Downton Abbey

downton-abbey-wallpaper-8

I have said that, of all recent TV series I have seen, I only found inspiring the first episode of The White Queen. Now I might recommend a series which message, at least until the first season that I watched, is not necessarily negative.

Downton Abbey is a series created by English actor and novelist Julian Fellowes, first aired in Britain on September 2010. The series depicts the lives of the aristocratic Crawley family and their servants in the post-Edwardian era starting with the sinking of the Titanic. Of the only season I’ve watched to date my favorite line upon which the entire drama evolves—that in the recent past women had no right of inheritance—is a dialogue between two humble servants:

“It is the law.”

“Well: it is a wicked law.”

These well-intentioned Britons were naïve of course. We know better now. We now know that from the corruption of women all evils follow. Just compare the decent world of Downton Abbey with today’s Hollywood degeneracy (that incidentally even quite a few white nationalists like).

Remember for instance that filthy film, Basic Instinct when Sharon Stone, during the interrogation scene, shows her pubic hair to the male interrogators. That’s what happens when women are allowed to inherit immense fortunes from their late parents, as Catherine Tramell (Stone) did in Basic Instinct. Remember also when the detectives visited her Pacific Heights mansion to find only Catherine’s lesbian lover, etcetera.

My dream is that later in this century and the next one the West will revert to the mores of Jane Austen in the ethnostate. What I most loved about Downton Abbey, which rather depicts the late Victorians of the early 20th century is that, with the exception of a Turk who died in the aristocratic mansion, non-whites simply don’t exist in that world.

Italian scum

“White Nationalists treat Mediterraneans like Republicans treat Mestizos.”

Stubbs


The 1924 US immigration Act was aimed at restricting the Southern and Eastern Europeans, among them Jews who had migrated in large numbers since the 1890s, as well as prohibiting the immigration of Middle Easterners, East Asians, and Indians. Thanks to it, the quotas for immigration from Southern Europe were so restrictive that there were more Italians, Greeks, Hungarians, Portuguese, Romanians, Spaniards, Chinese, and Japanese that left the United States than those who arrived as immigrants. Alas, white Christians are crazy, and after their saner periods they cannot control their ethno-suicidal impulses. A good example of this is precisely how the Italian mafia infected a previously Nordic, genuinely white nation.

Recently, at home, I watched a few scenes from both the first two Godfathers and Goodfellas. Tommy DeVito (interpreted by Joe Pesci in Goodfellas), inspired in a mafia fellow of the real US world, is one of the most repulsive characters I have ever seen on the big screen. Presently I can no longer tolerate watching the whole films. I find that Italian subculture nauseating. That’s why, at the beginning of the second Godfather film, set in the year when I was born, Senator Geary’s words after he attended the First Communion celebration for the son of Michael Corleone, the head of the Corleone crime family, are notable. That’s in fact my favorite line of all mafia films I’ve ever seen.

the-godfather-2-senator

After the public ceremony, Senator Geary meets with Michael in his office. The Corleone family had obtained control of several casinos in Nevada. Geary offers to help Michael obtain a disputed gaming license in exchange for an exorbitant bribe, and this is how he addresses the godfather in front of his private gang:

Because I intend to squeeze you. I don’t like your kind of people. I don’t like to see you come out to this clean country [I remember how I loved these words while watching the film in the middle 1970s!] with your oily hair, dressed up in those silk suits, passing yourselves off as decent Americans. I’ll do business with you, but the fact is that I despise your masquerade, the dishonest way you pose yourself. Yourself and your whole fucking family.

Unfortunately, since many white nationalists are dense or dishonest enough to see “white” when a non-snatched individual sees “brown” or “olive,” I only will be able to share this soliloquy with non-“snatched” folks.

