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As much as I feared that this series, which departs significantly from the Alan Moore canon, would be weighed down by the usual PC nonsense, I never imagined its very first episode would revel in visceral anti-white sentiment and Leftist Id-expression fantasies. If we extrapolate from this show’s first episode, HBO’s Watchmen may turn out to be the Left’s spin on the imagined future events of The Turner Diaries. At a minimum, the 2019 Watchmen series appears to be a continuation of what we have seen to an alarming degree in the past year or so: an acceleration of the cultural normalization of various Leftist positions which, cumulatively, form the new culture war against whites:

  • The curtailing of free speech for non-liberal whites;
  • The failure to distinguish white supremacy from White Nationalism and white identitarianism;
  • The categorizing of White Nationalism as “terrorism,” from which constitutional due process will not be required;
  • The notion that possessing certain thoughts and beliefs (not just acts) are sufficient to make one guilty of “terrorism”;
  • The continuous, surreal rewriting of history to fit Wakandan-like fantasies;
  • The framing of history as that of White Rage – that is, of whites perpetually victimizing and inflicting pointless violence upon non-whites;
  • The depiction of black bodies as innocent, and relatively agentless, victims of the white patriarchy.

“‘Watchmen’ Is a Spectacular Assault on White Supremacy,” screams a review from The Daily Beast:

Unlike in Moore and Gibbons’ antecedent, it’s race, rather than sex, that’s warped the country and its masked inhabitants. That’s the biggest thematic alteration Lindelof makes to his hallowed source.[1]Nick Schager, “‘Watchmen’ Is a Spectacular Assault on White Supremacy,” The Daily Beast, October 21, 2019.

That a Daily Beast writer, who like other critics appears to have seen the entire season in advance, finds the series a “spectacular assault” is a woeful clue of where this series is headed.

“Watchmen Is a Blistering Modern Allegory” is the title of Sophie Gilbert’s review in The Atlantic:

Watchmen is set in a world where there is no internet. But Watchmen itself is the internet. It’s a fictionalized manifestation of the things life online has begotten: polarization, anonymity, doxxing, red-pilling, weaponized nostalgia, conspiracy theories. The supposed imposition of cultural orthodoxy. A sense of victimization that’s twisted into racist resentment.[2]Sophie Gilbert, “Watchmen Is a Blistering Modern Allegory,” The Atlantic, October 21, 2019.

In terms of how this series fits in with previous incarnations of Watchmen, as well as our contemporary times, Gilbert asserts that “the big cultural anxiety of the moment is an overdue reckoning with white supremacy,” the reckoning here being previous subcultural interpretations of Rorschach in particular. “The new HBO series is a stunning, timely departure from its graphic-novel origins,” reads the byline to Gilbert’s piece. The sentiment behind framing the show as a “timely departure” needs no explanation, but despite giving the series kudos, Gilbert worries that Lindelof may have laid on the liberal platitudes a bit too thick:

Almost as often as the show thoughtfully parses the legacy of racism, it digs at what it sees as liberal overreach. Watchmen is audacious enough to imagine sweeping legislation that tries to right historical injustices. It also portrays the ways in which such attempts at reconciliation force Americans even farther apart.

It is no secret that the traditional Watchmen fan base consists disproportionately of young white males, arguably (and much to the chagrin of the liberal Alan Moore) with a conservative slant to their worldview. It would stand to reason, then, that viewers of the series premiere were skewed towards this demographic. With this in mind, and after just one episode, it is worth noting that, at the time of this writing, Rotten Tomatoes’ feedback is showing an extraordinary discrepancy in ratings between critics and users:

(Spoilers ahead)

Watchmen’s pilot episode begins with a small black boy alone in a movie theater, watching a Birth of the Nation­-type silent film, with the hero Bass Reeves (“the Black Marshall of Oklahoma,” hooded, wearing all black, and riding a black horse) taking down a villainous white sheriff (dressed in all white and riding a white horse) for having – apparently – stolen the white, churchgoing townsfolks’ cattle.

We are then presented with a fanciful depiction of the 1921 Tulsa race riot, but with none of the details inconvenient to The Narrative. There is no hint that the riot began after 19-year-old Dick Rowland (who was black) was accused of assaulting 17-year old Sarah Page (white). Similarly, there was no intimation that the initial round of violence in Tulsa – which killed ten whites and two blacks – appears to have been initiated by blacks, this being the incident that sparked the ensuing riots. Instead, we are shown blacks (some with firearms, but not really seeming to use them) cowering in fear, as marauding whites – some in Klan robes – wantonly kill various black men, women, and children.

Cut to the present day. As this alternate-reality rendition of America has progressed, we have an all-black cast singing “Oklahoma!” to a largely black audience of theatergoers.

Robert Redford (who is not featured in the show) has been President of the United States for thirty some-odd years, his signature achievement having been reparations for blacks, a massive redistribution that some whites pejoratively refer to as “Redfordations.” Vietnam has become an American state. A new incarnation of ‘white supremacists’ called Seventh Cavalry (likely an allusion to the 7th Cavalry Regiment, formed in 1866, whose most famous commander during the Indian Wars was the “racist” George Custer) are a throwback to the KKK, but one can make the case that this group is a barely disguised impugnation of the Alt Right, or, to cast a wider net, white male MAGA types.[3]Several online reviewers have used the spelling “Seventh Kavalry,” presumably due to this having been revealed in episodes HBO has not yet aired, but which critics have already seen.

The police, who appear to be majority black, are required to wear masks to cloak their identity and, we presume, to minimize anti-police violence and assassinations. An allusion is made to an incident called the “White Night,” when many police officers were killed by Seventh Cavalry in coordinated assassinations, which we will likely learn in a future episode were carried out by the dastardly white supremacists.

As policy, those who are employed as cops undergo a series of elaborate steps to hide their job occupation. Police sidearms are mandatorily immobilized in their holsters, unless and until the individual police officer (during actual individual situations, as they unfold) requests and then successfully obtains permission to gain access to the firearm. This process typically entails a blasé lawyer or sergeant on the other end of the phone reading through a canned script of questions: “What is the probability of drugs or alcohol in the vehicle? . . . What is the probability of firearms or explosives in the vehicle? . . . What is your overall perceived threat level?” And so on.

This hindrance is illustrated when a black policeman pulls over a white country redneck (complete with the American flag on the redneck’s baseball cap) driving a truck full of lettuce at night, while bopping along to ghetto rap on his truck’s stereo. With the masked cop at his window, he opens his glove compartment to retrieve his registration. The cop gets a visual on a Rorschach hood/mask in the redneck’s glove compartment, which causes him to tense up. Simple possession of this mask is sufficient evidence for being a “white supremacist terrorist.” (In a later sequence, we see Seventh Cavalry members donning the Rorschach masks, which appears to be a meta-level riff on the rather based philosophy espoused by the Rorschach character in Zack Snyder’s film Watchmen [2009]).

With the redneck’s license and registration in hand, the cop goes back to his car and immediately radios in, requesting access to his firearm. Alas, while responding to the litany of questions from police headquarters, the black cop is shot by the white redneck using a machine gun – which we gather was hidden, likely with other firearms, underneath the lettuce.

The episode contains many other deliberate incongruities, particularly with respect to race. Against news footage of a building structure being demolished on Mars, and a chyron that reads “Dr. Manhattan on Mars,” we hear the voice of the episode’s black female protagonist – Detective Angela Abar (Regina King) – speaking before a class of young, primarily non-white, middle school students. She is in civilian clothes and, with eggs in a bowl, is giving a hands-on demonstration of how to make Mooncakes:

Egg whites are made of protein. When we whip ‘em, we get bubbles, and it’s the proteins that form the walls of those bubbles. If we don’t have walls, it all comes tumblin’ down. Now, those walls are strong, but they won’t stay that way if just even a little bit of yolk gets mixed in with the whites. So, that’s why we gotta separate ‘em.

That the police are supposed to wear yellow masks is a point that is not lost among the show’s many didactic allegories.

After the shooting of the black cop, the police are sent a video by Seventh Cavalry which begins with the main speaker (in a distorted voice) wearing a Rorschach mask. As his speech progresses, the video reverse-tracks, revealing about a dozen other Cavalry members, all wearing Rorschach masks, as well as the American flag and a cross behind them (subtle):

Cop carcass on the highway last night. Soon, the accumulated black filth will be hosed away, and the streets of Tulsa will turn into extended gutters overflowing with liberal tears. Soon all the whores and race traitors will shout “Save us!”, and we will whisper . . . No.

We are the Seventh Cavalry. We are no one. We are everyone. We are invisible. And we will never compromise.

Do not stand between us and our mission, or there will be more dead cops. There are so many deserving of retribution and there is so little time. And that time is near.

Tick-tock . . . Tick-tock . . .

After watching the video, Police Chief Judd Crawford (Don Johnson) declares an “Article 4,” emergency 24-hour release of the gun-locking regulation, as well as a relaxation of standard search warrant requirements. “So roll into Nixonville and round ‘em up,” he tells his police, “and drag their asses into the pod for interrogation. One of them’s gonna give up the shooter.”

