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.

Published in: on April 9, 2021 at 5:13 pm  Comments Off on Kill the boy  

Yockey, Mason, Wallace

Hunter Wallace, who yesterday posted that thing about the resurrected Jew, whom American racists still adore, today posted:

National Socialists and Fascists – As the history of this blog shows, I have never had any interest in classical fascism or National Socialism. There have been people who have been trying to build a fascist or National Socialist movement in America as far back as the 1930s and they have never had any success with it for a variety reasons. The most important reason is that it is a foreign ideology and American culture has Anglo-Saxon roots. Americans are individualistic and dislike being organized. They don’t have a fascist temperament or even a strong and pervasive sense of ethnic identity. When Americans try to do fascism, they come across less as the historical National Socialists than as Americans.

Very true. But that can only mean that America is a failed culture. Let’s compare it to what James Mason wrote thirty-five years ago:

There is and always has been a Jewish Conspiracy ever since contact has existed between Jews and Europeans. I will say that no professional revolutionary can hope to be real unless he is fully familiar with each aspect of the Jewish Question. It is only part of his basic education. Again, it is but one factor among many and this is where the Movement has been failing for so long… And though the number of them directly involved in it condemns them by proportion to their total population, the Beast System is still basically manned and operated by renegade, sold-out Whites. What we are fighting has always been, and will always be, a sickness from within [italics in the original]…

This explains why the entire German nation had to be incinerated in the course of the War, why their entire government had to be murdered. It wasn’t just a man or a party, it was the whole country, or at least those elements that counted most. And so Hitler’s Movement was not the kooky, funny thing we see here in America today. It was truly representative of the will of the German people…

We’re talking about a very large body of people who have sold out, or, perhaps better put, have burnt out. With no vital signs left. Yet, to remove them would be to see the U.S. at an end. Not to remove them will be to see another Africa arise on the North American Continent. It is not so much a conspiracy as it is a head being out of touch with its body but yet striving to make certain that the body becomes as vile and perverse as the head, thus spelling doom for the entire organism… It must be death [emphasis in the original] to an entire strata of the population… and a new, fresh ruling elite established from the ranks of the natural peasantry or yeomanry, before that too has been eaten away from the inside out and nothing remains of it.

Those words appeared in Volume XV, # 3 of March 1986 of Mason’s collected newsletters. What Wallace and those who comment on Occidental Dissent ignore is that the United States must die, as an entire forest dies after a very great fire, so that the new shoots sprout from the ashes: a new forest that has nothing to do with either Christianity or the US infatuation for Mammon, as Yockey put it in his own transvaluation of American values back to old European values.

America delenda est.

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.

Published in: on March 31, 2021 at 2:33 pm  Comments Off on The laws of gods and men  

The Rains of Castamere

‘The Rains of Castamere’ is the ninth and penultimate episode of the third season of the HBO fantasy television series Game of Thrones. It centres on the wedding of Edmure Tully (Catelyn’s brother) and Roslin Frey, one of the most memorable events in the book series, commonly called ‘The Red Wedding’ during which Robb Stark and his banners are massacred. The title of the episode is a song belonging to the Lannister family, the lyrics that herald the Red Wedding and which the band plays at the wedding just before the slaughter begins.

The first scene of the episode provides the viewer with a bad message. King Robb asks his mother Catelyn for advice, who should have stayed safe at the castle of her uncle Ser Brynden Tully, popularly called ‘Blackfish’, whom she just visited. But the mother is in the tent of the King of the North in a military campaign against the Lannisters. Robb seeks advice from precisely this stupid woman who started the war by arresting Tyrion Lannister for a crime he didn’t commit. So not only is Robb going on a honeymoon at the most serious time of his life, but he asks his mom for advice early in the episode.

During the wedding, Walder Frey beckons Robb of what he missed (a true nymph, by marrying non-white buttocks) while Edmure Tully is the one now marrying Roslin Frey. ‘Father, Smith, Warrior, Mother, Maiden, Crone, Stranger…’ Immediately following this, still speaking simultaneously, Edmure and Roslin recite their vows. The groom says ‘I am hers and she is mine. From this day, until the end of my days’ while the bride at the same time says ‘I am his and he is mine. From this day, until the end of my days’. Secular whites today should know that even for pagans—there are no Christians in Martin’s universe—marriage was the most sacred institution.

