Tonight, right after I watch the finale
of Game of Thrones
I’ll post something.
Stay tuned…
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Grand finale
Category: Film
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How ‘Game of Thrones’ can be used
Further to Robert Hampton’s ‘Woke Christianity’ which reminded me of my ‘On empowering birds feeding on corpses’.
After Game of Thrones (GoT) betrayed the fans’ expectations with a girl killing the Night King, as we saw on this site the last Sundays, tonight we watched the great spectacle of an irrelevant war of the two bitches, where the pyromaniac Queen Daenerys destroys the main city of Westeros after they had surrendered.
But if we keep in mind the message of the two articles linked above, after the absolute fiasco of these last episodes we still can use previous seasons of GoT to try to reach normies.
Remember the epigraphs of the second article linked above (‘Christian ethics was like a time bomb ticking away in Europe, a Trojan horse waiting for its season’ & ‘1945 was the year of the total inversion of Aryan values into Christian values’). Our historical season or climax of Christian values is similar to GoT’s ‘Sparrows’, the Faith Militant fanatics who believed in equality for all men (‘We’re all equal in the eyes of the Seven’, a rephrasing of the Christian ‘Every man is equal in God’s eyes’).
Also remember that George R.R. Martin obtained his inspiration from real events of Western history. In the Middle Ages, the Dulcinians were like the Sparrows. Inspired by Franciscan ideals, like today’s antifa they became thugs. As can be read in online encyclopaedias, the ideals of the Dulcinians were:
• The fall of the ecclesiastical hierarchy, and return of the Church to its original ideals of humility and poverty
• The fall of the feudal system
• The creation of a new egalitarian society based on mutual aid, holding property in common and respecting gender equality.
Fra Dolcino (1250-1307) viewed the history of mankind as four epochs:
• The period of the Old Testament
• The period of Jesus Christ and his Apostles characterised by chastity and poverty
• The period of Constantine and the imperial Popes characterised by the decline of the Church due to excessive wealth
• The period of the Apostolics led by Dolcino. Like the ‘Sparrows’ in GoT, this is a period characterised by poverty, chastity and the absence of government.
It is true that for George R.R. Martin war is bad, feudalism and slavery are bad, feminism is good and religion is nuts. But as I have argued, Martin himself subscribes the nutty religion of ‘neo-Franciscanism’, something that is reflected in GoT. In Martin’s novels, after a couple of centuries of disbanding the Faith Militant, the military arm of the Faith of the Seven is restored, this time led by the Sparrows. The physical appearance of the Sparrows resembles, in real history, the violent or Dulcinite faction of the Franciscans.
Curiously, among GoT fans the High Sparrow was one of the most hated witches of the entire show. Hence we can use this character in our discussions with normies when trying to convey that Christian ethics was like a ticking bomb waiting for its season, and that after WW2 this inversion of values was fulfilled.
Just as today’s Woke Christians see Jesus in immigrants, refugees, people of colour, and demeaned women—and therefore the noblest thing, the White Male, must be degraded in order to equalise him with the downtrodden—, in GoT the Sparrows attacked the noblest houses of Westeros: House Tyrell and then Cersei herself, who apparently died in tonight’s show as Queen Cersei (one of the bitches).
Since in real life the Untermenschen cannot be equalised by decree, the only way to equalise them before the White Male is simply by degrading his status throughout the West: precisely what is happening. Westerners ignore that, after seven hundred years, our secular governments are implementing the core of the ideals of Fra Dolcino.
The difference between GoT’s Sparrows and the attempt to deconstruct the White Male in our times is that normies abhor the Sparrows while they accept the degradation of the White Male throughout the West.
The Roman Catholic Church destroyed Fra Dolcino and the Dulcinians in the 14th century when the Church felt threatened by them, just as Queen Cersei destroyed the High Sparrow and his Sparrows in Season 6 of GoT. But in today’s West the ‘Sparrows’ hold power in each Western government, media outlet and university. The only way to destroy them is through a revaluation of all values that not even white nationalists are willing to endorse, let alone enact if they reached power.
It is incredible the level of subjugation of the contemporary White Male before the core of the Gospel message, especially among secular, agnostic and atheist whites.
