a powerful guy, this time in Qarth, ‘the Greatest City that Ever Was or Will Be’ located in the brutal desert called Garden of Bones. This black man opens the gates of Qarth (pic above) to the wandering Dany and her followers, who would have died in the desert had it not been for this negro.

Categories
Feminism Homosexuality Mainstream media Wikipedia

What is dead may never die

‘What Is Dead May Never Die’ is the third episode of the second season of HBO’s medieval fantasy television series Game of Thrones, first airing on April 15, 2012. In the image we see Yoren talking to Arya, a good man from the Night Watch who dies in this episode.

We see the first bad message in this episode when the warrior Brienne of Tarth wins a tournament against Loras Tyrell. Yesterday I saw the title of a video on YouTube about how the transgender guys who are now allowed to compete in women’s tournaments are destroying those sports because they easily beat the weaker sex. But the scene between Brienne and Loras sends the opposite message to us, and I find it amazing that Westerners are consuming this reversal of reality.

The tournament was held at the camp of the self-crowned King Renly Baratheon. Tournament warriors compete in full armour, and when the big warrior no one’s seen yet beats Loras, Renly asks:

‘Rise. Remove your helmet’.

The warrior does it and murmurs are heard among the spectators when they realise that the imposing blonde warrior was not a man but a woman. Renly continues:

‘I’ve seen Ser Loras bested once or twice, but never quite in that fashion’.

The implication is that warrior women can be as capable as warrior men. Now that, in my preparations to write this article, I opened the Wikipedia article on this episode, I came across a pop-up that informed me that on this day we should celebrate the Wikipedia initiative to close the gender gap in favour of women. Scenes like this one in the most popular television series of all time, in which a woman defeats Ser Loras, the heir to the immensely wealthy House Tyrell, support that cause.

That same episode shows us a second homoerotic encounter between Loras and Renly (the first we had seen in the first season). This second scene had disappeared from my memory since the first time I saw the series. It is very bad taste to put these things on the screen, but the white race is so degenerate that they can reject Martin’s profound message from the finale and not be disgusted by these homosexual scenes.

As I always do in my morning routine, I check my email and today I came across the title and first lines of the latest article from The Occidental Observer. It’s about Jews in the media but who is more to blame for the state of the West: they or the gentiles who consume the shit from HBO and Netflix?

Categories
Blacks Feminism Film

The night lands

‘The Night Lands’ is the second episode of the second season of HBO’s medieval fantasy television series Game of Thrones, first aired on April 2, 2012. In the image we see the moment when Tyrion asks Janos Slynt if he gave the order to attack Ned Stark.

We see the first bad message of the episode when Theon Greyjoy sees his sister Yara after years of not seeing her to the degree that he doesn’t recognise her. The films of our century invert human reality most blatantly. For example, the actress who played Yara in Game of Thrones dresses in a feminine way in real life, although in the series she appears as a tomboy.

When Theon sees his father, lord of a castle and Iron Islands, after years of not seeing him, he yells at him that Yara cannot lead an attack against the Lannisters ‘because she is a woman’. The father replies, ‘And why not?’ Yara tells him that it is he, Theon, the one who wears a skirt, mocking medieval clothing that aren’t really skirts. In this dialogue between Theon and Yara they have invented a medieval world with ‘skirts’ for men that have nothing to do with history (remember the image I put in the sixth instalment of this series about Ned Stark’s clothing).

There is another terrible message from this episode that has nothing to do with real medieval times. Davos Seaworth and his son Matthos recruit a black man, the pirate Salladhor Saan and his fleet, to join them in the war they want to wage so that Stannis Baratheon sits on the Iron Throne. In the Middle Ages, and even in later centuries, there were never powerful blacks in Europe, and here they virtually put Salladhor Saan almost like a Francis Drake.

This is another grotesque invention that the media puts before our eyes: a parallel world where the current psychosis is projected back to a fantastic medieval era with empowered blacks!

Davos, a character that Game of Thrones paints as very attractive as a person, tells the black man that he will be the richest man in Westeros if he joins Stannis’ war. The black replied: ‘And if we don’t drown at the bottom of Blackwater Bay, I will fuck this blonde queen and I’ll fuck her well’.