At Yunkai, Dany’s watchdogs open the city gates for her SJW whims and come back in blood, Daario bowing once more to Dany and saying ‘The city is yours, my queen’. But let’s go back to The Twins, sometimes known as the Crossing, the castle and the seat of House Frey. Before the climax of not only the episode but the season, Robb kisses his wife even though, standing in front of Lord Frey, that is an insult as Robb broke his promise to marry a Frey girl. But Lord Frey had it all planned out, and Robb and his banners didn’t realise that the wedding between Roslin and Edmure was a trap.

If white fans of Game of Thrones weren’t the worst dung since prehistoric times they would celebrate the stabbing of non-white buttocks, Walder Frey’s little wedding gift to the couple, just as the Visigoths celebrated the murder of a mixed couple. But contemporary whites are the worst dung. Their values, including some of white nationalists, have been inverted in pursuit of the evangelical message and now good turns bad in the eyes of viewers.

Feudal Lord Frey, on the other hand, enjoys the reckoning. Catelyn and Robb have already been wounded by crossbow arrows and non-white buttocks lies lifeless on the ground, stabbed right into her pregnant belly by a Frey man. Stunned like an imbecile, Robb stares at the corpse while his wounded mother, who appears to be the one with the guts, tries to negotiate with Frey for her son’s life.

These reversals of roles are very good in that they even portray many white nationalists who don’t give a damn that their women have been empowered (see for example what I have said about ‘revolutionary’ novelist Harold Covington on this site). If values hadn’t been inverted by Christianity and neochristianity Walder Frey would be considered one of the heroes of the series.

In 2019 I had already said something about the Red Wedding and women’s reaction to it. Interestingly, among the videos I’ve seen on YouTube only David Bradley, the English actor who played the role of Walder Frey, seemed to enjoy the bloodbath because Robb broke his word. Afterwards, both Robb and Catelyn are finished off by Frey men and die. Immediately afterwards the credits appear: the only episode I remember they don’t play any music.

Published in: on March 24, 2021 at 2:47 pm  Comments Off on The Rains of Castamere  

The bear and the maiden fair

‘The Bear and the Maiden Fair’ is the seventh episode of the third season of HBO’s fantasy television series Game of Thrones, and the 27th episode of the series overall. The episode was written by George R. R. Martin, the feminist author of the A Song of Ice and Fire novels on which the series is based, and was directed by a woman, Michelle MacLaren.

The group of wildlings just crossed the Wall and we heard the first bad message from Ygritte’s mouth: ‘You know nothing, Jon Snow’. Unlike others on the expedition, Ygritte just crossed the Wall for the first time in her life. It’s she who hasn’t seen the world, not even a single stone building, since north of the Wall there are only huts. A moment before Ygritte didn’t understand why the southern armies need drums and those who fly the banners. But although she is ignorant, her mocking gestures suggest that Jon, who was raised in a castle south of the Wall, is the ignorant one.

Then we see, in the Riverlands, a love scene between Robb and non-white buttocks. The female director dared to show off Robb’s wife’s buttocks in a presumably aesthetic shot in King Robb’s candle-lit military tent. The camera changes places and we see a shot from above of the naked woman, who is face down, once more showing us her buttocks.

Rob: (Sigh) ‘If you don’t put some clothes on, I can’t promise I won’t attack you [sexually] again’.

These scenes make me want to see what will happen to the bicolour couple in episode 29, where the accounts are settled. But for the moment the director shows us a long scene and then Robb says, looking at the map of his military strategy although distracted by the exposed buttocks of his wife: ‘How am I supposed to sit here planning a war when you’re over there, looking like that [naked face down]?’

The woman seems unconcerned about the war. She writes a letter to her mom and asks the king when he will take her to her hometown. But as always: the failure doesn’t come from women like this director, but from writers like Martin and the culture that allowed Jews and women to come to Hollywood. Then non-white buttocks tells him that she is pregnant and Robb is surprised. ‘You’re my queen’ says the idiot (in later seasons we’ll see that Jon uses the exact same phrase with Dany).

It is embarrassing to quote the dialogues between non-white buttocks and her husband. Instead of preparing for battle, Robb finds himself in the middle of a long honeymoon with his non-white wife. The mere fact of taking her to the military camp is insanity, and it isn’t surprising in a later episode that Roose Bolton confessed that Robb’s ignoring him when Roose was his military adviser contributed to betraying him to the Lannisters. One more shot from the ceiling filmed by the female director shows this woman’s buttocks again before Robb, already dressed, pounces on her again.