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Game of Thrones reaches its nadir
With the fourth episode of the final season of Game of Thrones, the show has reached its absolute nadir: the worst crap I’ve seen of the entire series. From the previous episode, by killing the Night King the producers wanted a ‘game of thrones’ show (palatial intrigues), not a song of ice and fire (a show with a deeper meaning). But with the script of this fourth episode the writers made a cretinous anticlimax that will even bother the fans.
That happens when mean people, like Jewish writers, invent a script for lack of a book that George R.R. Martin has not written yet. But even the gentile Martin is a liberal who has advocated for allowing Syrian refugees into the US and supported Hillary Clinton.
If I had the freedom to come up with my own ending, away from the ethno-traitor Martin and the Jewish scriptwriters, the Night King would still live in this fourth episode. Following the philosophy of Martin that there are no ultimate bad and good guys in a dance between ice and fire, these last episodes would reveal the deep motivation of the Night King.
Remember that Martin was inspired by the medieval stories in which Christian fanatics destroyed the sacred trees of pagans. In the television series, the children of the forest defended themselves with rock magic creating the Night King with the purpose of fighting the invaders: human beings. Thus, the Night King of my script would want to exterminate humanity as a noble goal from the point of view of the forest’s children.
In an epic war of minds, and with the help of the greenseer Bran Stark who fights on behalf of the human side, the final plot would revolve around negotiating with the Night King the extermination not of the hundred percent of humanity, but of ninety-nine percent.(*) The reason for this would not only be to respect Martin’s central axiom, that there is no absolute villain, but to introduce the religion of the four words to eliminate all unnecessary suffering.
Thus, from the dialectical synthesis between the Night King and the Greenseer Bran there would remain, of the pure whites, only the most compassionate with Nature including trees and animals. The rest of mankind would be exterminated by the Night King’s White Walkers and their army of the death. That’s how my final episode would end.
Of course: that is my song of ice and fire, not Martin’s and much less that of the Jewish scriptwriters. But an eight-season saga that began in 2011 would have deserved a more profound message instead of the botched anticlimax we saw tonight.
Those who wish to familiarise themselves with my philosophy of marriage between the 4 and 14 words can read my books that appear almost to the bottom of this page, although I need to finish reviewing the syntax of the last one, De Jesús a Hitler (From Jesus to Hitler).
(*) In the Manichaean HBO show the Night King didn’t want to spare the life of a single human.
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Girl power
The ending [of Game of Thrones] was just a ‘girl power’ scene. That’s the direction this show took for a couple of seasons already, and now we see it some more.
Of course, they won’t let Jon Snow kill the Night King. Toxic masculinity is evil. We need a woman to take out the Night King and show some girl power.
Fuck the story, fuck everything, we need girl power all over this shit. All rulers are women, or the smartest, wise and best fighters are women. And if you don’t like it, you are a racist sexist bigot.
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Ethnosuicidal GoT fans
Further to my Monday post ‘Feminism in Game of Thrones’.
For those who believe that Jewish subversion is the primary cause of white decline and poor little whites their blameless victims, see what one of the main webzines of white nationalism, Counter-Currents, just published: ‘Guide to Kulchur, Episode 17: Game of Thrones Seen from the Right [sic!]. The Return of Good & Evil to Westeros’.
From the right? Really?
I stopped listening to the first audio right after minute seven when Fróði Midjord and John Morgan agreed they weren’t bothered with the (Jewish script) placing the girl Arya as the New Frodo. This tolerance of feminism reminds me very strongly what I said about Harold Covington in my ‘Feminism in Game of Thrones’.
With these brilliant commentators from the right, who needs the Jews? Haven’t they heard that feminism has been a weapon of mass destruction directed against whites? Are we living in parallel universes?
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Bad messages in Game of Thrones
In past years I have talked about the bad messages in previous seasons of Game of Thrones. In the first episode of the last season we see, once again, the masculine and aggressive female Yara Greyjoy that even hits his brother, the castrated Theon, when he rescues her. In the history of the West the norm has not been astute warrior women like Yara and silly and timid brothers like Theon, but on TV the goal is to invert the values. (Cersei Lannister, pic above, is another queen instead of her brother Jaime Lannister who is no king at all.)