Det. Angela Abar (Sister Night)

While future episodes are said to focus on other characters, the first episode clearly focuses on Angela Abar, a former cop who may or may not still be one, but who definitely assumes the persona of a vigilante known as “Sister Night” and who cooperates with the police when she feels compelled to. Angela is the Strong Black Female with a de-nutted, stay-at-home, Mr. Mom husband (which is itself a one-upsmanship of woke intersectionality fantasizing).[4]Ever see a black couple raising a little white girl? Of course you haven’t. But you will see it in Watchmen, with Angela the loving, adoptive mother. Apparently, a future episode will convey that Angela adopted the white girl after her police partner (and his wife) were both murdered during the White Night incident. Naturally, despite her genteel nature, she is able to handily kick the asses of grown men twice her size (a now-standard cinematic archetype), and when in uniform adorns more black clothing than a Black Panther.

After seeing the Seventh Calvary video, Angela takes it upon herself to bust down doors, smack a trailer park redneck upside the head, and throw his ass into the trunk of her big black car. There he stays until she gets the green light to put the no-good, suspected white supremacist into “the pod”:

Angela: There’s a guy in my trunk. I knew you were gonna tell us to round up the likelies. I just got a jump on things.

Judd: You knew?

Angela: Yes.

Judd: How do you know he’s Seven K?

Angela: I got a nose for white supremacy, and he smells like bleach.[5]It is worth pointing out the little flourishes in the show that embody the disrespect black women have for white male authority figures, such as when Police Chief Judd Crawford enters his office to find Angela with her feet up on his desk, reprimanding him. “Wanna take your feet off my desk, please?” he says to her. She completely ignores his request and the scene continues.

Angela’s redneck is then brought into the “pod,” an interrogation chamber that monitors and measures one’s verbal and nonverbal reactions to a series of questions and on-screen images, a technique that harkens to both A Clockwork Orange (1971) and The Parallax View (1974). An early exchange in this sequence serves as a possible harbinger of things to come for the Alt Right here in the US:

Redneck: I want my lawyer.

Det. Looking Glass: Yeah, we really don’t have to do that with terrorists.

As a series of images rolls by the large, encircling monitor screens, Looking Glass weaves innocuous questions (“What did you have for breakfast?”) with targeted questions designed to elicit certain responses (“If I took a shit on the American flag, how would that make you feel?”).

The questions that the show’s writers have Looking Glass ask this white male is an object lesson in liberal assumptions about flyover America, and also reveal how non-racial conservative positions (for example, about taxes) are construed by liberals as tantamount to “white supremacy”:

Det. Looking Glass: Do you believe that transdimensional attacks are hoaxes staged by the US government?

Redneck: I dunno, maybe.

Det. Looking Glass: Should all Americans pay taxes?

Redneck: Yes.

The associated images seen on the screen also provide an avenue into the paranoid liberal imagination, the sort of mind that sees “OK” hand gestures and milk as secret, party-membership communications between white supremacists. When, for example, the seemingly innocuous breakfast question is asked, we see an image of a milk advertisement from yesteryear, with a young white boy drinking a glass of milk next to the ad’s phrase: “The Perfect Family Beverage.” Other images flash by quickly: the Confederate flag; Mount Rushmore; astronauts planting the American flag on the Moon; cowboys on horseback; Grant Wood’s famous “American Gothic” painting from 1930; George Custer; Harriet Tubman; the Twin Towers; a KKK cross burning; a wholesome hot dog ad; a black power salute; blacks in American military uniform; a picture of Malcolm X; a swastika, followed by the American flag; and so on.

After the interrogation, Looking Glass leaves the pod to converse with Angela and Judd:

Angela: Well?

Looking Glass: He knows.

Angela: You sure?

Looking Glass: He’s not gonna talk sans motivation, but he was off the charts on the bias questions. Eyes dilated on all the Rorschachs . . . Yeah. I’m sure.

Angela (gesturing to Judd): Like I said . . . bleach.

And – presto! – just like that, between an interrogation method of dubious methodology and a black woman’s intuition, a white man is “proven” to be a “white supremacist terrorist.”

Judd then gives Angela permission to beat the shit out of the redneck in a basement cell, in order to extract information from him, which she does with zeal and no hesitation. (We see blood flow from underneath the door.) Another harbinger of things to come.

A nighttime police raid – led by Angela of course – takes place on a cow ranch with Seventh Cavalry connections. (Is the placement of cows with the bad guys a nod to #ExtinctionRebellion? Who knows. But would it really surprise you?) Upon realizing the police are raiding them, the dastardly Cavalry members prep themselves with suicide pills; one of them who is wounded by Angela promptly takes one with a smile, vowing silently not to be taken alive.

Remaining Cavalry members hastily board their hidden prop plane and proceed to escape, but not before Judd and a POC female pilot, helming a futuristic aerial craft, blast the plane to smithereens, to everyone’s glee. No calls for aerial backup, air traffic support, or satellite surveillance to aid in capturing them; just shoot the plane out of the sky and kill its passengers (it’s not clear what they did to deserve death) simply for attempting to escape.

Damon Lindelof as Showrunner

A natural question is: Who’s behind this crap? The showrunner for HBO’s Watchmen is Damon Lindelof, whose forte is science fiction, having been the co-creator and showrunner of Lost (2004–10), as well as having co-written Cowboys & Aliens (2011), Prometheus (2012), Star Trek: Into Darkness (2013), and Tomorrowland (2015). Lindelof’s sociopolitical views are no doubt shaped by the quintessential Hollywood content-creator arc of his family, upbringing, schooling, and residencies. From his Wikipedia bio:

Lindelof was born in Teaneck, New Jersey, the son of Susan Klausner, a teacher, and David Lindelof, a bank manager. He attended Teaneck High School, a school whose diverse student body he credits with expanding his horizons as a writer. Lindelof’s mother is Jewish, whereas his father was of Scandinavian descent.

Lindelof celebrated his Bar Mitzvah in Teaneck, where he attended synagogue for the Sabbath; he has stated, “I was a Jewish white kid growing up in Teaneck, but at the same time, I had African and Filipino and Asian friends and to have that experience all through high school while getting an awesome education was wonderful.” Lindelof attended film school at New York University, performing briefly in the band Petting Zoo, and moved to Los Angeles after graduating.

In creating and rolling out the show, very much on Lindelof’s mind was the cultural readings of the Rorschach character. In many ways, the show’s handling of Rorschach is a counterpoint of sorts to the liberal imagination’s interpretation of Todd Phillips’ Joker. On the eve of the latter film’s debut, liberal media outlets were practically salivating at the prospects of white incels being inspired to go on shooting sprees, something which did not materialize. Regarding this yin-yang of Joker versus Watchmen, one liberal film critic writes:

Rorschach is by far one of the most misunderstood characters in comic book history.

Plenty of fanboys have put the so-called hero up on a pedestal for sticking to his morals, despite the fact that these ‘morals’ include killing animals and terrorising people – not to mention his prejudice against women, poor people and the entire LGBTQ+ community . . .

Much of Rorschach’s incel leanings (for the want of a better descriptor) are captured best in the journal he writes throughout the original comic book arc, and even though three decades have passed within Lindelof’s show, the impact of these scribblings are still very much represented by the ideologies of the Seventh Cavalry.

Positioned as a modern-day successor to the Ku Klux Klan, Watchmen’s white supremacist group wear the same mask as Rorschach and directly quote the most frightening aspects of his manifesto.

In less-careful hands, the ideals spouted by the Seventh Cavalry could inspire viewers with similar political leanings, but Watchmen never glorifies their position in quite the same way that Joker does.

While the following cultivated by Joaquin Phoenix’s Joker is accidentally established at first, he absolutely revels in this adoration by the end, drawing in angry, misogynistic men who feel like they’ve been wronged by society and are therefore entitled to fight back with violence.[6]David Opie, “What Watchmen gets right that Joker got wrong,” Digital Spy, October 21, 2019.

In a Vulture interview that addresses the show’s inception, Lindelof notes:

Certainly, the first ten to twelve weeks that we spent in the writers’ room, where we started talking about the vision for the season, that was immensely challenging and not fun. It was work. And, obviously, we’re talking about white supremacy.[7]Abraham Riesman, “Like It or Not, Damon Lindelof Made His Own Watchmen And he’s pretty sure Alan Moore put a hex on him for doing it,” Vulture, October 17, 2019.

In a nauseating Fellow White People move, the interviewer actually poses a question to Lindelof in the following terms:

Q: Given the racial and gender politics of the show, I didn’t want this to just be a conversation between two white men. So I reached out to a group of women of various ethnic backgrounds who wrote a series of essays called “Women Watch the Watchmen” to ask them what they’d want to ask you. The first question comes from Chloe Maveal: “Do you feel like this show is something that can help redeem Watchmen to literally anyone who’s not part of a straight white male audience? Do you, as both a fan of the comics and showrunner of the TV series, feel like the comic books here need redeeming in the first place?”