Ten films I recommend

Hamlet-1948

1. Hamlet (1948) 

2. Sleeping Beauty (1959)

3. Andrei Rublev (1966) 

4. 2001: A Space Odyssey (1968)

5. Planet of the Apes (1968)

6. Death in Venice (1971)

7. Iphigenia (1977)

8. Sense and Sensibility (1995) 

9. Artificial Intelligence (2001)

10. Pride and Prejudice (2005)

My Fair Lady

My_fair_lady_poster


As a kid I watched My Fair Lady on the big screen: a film that won eight Academy Awards in 1964. I am in my middle fifties now. One of the advantages of having living more than half a century is that you remember My Fair Lady as if you had watched it a couple of weeks ago. This means that the visual mores of the time are still fresh in my mind as if it was something that (psychologically) happened a fortnight ago. My little sisters treasured their memories too and talked about the movie at home.

My Fair Lady can be watched in YouTube, at least in the country in which I am living for the moment. If you click here, starting with “Pickering, why can’t a woman be more like a man?” (hour 2:28 to 2:32), you will see that “a fortnight ago” men regarded women as totally different creatures.

For people of my age it is like if an esoteric fashion took over society “a fortnight ago” turning the world upside down—something absolutely impossible to transmit to younger people since they didn’t build their psyches in the early 1960s.

That’s why for people like me even most white nationalists are, mixing old film metaphors, body-snatched degenerates. We older folks still have memories of an age when decency and the most obvious facts about the differences between the sexes were widely acknowledged by most.

Nonetheless, even now, during the West’s darkest hour, the new generation can make a difference by failing to renew their Cable services; disconnect the aerial antenna to avoid temptations, purchase old-time movies in DVD form, and spend their relaxing hours watching only the films that their grandparents saw in the luxurious, old-fashioned theaters of yore.

In defense of Hitler and his National Socialism

 
Excerpted from William Pierce’s response to one of the Letters to the Editor originally published in National Vanguard No. 103, Jan.-Feb. 1985:
 

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The Second World War was the great watershed in the collapse of the West. Had any major Western nation—in particular, Britain, France, or America—had the integrity to resist the Jews and avoid being drawn into their worldwide conspiracy against Germany, there would have been no world war, but only a war between National Socialist Germany and the Marxist Soviet Union. Germany would have won, Marxism would have been eradicated, and it would have been the beginning of the end for the Jews everywhere.

Instead, Western men were persuaded by their bought politicians, their Judeo-Christian priests, and the Jewish manipulators of public opinion in their midst to take up arms against their German brothers in an unholy crusade to eradicate National Socialism, so that the Jews and the Marxist cancer they had unleashed on the world could survive. Before the Second World War the West was still viable; afterward it was not.

The catastrophe of 1945, with the triumph of the Jew and his allies, made inevitable the opening up of the immigration floodgates for non-Whites into Britain and the United States; the destruction of American White public schools; the enactment of laws curtailing White freedom of association and the rights of White employers and renters (and with them the rights of White employees and tenants); the rise of feminism, homosexuality, and drug use; the breakdown of the traditional family structure; a soaring miscegenation rate; and the displacement of healthy White art, music, literature and drama by a Judeo-democratic-Hollywood schlock culture. It also led to the metastasis of the Marxist cancer throughout huge areas of Europe and the rise of malignant Zionist power in Palestine—a power which surely would be the instigator of the Third World War.

It behooves those of us who still hope that enough healthy genes for a new beginning can be salvaged from the coming chaos, therefore, to understand everything we can about the Second World War; about its preeminent personality, Adolf Hitler; and about his ideology, National Socialism, from the eradication of which logically followed the evils briefly accounted above. That’s why National Vanguard often has articles on these subjects and will do so in the future.

Were the Greeks blond and blue-eyed?

greek_blonds

This piece has been chosen for my collection in The Fair Race’s Darkest Hour. It has been slightly modified and presently can be read as a PDF within the book, ready for printing in your home for a comfortable reading.

Bimbo queen

bimbo!I have now watched the thirty episodes of the three seasons of Game of Thrones and really loved the visuals of the series (with the exception of the botched desert scenes with that dumb blonde).