I have said that white nationalism errs by calling this subversion ‘cultural Marxism’, a rather superficial term. Instead, I have been referring to subversion as ‘neo-Christianity’, in the sense that Christianity is an extension of the Jewish problem into the minds of whites. But even my term is inaccurate inasmuch as, throughout Christendom, men and women were not represented as in Game of Thrones, nor in modern times until the last decades. (I remember as if yesterday the first movie that reversed the roles of man-woman: Alien, which I saw on the big screen in 1979.)
Thus, more accurate than the term neo-Christianity is ‘neo-Franciscanism’, as St. Francis (1181–1226) was the saint who tried most to take the message of the gospel in all its purity into the real world.
Today this neo-Franciscanism is largely a secular phenomenon—think of Sweden for example—, although Pope Francis also wants to follow St. Francis’ steps, as explained in my last post about the humble man of Assisi.
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Toxic Oscar
Alfonso Cuarón won best director for his semi-autobiographical Roma. Yalitza Aparicio (pic) is the first indigenous Mexican woman to be nominated for best actress at the Oscars.
The movie, filmed not so far from my own district when I was a child and teenager, is plagued with toxic messages. This was expected, as Cuarón is openly anti-racist, as I informed last year.
Yesterday I watched again the 1953 film Shane (which I first saw in the mid-1970s).
Those who are home-schooling their kids and, at the same time, do not let them see the poisonous crap that comes from Hollywood or the MSM, should have the DVD of this movie in their homes. Unlike virtually everything we see today, the message of this movie by George Stevens cannot be more benign for an American white family.
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Roma (2018 film)
Yesterday and in the first hours of this day I watched, on Netflix, the latest film by the Mexican Alfonso Cuarón, Roma, which alludes to the Colonia Roma where Cuarón lived as a child, not very far from where I also lived as a child in Mexico City.
Surely some visitors of this site will wonder how a phenotypically Creole family looks like in Mexico; that is to say, a family with little or no Amerindian blood. The autobiographic Cuarón recreates, in a black-and-white film, the daily life of one of these families in the great Mexican capital of the late 1970 and 1971 (a period that I remember so well).
Before talking about the film, I must say that I feel outraged by the awards that the Mexicans Alfonso Cuarón, Alejandro González Iñárritu and Guillermo del Toro have received by cinematographic institutions and film critics. Although none is Jewish, their films navigate the same currents of the anti-white Zeitgeist of our time.
Of Cuarón, who has a huge talent for the seventh art, I would only recommend Harry Potter and the Prisoner of Azkaban: the film with fewer bad messages for the Aryan cause. In Children of Men and Gravity the bad messages are more conspicuous, and let’s not talk about the 2015 film, The Revenant by González Iñárritu, which won three awards in a Hollywood dominated by Jews.
Exactly the same must be said of Guillermo del Toro, whose monstrous The Shape of Water gave him the Oscar for best director last year. Also, his 2006 Pan’s Labyrinth sides the wrong guys of the Spanish Civil War.
As I said, the film Roma portrays a white family in Mexico City (Cuarón and I even went to the same High School, the Colegio Madrid). As to the plot, I do not know a single father of any of these white Mexican families who, in addition to abandoning his young children and wife, has no intention of seeing them again! From this point of view, the message of Roma is analogous to del Toro’s The Shape of Water, where a typical American man of the 1950s, father of a white family, is the bad guy in the movie.
In Roma the heroine is a Mixtec Indian woman who, by at the end of the film, saves two children from drowning in the sea, putting her life at risk. This image represents the culmination of the Mexican movie with the white kids and the mother embracing the heroic Indian.
My mother has had a legion of Indian maids, and my dear grandmother was a great confidant of them who actually loved them. Needless to say, I never heard of a case in which an Indian maid risked her life to save a white child. Thus Cuarón’s heroine is the counterpart of which I’ve never heard: that a father of a white family in Colonia Roma, or another similar district in Mexico City, abandons his children to the degree of not wanting to see them again. Did Cuarón’s father did exactly this to his children? The autobiographic Cuarón doesn’t specify this in the interviews.
In both Hollywood and in art films, the cultural war against the Aryan is absolute. It bothers me that, in the white nationalist forums, these Mexican directors are not seen for what they are: little Jews even if they do not have a drop of Jewish blood. Even Greg Johnson under a penname recently wrote a review of Children of Men without fully understanding the toxicity of these acclaimed films directed by talented Mexicans.