Note the unquestioned presumption here that, as a storyline and as characterization, Watchmen needs to be redeemed, that it somehow “sinned” in the past. Lindelof’s response to this question is simultaneously respectful of Alan Moore’s original work, but also genuflects towards requisite woke virtue-signaling:

A: I don’t think that the original Watchmen requires redemption on any level. In any way, shape, or form. I accept it in its totality as a staggering work of art. I also acknowledge that my relationship with Watchmen is that of a hetero straight male who read it as a 13-year-old, which may be the perfect sweet spot. I am not in a place where I can be critical of Watchmen. I am in a place where I can acknowledge criticisms of Watchmen. I will say that a number of the women who worked on Watchmen – wrote Watchmen, produced Watchmen, directed Watchmen – had found the treatment of women in the graphic novel to be less than ideal . . .

I get to have those debates in the writers’ room. Those other writers get to say, “Well, here’s how I feel about it.” Of course, in the writers’ room, there was a wide range of whether or not Rorschach was a white supremacist. I said, “That’s not relevant. He’s dead. What’s interesting is that you can make a compelling argument that he was and I can make a compelling argument that he wasn’t.”

Q: That gets to a question from Sara Century: “Why is it important to reimagine Rorschach?”

A: I don’t think that we are reimagining Rorschach. I think that we are interpreting Rorschach. The meta-ness of Watchmen was critical, I think, to its success.

Time and again, the interviewer returns to the theme of white supremacy. This is insightful in revealing not only liberal anxieties over Watchmen but also Lindelof’s liberal bona fides. How one today views the police seems to be the inflection point:

Q: I worry that the first six episodes, in some ways, can almost be read as a white-supremacist militiaman’s vision of America. Like, “Cops care too much about black people, and they’re cracking down on proud whites like me who just want to see a pure country.” But in reality, the much bigger problem is cops not caring enough about black people. Was that something you thought about? Was that something that worried you?

A: Yes. I’m not even going to use the past tense. What we’re really worried about, in my opinion, it’s not the television show. What we’re really worried about is a reflection of the real world. The paradox is: How do we feel about the police? When you say “the police,” you can mean it quite literally, which is just people wearing police uniforms. But how do you feel about authority? How do you feel about the law? Is the law just? The answer to the question, “How do you feel about the police?” Well, are you white? Are you a man? Are you a woman? Are you a person of color? What part of the country are you living in? Those are all questions that you should be asking.

We understand that being a police officer is a dangerous job. At the same time, we understand that there are police officers who are not following the law, who cannot be trusted, who do not behave in ways that are demonstrative of equality. This is demonstrated for us over and over again, to the degree where I think anyone who says that there is no issue in the United States in terms of policing and race is a crazy person. That isn’t to say that all cops are racist is any more ridiculous than saying all cops are not racist.

We’ll have to see how the series unfolds, and I’m not at all sure I’m going to stick with it, but the action will no doubt involve a second iteration of White Night events, a face-off between the police and Seventh Cavalry, and further caricatures of White Nationalists. The plotlines will likely focus on various competing interests within the police force as well as government. Also, given the show’s deliberate association of Rorschach with “white supremacy,” will the legacy of Rorschach himself be reframed within the show’s narrative?

The series might very well appropriate more plot points from The Turner Diaries. It’s worth noting that the first episode ends with a “Day of the Rope”-type incident for a key white ally, putting a rather quick end to Don Johnson’s involvement in the show.

In summary, if this first episode is any indication, HBO’s Watchmen will be a noxious brew of political correctness and Jewish Hollywood virtue-signaling, and will stand as an opportunity squandered.

The author writes at Logical Meme and @Logicalmeme.

Notes

[1] Nick Schager, “‘Watchmen’ Is a Spectacular Assault on White Supremacy,” The Daily Beast, October 21, 2019.

[2] Sophie Gilbert, “Watchmen Is a Blistering Modern Allegory,” The Atlantic, October 21, 2019.

[3] Several online reviewers have used the spelling “Seventh Kavalry,” presumably due to this having been revealed in episodes HBO has not yet aired, but which critics have already seen.

[4] Ever see a black couple raising a little white girl? Of course you haven’t. But you will see it in Watchmen, with Angela the loving, adoptive mother. Apparently, a future episode will convey that Angela adopted the white girl after her police partner (and his wife) were both murdered during the White Night incident.

[5] It is worth pointing out the little flourishes in the show that embody the disrespect black women have for white male authority figures, such as when Police Chief Judd Crawford enters his office to find Angela with her feet up on his desk, reprimanding him. “Wanna take your feet off my desk, please?” he says to her. She completely ignores his request and the scene continues.

[6] David Opie, “What Watchmen gets right that Joker got wrong,” Digital Spy, October 21, 2019.

[7] Abraham Riesman, “Like It or Not, Damon Lindelof Made His Own Watchmen And he’s pretty sure Alan Moore put a hex on him for doing it,” Vulture, October 17, 2019.

(Republished from Counter-Currents Publishing by permission of author or representative)
 
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  1. Hubbub says:

    Don Johnson appears in other cameos of late where he is shown prominently then dispatched. Why, I don’t know if he doesn’t want long-term commitments or he’s merely there for name recognition – to draw an audience from his Miami Vice days.

  2. In less-careful hands, the ideals spouted by the Seventh Cavalry could inspire viewers with similar political leanings, but Watchmen never glorifies their position in quite the same way that Joker does.

    The propaganda is so over the top that the show is an unintentional parody of the PC genre.

    If you treat it as dark comedy it is quite enjoyable, in a Dr. Strangelove sort of way. 😉

    • Replies: @Pilgrim786
  3. Anon[261] • Disclaimer says:

    Time and again, the interviewer returns to the theme of white supremacy. This is insightful in revealing not only liberal anxieties over Watchmen but also Lindelof’s Jewish bona fides.

    Fixed it for you.

    More anti-White murder porn produced by Jews. This isn’t news. Its a pattern.

    We know that they’ll complain when the tables are turned, and there are future productions that openly castigate Jewish Supremacy and depict the the fantasy of murdering ideological / ethnic Jews in a mass consumption media format.

    Jewish productions like the Watchmen series just mean that they’ll then lack a moral platform from which to register their complaints.

    • Agree: Alfred
    • Replies: @Anonymous
  4. It’s just more dog food for Wakanda wannabees. And so network execs can pat themselves on their backs and celebrate their wokeness.

  5. Tusk says:

    Kind of humorous that the show implies Blacks are cops, and that Whites are anti-cop. What pure projection from the warped mind of Jews and their cronies. Plenty of mass shooters (I think Brenton Tarrant in this case) said that they would not shoot any white police officers because that wasn’t the point of their message. Meanwhile, thanks to Obama’s racial hatred policies you actually have blacks going out and killing police officers. Though I’m not sure why I would expect any coherency from the show, despite Watchmen being one of my favourite films (I’m just a dumb white goy male) I won’t even watch one second of this. I don’t need to drink the kool-aid.

    • Replies: @jsigur
  6. Do the Jews ever get tired of screwing the White Man and Western Civilization? Of course not…it’s what they live for. The Original Watchmen was basically an attack on the type of Society the Jews produced including their debauchery, immorality, propaganda and control of mankind. This new series is similar to what the Jews want to do including the rewriting of their history. It will never end unless mankind becomes the true Watchmen because it will be an eternal fight against the insanity of the Jews versus civilization.

    • Agree: Republic
    • Replies: @jsigur
  7. Dumbo says:

    It’s kind of funny, because Alan Moore was himself kind of an old-school leftie, “V for Vendetta” and even “Watchmen” were pretty much left-wing, or at least anti-conservative. But it had very little do do with race (or with transgenders), and if I remember well, most if not all the characters were heteronormative whites. (And while Rorschach was kind of a parody of a conservative, he ends up being a sympathetic character, perhaps the most or only sympathetic one.)

    But now old-school leftists are being thrown under the bus for not being sufficiently “woke” about blacks, trannies, lesbians, or whatever their new game is (or if not are being “metooed” by feminists.)

    It would be funny if it wasn’t so tragic. In the end, the current crop of white SJWs will also have to be thrown under the bus when they no longer serve a purpose.

    • Replies: @John Regan
    , @Wency
  8. Bob Gwen says:

    I used to think that white people hated Blacks and Hispanics the most. But lately, white people racism against Chinese is pretty intense.

  9. Anonymous[375] • Disclaimer says:

    That this sort of stuff is becoming mainstream entertainment is frightening.

    We may look at it as an absurd Jewish fever dream, but the sort of people who consume this dung are not always capable of understanding how they are being manipulated. They think the scenarios shown here are real on some level. The makers of this show are pushing buttons that really shouldn’t be pushed.

    We are heading for big trouble. There is a disaster brewing.

    • Agree: bruce county, HammerJack
    • Replies: @renfro
    , @SunBakedSuburb
  10. @Bob Gwen

    It seems you are projecting with that one.