With racially-conscious directors such beautiful art, in a series filmed in the ethnostate based on fantasy dramas of writers that presently might only be children, will certainly inspire and bring much good to the white psyche and morals.

However, I must rephrase what I said yesterday. Among other problems, the fatal flaw in Game of Thrones is that the bimbo Daenerys Targaryen looks like she will be destined to conquer and rule the kingdoms of earth. Just compare the bimbo with the manly Tywin Lannister. How I would love to dress like him!

tywin-lannister

Quite a few female characters of Game of Thrones behave like men. In my humble opinion this is Jewish propaganda destined to debilitate our self-image and self-esteem in the real world. Remember my quotable quote of the last week? “If a woman has only manly virtues, we run away…”

Thanks Herr Nietzsche. It is a pity that quite a few feminized western males in the pro-white movement believe otherwise.

Judeo-America: the slayer of Europe

Excerpted from Michael O’Meara’s “The Jitterbugs & the Vabanquespieler: On Yockey’s America.” This piece shows beautifully why I believe that the relationship between traitorous Anglos and noblest Germany lies at the deepest level of the rabbit hole to understand the West’s darkest hour:


The “Judeo-African cacophony” mesmerizing the jitterbugs on the dance floors of the Thirties was part of a larger program to debauch the conservative Christian rhythms of American life. Such at least was the argument Francis Parker Yockey made in his first published work, “The Tragedy of Youth” (1939).

In this early piece, full of promise and prefiguring aspects of his later critique of American life, the 22-year-old Yockey depicted an America whose youth had begun to keep step with the intonations and inflections of its Jewish bandmasters. Besides the folly of their un-European cavorting, Americans, he thought, were acting out the worldview of an alien-minded minority in control of the country’s media and entertainment. Drinking, smoking, and other bad habits glamorized by Hollywood became, in this spirit, marks of sophistication; sports were fetishized; public opinion was shaped and reshaped to legitimate machinations of every sort.

More seriously, God was “replaced by lust, the priest by the psychoanalyst, and the hero and heroine by the promiscuous lounge-lizard and the glittering harlot.” For the more educated, there were books and magazines promoting class war, racial equality, and anti-European (especially anti-German) hatred—aimed at destroying “whatever exclusiveness, national feeling, or racial instinct” still part of the American people.

Institutionalizing these subversions, Roosevelt’s New Deal, the granddaddy of the present anti-white system, took on debts and obligations favoring the Left forces—themselves puppets of the international financiers and bankers responsible for the deception and dissimulation entrancing the jitterbugs.

Against this backdrop of cultural distortion, usurious state policy, and agitations favoring causes alien to American affairs, the country’s youth, Yockey claimed, was being conditioned to fight as conscripts in liberal, Jewish, and Communist causes inimical to their national interest.


The True America

Basic to Yockey’s understanding of America was his belief that it was, at root, an integral and organic part of Europe.

Whenever he spoke of “the true America,” as opposed to the America that had been taken over by the “culture distorters” and become “the enemy of Europe,” it was the America that had originated as a European colony—the America whose “culture” was a branch of Europe’s High Culture—the America whose people still bore traces of the noble, heroic, and Gothic character of their ancestors.

cropped-schiller

“All colonials,” Yockey felt, “have a certain plane of their being which is susceptible to the centripetal attraction of the mother-soil.” For they share a common history with “the parent-organism”—no matter how much the distorters might insist otherwise.

The true American—i.e., the American whose highest loyalty was to his “mother soil and father culture”—thus instinctively isolated himself from all efforts to betray Europe: like French Canadians and South African Boers who refused to be conscripted by Washington in the Jews’ war against the Third Reich.

A child of European, especially German, culture, Yockey alone among American anti-liberals saw that America’s origin had tied its destiny to that of Europe, and that no matter how many cities the colony built, no matter how many millions of automobiles it turned out every season—no matter, even, how successful it was in reducing Europe to rubble and occupying it—no matter, it (the colony) would never, not in a thousand years, surpass the achievement and destiny of its mother soil and father culture.