Tuesday update:
Cuarón shows his true colours in this interview in Spanish, from which I translate the essential pronouncements:
To the liberal interviewer he said: ‘La perversa relación que existe en nuestro país entre raza y clase’ (‘The perverse relationship that exists in our country between race and class’) in a context in which Mexico’s poverty is blamed for this ‘perverse relationship’: a phrase that Cuarón repeats twice throughout the interview. On the second occasion, he says that ‘por el color de tu piel también estás determinado socialmente’ (‘by the colour of your skin you are also socially determined’ in Mexico).
He also said: ‘¡México es clasicista y bien racista!, y al mexicano le cuesta mucho trabajo aceptar eso… Si queremos una verdadera transformación, todo empieza con la autorreflexión’ (‘Mexico is classicist and very racist! And the Mexican has a hard time accepting that… If we want a true transformation, everything starts with self-reflection’).
Isn’t it crystal-clear now why the anti-white System has overfilled Cuarón with so many international awards?
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The Last Jedi
For boomers like me Star Wars was never the epic film that has been for younger generations. For me the master film was 2001: A Space Odyssey, which exerted a tremendous influence on my life, especially because of its philosophical implications.
The Star Wars saga lies not in the serious science-fiction league. Rather, it resembles the space fantasy comics that became fashionable in the 1950s and 60s. There is nothing wrong with the comics genre, if we take into account that in a 2018 interview George Lucas told James Cameron in Story of Science Fiction that he had designed his project for twelve-year-old children.
But that genre that Lucas chose, like the most serious science-fiction, can produce good or bad movies. I agree with Richard Spencer that, from the point of view of the messages, Star Wars: Episode IV: A New Hope, of 1977, is the best as the protagonists are white and coloured heroes are missing. In addition, in the final minutes Princess Leia awards Luke and Han with medals for their heroism: visually, with slightly fashy tones.
From the strictly cinematographic point of view I believe that Star Wars: Episode V: The Empire Strikes Back, that I saw with my family in 1980, is the only masterpiece of the eight episodes that have come out. It has a disadvantage: it introduces Lando Calrissian, a mulatoid character, as the administrator of Cloud City.
It was such an enthusiasm that that masterpiece caused me, that Star Wars: Episode VI: Return of the Jedi, which I saw on the big screen in 1983, caused me a huge disappointment. Darth Vader, so impressive in The Empire Strikes Back, here appears as the busboy of the emperor: an unpardonable blunder in Lucas’ story. I said above that the Star Wars genre was space comics taken to the screen. I still remember the American comics that came out in the 1970s and early 80s on Star Wars: infinitely better plots than the crap that occurred to Lucas when taking away all the aura of mystique from the figure of Vader.
So the series disappointed me since the eighties. When the first prequel was premiered in 1999, Star Wars: Episode I: The Phantom Menace, I was living in Manchester. If Lucas told Cameron that his original idea had been to make films for twelve-year-old children, in his first prequel he made it for children of even younger age: the age in which Anakin Skywalker appears in The Phantom Menace.
I saw on the big screen Star Wars: Episode II: Attack of the Clones, released in 2002. Although it seems more for teenagers, this second trilogy of Lucas can be summarized with these words: ‘Everything for the eye, nothing for the mind’. Unlike 2001: A Space Odyssey that can be described as ‘Everything for the eye and for the mind’, the new genre of space films do not leave food for thought.
When I saw the last of the prequels, Star Wars: Episode III: Revenge of the Sith, released in 2005, I told myself that the contemporary westerner knows nothing about the nature of evil (e.g., how Anakin became bad): a topic that I have pondered in my two books. That Lucas does not grasp evil is also apparent in his most recent interview by Cameron, another completely clueless guy.
Lucas is a white man. But since Jews bought the Disney Company, the messages have invariably become toxic. For that very reason I did not see, on the big screen, the sequels such as Star Wars: Episode VII: The Force Awakens, released in 2015.
At the corner of my house there is a travelling Mexican market of Indians every Monday, which includes stands of pirated DVDs. Only that way I dared to see part of The Force Awakens on my plasma television. Although Leia has behaved like a princess, in The Force Awakens the roles of the male hero are reversed to make room for a new heroine, the scavenger Rey. In this Greg Johnson, under the pseudonym of Trevor Lynch, has failed big time in his favourable reviews of the Star Wars sequels. With his tacit feminism Johnson seems to subscribe the Hollywood agenda of toxic messages.