  11. Jews don’t see the ‘blind spot’ in their behavior patterns, so their storytelling must rely on propaganda to fill the void.

    Compare the original Star Wars to the (((woke sequels.)))

    Original films: characters who learn and grow and have understandable motivations; politics minimal.

    (((Sequels:))) characters already perfect (“Mary Sues”) or static, motivations and story logic constantly sacrificed to promote wokeness.

    Paranoid outsiders have limited insights into human nature.

    • Replies: @Pilgrim786
  12. Reading this article brought back a memory of the late Lloyd John Ogilvie, former chaplain of the US Senate, who once told me he believed there was only one enduring inflexible spiritual law in this universe, that what happens through you happens to you. His words should be a guiding light for human–and political–interaction.

    Obama’s arrival in the White House kicked off a veritable eight year media frenzy of anti-white sentiment that continues to this day. Ultimately, what these people are doing is just sabotaging themselves by promoting more racism and hatred.

  13. El Dato says:

    Superhero stuff is mostly targeted at the Liberal Flank who are incompetent at distinguishing fantasy from the real world or make up any lack of knowledge with Loud Baby Noises.

    It’s for dumb children.

  14. Gyre07 says:

    The Jews are at it again (not that they ever stopped). Next stop, more chaos and cultural suicide.

  15. “The failure to distinguish white supremacy from White Nationalism and white identitarianism“

    When I was reading the reviews for “El Camino: A Breaking Bad Story”, I noticed that all of them referred to the “White Supremacists” who were sort of the final bosses in the last season of Breaking Bad. They were never actually referred to as such in the show. This was actually an Aryan Brotherhood-type prison gang, and other than the prison Nazi tattoo one of them sported, there was nothing actually racist about them, and at no point did any of them say something racist. Like their real-life counterparts they were a gang in and out of prison, forced into racial solidarity by the need for protection against other gangs formed on ethnic lines. While hard core criminals and drug dealers, the AB does not go around looking to commit hate crimes or preach about White power.

    I’d like to see someone at Unz’s take on Breaking Bad. Even though it came out only a decade ago, I think it would have trouble being made today, as it’s antihero protagonist would be seen as “fueling angry White men”, similar to what we’re seeing with the Joker reviews. Not to mention the explicitly Latino criminals who populate the show’s world. Plus, I always got the sense that the show’s creator, Vince Gilligan, was a bit of a closet conservative.

  16. Anonymous[406] • Disclaimer says:
    @Anon

    You nailed it with “anti-white murder porn produced by Jews,” to which I’d add Michael Hoffman’s insight that we’re left mocked, disoriented, and demoralized by this expression of the Jews’ potency in the face of white America’s impotence.

    The comic book, superhero allegories of Jewish superiority are being transformed into new shetl-style fantasies in which black golems instead of Jewish (proxy) superheroes are brought into being on the screen to destroy whites as a form of kabbalistic conjuring and as the very real predictive programming of blacks. We should take this homicidal fantasying very seriously considering the Jews’ mass murdering tens of millions of white Christians in Russia during the last century.

    While this and the rest of the Jews’ homicidal, anti-white rhetoric makes shouting “Fire!”in a crowded theater seem like kids’ play, we can expect the eunuchs in the Republican establishment and Conservatism Inc to hide behind the canard that, “While we may disagree, blah, blah, blah”—as if these repulsive cowards would defend even their own families with their lives.

    • Replies: @HammerJack
  17. bomag says:

    In these type of shows, is there any pretense anymore of Black accomplishment?

    I seem to recall post Civil Rights era propaganda of this sort would have a held-down Black person overcoming his shackles and becoming a great doctor/lawyer/scientist/etc; not only overcoming and achieving equality, but often becoming a much better programmer/mechanic/astronaut/etc.

    Now the story arcs seem happy just to kill Whitey and go back to living in the ghetto.

  18. DukeNukem says:

    Another recent example: In the Shadow of the Moon

    It has a time-traveling mongrel murdering Ebil Wypipo, a street-defecator that invents said time travel and a White guy hunting the serial killer mongrel. The mongrel is, of course, the offspring of White guy’s daughter and a basketball-American. Because of course.

    It’s basically brow-beating at this point, I guess the subtle (((subversion))) has run its course.

    • Replies: @Pilgrim786
  19. nsa says:

    Get the jew out of your living room……deposit your flat screen into a dumpster. Winston Smith did not have this option, but you do.

  20. @Hapalong Cassidy

    “I’d like to see someone at Unz’s take on Breaking Bad.”

    In the meantime, you should check out Jef Costello’s reviews of the series and then the finale at Counter-Currents.com

  21. Watchmen is eclipsed by watching real life white flight/ expanding black population and expanding predictable “ crime”.

  22. Jew spew: Whitey bad, bad whitey, bad!

    What a bunch of meaningless crap.

    Hey, did you hear? It’s time for white christians’ to invade Iran so Israel can feel ‘safe’.
    Sounds to me like the Talmudist [email protected] are cowering [email protected]

  23. Nobody wants to watch siminian nogs running around and abusing white people. Negro fatigue is real.

    Audiences are even less inclined to watch action girl kick ass all day, all night.

    It’s all so tiresome.

    The show will flop. Another great cultural currency debauched.

    Honk, honk!

    • Replies: @bro3886
  24. @DukeNukem

    Even our subversives have succumbed to Woodley and DunnIng Kruger.

    American propoganda in the Current Year is a shade less heavy handed than Soviet posters menacing public building circa 1933.

    At this juncture, Hollywood whipper-snappers, like everyone born in the last thirty years, are incapable of imagining a world before anti-whiteness and all that goes with it.

    The piss-poor education and intellectually deprived education inflicted upon them has stunted them emotionally.

    This watchmen iteration a well as the movie you referenced are the products of an infantile and primitive mind.

  25. @Sick of Orcs

    Also, the last two, perhaps three, generations have suffered the equivalent of child abuse in so far as they have virtually nil exposure to literature, history, and anything resembling high culture.

    These young and youngish people literally consider cape shit haute kultur.

    • Replies: @Sick of Orcs
  26. Wally says:
    @Hapalong Cassidy

    said:
    ” and other than the prison Nazi tattoo one of them sported, there was nothing actually racist about them”

    fact: The “Nazis” were no more racist than anyone else at the time. Don’t take the bait.

    Thanks.

    • Replies: @Just another serf
  27. Anonymous[358] • Disclaimer says:

    Fellow White People certainly know how to create TV that subverts their host societies, gotta give them that.

    Again, as I’ve said before elsewhere, even the mightiest crap, enforced through school, media, workplace, politicians, and univeersal snitching, can be overturned in just a decade (post-Soviet Eastern Europe, Russia), but…not if the population has been replaced.

    Fast and easy self-deprogramming is more important than ever:

    https://u3c3.com/view?id=29664ef9084b75e15bef8117b77557e7f62fc11b

    https://torrentz2.is/29664ef9084b75e15bef8117b77557e7f62fc11b

    • Replies: @Lurker
  28. @Dumbo

    But it had very little do do with race (or with transgenders), and if I remember well, most if not all the characters were heteronormative whites.

    Not really, no. “V For Vendetta” was literally about burning down the Evil White Patriarchy (who of course are Nazis, and of course are all disgusting sexual perverts behind closed doors). And “Watchmen” took great care to make sure that all the superheroes were sexually abnormal in some way, and the proto-MAGA media guy bit character a ridiculous buffoon. While the only sympathetic characters (or the only ones the author intended to be sympathetic, at least) were a kindly black news vendor and a super-smart black psychologist. This show is true to its roots.

    The difference is that Alan Moore, for all that he is an anarchist, Satanist, anti-racist and general nutcase, is also a really good writer, who manages to make his books appealing and compelling even though the basic messages are horrible. For example, by creating Rorschach: a really hardcore antihero who was a loser but, for lack of a better word, a cool loser (and one who, just maybe, came to benefit from a little bit of unintentional “Strawman Has a Point” syndrome). This guy alone still draws in new readers to keep the comic in print, and yet when one examines matters objectively, he’s arguably one of the less interesting characters in it. Moore is an evil genius, but a genius all the same.

    What we see in the TV series isn’t a shift in values. It’s just that when you take away Moore’s genius and leave it to a hack like Lindelof and his TV writers to present the anti-white concepts, the difference in quality becomes quite stark. Leaving the poisonous message fiction rather exposed, because there isn’t really much story left to provide anything but the barest of fig leaves to the propaganda. Thus, the revulsion by viewers on two levels: first that the new product sucks, and then because it makes them realize (if perhaps only subconsciously) that the old one had problems as well.

    From a purely political viewpoint, I consider this a positive development. If I get to select the enemy’s propagandists, I would far rather have them be Trigglypuff than Leni Riefenstahl. Of course, when considering the matter as a fan (however ambivalent) of the original property, I’m as annoyed with the scriptwriter monkeys as you are.

