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Category: Film

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Film

Kill the boy

‘Kill the Boy’ is the fifth episode of the fifth season of HBO’s fantasy television series Game of Thrones, and the 45th overall. A healthy world in which the good guys won the war of the previous century wouldn’t present us with a romance between two mulattoes like the one we see in this episode. Worse still, in her efforts to pacify the civil war in Meereen, the blonde Dany proposes to a high-born mulatto from that city.

Regardless of those toxic messages for the mental health of the Aryans, there are strong cinematographic flaws in the episode. Remember what I said about the silly scenes of violence when Bran and company reached their destination? Something similar happens in this episode, and precisely in another mysterious area that required calm and tranquillity, like the movies of yesteryear. I mean the scene that immediately follows when Tyrion spots Drogon in the sky, in awe. The scriptwriters spoiled the entire magical setting with an attack by some kind of lepers: a scene that completely broke the rhythm of the film, just as they broke it when Bran reached the outskirts of Bloodraven’s cave.

This is a problem with modern cinema, so ready to abuse special effects at the cost of the plot. When I was a child at least some films made us reflect, occasionally with artistic masterpieces. Nowadays, the multi-million dollar productions can be summed up in a formula: All for the eye, nothing for the mind. That is why, when Martin apparently advised something ‘for the mind’ in the grand finale the fans didn’t get it.

Two years ago I wrote on this site several posts about how it was that the idiotic fans of today’s cinema didn’t get it. But let’s go back to the present episode. In the scene that precedes the silly scene of the ‘lepers’ attackers, Tyrion deduces that Jorah is taking a shortcut through Valyria. The shots when they enter the smoky sea are well thought out and set us in a mysterious place.

Valyria, also called Old Valyria, was a city in Essos and the former capital of the Valyrian Freehold. In times of the internal chronology of Martin’s novels, what we now see on the screen is in ruins, consumed by time. It had been destroyed along with the entire empire by a cataclysm known as the Doom of Valyria, more than four centuries before.

Categories
Film Stanley Kubrick

Stanley Kubrick

In his recent review of Kubrick’s most disgusting film, under the pen name of Trevor Lynch, Greg Johnson said: ‘A Clockwork Orange is obscene in the literal sense of the word: it should not be watched’.

He is right. The film only shows that the most talented film director of his time, Stanley Kubrick, after his masterpiece 2001: A Space Odyssey made an extremely toxic film for the mental health of whites: a typical psyop of non-gentiles like him.

But the perennial problem is white people who consume these things greedily, to the point of having crap like this on their list of cult movies. Most Hollywood movies should be forbidden in the ethnostate but, alas, even some white nationalists love A Clockwork Orange, as can be seen in the comments section of Johnson’s webzine. What’s the difference between them and the degenerate fans of Game of Thrones?

Categories
Film Miscegenation

The laws of gods and men

‘The Laws of Gods and Men’ is the sixth episode of the fourth season of HBO’s fantasy television series Game of Thrones, and the 36th overall. In the image we see Stannis at the beginning of the episode, at the Iron Bank, asking for money for a new attempt to recover the crown. But the absolutely repulsive thing is that, after that scene, in the spas of Braavos, the director of that episode, Alik Sakharov, has filmed naked blacks, mulattos and swarthy men with very white women, also naked.

If in a previous post I said that Game of Thrones fans were the worst dung since prehistory, it’s precisely due to their lack of rebellion against scenes like this. If white males don’t rebel against the ongoing miscegenation, even what we openly see on the street (such as what I saw a few years ago in London) the race is lost. Ultra-feminist scenes follow with Yara wanting to rescue her brother. But the single scene described above is enough to make me disgusted and reluctant to comment on anything about the rest of the episode.

I don’t think I should have spent my money buying the entire seasons of this series on Blu-ray. But maybe it’s time to say something important.

If there is something that irritates me greatly when watching the videos of the fans on YouTube, it is that some among them seem to know by heart each page that Martin has written with all the subplots, stories that precedes what we saw in Game of Thrones (as we also see in the LOTR appendix from the pen of J.R.R. Tolkien), names, geographic locations and much more.

If the worst generation wasn’t the worst, they would instead know in detail the history of the West, and especially what really happened in World War II.

Fiction has the magic of captivating us. In contrast, the harsh and heartless facts of real life, say what can be read in The Gulag Archipelago, are so disturbing that we tend not to go beyond the first pages. That’s why in the only comment on my new sticky post I keep announcing Goodrich’s book as the first of my required readings. In the real world the bad guys win, as opposed to fiction for the masses.