We then see a surreal dialogue between Ygritte and the warg Orell, probably the most important element of the wildling expedition south of the Wall due to his out-of-body abilities. The surreal thing is that, as I have already said, in the real world an outsider like Jon would never have access to the buttocks of a beautiful woman from a tribe. But except Orell, here the ‘tribe’ is behaving with Jon’s relationship with Ygritte as if tribal mores were those of Murka: an astronomical projection of present feminism to a medieval era that never existed.

So here we have a double bad message in a script written by Martin himself and directed by a liberated woman: a cute woman going to war as if she were a common soldier, and with all the sexual freedoms of a contemporary Western woman, including freedom of choosing an outsider instead of a member of her tribe, like Orell. The stupidity of Game of Thrones fans not to report these things is limitless. But in the darkest hour of the West these things are the bread and butter.

Another bad message is that Murka’s central values—social justice warring—are projected back to a fantastic medieval era. Dany arrives with her mulatto army and her two white guardians outside Yunkai, where there are 200,000 slaves. Jorah advises her not to invade the walled city as that campaign won’t bring her closer to the Iron Throne, which is where Dany wants to go. The girl responds to her counsellor that she has 200,000 reasons to take it.

Naturally, in medieval times no one fought wars in which a king could lose half his army just to free the slaves of a distant and exotic culture. But here we got a SJW queen! I have barely read A Song of Ice and Fire but the fact that these novels have become bestsellers speaks ill of the readers. Let’s just imagine what the West would be like if, instead of Martin’s novels, they had William Pierce’s first novel as their biggest bestseller. But the bad messages don’t end there.

In King’s Landing we see an absurd discussion between Tyron and his whore, which would be sad even to cite because in this TV series men are infinitely more idiots than they have been in the historical past (although not in the present). All I can say is that if I were Tyrion I would have already sent Shae to Volantis: her hometown where, by the way, Robb’s wife also comes from. Yes, non-white buttocks and Shae have something else in common besides their hometown: they’re light-brown skinned.

As if those bad messages weren’t enough, in the Riverlands Arya escapes from the cave in front of the entire Brotherhood, and although they run after her they don’t reach her, which suggests that the girl runs faster than the soldiers. Then we see another anti-male scene, although here the message is more than direct. Before castrating Theon (remember that Ramsay has him in a torture chamber), he puts two stunning young women in the chamber, both telling him that they want to see his penis. Then the attractive women get naked and things happen before the castration.

Another feminist scene: Jon tells Ygritte that a deer she wants to hunt with her bow is too far away but Ygritte hunts it. The scene is somewhat reminiscent of that scene from the first episode of the first season, in which Arya hits a perfect target with her bow after her older brother, Bran, terribly missed the target. Reality reversals are ubiquitous in this series.

Then Ygritte continues to taunt Jon, even though she confessed to Orell that she loved Jon. An absurd love: as absurd as Robb’s with Talisa and Tyrion with Shae. Seeing these romantic scenes filmed by a woman, produced by Jews and written by a traitorous white man only humiliates the male viewer. But these idiots play romantic music when Ygritte kisses Jon on his mouth.

‘The Bear and the Maiden Fair’ ends with another unreal scene between a man and a woman. Jaime Lannister throws himself into the ring where Locke had planned to kill Brienne with a huge bear, as if in real life the heir to Casterly Rock, the ancient stronghold of House Lannister, could dare to risk his life to save a woman. The whole scene exudes unreality, and it was this scene that gave the episode its title.

Published in: on March 22, 2021 at 2:30 pm  Comments Off on The bear and the maiden fair  

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?

Published in: on March 18, 2021 at 2:20 pm  Comments Off on Walk of punishment  

What is dead may never die

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

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

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

‘Rise. Remove your helmet’.

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

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

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

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

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

Published in: on March 8, 2021 at 11:04 am  Comments Off on What is dead may never die  

Lord Snow

‘Lord Snow’ is the third episode of the first season of the HBO medieval fantasy television series Game of Thrones. It first aired on May 1, 2011. The bad message of this episode begins when Ned Stark discovers, already settled in King’s Landing, that his little daughter Arya has a real weapon.

Ned Stark: ‘This is not a toy. Little ladies shouldn’t play with swords’.

Arya: ‘I wasn’t playing. And I don’t want to be a lady’.