  29. Rahan says:

    Fellow White People doing what they do best:)

    Easy fast self-deprogramming manuals a must.
    The more of those are made and in circulation, the higher the chances that Full Replacement doesn’t happen tomorrow.

    Examples:
    https://torrentz2.is/29664ef9084b75e15bef8117b77557e7f62fc11b
    https://u3c3.com/view?id=29664ef9084b75e15bef8117b77557e7f62fc11b

  30. anon[837] • Disclaimer says:

    And despite all this the average white normie loves blacks but is hostile and contemptuous towards Asians. I’d pay to see white cucks robbed and beaten to death by their beloved Negro pets.

    • Replies: @Kent Nationalist
    , @Tusk
  31. Gast says:

    What has to happen before people see modern “culture” as a form of psychological warfare against them? Yes, we have been all fooled to some extent (some more than others of course; I never had a TV, and I knew even as a child instinctively that evil people controlled the mass media, without knowing these people were actually jews) . But one has to cut his losses at some point and abandon this sickening assault by Hollywood for good. This attack has been going on since 1910. I have only contempt for those film critics here and all those film buffs who argue about fiction by people who absolutely hate them. With the internet it is possible to gain access to the wholesome culture before 1910. And an adult should not waste so much time with fiction anyway. Do better things with you live.

  32. @John Regan

    I always thought Rorschach should have been followed around by a sidekick named Horshack — you know, that short guy with the goofy laugh from Welcome Back Kotter. Would have cut some of the pompous portentousness of the whole thing.

  33. @Bob Gwen

    Where? I think most far right/White nationalists generally like and respect East Asians.

    • Replies: @anon
    , @Truth
  34. anon[837] • Disclaimer says:
    @Johnny Smoggins

    Yes but far right whites are probably a tiny minority, Most mainstream normie and liberal whites dislike and look down on Asians while loving porch monkeys. Even some blue-collar white trash have given me dirty looks cause I’m Asian walking by, I doubt he’d have the balls to even look in the direction of the niggers and kikes actually destroying this country. Stared back at the white trash daring him to talk some shit.

  35. black bodies

    Please stop using this idiotic term. Nobody ever says “brown bodies”, “yellow bodies”, or for that matter “white bodies”.

    Let the Left have their comic books and pop culture. There is no reason for any adults on the Right to care or pay heed to that brain-decaying junk.

  36. Mulegino1 says:
    @nsa

    I couldn’t agree more. Stop watching this crap. It’s a wast of time and mental energy. It’s meth or crack for the mind. Even when it’s not 100% Hymiewood propaganda it’s still not worth it. The passive acceptance of whatever sewage they throw out there is the deadly enemy of a free and healthy society, since true freedom necessarily demands critical thinking skills and at the very least a modicum of discriminating taste.

  37. Gast says:

    @anon

    Can you please stop derailing threads with your whining about hurt feelings? Asians have no business being in Europe and they are a threat to the well-being of Europeans and are rightly loathed for that. Deal with it and leave Europe!

    • Replies: @anon
  38. @anon

    In addition to the “Agree/Disagree/LOL/Troll” buttons, there ought to be a button for “ASSHOLE”.

    • Replies: @anon
  39. anon[837] • Disclaimer says:
    @Gast

    I’m in America you fucking moron. You better deal with the Africans and Arabs first.

    • Replies: @Gast
  40. Gast says:
    @anon

    But I am European, and I am writing from my perspective, asshole. No, you are just a big threat as Arabs and Africans, perhaps even bigger because you are more intelligent. Only jews are a bigger threat. So go to Asia and eat the dogs there, asshole.

    But first, stop derailing threads with your whining. Probably you are not an East-Asians, because they are quite polite. Some South-Asian probably, who are not much better than Africans.

  41. anonymous[191] • Disclaimer says:

    This series sounds like the type of stuff guys watch in the evenings because they have no money, no life and no friends to do things with. I know some people like this and they are pathetic creatures indeed. They spend their entire waking hours watching Netflix and the little interacting they do with other people is telling them about what they watched or are watching on Netflix. I avoid these types like the plague.

  42. anon[837] • Disclaimer says:
    @The Germ Theory of Disease

    [Too much off-topic insult-filled ranting cluttering up this thread.]

  43. Wency says:
    @Dumbo

    The thing that made Watchmen so amazing — the greatest superhero tale ever told — was its moral ambiguity, and how that played with comic book tropes of good and evil. We think we’re watching another good vs. evil battle but really it’s a fight between two half-mad idealists — an out-of-touch elitist liberal utilitarian who will do anything to achieve “the good” and a vindictive conservative deontologist who will do anything to see evil punished — with a number of pragmatists with their own problems caught in between.

    I think Alan Moore made everyone’s opinions and motives at least somewhat relatable and sympathetic, except perhaps The Comedian.

    Something tells me the new version will have none of this depth, subtlety, or cleverness. The series seems to be just an excuse to tell “Black Pantheress vs. the KKK Rednecks” in an alternate world with an interesting aesthetic.

    • Replies: @Cloudbuster
  44. Harbinger says:

    I won’t be watching the Watchmen because firstly I don’t own a TV and secondly I stopped watching, listening to and reading the msm around 13 years ago.
    If you bite into a chocolate bar, being a regular eater of chocolate, you won’t taste the salt. Go on a salt diet and then come back and take a bite of that chocolate bar. It’s like consuming a spoonful of salt, you overwhelmingly taste it. This is like TV. When you’re watching it, you can’t see the propaganda and indoctrination. Stay away from it, for a while and then come back and it’s like putting on the black spectacles, ‘Rowdy’ Roddy Piper wore in the cult classic ‘They Live’.
    I couldn’t watch TV if I tried. It’s so blatant that it beggars belief. Whites are actually, working in tandem with other to destroy their civilisation. Talk about sitting on the bough of a tree, overlooking the abyss, happily sawing away…….

    Jews do what Jews have always done. The more you read and understand Jews and Jewry, the more you utterly loathe and hate them. And the reason why I HATE them so is because it’s a religion. The fact that they choose to be these supremacist, hateful, racist destroyers makes it all the worse.

    You should go and look at ‘Black Pilled’ on YouTube. He does some great videos on new/old films, dissecting them to show the programming within. The same with Vigilant Citizen, although unlike Black Pilled, there’s no referencing to Jews, simply to the ‘illuminati’ and the occultists.

    With the drive to ‘blackwash’ all whites out of existence, this is somewhat ironic because many will remember the backlash of blacks, of late, attacking whites for cultural appropriation. Everything about blacks, the clothes they wear, the foods they eat, the music they listen, technology they use, cars they drive etc is ALL culturally appropriated from Europeans.

    Finally, I remember listening to a program once where the interviewer was speaking to his guest, on the radio and the guest told him the story how his brother was in the CIA and when he asked him: “what is one thing people should never do?” His brother replied: “Never, ever watch TV.”

  45. @Nicolás Palacios Navarro

    Did Ta-whatever-coates popularize this “black bodies” nonsense?

  46. @Justvisiting

    Dr. Strangelove is a work of great beauty and complexity. Compared to this garbage, it is like the Sistine Chapel compared to gang graffiti on a freeway underpass.

  47. Why does anyone even watch this drivel. As Martin Scorsese recently said, this stuff isn’t real cinema.

    Me, I am increasingly watching British drama on Netflix. Regular US television has for the most part has gotten so formulaic that there doesn’t seem to be anything original anymore…

  48. Harbinger says:
    @nsa

    Completely agree. I, for the love of life, can’t understand why intelligent people would watch the TV or have anything to do with the msm, well, not unless you’re left wing and/or a homosexual, an immigrant of non European decent.

    Western msm/entertainment is now completely black dominated and that instantly pushes me away from it. I have nothing against blacks and their culture, but its not mine and I have no want for it.

  49. Altai says:

    Lindelof is one of the Abrams mafia who seem to continually fail upwards and he might be the second worst screenwriter of the bunch (Kurtzman is just in a special league of his own), who are themselves by a wide margin, the worst big budget screenwriters out there. He wouldn’t ever have a career without them hiring each other. Or maybe the producers are the ones helping them out? If there was a big budget sci-fi fantasy film that you thought had a special level of almost indifferent hack screenwriting released in the last 15 years the chances are these guys were involved. Even when it continually ruins studios plans for a series of sequels they just keep getting bigger and bigger paychecks.

    They’re an interesting highly nepotistic little mafia who are all Jewish. What are the odds?

    His wikipedia tries to put it innocently, but every single person it lists is Jewish!

    Collaborators

    Lindelof frequently collaborates with a tightly knit group of film professionals which include (((J.J. Abrams))), (((Adam Horowitz))), (((Alex Kurtzman))), (((Roberto Orci))), (((Edward Kitsis))), (((Andre Nemec))), (((Josh Appelbaum))), (((Jeff Pinkner))), and (((Bryan Burk))).

    This is very similar to the Apatow mafia. (Would anyone actually pay money to see Jason Segel if they had an alternative?)

  50. @anon

    And despite all this the average white normie loves blacks but is hostile and contemptuous towards Asians.

