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Feminism Game of Thrones

Stormborn

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

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

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

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

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Democracy

Jared

It is fascinating to listen to Jared Taylor in this interview from about minute 25 to 30. We can see the ideological gulf between him and us, especially what he says about Hitler and fascism, democracy as the only legit approach for a solution to the racial problem in his country, and—God forbid!—never think about the possibility of a violent revolution in the future.

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Degenerate art Feminism Game of Thrones

Dragonstone

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

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

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

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

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

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Conservatism

Derbyshire’s blindness

‘For the future of our civilisation’, John Derbyshire wrote in an article published yesterday, ‘I would like to see a task force—a Manhattan Project—of historians, psychiatrists, neurologists, behavioural geneticists, quantitative psychologists, sociologists, and anthropologists get to work explaining this strange, weird, suicidal phenomenon’ (white ethnosuicide).

Derbyshire is blind of course, inasmuch as he doesn’t want to see the elephant in the room. See what Robert Morgan answered him today: Christian ethics alone is the culprit. You don’t need a Manhattan Project of so-called ‘specialists’ to see the obvious!

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Ben-Hur Feminism Game of Thrones Kevin MacDonald Psychohistory

The winds of winter

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

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

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

Brother Loras: ‘I will’.

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

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

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

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

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

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

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

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

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

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

The Battle of the Bitches is what lies ahead…

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PDF backup

WDH – pdf 386

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Feminism Film Game of Thrones Henry VIII

Battle of the bastards

‘Battle of the Bastards’ is the ninth and penultimate episode of the sixth season of HBO’s fantasy television series Game of Thrones and its 59th episode overall. This episode is emblematic of the series. It starts with a very easy victory for Dany, much easier than Caesar’s Veni, Vidi, Vici after the Masters invade Meereen with their fleet.

Later we see the Battle of the North—the best melee battle I’ve ever seen from a cinematic point of view. Unlike Dany and the fire of her dragons that burn the invading fleet, in the Battle of the Bastards you can see the ruthless rawness of what war really is, which is reflected in this image of the poor men under the command of the bastard Jon that are about to fight in numerical disadvantage against the army of the bastard Ramsay.

Dany, on the other side of the world in Martin’s fiction, is so powerful that she’s even capable of thinking in exterminationist terms. At the pyramid, which is being bombarded from the ships in the bay, she says to Tyrion: ‘I will crucify the Masters. I will get their fleets afire, kill every last one of their soldiers and return their cities to the dirt. That is my plan’.

The contrast between the Battle of Meereen Bay and the Battle of the Bastards couldn’t be greater. While the men on Jon’s side struggle to remain alive in a battle very realistic thanks to special effects (it is difficult to film a great carnage of horses during direct combat), the SJW Dany is granted everything thanks to the fire of her dragons. It was a great blunder to put both battles in the same episode because it shows how grotesque all this feminism is where the conquering woman appears as ultra-privileged in her warrior powers while the men have to fight every inch of the ground with blood and iron, as two armies fought in the open fields of yesteryear.

In the discussion with Tyrone, her advisor, Dany, before riding her dragon, tells him that she’s completely different from her father, who wanted to burn King’s Landing including men, women and children, even those loyal to the mad king. Tyrion replies: ‘You’re talking about destroying entire cities. It’s not entirely different’.

Another infuriating thing about many episodes, including this one, is the stupid little music they play when Dany rides her dragon and everything comes out smooth and easy—really irritating, especially compared to the eerie music they play right before the Battle of the Bastards is fought. In addition, we must take into account that all this war of Dany against the Masters is due to the latter refusing to abandon the slave system. We can already imagine what fantastic cinema would be like today if the Confederates had won the American Civil War!