Next time I’m willing to spend what I spent buying the entire series, instead of some other Jewish-produced stupidity for the worst gentile dung in history I’ll buy David Irving’s books, or Wagner’s operas videos with subtitles to English. But at least there’s something good that came out of this purchase: it forced me to criticise every episode, which I will continue to do until I get to the finale in May.

Categories
Film

Breaker of chains

‘Breaker of Chains’ is the third episode of the fourth season of HBO’s fantasy television series Game of Thrones, and the 33rd overall.

A scene from the episode that we see right in the place of the photo above, when Tywin and his grandson Tommen leave it, caused an incredible hysteria among the cretinous fandom of the series.

Right there, on the floor below Joffrey’s corpse, Jaime almost rapes Cersei: a mortal sin for woke people, although the real sin of the siblings Jaime and Cersei had been to engender, incestuously, former king Joffrey and the future king Tommen (something that Tywin ignores). Even more serious is what Cersei said before the lustful Jaime jumped on her. Without any proof, this evil woman said that Tyrion had been the one who poured poison in Joffrey’s cup (in fact, it was Littlefinger in collusion with Olenna Tyrell). But that unfounded accusation didn’t scandalise the cretinous fandom.

I don’t want to focus on the fandom’s hysteria that caused the purported rape scene in this episode, but on the dialogue between grandfather and grandson. Less than a year ago I said that the philosophical problem of who should govern arose from the times of Plato’s The Republic, and that in popular culture only Martin apparently has dealt with the idea of the philosopher-king as we can watch in this scene, transcribed below:

Tywin: ‘Your brother is dead. Do you know what that means?’

Tommen: ‘It means I’ll become King’.

Tywin: ‘Yes, you will become King. What kind of King do you think you’ll be?’

Tommen: ‘A good King?’

Tywin: ‘Huh. I think so as well. You’ve got the right temperament for it. But what makes a good king, hmm? What is a good King’s single most important quality?’

Tommen: Holiness?

Tywin: Hmmm… Baelor the Blessed was holy. And pious. He built this Sept [the cathedral in Martin’s universe seen in the above image]. He also named a six-year-old boy High Septon [a kind of Pope in Martin’s world] because he thought the boy could work miracles. He ended up fasting himself into an early grave because food was of this world and this world was sinful.

Tommen: Justice.

Tywin: Huh. A good king must be just. Orys the First was just. Everyone applauded his reforms. Nobles and commoners alike. But he wasn’t just for long. He was murdered in his sleep after less than a year by his own brother. Was that truly just of him? To abandon his subjects to an evil that he was too gullible to recognise?

Tommen: What about strength?

Tywin: Hmmmm… strength. King Robert was strong. He won the rebellion and crushed the Targaryen dynasty. And he attended [only] three small council meetings in seventeen years. He spent his time whoring and hunting and drinking until the last two killed him.

So, we have a man who starves himself to death; a man who lets his own brother murder him, and a man who thinks that winning and ruling are the same thing. What do they all lack…? [rhetorical pause]

Tommen: Wisdom.

Tywin: Yes! But what is wisdom, Hm?

Last month I mentioned Yezen and below I quote from his video ‘Why Bran Stark will be King’, which was uploaded twenty days before the grand finale. Note that Yezen’s words were uttered in YouTube during the show’s eighth and final season, and that he was the only fan of Game of Thrones who correctly predicted who would become king at the end of the series:

On a fundamental level, Game of Thrones is an exploration of power, and different characters coming to power convey different messages about what it takes to rise up in the world.

The rise of Daenerys [called ‘Dany’ by her lover Jon] emphasises strength and justice and ambition. Jon champions honour and righteousness. Someone like Littlefinger, deception and opportunism, while Cersei emphasises ruthlessness and vanity. Meanwhile, King Brandon would convey a more mysterious meaning that, although strength, lineage, deception and ruthlessness each play a part, all of them are bound up by fate.

This ending would serve as a strange marriage of idealism and cynicism. In many ways, Bran begins the story as the most powerless character, lacking even basic bodily autonomy. And as fate would have it, Bran ends up the most powerful. Yet that power comes at the cost of isolating Bran from his own humanity, and never gives him the thing that he really wanted.

And look, I know you probably still don’t buy it, or you still think it’s gonna be Jon [crowned king in the finale], and you really might be right about that, but hear me out just a little longer, because there is a glimmer of idealism to this ending.

Though many will die, and the wheel [Dany’s metaphor for the feudal system] might not break, Bran just might make a good king after all. Despite having lost so much of himself to the Three-eyed Raven [see my posts about this character: here], Bran, perhaps more than any other character, has grasped one of the most essential lessons of the story, which is the importance of empathy.