    You should stop watching so much tv.

  51. @Steve Naidamast

    Is British tv any better? Whenever I see trailers for new programs, they are just as bad. Like the Shakespeare adaptation where they made Margaret of Anjou a black woman or their program about the ‘romance’ between a nerdy teenager and a middle-aged tranny.

  52. @Pilgrim786

    Yes, he did; the holy fool of the sempiternally self-guilted White intelligentsia.

    • Replies: @Pilgrim786
  53. @Wally

    The “Nazis” were no more racist than anyone else at the time.

    Are you being serious? The Nazis used gas chambers to kill 11 million minorities during the Holocaust. Six million of those minority victims were Jewish people. The Nazis were so racist that they murdered 6,547.62 POM (People of Minority) per day, every day of every month, between 1941 and August 1945.

    The KKK may have killed more minorities. But did not kill as many in such a short period of time. The Nazis were certainly the most racist group. You should watch the documentary Schindler’s List

    • Replies: @Dave Bowman
  54. syonredux says:
    @Steve Naidamast

    Me, I am increasingly watching British drama on Netflix.

    Brit TV is pretty WOKE:

    Russell T Davies has defended his decision to ‘gay up’ the plot of a Shakespeare play – adding a lesbian kiss and a gay romance.

    https://www.pinknews.co.uk/2016/05/31/russell-t-davies-added-a-surprise-lesbian-twist-to-midsummer-nights-dream/

  55. Greg Bacon says: • Website

    Lindelof’s mother is Jewish

    I’m not surprised that this whitey hate-fest is the ruminations of a Jew.

    Jews in academia, the govt, literature and especially the religious ones have repeatedly said that whites are a cancer and that they won’t stop until they wipe us white folks out.

    Jews like Noel Ingatiev, Tim Wise and Susan Sontag call for our annihilation in no uncertain terms and are using their control of Hollywood to infect succeeding generations with this poison, until it becomes a toxic overload and they strike at us white folk for imagined crimes and transgressions of the last 400 years.

    Here’s a Wise quote:

    And in the pantheon of American history, conservative old white people have pretty much always been the bad guys, the keepers of the hegemonic and reactionary flame, the folks unwilling to share the category of American with others on equal terms.

    Fine, keep it up. It doesn’t matter.

    Because you’re on the endangered list.

    And unlike, say, the bald eagle or some exotic species of muskrat, you are not worth saving.

    http://www.timwise.org/2010/11/an-open-letter-to-the-white-right-on-the-occasion-of-your-recent-successful-temper-tantrum/

    If Mr. Wise and his fellow travelers are so upset about the slave thing, maybe he’ll be honest and open up about who were the main players in that trade…his fellow Jews.

    • Replies: @Dave Bowman
  56. @nsa

    Get the jew out of your living room……deposit your flat screen into a dumpster.

    ABSOLUTELY NECESSARY!!!

    Or as the Brits have been saying since long before flat screens “Unplug the electric Jew!

  57. @Nicolás Palacios Navarro

    Do you have the feeling that a host of Western/White problems are not only self-inflicted, they are secondary to acute affluenza.

    NN Taleb has written many, many words on the virtues of experiences enough stress to provoke a reaction. TS Eliot noted that man cannot endure too much reality. Perhaps, human beings need a little danger and a little play to evolve. And maybe Western man requires a little more play and a lot more danger.

    Instead, the Western man turned his world over to schoolmarms and fusspots who have turned the whole nation into a creche which in turn has morphed into a mad mutant hybrid open-air prison and madhouse.

    It’s all so tiresome.

  58. Tusk says:
    @anon

    Go back to /r/asianmasculinity

    • Replies: @anon
  59. i saw some of the trailer and just laughed out loud at this extremely obviously jewish version of Watchmen. then immediately went to wikipedia to confirm who the writers were. it’s like clockwork.

    and, like many things, they took a great work by a gentile – Watchmen is one of the greatest comic book stories ever told – and jewish writers cranked out a garbage version of it.

    didn’t they just do this to Game of Thrones?

    agree with the other posters that there’s zero reason to watch this stuff in general. stop watching movies, stop watching television shows.

  60. Truth says:

    Television is brainwashing and programming, with some entertainment thrown in.

    Get it?

    Got it?

    Good.

    Now either stop watching (I have, haven’t owned a TV in over a year), or bow down to your slavemaster’s whims, do what you are told, and STFU.

    There is no further purpose in reviewing television for what is “bad” and what is “good.” It is produced with the explicit purpose of harming you, and lessening your already, generally, pathetic, quality of life.

    OK proles, lecture over, now back to your regularly scheduled programming.

  61. anon[837] • Disclaimer says:
    @Tusk

    I don’t know what that is. If you’re not a normie cuck, then you’re not my enemy.

    • Replies: @Lurker
    , @Tusk
  62. renfro says:
    @Anonymous

    Couldn’t agree more. It is frightening.

    I don’t patronize Hollywood, haven’t seen a movie in decades, unless it shows upon some TV movie channel and even then I generally skip it.

    But I am guessing the audience for this kind of film is the young crowd whose brains arent even fully matured yet. Not to mention the current state of education which turns whatever critical brains cells they do have into mush.

    Young blacks in particular could be influenced to act out the movie’s message….and some whites a well.

    Back in the 30’s we had …..” The Hays Code which was a set of rules that enforced censorship on the American cinema in response to the increase of public complaints about the lewd content of movies and the scandalous behavior of Hollywood movie stars. The increasingly liberal content of Hollywood films, and the scandals surrounding famous movie stars, led to a media frenzy. The public outcry was so great that the federal government were seriously considering the establishment of a national censorship board. To prevent this happening Hollywood moguls and the movie studios decided to voluntarily censor films themselves.”

    A bit more on the history of censorship:
    https://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0195.xml

    Of course censorship and even the PG and X guidelines have disappeared. I don’t know what can be done to combat the propaganda and filth these days. …perhaps ‘age restrictions” just like we have on buying alcohol and guns.

    But then the loud crowd and Hollywood degenerates would be screaming about their first adm rights.
    The only fight back against the Hollywood (and TV) smut would have to come from a enraged public and boycotting of films and boycotting of the producers of those films. Actually wouldn’t take much to get that kind boycott going among the religious conservative crowd.
    So if there is a wannabe TV God Merchant out there who wants be important…heres his chance.

  63. renfro says:
    @Steve Naidamast

    Me, I am increasingly watching British drama on Netflix.

    Agree very superior ….actually has “characters’ and real life subjects/plots.
    There is no ‘talent’ in US and TV movie writers.

    • Replies: @syonredux
  64. syonredux says:
    @renfro

    Me, I am increasingly watching British drama on Netflix.

    Agree very superior ….actually has “characters’ and real life subjects/plots.

    You must not watch much Brit TV. 90% of Brit TV is a combination of crap and uber-WOKEness.

  65. Lurker says:
    @anon

    It’s a sub-reddit. Possibly fictional – I’ve not bothered to check.

  66. @Pilgrim786

    American history is White history so to preserve it we can start just about anywhere, anytime.

    • Replies: @Pilgrim786
  67. Tusk says:
    @anon

    You just speak like the typical Asian that posts on that sub-reddit. Perhaps you would be in better company.

    • Replies: @anon
  68. @Steve Naidamast

    Me, I am increasingly watching British drama on Netflix. Regular US television has for the most part has gotten so formulaic that there doesn’t seem to be anything original anymore…

    Are you serious? British dramas on Netflix make American TV look like Birth of a Nation. Their cop shows always have a female, black, or Paki boss, with a few white weenies scuttling to follow orders. Non-British immigrants are shown as saintly victims of white criminals. Want an example? Try Collateral, with Carey Mulligan as the detective honcho — the episodes endlessly delivering editorials against Badwhites.

    Some of the British Netflix series are well made (for instance, Bodyguard is cracking stuff, with a smart script and good production values). But more often than not, the skill that goes into them is in the service of proglodyte messaging.

    • Agree: syonredux
  69. anon[837] • Disclaimer says:
    @Tusk

    I actually respect nationalist whites with principles. I don’t respect normie whites who worship Tyrone and Shlomo.

  70. @Sick of Orcs

    Agreed. I’m not “black-pilled.” It’s just that the task is daunting. The damage is extensive and since it is much easier to go downhill than get back up again, a Herculean effort is required.

    • Replies: @Sick of Orcs
  71. Talha says:
    @Truth

    Bro, I just started keeping track of this guy – he is breaking some serious stuff down from Hollywood. This thread was mind-blowing:

    About how they use black folk to sell degeneracy because it’ll be received as more “cool”, how many rappers they are blackmailing by tying in their success to performing sex acts that they don’t want to, and a bunch of other stuff. This is crazy stuff! And it needs to be publicized by people in the know within the Black community.

    Peace.

    • Replies: @Truth
    , @Cloudbuster
  72. @Anonymous

    “The makers of this show are pushing buttons that really shouldn’t be pushed.”