Just as in the pyramid of Meereen Dany wants to become genocidal and Tyrone begs her for restraint, in the gloomy north we also see a discussion after the war council in Jon’s tent: another argument between woman and man before the battle, and also with the roles reversed. Sansa says such obvious things to Jon about elemental strategy that it is sad to see the man’s naivety. Sansa also alerts Jon about the psyops Ramsay will use on the battlefield. As we’ll see later, Jon fell flat on one of those tricks, and had it not been for the unexpected intervention of the Knights of Vale at the last minute he would have lost the Battle of the Bastards.

The script is pure rubbish although the battle, as I said, is worth watching. But before it the scriptwriters inserted a scene that reminds me of what I said in ‘On Beth’s cute tits’ although now I’m not referring to breasts but the buttocks of a woman.

Theon and Yara arrive in Meereen and ally with Dany, offering their fleet in exchange for help in overthrowing Euron and acknowledging Yara’s claim on the Iron Islands. This happens after Dany won the battle in the bay thanks to her dragons. There is a memorable phrase in the dialogue of these two women. Yara said to Dany: ‘We’d like you to help us murder an uncle [Euron] or two who don’t think a woman’s fit to rule’. That happens when we look at the image below (from left to right, Tyrion, Dany, Yara, and Theon).

Sometimes it is necessary to introduce our most intimate insights to make a point. When the episode aired on June 19, 2016, I thought how incongruous it was. In this image those who have power are women: Tyrion, the queen’s adviser, is a dwarf and Theon was literally castrated by Ramsay. When I saw the scene in 2016, I thought that we were getting the spectacle of the buttocks of the hyper-masculinised Yara, who negotiates with Dany, but they show us her buttocks in a phallic way.

A few years ago I visited the Tower of London and saw Henry VIII’s armour. I was surprised by the large metallic bulge in the genital area of the armour. Whoever was directing the tour spoke of it as a psychological weapon or psyop. But here, and I’m following my soliloquy from years ago when the episode premiered, it is Yara’s buttocks that we see, who is not only a dyke but wants to be the first queen of the Iron Islands after killing Euron. The emasculated Theon who really has the right to rule the islands once again supports, now in front of Dany, Yara’s claim and in the end these two women reach an agreement right there, in the enclosure of the pyramid that we see above.

Anyone who remembers what I said in my article about Beth’s tits will see that a creature whose buttocks seduce us cannot be a great warrior that beats us too (or a world chess champion, in Beth’s case). This topic is so important that that essay of last November will give the title to the book of my next collection of articles, although this time the central theme will be feminism. What I noticed when I saw the episode for the first time is how the language of the images seduces us: how they put Yara in tight pants so that her buttocks are drawn next to the humble Theon, the broken man.

Women have bigger buttocks than us. Years before I had already noticed this trick and also by another pair of Jewish directors, the Wachowski brothers. I’ll never forget how in The Matrix we see very well drawn the buttocks under the pants of another woman, Trinity, when she is about to board a helicopter immediately after receiving a brief course to pilot it. In cinematic language, they used a low shot by showing us this brave female warrior from behind. But this time the psyop was not the armour protrusion for Henry VIII’s balls, but Trinity’s elegant buttocks in a nonsexual scene.

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2nd World War Game of Thrones

No One

‘No One’ is the eighth episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 58th episode overall. In the image we see the Lannisters besieging the castle that at that time was under the command of Blackfish.

The episode begins with a street play that not only distorts, but reverses, what really happened during the assassination of King Joffrey. For those who have followed the series and know the plot, we could say that that theatrical scene in the streets of Braavos is perfect to portray the narrative believed by the masses about World War II.

I have observed that the commenters of this site don’t like fiction, not even what I had been quoting about a historical novel, Julian. The fiction genre can indeed seem idle to us as long as the media lie about what happened in the 1940s. But if people flee from reality to the fiction genre, it’s because reality is immeasurable. Sometimes we can’t even know what really happened as the literature for and against a claim, for example if the Soviets were going to attack Germany, is very copious (see e.g., what I told Mauricio a few moments ago).