Keeping in mind the medieval literature of my mother tongue, there was nothing like it in Spain despite the fact that its literature flourished with stories of medieval warriors. This dialogue in ‘Lord Snow’ is a pure invention of our time. (I have said elsewhere that the film that started this reversal of roles, that a saving warrior could be a woman, was the 1979 Alien.)

Very kindly Ned tries to reason with his daughter in her room, asking Arya if she remembers the House Stark motto, ‘Winter is coming’. He makes Arya see that she was born in the middle of a long summer (in George R.R. Martin’s universe summers can last for years, and dreaded winters too). Ned wants to show his daughter that she hasn’t yet known the harshness of life.

Contemporary Americans are like Arya in the sense that they haven’t suffered those long winters: the thirty to one hundred years that, according to Revilo Oliver, we must endure to bring about a true psychogenic change. This could even be said of all contemporary Westerners who require a long winter to generate the gravitas to form a new nation. Fortunately, what the Europeans have suffered will soon begin to be suffered by the Americans. On page 131 of Toward the White Republic the American Michael O’Meara said:

Qualitatively more persuasive, though, is Orlov’s claim that the Soviet Union was better situated than the United States to endure and recover from a political-economic breakdown. In his view, Americans see their ‘spendthrift debtor nation’ as a ‘land of free ice cream and perpetual sunshine’. Never having experienced invasion, world war, famine, or bloody dictatorship, it’s hard for them to imagine a future unlike their past. More than Russians, Americans have been severed from their past and redesigned as gratification-oriented consumers whose defining character is materialist rather than ethnic, historical, or cultural. They also lack the psychology of resilience ‘bred’ into the long-suffering Russians. Finally, they are more ideologically deluded by the system’s pretences, just as they are more integrated into its increasingly dysfunctional institutions.

In Winterfell the boy Bran has awakened from his coma. In the novel this is due to the telepathic intervention of Bloodraven, a man fused to a weirwood tree (see the weiwrood trees on the sidebar) who had appeared to the comatose Bran in a dream as a three-eyed raven, thanks to ancient magic on the other side of the Wall.

Old Nan, the caretaker of the now crippled Bran, for the first time in the series talks about the legends about what long time ago had been a winter that lasted a whole generation. (The actress who played Old Nan died before ‘Lord Snow’ was released. The episode is dedicated to her memory in the end credits.) Old Nan speaks to Bran about the White Walkers who had been a scourge to mankind during the long winter, so the Wall was built millennia ago in order to keep them at bay.

On the other side of the kingdom King Robert remembers with the members of his Kingsguard their first killings. The masculine dialogue reminds me, once again, of today’s feminised western men. Who among the so-called defenders of the West on the internet has killed someone? If there is something that distinguishes us from women it is our passion to kill, and without manhood there is neither war nor white republic. (This said, I recognise it’s impossible to kill since WW-II as our governments are anti-white and there are no good wars to fight.)

King Robert recounts that during a war he fell from his horse and a young soldier charged at him, receiving him with a hammer blow that broke all of his ribs. Jaime Lannister and another member of the Kingsguard tell the king who their first victims were.

Having won the Allies we can no longer have this kind of dialogue. And together with tolerating that, the System has even taken women away from us through feminism: a sign of the mental state of the white man. Only if Hitler had won would we be telling ourselves who our first victims were.

And speaking of feminism and would-be warriors, the episode closes precisely with the reversal of sexual roles. Upon learning that Arya doesn’t want to become a lady but rather wants to be a swordsman, Ned hires Syrio Forel to teach her the art of handling her Needle. In the first lesson Forel tells the girl Arya:

‘You are late, boy’.

That, and not the last season that angered the toxic fandom so much, should have triggered the rage of viewers. But whites are bananas. When a man accepts these inversions he is accepting masturbation as a substitute for those women who (like Arya) aren’t going to marry. The betrayal doesn’t come from the woman but from the Aryan male (women only follow the strong, and the strong one today is the anti-white System).

Within the cultural revolution that has been unfolding in the West for a few decades, critics of Game of Thrones have praised Maisie Williams for her portrayal of Arya Stark and her sword lesson scenes. The whites among these ‘critics’ represent the worst scum Western history has produced. But the havoc that the long winter ahead will cause will also wipe out all degeneracy of America’s summer (actually, historically it’s already autumn).