To even think it was philosophically absurd.

The Culture of Distortion

Given their shallow culture and the dismissal of the tradition to which they were heirs, Americans were particularly vulnerable to the corrosions of 19th-century rationalism and materialism. Relatedly, they were an easy mark for “culture aliens”—for a world governed by money was a world indifferent to a man’s qualities. Foremost among the culture-aliens were the Jews: product of Spengler’s “Magian” culture, instinctually hostile to the European spirit, and bent on revenge.

In their counting houses, Americans would invariably overlook the Jews’ otherness, though they were of a different “Culture-Nation-Race.” Even before the War of Independence, they treated Jews as Europeans—Jews who had been shunned, ghettoized, and seen by most Europeans as an evil to be avoided.

Beginning in the 1880s, the Jews (these inassimilable aliens rejected by Europe’s High Culture) began their invasion of America. By 1905, they were already a power, evident in fact that the United States, for the first time in its history, severed diplomatic relations with Russia on account of the “anti-Jewish pogroms” that had followed the Russo-Japanese War.

Through its financial acumen and early control of media (the press, movies, radio), and in alliance with the native forces of decadence and degeneration, Jewish power in the New World grew at an unprecedented rate.

In a country where “mass-thinking, mass-ideals, and mass-living prevails,” Jewish propaganda (in the form of advertising, fashion, and a hundred other things) effortlessly reshaped the American consciousness, propelling the jitterbugs onto the dance floor of their world-conquering schemes. Stories of German sadism or Orson Wells’ Mars invasion were peddled with similar success, just as “the ethical syphilis of Hollywood and the spiritual leprosy of New York” infiltrated the larger cultural body.

In 1933, the year of the European Revolution, the Jews acquired outright political control of the United States—something that a thousand years of effort had failed to achieve in Europe.

From this point forward, “the formation of the Jewish-American Symbiosis begins.” Swarming into Washington, Jews and their “sub-American” contractors started dissimulating the Jewish world view and “bringing under control every factor of public expression.”

All who resisted were to be purged or ostracized.

Then, as the country’s racial instincts were worn down by the distorters, America (in accord with the policies of its liberal state and in the programming of its Culture Industry) assumed “a Jewish countenance” in its relations both with the rest of the world and with itself.

For Yockey, Franklin Roosevelt, “the monster who made of his life a study in infamy,” was a creature of the Jews, just as his New Deal was bent on Judaifying American government and society, promoting, as it did, principles of tolerance and universal brotherhood, which were further developed by Rockefeller-funded social-engineers intent on morally disarming the American people.

In this, the prescient Yockey might be criticized for confusing Jewish supremacy with the increasing Judaification of American society (which Matthew Arnold had warned of in the 1860s), for Jewish power in America was arguably not consolidated until the late 1960s (even if its secular low-church market, in making money the ultimate standard, had already Judaicized American life and sentiments).

That Roosevelt, in October 1937, began to maneuver the United States into the coming world war and that this war would be a war of annihilation—i.e., the sort of war fought between racially and culturally alien, rather then related peoples sharing the same civilization—was further evidence, in Yockey’s eyes, of Jewish hegemony and the Jews’ genocidal hatred of Europe.

Despite a certain exaggeration of Jewish power in this period, Yockey was nearly alone in seeing that the United States had become an anti-European power bound to the Jews’ vengeful compulsion to suppress Europe’s destiny.

Unlike other American anti-liberals, anti-Semitism for him evolved, rapidly and logically, into an anti-Americanism.

The Enemy of Europe

As long as America had been ruled by men of European Christian stock, it remained “a European colony.” But the America “distorted by the Revolution of 1933” (a revolution carried out by the allegedly Jewish-dominated New Deal), was now lost to Europe.

America’s Jewified anti-Europeanism was especially evident in the Second World War and in its subsequent occupation of the Continent.