Despite their history, Bran is able to look at Jaime Lannister, the man who once shattered his life, and to see good in him, to see Jaime as a man who was protecting the people he loved. And to not only forgive him, but to protect him. This simple act of understanding demonstrates what the war-torn kingdoms of Westeros have been so lacking: not strength, or cunning, or even honour, but real wisdom.

For a world that’s been so damaged by people’s inability to see from one another’s perspective, maybe a broken boy is the right ruler to heal a broken kingdom. Maybe not the one you want, certainly not the one we’d expect, but the one the ending needs.

The only problem is, Martin hasn’t published the last two novels in his series. And while he did tell the producers how his A Song of Ice and Fire saga would end, it would still be better to have Martin’s books if he ever does finish them. As we’ll be seeing in future posts this is the topic I’m passionate about Game of Thrones, not what the cretinous fandom cares about: whether or not Jaime raped Cersei in this episode.

Categories
Feminism Film

Second sons

‘Second Sons’ is the eighth episode of the third season of HBO’s fantasy television series Game of Thrones, and the 28th episode of the series.

An obvious mistake of the series was to change some actors, although the actors who originally played a role hadn’t died. In this episode we see the actor who originally played the role of Daario Naharis. Then, in another season, they inexplicably changed him: something that confuses the viewer. And they did the same with other important actors, including the actor who interpreted Gregor Clegane, nicknamed ‘The Mountain’, and even the Three-Eyed Raven himself, originally played by British actor Struan Rodger. The confusion was great with Gregor Clegane and Daario Naharis.

In this episode the witch Melisandre prepares to sacrifice the bastard son of King Robert to ask her god for a favour. As I have written about ritual human sacrifice, it makes me nervous to see fiction where magic is presented as real and where human sacrifices aren’t done in vain. In the real world, of course, magic has no power except the power of suggestion which only affects the credulous.

The last article I published on the subject is a recent newspaper article about human sacrifices carried out in the American continent—3,600 years ago! The Indians who conquered the continent before the arrival of the white man sacrificed their own from time immemorial until the last of the Mesoamerican civilisations, the Aztec civilisation, when the Europeans arrived.

But fiction places us in a fabulous world where, unlike the real world, human sacrifice pays off. In Stannis’ dialogue with Melisandre it’s implied that this is not the first time that she has performed a sacrifice. The witch then seduces Gendry, King Robert’s bastard, who actually looks like a lamb being taken to the slaughterhouse, leading him to the bed that appears below.

As is typical in this series, the woman mounts the man in the sexual act, although what Melisandre wants is to suck a little of his blood with leeches to do witchcraft with royal blood. But there is another scene in this episode where a man literally kneels before a woman. Daario becomes Dany’s third watchdog, swearing loyalty to her. The tough assassin Daario lasts a good few seconds kneeling before the woman with the appropriate music.

Then Tyrion, the day after his wedding night with poor Sansa, continues to let himself be treated badly by Shae instead of, now that he is already married, keep her at bay.

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
Film

Valar Dohaeris

‘Valar Dohaeris’ is the third season premiere episode of the HBO fantasy television series Game of Thrones. Written by executive producers David Benioff and D. B. Weiss, it aired on March 31, 2013.

The first scenes show us some adventures behind the Wall, some filmed in Iceland. It is worth saying that in Martin’s novels the lands north of the Wall are not as arctic as they appear in the HBO series, without any vegetation. If I had been the director I would have filmed those lands as they appear in novels.

More serious is that both in this episode and in subsequent episodes in which the redhead Ygritte appears, she is represented as one more warrior among the wildlings north of the Wall. In real life, and even more so in semi-nomadic societies like the wildlings, young and beautiful women like Ygritte would always be pregnant since the infant mortality rate was very high. It’s a great assault on reason to invent characters like Ygritte for mass consumption (they did something similar in the Vikings series). All the scenes in which Ygritte appears in various seasons annoy the male whose judgment has not been impaired by the System.

However, in this episode we see one of my favourites shots of the series: a beautiful bay that seems to me like a kind of combination between paintings by Claude Le Lorrain and Maxfield Parrish. I’m talking about King’s Landing Blackwater Bay and I put the image here because I didn’t want to put it together with the one below.

In Martin’s prose Lady Melisandre, often referred to as the Red Woman or the Red Witch, is a Red Priestess in the religion of R’hllor and a close counsellor to King Stannis Baratheon in his campaign to take the Iron Throne. There is something that Davos tells Stannis that seems very true to me: that Melisandre is an evil woman who will destroy all who follow her, which happened in a later season: by following the advice of the witch the House of Stannis was annihilated in the fifth season. In this episode, instead of listening to what his loyal advisor says about the witch, Stannis sends Davos to the dungeon.

