The spoils of war

‘The Spoils of War’ is the fourth episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 64th overall. The stills show the Stark siblings reunited in this episode, for the first time after they tragically parted ways in the first season. All the scenes in the series and the novels where a heart tree appears have a special charm (below, Sansa under Winterfell’s heart tree).

The first feminist scene takes place in Dragonstone Cave, where Jon shows Dany some ancient cave paintings. Given that Dany and Cersei are the queens who are fighting to see who will sit on the Iron Throne, one might think that Dany could at least tolerate a single king (Jon) in the far north. But no: she tells Jon that she will only help him defeat the Night King if he bends the knee and accepts Dany as the queen of the Seven Kingdoms. If Jon accepts Dany’s proposal, all of Westeros will be ruled by one woman when the powerful Dany defeats Cersei.

Another ultra-feminist message occurs when Brienne tells her male squire, ‘Move aside, Podrick!’, who had fallen to the ground several times training with Brienne. She says those words to him because Arya requests a training exercise from her. Now these two women are the best swordsmen in Winterfell! (It is useless to reiterate that this is an absolute reversal of sexual roles and historical reality in a medieval castle.)

In the previous post we saw that Dany’s mulatto army defeats the Aryan Lannisters in another castle, Casterly Rock. At the end of this episode Dany’s other coloured army, which as I have said Martin seems to have been inspired by the Mongols, defeated the Lannister on the Roseroad (although this time aided by Dany’s dragons).

Published in: on April 28, 2021 at 9:27 am  Comments (2)  

The queen’s justice

‘The Queen’s Justice’ is the third episode of the seventh season of HBO’s fantasy television series Game of Thrones, and the 63rd overall.

The first feminist message of the episode is the meeting between Dany and Jon at Dragonstone. I’ve been mentioning the nickname ‘Dany’ that Jon would give the queen when, in later episodes, they became lovers. But the official title of this feminist icon is just the way Missandei introduced her queen to Jon: ‘You stand in the presence of Daenerys Stormborn, of the House Targaryen: Rightful Queen of the Andals and the First Men, protector of the Seven Kingdoms, the Mother of Dragons, the Khalessi of the Great Grass Sea, the Unburnt [fire doesn’t burn her] and the Breaker of Chains [i.e., a SJW queen]’.

Regarding the other queen who also claims to be the protector of the Seven Kingdoms, Tycho Nestoris of the Iron Bank tells Cersei that she is the first queen in the history of Westeros. In other words, there had been no women in power prior to the show’s internal timeline.

It’s becoming increasingly clear that the show is, as we have been saying, a projection of the current lifestyles of a dying race to a medieval world that never existed. Later the episode shows us another kind of bad message: Grey Worm’s mulatto army infiltrates Casterly Rock and captures the castle of the Aryan Lannisters.

Then we see how, after Jaime, Randyll and their armies take Highgarden, Jaime Lannister (pic above) speaks one last time with Olenna before she drinks a poisoned cup.

YouTube fans are already starting to talk about the new series that HBO wants to premiere next year: a prequel to Game of Thrones based on Martin’s fiction (something akin to what Peter Jackson did after his LOTR trilogy). From the casting we can guess that feminism will apparently continue, and perhaps this time one of the main characters is a black man. Hopefully the US dollar will collapse before its release so that the circus will stop looking funny to these degenerate whites…

Published in: on April 27, 2021 at 4:40 pm  Comments Off on The queen’s justice  

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.

Published in: on April 25, 2021 at 11:41 am  Comments Off on Dragonstone  

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.

Published in: on April 21, 2021 at 3:48 pm  Comments Off on The broken man  

Mother’s mercy

‘Mother’s Mercy’ is the fifth season finale episode of HBO’s fantasy television series Game of Thrones, and the 50th overall. It was written by the series creators David Benioff and D. B. Weiss. In the episode we see how Tryion stays to rule Meereen with the mulatto couple that we see in this image, after their queen Dany fled the city on her dragon.