For if the United States had possessed a proper ruling class, a tradition, and a regalian state, it would have stayed out of the Second World War, which became a defeat not just for Germany, but for all Europe—and thus, ultimately, a defeat for the true America.

Under its new Jewish-American regime, Washington after 1933 was instrumental in preparing the way for another European civil war—a war it would wage as if the enemy (their European kinsmen) weren’t human.

Instead of being the great moral crusade against the absolute evil of fascism, the war in actuality represented a giant step toward the Judeo-plutocratic inauguration of a New World Order, based on American open markets and American economic practices.

To this end, American bombers (supported by their British vassals) reduced every German city to a heap of rubble, intentionally targeting heavily populated working-class residences—that is, “homes and families”; cities in France, Belgium, Holland, Italy, and Eastern Europe were also bombed, adding further hundreds of thousands of civilian casualties to US “kills”; American fighter-pilots similarly sought out civilians to machine-gun and terrorize; vast stores of equipment and armaments, often denied to American troops, were supplied to Soviet Russia to defend the Communist state and encourage its penetration into the heart of Europe; and throughout this most barbaric and punitive war in the white man’s history, the Washington regime talked incessantly of the enemy’s “war crimes” and its “inhumanity.”

Yockey blamed America’s dishonorable conduct in the war on the culture-distorters, whose “motivation derived from the deep and total organic irreconcilability between a High Culture and a parasitic organism” (though I suspect that the country’s latter-day Puritans, given their tendency to dehumanize the enemy, ought also to share a large part of the responsibility).

Even after the guns were silenced, America’s “ghastly dishonor” continued. With the Red Army occupying Eastern Europe and the US Army Western Europe, the looting, raping, pillaging—and ethnic cleansing—began.

The Soviets plundered everything not bolted down; the greatest mass rape in Western history occurred in what became “East Germany”; and 16 million East-European Germans were forced to abandon lands and homes they had inhabited for centuries, two million of whom (mainly the very old and the very young) perished in the process.

With greater discrimination, the Americans raided German patent offices, steeling their superior technology; they rounded up their rocket scientists, confiscated the libraries they hadn’t burned, and made off with priceless art works. German women, most on the verge of starvation, were not subject to mass rape (except by black American and French African troops), but their favors could be had for a half-dozen eggs, some cigarettes, or a few chocolate bars.

If this weren’t enough, the culture-distorters (whose “fury had been heightened by the European Revolution of 1933”), along with their American accomplices (especially the budding military-industrial complex), introduced large-scale starvation, abused POWs (several million of whom died as a consequence), hunted down anyone who failed to bow to the new conquerors, and imposed laws with ex post facto application.

Adding insult to injury, the “American world-clown and the sadistic Jew” then endeavored to “re-educate” Europeans in the arts of anti-fascism, mammon-worship, and democracy (i.e., “the corruptibility of the government by private wealth”).

The war for Yockey represented a categorical defeat for the “true America”—and a total victory for the Jews over Western Civilization.

Since 1945, the two sides of the Atlantic have ceased to share the same inner experience of feeling, for it was essentially a war against Europe. European Americans who supported it, Yockey contended, were traitors—inner enemies of their own culture.

Then, after being reduced to “a beggar colony of America,” Europe’s pre-1945 elites were replaced by “Michel elements” (liberal philistines embodying “the sum of European weaknesses”), who could be trusted to do the Jews’ bidding.

In the name of democracy, press rights and free speech were henceforth abrogated; political parties were required to obtain licenses; any expression of nationalism was criminalized, just as all anti-liberal formations critical of the occupiers’ regime were driven to the political fringe.

America-Jewry in this way sought to sever Europe’s roots, suppress her will to power, and deprive her of a sense of destiny.

In no meaningful political sense did Europe, in fact, continue to exist after 1945, thanks almost entirely to this monstrous entity with the Jewish head and the American body.

America-Jewry’s anti-European vengeance was especially evident in comparison to its generous treatment of defeated Japan.