The episode ends with Arya training with Forel and Ned Stark watching them. The scene is paradigmatic of the bad messages of Game of Thrones as Ned was the character considered, by the toxic fandom, as the most honourable man of the 2011-2019 series.

Published in: on February 26, 2021 at 1:29 pm  Comments Off on Lord Snow  

Toxic fandom

Editor’s note: On 18 August 2019 this was originally uploaded as a video in YouTube by YezenIRL under the title ‘Forgiving Game of Thrones: An Unpopular Opinion’:

[Tyrion on the Iron Throne] Disclaimer: The following is not necessarily meant to argue whether or not Season 8 of Game of Thrones was good or bad. But rather to challenge the way we as an audience engaged with the story, and reframe our expectations regarding what value we can take from an imperfect work.

Jon: ‘You can forgive all of them. Make them see they made a mistake. Make them understand’.

Dany [Daenerys Targaryen]: ‘I can’t’.

Okay, so I’m back, and we have to talk about Toxic Fandom.

Since Season Eight ended, the internet’s been flooded with countless takes on the ending of Game of Thrones. From fans insisting they know the story better than the writers, to a petition demanding re-shoots, it’s clear that reactions are mixed. And while criticism is important, I think that if we want to be critical of media we should also be critical of our own opinions.

So, in light of some of the extreme reactions we’ve been seeing…

Youtuber: ‘…the worst, the worst, the worst [emphasis in his voice] finale episode in the history of television!’

…I’m gonna say we need to take a step back as a culture, and take a look at ourselves.

[Cersei on the Iron Throne] This kind of reaction isn’t really exclusive to Game of Thrones. Fandoms actually have a history of toxic backlash when things don’t go their way… Now look, I know we all have a right to our opinion and I realise negative opinions are not the same as bullying, but I do have to ask—how much of this is constructive? Do people understand the thing they’re criticising? And, are we maybe overreacting?
 

Part One: What if we’re overreacting?

It’s hard to talk about fandoms without generalising people, because everyone responds to a story in their own way. Some people loved the ending, some hated it, some hated the ideas, and others hated the way they were executed.

Obviously not everything I say can apply to every single person, so in order to be objective, I’m gonna be a nerd and start with some graphs. Looking at the data, there seems to be a distinct sense from the critical community that Game of Thrones fell apart in the last three or four episodes.

Before that, the show was mostly a critical hit. But was this sudden drop in scores actually fair? For me, the show had been struggling for years to depict organic character development and realistic politics. And to be frank, the books Game of Thrones is based on are way too dense and expansive to be accurately adapted to television. The problem so many had with the ending are problems I’ve been seeing for a while now, and so I’ve come to look at the show as kind of a preview for the books.

[Jorah on the Iron Throne] While I understand people’s frustration with certain sloppily handled twists, I’m also kind of just ‘over it’ and prefer to focus more on the core ideas, like what does the ending say about moral certitude and the glorification of war? Or about power, redemption and choice?

In the backlash, these bigger discussions aren’t really being had. Yet, the show-runners that fans are now calling ‘Dumb and Dumber’ are the same ones who’ve been writing the show since Season One, and had been receiving critical acclaim well after they passed the books—as we saw with episodes like ‘Battle of the Bastards’ and ‘The Winds of Winter’.

Stannis: ‘A good act does not wash out the bad. Nor a bad the good’.

Though many repeat the mantra that ‘the problem isn’t what happened, it’s how it was executed’, I don’t think that sentiment captures the full story behind the backlash. And that’s not to say that everything was well executed, but to say that for several years fans have been forgiving and even applauding sloppy writing, because they liked what was happening. For example, the resolution of the ‘Slaver’s Bay’ storyline and the ‘Battle of the Bastards’ aren’t really set up much better than anything in Season Eight. They just have more popular outcomes.

What changed in the last three episodes is that the outcomes got controversial. For example, many believed that defeating the Night King was Jon’s whole arc, and insist that Jon was robbed of his destiny. But even before he encountered the White Walkers, Jon’s conflict was always framed as Love versus Duty—the human heart in conflict with itself. His arc is about making difficult choices, not accomplishing great feats. And in that, Jon is still a chosen hero. It’s just that his heroism isn’t supposed to be cool, or honourable, or even triumphant. The point is that doing the right thing isn’t always totally awesome.