But more than just blaming women as is sometimes done at MGTOW, I would say that the morons are us when we allow ourselves to be hypnotised by their feminine charms. For example, in the final scenes of the episode Dany, who as we have seen already has Ser Jorah Mormont as a loyal dog, gets another dog: Ser Barristan Selmy who had belonged to the Royal Guard and in the episode swears loyalty to this woman. Dany wants to recruit an army of mulatto warriors for sale to the highest bidder to conquer the predominantly white lands of Westeros. You heard right: mulattoes to conquer white lands. But it is Aryan men like Jorah and Barristan who empower the capricious blonde.

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’.

Categories
Aryan beauty Film Neanderthalism Voltaire

Fire and blood

‘Il y a une autre canaille à laquelle on sacrifie tout, et cette canaille est le peuple’. —Voltaire

‘Fire and Blood’, the tenth and final episode of the first season of the HBO medieval fantasy television series Game of Thrones, was first aired on June 19, 2011. There is not much to say about the final episode of the first season but I will still say a thing or two about the opening scene and the ending scene.

The mob that Voltaire spoke of, the common people, has been idealised by those who limit themselves to criticising the elites. In reality the people are as despicable as the elites. They’re like King Joffrey who had Ned Stark beheaded only because Ned was faithful to Joffrey’s father’s will. The King’s Landing mob not only yells the ‘traitor’ slander when poor Ned is led to the scaffold, but cheers when his blood-dripping head is flaunted in the public square.

In the same way as Westeros, the contemptible mob that is the people of the West consume everything the elites tell them about Hitler. And the experience I’ve had with Christian friends whom I have broken off with (and it makes me want to translate some anecdotes from El Grial) is that they don’t give a damn about well-known sources, like Solzhenitsyn’s non-fiction books, when I try to convey that the Allied narrative is a myth. People in general follow and believe what the Joffreys of today tell them to believe and feel. Even cultured people rant in the ‘two minutes hate’ imposed by the System. As Andrew Hamilton put it in one of his Counter-Currents articles, even the so-called intellectuals of the West are mass-man.

That is for the opening scene of the episode. Regarding the final scene, for the second time in the first season Dany is shown naked without showing her pubic hair (above Dany appears the first time we saw her in the series). I think that not having shown her in her full-frontal glory was a serious mistake, as well as another scene from ‘Fire and Blood’ that shows naked Cersei Lannister’s new lover, her cousin Lancel, who had been the squire of the now-deceased King Robert. Both Dany and Lancel should have appeared frontally naked.

It is important to say this if we remember those words of a well-known white nationalist that I picked up on Daybreak: ‘We need a regime that bans pornography and erects statues of gorgeous naked nymphs and athletes in every public square and crossroads’. As seen in the photo above, if there is something that the Aryan should promote it is the human nude that doesn’t awaken our appetites but merely exalts the beauty of the Aryan body. As the Greeks and Romans understood it before the envious Christians, many with Semitic blood, destroyed almost all their statues, the Aryan nude should not be hidden if it comes from splendid young specimens.

But what can we expect if our seventh art has been taken over by Jews and neochristian gentiles? We get the crap we saw in a previous episode of Game of Thrones: a lesbian act between a northern white woman and a brunette in Littlefinger’s brothel. So aberrant was that prolonged scene that even the normies disliked it. And this northern prostitute appeared even in the first episode on a bed with the Lannister dwarf, and in another episode she shows her pubic hair to Theon when she moves south in a carriage.

Unlike the art I have in mind, these shots only degrade the Aryan. In our times the values have been inverted even in the human nude.

Categories
Aryan beauty Blacks Feminism Film Poetry

Winter is coming

‘Winter Is Coming’ is the premiere of the HBO medieval fantasy television series Game of Thrones.

When in years past the comment threads were open on this site I noticed that one of my topics that didn’t attract attention was Game of Thrones (A Game of Thrones, which English-Spanish translation I have near where I write, is the first novel of George R.R. Martin’s A Song of Ice and Fire). But it must be understood that in my childhood, after seeing Kubrick’s best film, I wanted to be a film director (that was a few years before a family tragedy that would destroy several lives).