Indeed, the entire nonwhite world was soon made to know that the United States had conquered Europe and that the colored outer-revolt, encouraged by the distorters, was ready, at last, to triumph over its former white masters. More than Soviet Communism, Yockey argued that Jewish-controlled America was the “enemy of Europe.”

And this made America an enemy of “true America,” for the Jewish idea of America—as a land of immigrants, creedal propositions, and universal brotherhood—stripped it of any “national-spiritual significance” it may have once had, doing so, ultimately, for “the enslavement of the world by big business.”

Every European-American loyal to his ancestral homeland—loyal to his own inmost being—was, Yockey concluded, duty bound to be disloyal to what America had become (even as he struggled to return it to Europe).

The American Vabanquespieler

Yockey believed the 19th-century Age of Materialism and Rationalism, which had shaped America’s cultureless civilization and opened the way to the culture-distorters, came to an end with the First World War (1918), as a new age struggled to succeed it—a new age that would be animated by the same primordial sources that had brought about the European Revolution of 1933.

If not for America-Jewry’s Old Testament war on Europe, German-Prussian Ethical Socialism (in rejection of liberalism’s individualistic Reign of Quantity) would have inaugurated a New Age of Authority, Discipline, and Faith, bringing the whole world under Europe’s influence. Instead, the very opposite occurred.

But even though the America of the culture-distorters had emerged victorious from the war, it changed not in the least the fact that America (this apotheosis of the 19th-century rationalism and materialism born of liberalism) still represented the past—and the past, Yockey held, could never defeat the future latent in Europe’s High Culture.

The barbarian victory of America’s 19th-century capitalism over the Germans’ Ethical Socialism had, indeed, already spread chaos and disorder throughout Western Civilization, heightening the imperative for a revolutionary transformation.

Harry Potter’s niglets


Operation Order Number Five:

“Anyone, man, woman or child
with skin the color of shit
is to be shot on sight.
They had their chance to
leave over the past five years.”

In Harold Covington’s fantasy novels, after the ethnostate was created “the theaters were showing virtually nothing made after 1965 or so,” and a technique was developed to fix a few films made from the late 1960s to the first decades of the 21st century. The technique allowed the film industry to replace black faces with white faces in those famous movies for kids that merited inclusion in the reformed theaters.

I stole the subtitles under the following images from Robert Berry, who analyzes the black student body of Hogwarts Academy in the very first of the Potter films:


HP1

This is Lee Jordan. With a good two minutes of screen-time in this movie, he’s the most prominent black character in the film. While some students focus on potions, spells, or the dark arts, Lee is apparently attending Hogwarts on a sports scholarship.



HP2

Next we have an unnamed boy whose function at the school is almost limited to giving funny looks when someone says something startling. As the closed caption excerpt shows, he at least gets a line of dialogue, which makes him the only other black character in the movie that does.



HP3

This mysterious Gryffindor Quidditch player has a few cool action scenes, and scores some points for her team, but doesn’t contribute much else after she’s knocked unconscious from her broom. Though not named in the film, the books identify her as Angelina Jordan.


HP4

The rest of the roles are merely extras. Here we have the same unnamed boy mentioned above, with two girls among the first year inductees.


HP5

And at the Hufflepuff table, if you blink, you’ll miss this
black chap talking with his buddies, near the movie’s end.



HP6

Here there are three more during a slightly chaotic
scene in the banquet hall.



HP7

And here’s a girl just waiting in the hallway,
staring at Harry mysteriously as they walk by.



HP8

The gent on the right looks like
Gary Coleman’s pal “Dudley” from Strokes!



HP9

Here’s the only appearance from this lighter skinned black
student during the “Sorting Hat” sequence at the film’s start.



HP10

And when it appeared that all the black students were a part of the Gryffindor group, a quick eye can catch two Slytherin students during the big Quidditch match.


HP11

And here’s another, but she seems to be the least enthusiastic of the bunch. Kind of hard to be too excited, I imagine, when the leader of the Aryan Nation, Draco Malfoy (the blond at the center: the bad kid of the film), is the most dominant student in the class.