[Brienne on the Iron Throne] That kind of subversion is classic Game of Thrones. I mean: if we look to the beginning, Ned’s arc seemed to be going South to become Hand of the King and solve the mystery of Jon Arryn’s murder. Yet, not only does Ned die, he also never figures out who the real killer was. The true arc was Ned’s inner struggle, and like Jon, the legacy of his actions on the world isn’t immediately apparent.

Tyrion: ‘Ask me again in ten years’.

Not all, but so many of the complaints around the final season come down to some form of ‘this isn’t what I expected’. From the belief that the Night King was the true threat, through the belief that Jon would sit the Iron Throne, to the belief that Jamie’s ending would be more heroic. Which leads us to question: why did the audience have the expectations they did? And what is it about subverted expectations that’s so hard to accept?
 

Part Two: What if Game of Thrones was never meant to be popular?

Throughout its eight-year run, Game of Thrones became what can only be described as a landmark television drama, pushing the limits of what a show could accomplish in terms of scope and story, and gaining popularity approaching that of Star Wars, Harry Potter, or the Marvel Cinematic Universe. Simply put, the show reached mainstream status, which is complicated.

So for those who don’t know, Game of Thrones is based on this series of gritty fantasy novels by George R.R. Martin, who’d previously been known for writing really weird niche sci-fi, filled with telepathic hive-minds, body-snatching, and Space Catholicism. The books, as well as the early seasons, trade out straightforward character arcs and cathartic victories for messy, soul-crushing realism. I say this to point out that, unlike Star Wars, Harry Potter or the MCU, Martin’s story was probably never meant to be a big crowd-pleaser.

Shireen: ‘Father, help! Please don’t do this, father!’ [she’s being burned alive at the stake as a plea to the Lord of Light]

But with the growing popularity of the show, Season Six and Seven saw Benioff and Weiss shift gears to a more mainstream narrative. There were probably a lot of reasons for this; some business-related, others to do with the challenges of adaptation. But the story that once built up Joffrey as a villain for four seasons, only to have him poisoned by a relatively minor character, became the show that gave every victory to the fan-favourite character that most wanted it.

So of course people expected Jon and Dany to achieve their goals together. Of course they expected Jaime to save King’s Landing from Cersei. They just watched Sansa execute her rapist, and Arya assassinate everyone who took part in the Red Wedding, and Grey Worm kill the slave masters, and the Stark kids avenge their dad. Suddenly, we were being given a steady stream of good triumphing over evil, and people were eating it up.

So, when we got to the messy George R.R. Martin conclusion, audiences were jarred by the lack of cathartic victory. Thus came a flood of emotions from the fandom. People were upset by the execution and content of what happened, and it became hard to draw the line where one feeling ended and the other began.

[The Hound on the Iron Throne] So people stopped looking past flaws in the show’s execution like they used to, and instead fixated on them directly. After all, people don’t need much justification for stuff like ‘Jon is King now!’ or ‘Dany’s finally coming to Westeros!’ like they do for ‘Jaime goes back to Cersei’. We actually saw this already with Stannis Baratheon, whose tragic ending received highly polarised reactions depending on whether or not viewers had high hopes for the character, with his fans accusing the show-runners of intentional character assassination. And what happened with Stannis is now happening on a much larger scale, with much more popular characters.

While we can say that the tragedies of Ned, Catelyn and Rob were better set up, it’s also important to recognise that, thanks to online spoilers most people knew those characters were doomed within a month of starting the show. So those deaths didn’t really betray the people’s idea of who those characters were or shatter their expectations for what the story was supposed to be…

Due to its emphasis on prophecy and mystery, Game of Thrones actually engages in way more of this kind of theory baiting, with a fan community that’s built on piles of online theory discussions. For millions, speculating about Game of Thrones was a key part of enjoying it. Trust me, as a guy who once wrote a weirdly popular fan theory about Bran possessing Jon’s dead body, I know how it is.

And while that speculation was key to bringing together a dedicated fandom, it also led to fans taking an unwarranted sense of ownership over the story. To get even deeper into it, various fan communities even developed vastly different headcanons and would ridicule each other over their wildly different—and as it turns out—equally incorrect expectations.

[Jaime Lannister on the Iron Throne] People have difficulty accepting that Jon’s parentage is meant to subvert the secret lineage trope, revealing it to be a burden rather than a solution, or accepting that the Night King being defeated before the end is meant to reframe the Dark Lord trope—from being an external evil to an internal consequence of the pursuit of power [the social justice warrior Daenerys Targaryen]. Or accepting that Jamie’s story is an exploration of the limits of redemption arcs.