I have said that I don’t want to go into detail about Ramsay’s sadism. But at least the directors had the decorum not to put the camera in when he skinned his victims alive. In this episode, however, they did put the camera in a room where Arya empties Trant’s eyes in a brothel, before killing him. Of course, the Jewish directors frame the scene as legitimate revenge for Arya’s teacher being killed by Trent, that swordsman we saw in the first season (plus Trent was beating up some young prostitutes). But it is a scene that offends the viewer whose soul hasn’t been irreparably damaged by Hollywood.

What is most outrageous is that a lot of gentile fans loved the scene. This is verified simply by watching their reactions on YouTube when the episode premiered. And this scene appears in the season’s finale! Remember that the finales of each season were always the most anticipated since the producers would take a year to launch the next season.

It’s so disturbing that the perverted fandom of this series hadn’t repudiated it at this stage, that it’s not worth commenting further on the episode.

Published in: on April 14, 2021 at 11:03 am  Comments (1)  

Unbowed, unbent, unbroken

‘Unbowed, Unbent, Unbroken’ is the sixth episode of the fifth season of HBO’s fantasy television series Game of Thrones, and the 46th overall. In the pic we see a shot of King’s Landing in this episode, where we can see the Castle and also the Great Sept of Baelor: a kind of Vatican within Rome.

As you may have observed, it isn’t my intention to summarise the plots of each adventure thread in various parts of Westeros, but to record the bad messages of the series. The plots are mostly empty and fantastic, although I admit that Martin has a great command of the language.

For example, when in Braavos Arya enters the sanctum sanctorum of the House of Black and White after some time working as a servant and sees the columns with thousands of inlaid faces, there is nothing profound in that idea. It is pure imagery of a writer who, in interviews, has shown himself to be a traitor to his race and who writes for an audience that all it wants is cheap bread and circuses. The only mystery in those scenes that initiate Arya into the mystery cult is a psychological trick: the viewer is eager to find out what exactly the Faceless Men’s religion is. Believing that he is going to find out just by watching all the seasons, he forgets that it’s all cheap fantasy.

Cheap I say, because it’s far more difficult to try to decipher the religions of the real world. (See for example the efforts I made in Day of Wrath in trying to figure out why, in the past, parents led their children to the sacrificial stone.) And precisely because it is infinitely more difficult to understand the religions of the real world, the typical westerner takes a shortcut: attend television circuses even if they lack the least depth. In the episode then we see the first bad message on the Valyrian peninsula: a black slave trader hits the Aryan Jorah twice in the face.

In the warm King’s Landing there is a phrase by Lancel Lannister, now called simply Brother Lancel—a kind of monk of those who destroyed the Greco-Roman world in the 4th century—that deserves to be quoted: ‘The city has changed since you were here last. We flooded the gutters with wine, smashed the false idols, and set the godless on the run’. Far from there, in the cold Winterfell, in the novels Ramsay doesn’t rape Sansa in front of Theon after their wedding, as we see at the end of the episode. But as we know, those who produced the series are worse than Martin.

Published in: on April 10, 2021 at 3:04 pm  Comments Off on Unbowed, unbent, unbroken  

Dear César,

On your series ‘Wagner vs. Bach’ I would like to comment:

As a former Catholic I have stopped visiting any church building for all my life. Never again a famous cathedral will impress me, especially not out of an interest in art.

It took me major efforts to recognize that Christian representations in art and ‘sacred music’ are without exception infectious material, propaganda means of subjugation, THE original degenerate art for Aryans. One should shrink from letting any such product enter into perception as one would shrink from the sight of the mutilated corpses of children.

Aryan Weltanschauung demands logical consistency and gravitas wherever we go.

(This in mind – by the way – I don’t like César using Christian phrases, memes, comparisons and paintings in any sense. Whether we like it or not, it perpetuates ideas and the influence of the enemy.)

Cheers

Albus

What happened to Michael Colhaze?