    I encourage button-pushing; creators and artists should be allowed their provocations. My problem with the new iteration (or desecration) of Watchmen is that no counter-narratives are allowed.

    “We are heading for big trouble.”

    Agreed. For those opposed to the current intersectional totalitarianism, begin working towards the dissolution of the United States. A new republic is waiting to be reborn. The twenty first century founding fathers (and mothers) are out there and waiting to be inspired. Any sort of violence should be rejected because it won’t work: the totalitarians control the security systems. Start with culture, counter-narrative. The politics will follow.

    • Replies: @Yutani
  73. Yutani says:

    With that list of credits, Lindelof’s “forte” is NOT science fiction.

  74. Yutani says:
    @SunBakedSuburb

    Ok, I’m curious. I have a day off tomorrow. What could I do tomorrow to follow your advice?

    • LOL: Pilgrim786
  75. @Truth

    Best way I’ve found to stop watching TV is to realized that:
    a) you’re always the bad guy, and
    b) that’s not entertaining.

    Counterinsurgency

    • Replies: @Truth
  76. @Nicolás Palacios Navarro

    “Black bodies” is actually a well recognized and often used term. See: http://hyperphysics.phy-astr.gsu.edu/hbase/mod6.html

    Perhaps it should be confined to its customary use.

    Counterinsurgency

  77. @Yutani

    Ok, I’m curious. I have a day off tomorrow. What could I do tomorrow to follow your advice?

    You could start a process that would take you off the urban tax roles. Any method will do, and it’s actually good for you in that the cities are starting to increase the squeeze their salaried residents. Note that this includes rent increases, fees, and bad utility service.

    It’s the decay of the cities that is driving the Democratic hysteria. They’ve put loss of their urban base off for a long time, but it’s obvious now that urban decline is significantly intensifying. The intensification appears to be world wide, not just in the US.

    Any serious attempt to leave urban tax roles will have to be well thought out, and should be executed sometime soon. Cities have for some time been collecting taxes from retirees no matter where they live now, and tracking / trying to tax rich people who have moved out. Could be you next, you never know.

    Oh, and stop watching TV. You’re the bad guy and it isn’t entertaining. Also, don’t drop heavy weights on your feet — it’s as foolish as watching TV.

    Counterinsurgency

  78. So 7th Cavalry are the heroes of the series?

  79. Truth says:
    @Talha

    Yes, it is all true. They began the cultural degeneracy with the Beatles, and Elton John and them a while back, but while the had the music people liked, they did not have the animal charisma to make a world-wide movement. Black people, via music and television took the lead in the degeneracy sweepstakes over 20 years ago.

    Unfortunately “people who know in the black community” are all, already in the game. They have no reason to publicise this.

    Remember, “apocalypse” in Greek means “uncovering.” When people start discovering the truth, we are nearing end times.

    • Replies: @Talha
    , @Contaminated NEET
  80. Truth says:
    @Counterinsurgency

    That’s good, however I would argue, and incomplete understanding.

    The general line on this site amongst the (straight/gay) white males that make up the majority of this site can be summed up in one phrase:

    “Duh man always be holdn’ me down!”

    The truth is, there is not one ethnicity, race, sex, socio-economic status that is unharmed by watching television… not one. We are all “the bad guy,” and if that were not the case, brainwashing wouldn’t work.

  81. @Wency

    the greatest superhero tale ever told

    On the literary scale, that’s barely above “best product ingredient list ever written.” It’s a genre invented to appeal to tween boys and it shows.

    And even in that limited genre, that’s probably a wild exaggeration.

  82. @Talha

    just because a man performs oral sex on another man doesn’t mean he’s gay.

    Counterargument: “Oh, hell yes it does.” — Me

    • Agree: Truth
    • Replies: @Talha
  83. I’m not sure why anyone would be upset over this.

    HBO is a premium channel that is mostly purchased by Whites. Of that group only a subset of males watch comic book shows. Of that only a subset actually wants to watch this type of self loathing liberal garbage.

    I suspect the writers/producers live in their own racial fantasy of who purchases this stuff.

    They’ll probably keep subsidizing it for a few seasons even with low ratings. Or they’ll switch the theme and back off and the White guilt crap.

    The bigger media problems are with mainstream programming, not some dorky comic book show on a premium channel. Most Whites can’t afford HBO or don’t care about it.

    • Replies: @Justvisiting
  84. @John Johnson

    Many HBO “customers” are not actually subscribing to that specific service at all–cable television companies these days have very complex “premium packages” which are a bunch of (often seemingly random) channels packaged together.

    HBO also has a subscription streaming service with something like 5 million customers.

  85. Talha says:
    @Cloudbuster

    I would think the only exception to this general rule is some case like in prison where a man is threatened with death or something by someone or group capable of delivering on the threat.

    Getting a record deal or a promotion doesn’t cut it.

    Peace.

  86. Talha says:
    @Truth

    Thanks for the insights. I always knew Hollywood was weird, but people like you have helped me understand just how really degenerate and occult that entire institution is.

    Peace.

  87. Truth says:
    @Johnny Smoggins

    …No actually i am fairly convinced ot doesnt work like that.

  88. @Bob Gwen

    ‘I used to think that white people hated Blacks and Hispanics the most. But lately, white people racism against Chinese is pretty intense.’

    You’ve got it mixed up; it’s blacks that hate everybody.

    The rest of us have our mutual doubts; but we can get along.

  89. @Truth

    Well, well, well… Looks like Truth is going native. Careful, buddy: your comrades would tear you limb from limb if they saw you repeating toxic reactionary ignorance like that.

    • Replies: @Truth
  90. Pandour says: • Website

    Watched the first couple of minutes and later a couple more-could not stomach it.All blacks portrayed as virtual saints or victims and whites generally as scoundrels.

  91. Truth says:
    @Contaminated NEET

    No, those folks, like you folks, are too busy watching TV and taking opiates to give a shit what i say.

  92. jsigur says:

    Notice the message takeaway into regular life
    Anti-fas – good (masks)
    white nationalists bad
    I continue to claim these kinds of productions are akin to hate speech (since Jews we know are behind the “hate speech” obsession). I recommend exposing Jewish hate speech posing as reality contained within their programming
    (Note, Jewish bad behavior is censored from comment while Jews comment negatively on all others).
    Its interesting to note that only extremist Islam, Russia and White Nationalists represent pure evil

  93. jsigur says:
    @Tusk

    I would advise you to have a healthy skeptisicm about what is reported in the MSM about mass shootings. The messages from them are all messages good for Jewish power and usually bad for WNs. (Especially since any real evidence we can scrutinize about said events are kept hidden)

  94. jsigur says:
    @niteranger

    What must be recognized is that America has always been welcoming to Jews. What needs to be recognized is that Jews never have considered it anything beyond a colony to extract wealth (I am talking about top of the pyramid Jews as well as the blind loyalty ordinary Jews place in priority Judaism-Israel above America or anywhere else for that matter) The acid test is to discover what Jews would do if US policies ceased to favor Israel. Can you say turmoil in the streets?

  95. @Just another serf

    Expect a visit from a man called Wally.

  96. @Greg Bacon

    Tim Wise’s quote:

    And in the pantheon of American history, conservative old white people have pretty much always been the bad guys

    “And in the pantheon of Jew-produced, Jew-written, Jew-Directed, Jew-edited, Jew-distributed, Jew-promoted, Jew-Hollywood turd-sandwiches which I consider the same as accurate American history, conservative old white people have always very deliberately been made the bad guys.”

    Fixed that for him. He’s welcome.

  97. awry says:
    @nsa

    Also get the Jew out of your computer: quit Facebook.

  98. nonce says:
    @Hapalong Cassidy

    you don’t actually have to dislike (insert name of group here) to be labeled racist these days. example higher in the comments. is commenting on the characteristics of another group racist these days? appears so.

  99. @Harbinger

    Western msm/entertainment is now completely black dominated…

    Entirely JEW controlled with blacks as JEWS’ GOLEM being featured predominantly.

  100. Ragno says:

    Hard to give a shit about one more helping of audio-visual soma designed, not to stoke hatred of whitey among the orcs (which has been at fever-pitch for years now), but to trigger dangerously-irrational self-loathing in whatever-sized white audience remains.

    Though it’s practically exhilarating to note that audience furiously struggling against its restraints; the ROTTEN TOMATOES split between ‘critics’ and humans is now 98-43. Even better news: the splits for similarly woke-garbage comicbook series BATWOMAN are 71-12.

    Since I’m not about to sample this crap, I must assume the most dispiriting aspect of these shows isn’t their content (utterly-predictable trash) but the unspoken longing of the normals in the audience who are booing and trashing these things on social media: a foolish and self-defeating sense that once our massed disdain cleans out the Hollywood stables like a good new broom, then, inevitably, Things Will Go Back To The Way They Were. As if a few box-office failures (or a few salutary election results) will frighten the hebe supremacists now openly demanding our complete disenfranchising from our own homelands. Ask the Palestinians how much better their lot became after all those Apartheid Israel editorials; all Team Shmuel did in response is twist a few arms to make divestiture movements Official Acts of Anti-Semitism. Now imagine how nasty their response would have been if they’d figured out a way to use the Palis as attack dogs against their critics!