But we also have to bear in mind that Martin came up with the stuff in the 90’s, well before the internet had developed into what it is today. So we can’t blame him for not expecting fans to come to the conclusions that they did.

But it’s fan entitlement that causes literally a hundred percent of misunderstanding being blamed on the writers. At no point are most people accepting that they might have been wrong about anything. This is because people have projected their own ideas of where the story was headed onto the world and characters, and interpreted everything based on those expectations.

[Sansa on the Iron Throne] Basically, I’m saying that people tend to forgive a story that’s sloppily done if it gives them what they wanted. But those same people get hypercritical if a story subverts their expectations in a way that’s upsetting.

Which brings me to my first ever YouTube callout. I’m sure a lot of you have seen [YouTubber] Think Story’s ‘How Game of Thrones Should Have Ended’.

In this video, Think Story recites his fan-fiction of how the story should have played out—abandoning everything subversive and instead just playing out all the most popular fan theories: Jamie kills Cersei; Bran gets stuck in the Night King’s memories; Jon makes the big sacrifice and is remembered as a hero-King, and queen Dany carries forward his legacy. And of course, this video was wildly popular even though it ditches the tough questions Martin asks about war and power, and just offers a conformist fan-fiction about heroes saving the world from [the bad guy of the movies]. So Think Story, thank you for being such a perfect example of mediocrity!

I bring this up because it exposes the entitlement of fandom.

[Samwell on the Iron Throne] Not every story has to please the mainstream. That’s not what Game of Thrones was ever supposed to be. In a world where stories so often fail due to corporate greed, or a lack of creativity, or pandering too hard to a particular demographic, Game of Thrones is actually being punished for the opposite. It’s being punished for keeping through the artistic vision of its author.
 

Part Three: What if I’m wrong?

Ok, so I’ve made some harsh claims. I’ve said that a lot of people’s reactions are being driven by their attachment to an incorrect idea of what the story was supposed to be. As in, I believe the story was always gonna have Jamie choose to die with Cersei, Dany burn King’s Landing, Jon exiled to the Night’s Watch, and Bran chosen as King. That’s the story Martin was always telling, and for the most part, anything else would have been untrue to it.

But what if I’m wrong? Wrong about what’s driving people’s anger, or wrong about the story Martin is telling, or wrong about what’s good?

Jon to Dany in the finale: ‘What about everyone else? All the other people who think they know what’s good?’

Though my channel’s become most widely known for predicting that Bran would be King, I have to admit that over the years I’ve had a ton of theories, and most of them ended up being wrong. Yet, every time, I was so sure that I’d figured things out; that I knew what was good and what this story was supposed to be. Truth is, I’ve always been a little too certain that I’m right about things, and that’s something that I’ve always had to work on, and maybe so do a lot of us.

[Davos on the Iron Throne] And if you notice, that was a big part of the message of Game of Thrones there at the end. That maybe in the process of being so certain that you know what’s good, you aren’t doing anyone any good. Maybe people are out here pointing out plot holes while missing one of the key messages the show tried to deliver; that it’s destructive to be so stuck in our own perspective that we stopped trying to understand.

I mean, does this kind of backlash really benefit anyone? You know, probably not.

I think this need to direct all of our anger at a particular person when we feel let down tends to miss the bigger picture. With Game of Thrones, it’s Benioff and Weiss even though there are much bigger structural issues with adapting A Song of Ice and Fire into a television format. I mean, George R.R. Martin himself splits the story in half for Books Four and Five: a strategy which would have been impossible to do with the television show. Also, he throws in a bunch more characters, and he spent the last eight years writing the sixth book.

Meanwhile, D&D had to not only condense the story, but do it in a fraction of the time. People call them out on rushing the story, but they went one season beyond their initial plan, and spent an entire two years on the final six episodes. They made mistakes, yes, but they did so because they had a hard job…

This is kind of an obvious statement, but television and film is largely driven by the market, and so what gets made will typically be what can reliably turn a profit. On account of just how much goes into shows and movies today, studios avoid taking risks, leading to our current age of remakes, reboots and adaptations.

[Theon on the Iron Throne] When we punish stories that try to be subversive we’re implicitly telling studios to keep playing it safe. So, for better or worse, I appreciate when people have the courage to try something different. We need more different. Frankly, we need more ‘weird’.