In the comments section of my recent piece about Parsifal I said: ‘This is the Verwandlungsmusik and the first version of Parsifal that I saw when I was still in my thirties. Nonetheless, without a couple of good speakers, almost all of the magnificence of Wagner’s music is lost in this YouTube video. And even with a couple of speakers the numinosity is lost if you are not in an elegant opera house’.

I omitted to add something fundamental. Currently, the scenery they use in most of the theatres is pure mud and one has to look hard to find a representation that respects the traditional scenery: a lotus, among all the mud.

Michael Colhaze had already complained about this profanation of Wagner in a 2012 article I copied and pasted from The Occidental Observer. Unfortunately, all the articles by this German, Colhaze, have been deleted in The Occidental Observer. Why?

Parsifal, which premiered at Bayreuth on July 26, 1882, is Wagner’s most numinous work. It was performed sixteen times that first year and was the most carefully prepared premiere of an opera in history. European royalty made the pilgrimage to hear Wagner’s new work.

The original sketches for the sets and costumes were designed by German-Russian painter Paul von Joukowsky, who based his design for Act One on the Cathedral of Siena, and for Klingsor’s Magic Garden, in Act Two, on the gardens of the Palazzo Rufolo in Ravello.

After Wagner’s death, this production acquired mythic proportions but in our times the sets have become increasingly dilapidated in most representations, where we see the rubbish scenery that Colhaze complained about another of Wagner’s musical dramas.

Roger Scruton (1944-2020)

Author of The Aesthetics of Music (1997), Scruton also wrote many books on philosophy, art, politics, literature, culture, sexuality and religion; he also wrote novels and two operas.

However, Scruton errs in this video by speculating how to correct the problem of degenerate music that ubiquitously is scorching the Aryan soul. There is only one way to correct it: banning degenerate music as the Nazis banned it. Scruton simply recommended educating people in classical music. Well, my father, who disliked degenerate music, was a music pedagogue for children and yet my siblings and nephews, who studied in his music school, listen to degenerate music.

I expose such a flawed approach in music education in my second autobiographical volume, ¿Me Ayudarás? I must add that the libertarians in white nationalism, that is, those who fear Nazi collectivism, are wrong. They start from the assumption of the Enlightenment that Man is good by nature. The reality is that Man is not so good (again, see the book linked in this paragraph) and we need a Fourth Reich to control him. Consider, for example, how many white nationalists enjoy hearing degenerate music!

It seems a lie, but on this issue a woman like Carolyn Yeager, who admires National Socialism, is far closer to the truth than the men of white nationalism.

Published in: on January 19, 2020 at 11:57 am  Comments (14)  

William Pierce’s blunder

Recently Will Williams commented on this site. In 1992 Williams became Membership Coordinator for Pierce’s National Alliance, continuing with the Alliance until Pierce’s death in 2002.

Today I was about to read what Williams linked, ‘Ideology of the National Alliance’ but then I realised that not even they mention Pierce’s only non-fiction book, his story of the white race. This means that the ‘Alliance’ that Pierce left behind makes no hard copies for his book.

Although this vindicates my initiative to have an abridged version of Who We Are within The Fair Race, I cannot put all the blame on the National Alliance. Piece himself committed a great mistake when in the 1990s he used his savings to acquire partial ownership of a records company of degenerate music.

Before Americanizing his movement, Pierce was closer to German National Socialism.

The first issue of National Socialist World appeared in the Spring 1966 and was edited by Pierce. The publication was quarterly and would have a run of only six issues, the last one being in 1968. The publication had an appeal to a well-educated elite, each issue having over a hundred pages. Three thousand copies were initially printed and a promotional mailing was sent to libraries, news agencies, and some prominent right-wing politicians. The mailing generated a hundred and twenty subscriptions.

Had Pierce remained closer to the German movement of the previous decades, he wouldn’t have committed a gross blunder: spending his precious savings in a company of degenerate music. With that money he would have founded, instead, a publishing house. Presently, his legacy would appear backed by a house of more than half a century, and Who We Are wouldn’t be out-of-print.

Published in: on December 20, 2019 at 8:32 pm  Comments (16)