HP12

Two girls that you’ll never see again in the film.


HP13

A boy who appears for this split second during the mail delivery
scene as a member of Gryffindor, only to never show up again, either.



HP14

There are a few black adults in the faculty as well. Here’s a gender neutral wizard to the right of Dumbledore in a rare shot in which candles aren’t hovering in front of her/his face.


HP15

And seated next to Professor Snape are two other black
faculty members. We never see them again, either.



The above pics come, as already said, from the first Potter film. But in that very film outside Hogwarts I remember an adult black face in the Leaky Cauldron pub, and another face with skin the color of shit in Diagon Alley.

When the producers of the series changed directors after the second Potter film, the inclusion of niglets and black adult wizards became even more apparent. The sixth film, when the characters reach full-blown adolescence, was the most offensive: a beautiful teen English rose, Ginny Weasley, one of the main characters of the series, is engaged with a black student and even kisses him passionately on the mouth.

But the perpetrator here was none other than the author herself, J. K. Rowling. Indeed, compared to Rowling’s book, in the movie comparatively little of Ginny’s relationship with the young negro is depicted.

The Brigade excerpts, chapter XVII

by Harold Covington


“Taking Down Tinsel Town”


Covington in uniform
“Gentlemen, I don’t have to tell you that ever since the invention of the motion picture over a century ago, the movie industry has been the most completely Jewish field of private enterprise in the world, with the exception of international banking and the stock exchange. Even today, Yiddish is considered to be Hollywood’s second language. Literally so. It is spoken regularly on movie lots and sound sets, and in every office and casting department and boardroom. The senior executive office complex of every major production studio contains a private synagogue or chapel called a mincha, with one or more rabbis attached, as well as special glatt kosher catering facilities and kitchens. Entire boards of directors in Hollywood and also at their parent companies in New York sometimes hold Jewish religious services prior to meetings. Every crucial, non-technical job on the business and creative end of any major movie is either held by a Jew or is in the power of a Jew, from the studio heads, the producers and the directors, down to the scriptwriters, the casting directors, the agents, the accountants, and anything to do with the money. Even in areas that seem to be controlled by Gentiles, you will find that somewhere along the line during the process, Jews have crucial input and veto power. This control by the Tribe is pervasive and complete, and it extends into television as well, with the exception of two of the major cable networks, which are heavily Jewish in their senior personnel but are owned by consortiums of super-wealthy Protestant evangelical Christians of the Israel-worshipping persuasion, who are in their own way even more poisonous in their evil than the Jews themselves, because they have no excuse for turning on their own blood.

“I do not need to tell you of the terrible and largely irreversible damage that Hollywood has done to the white race and to Western civilization over the past century. For four generations, the international bankers and the corrupt politicians have committed unspeakable crimes against humanity, especially the war after war after bloody war they have plunged our people into for Jewry’s sake, but it is Hollywood and Hollywood’s mutant bastard spawn television that has made the white people of America and the world swallow these atrocities and actually support them with enthusiasm. It is Hollywood that has spent the past 50 years pushing every conceivable kind of perversion of body and mind down the throats of white people. It is Hollywood that has turned the loathsome practice of homosexuality into something cute and trendy, the subject for silly jokes, when it is in fact a poison of the very soul. It is Hollywood that has turned white women as portrayed on film into either mindless sex objects, or else degendered, masculinized, man-hating neurotics. It is Hollywood that has poisoned the minds and broken the spirits of generation after generation of white children who are now beyond recovery, and turned them into whiggers. The bankers have stolen our money. The federal government of the United States has stolen our lives and our freedom and soaked the earth with Aryan blood, spilled to save a filthy race of Asiatic parasites. But Hollywood has stolen our peoples’ minds and souls, and in some ways that makes Hollywood more evil to my mind even than the sinks of iniquity centered in New York and Washington, D.C. Comrades, we will go down to southern California, we will grip this monster by the throat, and we will cut its heart out!