Jon: ‘I think you’re making a terrible mistake’.

Mance Rayder: [smirks] ‘The freedom to make my own mistakes was all I ever wanted’.

Which brings me back to the petition and maybe my most controversial point. In a recent interview, actor Nikolaj Coster-Waldau [Jaime Lannister] joked that the final season of Game of Thrones would be remade once the million people who signed the petition could all agree on an ending. And while he makes a great point about how it’s impossible to appease every headcanon out there, I do want to challenge his point just a little bit.

Because I actually think it would have been easy to make an ending that was better received than the one we got. Which is actually why David Benioff and D.B. Weiss deserve some credit. It would have been easy for them to abandon Martin’s vision and do a crowd-pleasing ending that people were expecting: Have Jon sword-fight the Night King; have Jamie heroically kill Cersei; have Dany install democracy, and then fly off into the sunset with Jon.

An ending like that isn’t hard to come up with. After all, that sort of fan-service and wish fulfilment is pretty much exactly what they wrote for ‘Battle of the Bastards’, and it received widespread acclaim. Seriously people, the last two episodes of Season Six are not well written. People just liked watching the heroes win.

So despite everything, I respect D&D for trying. For doing a final season that took big risks.

Do I think it was great? No! But it was ambitious, and to me that’s more important. Now, of course—of course!—there are things I would have done differently. Characters that I don’t think were handled well, and valid criticisms to make. But, we should consider that for everything that the show-runners might have gotten wrong, there were probably a ton of things we had wrong too. And instead of obsessing over plot holes, maybe our energy would be better spent trying to reach a better understanding. And appreciating that, despite being really flawed, the ending we got was genuine; not focus-grouped or test-marketed, but an attempt to explore some tough questions about who we are. Which is why we should forgive Game of Thrones.

[Varys on the Iron Throne] Although I can’t tell anyone how to feel, I can suggest that we also be self-critical. Though I can’t necessarily tell people what ideals to live by, I do suggest we try to understand the ideals present in the media we consume, and then make a choice whether or not to apply those messages in our own lives. And though it’s up to each of us to choose what we like and what we can forgive, maybe we owe it to ourselves, when our favourite stories let us down, to remember all of the things that made them our favourite stories in the first place.

Cersei: ‘Our marriage’.

Robert Baratheon: [laughter]

Thanks for watching. [Music]

Robert and Ned

‘Civil war or the gulags… That’s now the choice of white males in America and they should take chances with the former’. —My paraphrasing of a commenter

For some time I have been imagining that, when starting the racial wars, some guerrillas will execute their victims with a photogenic message to upload on the internet: two daggers in each eye until they reach the brain, and another dagger stuck in the solar plexus of the traitor with the message: ‘This happens to me for having voluntarily given myself to Evil’.

Of course, it’s pure fictional imagery for a novel of the future, when things get much worse. But the imagery shows the gulf between the racialised right and what I imagine will be those freedom fighters who feel infinite hatred.

Yesterday for example I heard part of the podcast from Keith Woods (a brat about whom I said something last year), who invited Richard Spencer and Hunter Wallace to ask them about their reaction to the MAGA march on the US Capitol. I also heard the beginning from Jared Taylor’s podcast about the same event yesterday.

None of these hetero fags think about the bloody revolution that is coming, not even at the level of futuristic novels. But even the topic of literary fiction needs to be discussed outside of this site. I don’t think WordPress censors would like an expansion of Pierce’s or Covington’s fiction on their platform. Will the dark web be the site for the priests of the holy words? One thing is clear: I feel increasingly more and more disgusted towards everything that comes from the hetero fags of the racialised right, be it their texts, videos or radio podcasts.

But perhaps more than insulting them we have to understand what is going on in their cute little heads. They remind me of a passage near the beginning of the first A Song of Ice and Fire novel. King Robert Baratheon curses the northern climate even in summer; he tells Ned Stark that the Others (meaning the white walkers) take the light snowfalls, and he wonders what Winterfell would be like in winter. Then Robert adds a phrase that I consider key to understanding the chasm that separates the three-eyed crow from the Americans: that in the south—that is, far south of Winterfell—all citizens are drunk and have become rich.

The wealth of the West has corrupted the white man in ways never seen before in all of human history. With people like those native English-speakers who have become so rich we won’t get anywhere.