In my books I say that when I was a child Warner Bros. offered my father a job so he could go to work in the United States. My father declined the offer and sentenced me to live in a country other than my own. But I was left with the desire to have been a director and the only thing I can do now is film criticism. Of course, as a director I would have handled Martin’s novels in a very different way compared to the way the pair of Jews who produced and directed the HBO series did. For example, Martin’s feminism was exacerbated by David Benioff and Daniel B. Weiss, known to fans as D&D. I would have decreased it as much as possible.

In this series of criticising each episode of Game of Thrones that I’m starting with this post we must bear in mind that I am more critical of the toxic fandom made up of whites than the script that D&D developed. The author of the video we recently transcribed for this site on toxic fandom said elsewhere that Arya Stark was the most mishandled character of all Game of Thrones seasons. I would add that this speaks very badly of the fandom of whites who complained a lot about the finale but never about what D&D did with Arya.

Only in the first episode of the HBO series does Arya appear as she must have appeared throughout both Martin’s novels and the television series: a girl being educated in embroidery and weaving and confined to the home of a feudal lord. Not only the normies don’t want this ‘transvaluation of values’ on how to educate women today. Even many white nationalists don’t reject feminism with the vehemence that every Aryan male should (the masculinisation of the white woman is directly proportional to the feminisation of the white man).

In that same opening episode, shortly after showing Arya in her embroidery and knitting classes with other girls, we see her little brother Bran Stark trying to get a good shot at target shooting. Bran does it very badly and, from behind, Arya, who is even younger than him, hits the target with her bow and arrow thus humiliating her little brother.

That is the first bad message of Game of Thrones. As we have already said on this site, Hollywood is portraying female warriors as faster than men. The reality is that women are slower and generally inferior to us in both physical and intellectual sports (see what I said last December about chess).

It is very important to criticise the white fans of the series for not being outraged by such reversals of reality, from the very first episode. White nationalism limits itself to blaming Hollywood Jews as if whites, in this case the toxic fandom, weren’t equally guilty of greedily consuming those products without criticising them.

When the king of the seven kingdoms, Robert Baratheon and his royal court, arrive in Winterfell and the Starks receive them, Arya contemplates them with a helmet (in its place that little girl would have had to wear a hood). When Arya arrives with her reunited family about to receive the king, Ned, her father, immediately removes her helmet. In the historical medieval world, not in these mad films that demoralise the Aryan man, little girls didn’t want to become soldiers throwing away all of their femininity, much less a blue-blooded girl like Arya Stark.

In sharp contrast, the dialogue between King Robert and Ned Stark in the crypts is very realistic and very masculine. Voices like this are no longer heard in the West, not even among its supposed defenders. This is how we men used to speak: as Robert Baratheon spoke in the crypt when paying his respects to Ned’s late sister Lyanna Stark, with whom he had been in love.

Across the narrow sea in Essos the blond prince Viserys Targaryen forces his sister, Daenerys, to marry a Dothraki warlord, the non-white Drogo. Viserys thus fantasises about conquering Westeros and claiming the Iron Throne for the Targaryen House that Robert had destroyed. (In Martin’s universe the Targaryens were known for their incredible hyper-Nordic beauty, and I think the producers of the show should have chosen more beautiful actors to play the roles of Viserys and Daenerys.) Viserys says something horrible to his blonde sister: that in his quest to regain the throne for his house he would even allow the forty thousand horses of the swarthy Dothraki to mount her. It’s a terrible message because, despite medieval barbarism, I don’t think blond princes treated their princesses like that in real history.

Later we see an uninhibited King Robert dancing, kissing and groping a fat commoner during the evening feast in the great hall of Winterfell in front of Cersei Lannister, his wife and queen. But that’s nothing compared to the wedding between the blonde and the swarthy warlord on the other side of the narrow sea. If the white fans of Game of Thrones were good people they would have rebelled from this moment on. But as we know from the recommended readings in the sticky post, they are the worst generation of whites since prehistory.

But the superiority of the white race cannot be hidden visually, not even with Jewish directors. There is, in this premiere, a short scene that puts Daenerys side by side with black and mulatto women before she was deflowered by Drogo. I mean Daenerys’ walk in the direction of her white mare that Drogo gave her as a gift on their wedding day. The seventh art perfectly portrays the infinite superiority of a white woman over dark people.

The brief scene reminded me of a tale by Nicaraguan poet Rubén Darío (1867-1916), who contrasted a white girl eating grapes with the swarthy people who surrounded her here in Latin America: Y sobre aquel fondo de hollín y carbón, sus hombros delicados y tersos que estaban desnudos, hacían resaltar su bello color de lis, con un casi impenetrable tono dorado (‘And against that background of soot and coal, was the beautiful lily colour, with an almost impenetrable golden hue of her naked and delicate smooth shoulders’).