It is much more solid to speak of the Hellstorm Holocaust, as the sources here do not refute Tom Goodrich’s thesis: normie historians simply ignore the voice of the vanquished. Thus, it would never occur to a common Game of Thrones fan that this opening scene is a perfect metaphor for what happened in the last century and its misleading ‘theatrical performance’ of the present. In fact, one of the reasons that led me to despise the genre of the novel is that all that ink must have been used to expose the events of 1944 to 1947, which according to the Kyle Hunt documentary is the most notorious coverup of our time.

I have referred to what came to mind at the beginning of the episode. Let’s jump to the penultimate scene, when Sandor tracks down the men who had raided his community, and comes across Beric Dondarrion and Thoros of Myr preparing to hang these bandits. The scene is very well staged, and it also lacks bad messages. But the final scene is grotesque. The convalescent Arya is capable of running away from the Waif through the streets of Braavos to the degree of taking a phenomenal jump, and let’s not talk about her final dialogue with Jaqen. Pure rubbish.

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Heinrich Himmler NS booklets Schutzstaffel (SS) Third Reich

April 20 gift

The best gift I received yesterday, on the Führer’s anniversary day, were the fifteen booklets I had requested from Third Reich Books: most of them authored by SS men. Although the publishers have been deplatformed by banks that issue credit cards, it’s still possible to acquire them.

In my previous post I reported the poison that the most successful series on television put us. What Himmler wrote inside the front cover of the original German booklet is the perfect antidote:

Men of the SS and Police!

Two weapons are available to each folk in the struggle for existence. Its fighting strength and its natural fertility. Never forget that the fighting strength alone cannot secure the folk’s survival into the distant future. The inexhaustible fountain of its fertility is also necessary.

Read this book, which I have given to you, and act accordingly. The victory of German arms must be followed by the victory of the German child.

H. Himmler.

The translation was published under the title SS Man, Be Fruitful. But the original title Sieg der Waffen—Sieg des Kindes (Victory of the Arms—Victory of the Children) better reflects the content. Nothing can be more antithetical to the ethno-suicidal feminism of television than the simple message of this brief pamphlet, packed with photographs.

A year ago I complained that the sites of white nationalism didn’t pay tribute to the birthday of the Führer. This year I didn’t want to inquire if the same thing happened yesterday. It is time to dismiss what is written in the US to find out what was written in these booklets available in several languages: here.

Categories
Architecture Degenerate art Feminism Game of Thrones Stanley Kubrick

The broken man

‘The Broken Man’ is the seventh episode of the sixth season of HBO’s fantasy television series Game of Thrones, and the 57th overall. Here the series exacerbates its previous feminism to surreal levels. It is not enough that the show introduces a woman as the feudal lady of the beautiful medieval castle that we see above. She is a ten-year-old girl. And worst of all, the fans loved this new character!

Some Americans wondered yesterday how the judicial system gave in to the BLM threat by condemning a white cop in the case of the black man who died on the asphalt. One clue to how the West got to this point is simply to notice what TV fans like: a world upside down. In the episode this brat, Lady Mormont, speaks authoritatively as a feudal lord, and initially disparages Jon Snow and Sansa Stark who ask for help in their campaign against the Boltons.

In Volantis we see Yara and another woman making out publicly. But Yara is not a lesbian in Martin’s novel. This is another excess of the scriptwriters to demoralise the white viewer. (Yara also harangs her ‘little brother’, the phrase she uses, so that he stops being a broken man.)

The penultimate scene is even more surreal than that of the ten-year-old feudal lady. Arya, seen here in Braavos with the background of a kind of Colossus of Rhodes, is stabbed several times in the stomach by the Waif and she survives the attack! All of these images come from this episode, including Blackfish’s Castle below, and above with Jaime Lannister on the bridge.

The trick used by the creators of Game of Thrones is to mix the beauty of Aryan architecture with poisonous messages for the white soul. It reminds me of Kubrick’s virtuosity in filming 2001: A Space Odyssey so that his next movie, A Clockwork Orange, was so poisonous that it was banned in England for several decades.