There was a cheer from around the table; the men found the project to their liking. “At this point I’ll turn the floor over to Lieutenant Hill,” said Morehouse.

“Thank you, Red, and isn’t this a great audience in our studio tonight?” There was a chuckle from the assembled men. “I need to begin by explaining just what has precipitated this operation, which by the way, has been designated Operation We Are Not Amused,” said Hill. There was more laughter. “Obviously, any revolutionary movement within North America has to deal with the Hollywood problem at some point or other. It’s pretty obvious that barring some catastrophic event, the NVA [Northwest Volunteer Army] is here to stay as a permanent feature of Northwest life, and for us, to survive is eventually to win. The time has come for us to take our offensive for balance in the media right into the belly of the Beast.”

“Now we are about to start…” Harry Hannon interjected.

“But it’s not just simple fear that’s made Hollywood go a little easy on us so far,” Red Morehouse said. “I don’t want to get metaphysical, but Hollywood has always been the American ruling establishment with its heart on its sleeve, and southern California has always taken point in the culture wars, openly and brazenly, so you can read them like a book. And I can sense a deep and definite malaise. The Jewish and liberal establishment down there is not just afraid, they’re puzzled, disturbed, confused. They don’t know what to make of us quite yet. They’ve never seen white men act like this before—hell, no one in living memory has seen white men act like this before. Comrades, even if we were all wiped out tomorrow, the NVA has managed to achieve one incredible accomplishment, and something that for the entire century, no one ever thought was possible. We have reintroduced the gun into American politics, the ultimate fount of all law and political power.”

Morehouse smiled and shook his head in admiration. “For the first time since the Civil War, the United States of America no longer has a credible monopoly of armed force, and that fact has thrown the whole ruling élite in this country for a loop, unbalanced them. We’ve taken a hundred years of this shit from these people. No more! It ends now!”

“Who gets to be the hammer?” asked Tommy Coyle eagerly.

“Sorry, Tom,” said Morehouse, genuinely commiserating. “You and Harry are too badly needed up here with your brigades, and that goes for you battalion commanders as well. I’m afraid the reason you are here is because we’re going to need your help and your concurrence to cherry-pick your units. The actual hammering will be planned and organized by the Third Section, but the nails will be from Portland and the North Shore.”

“What will be your plan of attack, Lieutenant Randall?” asked Hatfield.

“The main strategic objective here is to neutralize the Hollywood movie and television apparatus as an effective weapon of enemy propaganda,” said Randall. “It is now such a weapon because of the Jewish control of these industries. We have to get the Jews’ hands off the levers of power and creative control down there as much as possible, not only by terminating individual hebes, but by establishing a credible deterrent sufficient to prevent those reptiles from producing dingo doo like those things there.”

Randall pointed to the scripts on the coffee table. “They have to know that even to contemplate producing an anti-NVA movie or television episode means bloody near certain death. We won’t be so much going after movie stars or actors themselves as we will be taking down the Jews who actually decide what movies and shows are made, and what their contents will be—studio heads, producers, directors, and screenwriters, and the moneymen. We have several objectives. First, to physically prevent these Jews from doing the dirty. A dead Jew can’t make an anti-white movie. Secondly, to create a psychological disincentive to make propaganda movies and telly for the Americans, since live Jews and liberals don’t wish to become dead ones. Finally, and this is a long-term goal, we want to demonstrate to the extensive Gentile community in the movie and television world down there that Jewish control of their industry, their money, their speech, and their creative talents is not some kind of perpetual, God ordained inevitability. We want to show them and the whole world that Jewish power can be broken, right in the heart of their own oldest and most cherished empire in this country.”

“In a way, we’re trying to show the stars and the genuine film artists down there the same thing we’re trying to show our own people here in the Homeland—that it is possible to resist, and that the enemy is not invincible.”


Chechar’s note:

Just compare Covington’s views about Hollywood to Counter Currents’ opposite views and leave a comment: either below, or in a recent thread.

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