Although Star Wars: Episode VIII: The Last Jedi was released in 2017, I saw it last week. For the ridiculous amount of $ 10 pesos (in dollars, 53 ¢) I bought a pirated DVD of The Last Jedi in the same travelling market (I would not give the Jews at so-called Disney more than a buck to watch both films).
There is something I would like to say about this latest movie. As I did with The Force Awakens, I did not even spend my time with the latest saga film, insofar as in most of these movies I used the fast-forward of my remote control! That’s how we should treat the films produced by Jewish firms: there is no point in pissing us off with their bad messages at normal speed. And regarding the special effects, we already saw all that in the pre-‘Disney’ Lucas prequels, right? So I still pressed the fast-forward button…
But that is not what I wanted to say. There are times that even in films with bad messages a master scene that contrasts with the garbage is sneaked. That scene happens almost at the end of The Last Jedi.
I refer when Luke appears to help escape the few remaining survivors of the Resistance. A frozen image after he walks straight ahead toward a row of Imperial Walkers, a few seconds after Kylo orders them to stop, is very artistic and deserves to be kept in our memories. (To me, it evokes the isolated white nationalist confronting single-handedly all the power of ZOG…)
Then the madman Kylo orders that all Imperial Walkers’ cannons shoot at Luke. But after an orgy of shots he appears unscathed among the reddish smoke that evaporates, slightly shaking something off his shoulder, in challenge to Kylo. The latter makes a gesture of shocked surprise, and decides to go down his haughty ship, against all advice from his envious second-in-command, to confront him alone.
He then engages Luke in a lightsaber duel never seen before in any of the other Star Wars films: as the swords never collide but Luke, wielding his blue lightsaber, deftly evades all the onslaught from the fire colour of Kylo’s lightsaber. There comes a time when Luke turns off his lightsaber to talk to him, and Kylo runs toward him to cut his body in twain. Upon striking Luke, in the climactic scenes of the movie Kylo realises he has been fighting a Force projection of Luke and shouts, defeated, ‘Nooo!’ as he comprehends Luke’s plan to save the Resistance (including his sister Leia) by buying time with the duel distraction.
In the subsequent scene, Luke, exhausted, becomes one with the Force and dies light-years away from his phantasmagorical encounter with Kylo, peacefully and purposely, on the planet of the first Jedi.
All those scenes I loved, but you have to see them ignoring almost the rest of the film to appreciate them—something very difficult, because in one of the climactic moments there is a cut and the white Rey girl allows a long hug from a Negro that has also been featured in another Star Wars film. (Sometimes I would like to edit my home DVDs and cut off all the offensive segments: about 95 percent, or more, from most films.)
Many fans have complained on YouTube that the personality of the Luke of the first films was betrayed in the latest film. I disagree. My previous entry referred to the life of Karlheinz Deschner, who was a parachutist who fought for the Third Reich as a young man and, much later, became a critical scholar of Christianity. I myself admired St Francis in 1974. But when I read the first Jedi books, so to speak, I transvalued my values and started to admire Himmler’s SS.
What Star Wars fans ignore is that the mind matures over the decades. If any of those who knew me as a teenager saw me now, they would be shocked by the changes, both external and internal.
If we think about the battles that Deschner waged as a young man in the Second World War, all that remains of the Resistance are a few nationalists. What happened in Charlottesville last year should move what’s left of the Jedi knights to consider that, perhaps, it is time for more reading rather than direct legal action. If they read the collection of The Fair Race (which includes a section from William Pierce’s Who We Are), along with Hitler’s Table Talk, Mason’s Siege (or The Turner Diaries); what Deschner and others unearthed from the true story of Christianity, and even Goodrich’s Hellstorm, the internal force that the initiate would develop would be equivalent to that of a hermit Jedi.
A single example will clarify the above. In The Fair Race it is explained that in the historical Republic blond and blue-eyed Romans were the good guys. When Rome became a racial melting-pot for all the peoples of the Empire, including the subversive Semites, they became really bad. Conversely, the later Star Wars trilogy depicts the Empire as whites and the Republic as practitioners of miscegenation: the exact opposite of what history tells us!
Internal Jihad (see Luke above with his books) must precede external Jihad. The time has come to do an internal work in the sacred island where the last Jedi became wise and powerful before confronting ZOG.