    I neither know nor care whether it was the election of Trump, or Obama’s toxic, mask-off, second term, that tipped American life beyond the pale – but there is NO going back now. Not any longer. Trump may be a blowhard and an instigator and little else, but we are in his debt for triggering the blood enemies of Western Civilization into dropping all their protective shields and showing themselves as they really are, sneering and snarling and – now that the outcomes are all pre-fixed – spoiling for a bloody and apocalyptic showdown.

  101. @nsa

    Yes… but if you get rid of the TV and send your kids to government schools to have the same stuff drilled into their heads by the very same people…

  102. @Truth

    I ran out of agree button but you’re all kinds of right. I’m constantly amazed by the people I hear going on and on about how unbelievable all the awful propaganda on TV is. And they KNOW ALL ABOUT THAT because they voluntarily watch it WITH their families EVERY DAY.

    Cultural commentators eh, they get a pass. It’s good intelligence gathering on our enemies. Not that they’re even attempting to obscure what they’re up to anymore…

  103. @Truth

    We are all “the bad guy,” and if that were not the case, brainwashing wouldn’t work.

    Not clear what calling myself “the bad guy” would do for me or anybody else. In any case, the point was “how to stop watching TV”, and the method works.

    Counterinsurgency

    • Replies: @Truth
  104. The curtailing of free speech for non-liberal whites;
    The failure to distinguish white supremacy from White Nationalism and white identitarianism;
    The categorizing of White Nationalism as “terrorism,” from which constitutional due process will not be required;
    The notion that possessing certain thoughts and beliefs (not just acts) are sufficient to make one guilty of “terrorism”;
    The continuous, surreal rewriting of history to fit Wakandan-like fantasies;
    The framing of history as that of White Rage – that is, of whites perpetually victimizing and inflicting pointless violence upon non-whites;
    The depiction of black bodies as innocent, and relatively agentless, victims of the white patriarchy.
    f

    Anybody ever notice that the above (if you replace ‘white’ with ‘popular’) is exactly Winston’s Smith’s job at Minitruth in _1984_? Amazing that all the utopian “computers will transform society” business has come down to a body of labor and personnel specialized in doing Winston’s work.

    One could argue that this was the goal all along. One of data processing’s first big successes was processing census data, which had grown far beyond human ability even to tabulate it, much less understand it. The idea of census as population control is very old, and is mentioned in the Old Testament. Certainly the early days of Silicon Valley were marked by a great absence of regulation, one of the few industrial areas so marked (those were the early days of OSHA, for example).

    Or maybe it wasn’t the goal all along. It’s the goal now.

    Counterinsurgency

  105. It used to be that when Hollywood and other big entertainment media kept reviving the dead – “rebooting” “franchises”, producing the nth installment in some clapped-out series, or introducing classic work X to a new generation, often in a form wildly dissimilar to the original – that it was mostly about money. And occasionally the whole process was even redeemed by the appearance of something worthwhile.

    Regarding this remake of “Watchmen”… my first question is whether it is, indeed, a primarily ideological production; or whether this is just what audaciously unprincipled rewriting of a classic looks like in the current day, because this is what some people think will sell, in current cultural conditions.

    I also have to remark on the peculiar reflexive aptness, of a work which was itself a telling of an alternate history, being rewritten so that it tells a completely different alternate history!

    And a final comment. In the history of culture, it is the norm for a particular era to produce far more examples of something – works in a characteristic genre or medium – than the future ever needs or cares to know about. If someone in the mid 21st century comes across a murder mystery from the mid 20th century, it will probably be of more interest simply as a representative of a vanished genre, than for any features which distinguished that particular work from its fellow murder mysteries.

    Obviously the vast majority of cinematic and televisual remakes and reboots and recyclings, ought to be viewed in that way. In this case, the general phenomenon is more notable than the instances of the phenomenon… Here, apparently (I skipped most of the description, but think I got the gist), we are dealing with a subgenre of this “cultural recycling” phenomenon, in which the past, or the fictional universe, or in this case the fictional past, is made more Diverse, and also just reconfigured so as to present lessons which fit the zeitgeist.

    My final question is whether this kind of on-screen retrodiversity, is actually going to have any substantial effect on culture of the world. One extreme would be that ordinary people literally lost the knowledge that western societies weren’t always as diverse as they are now; another extreme scenario is that, not only does the “retrodiverse reboot” essentially have no effect on cultural evolution, but that in retrospect it is understood as a product of particular cliques with a particular agenda, and as an artefact of its time.

  106. @Pilgrim786

    The act of rediscovering one’s history is a whitepill unto itself.

    Much of Clownworld can be safely ignored.

    Destruction and creation arise simultaneously; wisdom is recognizing each plays a role.

  107. Truth says:
    @Counterinsurgency

    Great. Please spread your method.

  108. Ahoy says:

    Nobody. Why, do the Watchmen need watching in a corrupt state?

  109. Truth says:

    Hey Proles, I have a new favorite commercial for you. Not one black person utters a word, you will love it…

    • Replies: @Harbinger
    , @Hiop
    , @Polemos
  110. @Bob Gwen

    Living in Canada, I would have to agree with you. An article on anything from China on CBC ends up with uneducated, poorly researched slanderous comments and bigotry.

  111. Gene Su says:

    I just saw the second episode of Watchmen and I think all you “Professional Whites” are jumping to conclusions.

    Part of the premise of Alan Moore’s original comic is that it was one of the first to show that superheroes might not be as black and white in their morality as they were painted in the 50’s and 60’s. The Comedian is an amoral dick who nearly rapes one of his fellow superheroes. The first Silk Spectre is a tad promiscuous. The second Nite Owl is a bit of a nerd. Dr. Manhattan is aloof to the feelings of others yet emotionally troubled. Ozymandias (who appears in the TV series) turns out to be the bad guy who kills a large segment of the world’s population.

    The original comic also had a lot of plot twists. Police Chief Judd, after he is murdered, is revealed to possibly be a past member of the KKK. A black man claiming to be Sister Night’s grandfather claims responsibility… and is airlifted to safety by a massive electromagnet. The author of this article does not mention Veidt’s appearance (he is played by Jeremy Irons). I expect he will play a large role.

    I don’t think that Right Wing White Conservatives will be happy with any superhero movie unless it is the Saga of White Will.

    • Replies: @Gast
    , @anaccount
  112. Gast says:
    @Gene Su

    Yeah, we are just not intelligent enough to appreciate all the cape-clown movies. Only a cool, vibrant mongrel hipster can appreciate all the subtleties of this form of high art. But how cruel of you to rub it in!

  113. Polemos says:
    @Hapalong Cassidy

    Walter White is arrogant to think he is worth a few millions (and dozens more of not for falling in love with another man’s wife (arrogance)), when the gay Hispanic runaway kills his enemies ruthlessly and successfully manages two empires, one public and another private, both worth multimillions and continually expanding globally (using actual Germans as larger cover), only to be killed by White using a bomb (doesn’t this ring a bell?) like a coward, when Gustavo can slit a valuable employee’s neck without flinching.

    Then there’s PINKman, whose family is the inverse of White’s family (soccer playing brother versus Jr’s crippled legs) and kinda the only wholesome family in the show, which is why their upscale suburban home gets turned into a communal shithouse: they abandoned even the hope of hard love for the lost.

    All kinds of mirroring and inversions throughout the show. It’s definitely about race, language, culture, and the ruthlessness of the South and the soft delicate North. Jesse loses it killing the most gelatinous character in the show, but the twins sent to kill Walter, they’ll kill without any possibility of shame or guilt. Opie, too.

  114. I did watch second episode of Watchman.
    ………………………………………………………..
    Watchman is a comedy! You silly person. Weird comedy, so difficult to get it at first sight but comedy nevertheless.

    • Replies: @awry
  115. @Anonymous

    We should take this homicidal fantasying very seriously

    We do, but we don’t control the Narrative. They do.

    One of several reasons why they can depict the coming slaughter and enslavement of white people (whom of course they depict as deserving of their fate) so brazenly: they have nothing to fear.

    They run the state, they run the media, they run the schools and they run the corporations. They run people’s lives because they run people’s minds.

  116. Harbinger says:
    @Truth

    Ah, Charlize Theron, of late complaining about not being able to get a man, that men need to ‘step up’ and she dresses her adopted black son in a dress. This commercial isn’t doing her any favours at all. I stopped watching TV ages ago, listening to the radio and reading newspapers/magazines. I’d hate to see what it’s like now. This video was only a glimpse of the blatant brainwashing of society.

    • Agree: HammerJack
  117. awry says:
    @Ilyana_Rozumova

    Didn’t watch it, but that may be unintentional, you may see it as comedy, while the authors are dead serious, due to the cultural differences between us and woke Amerikans.

  118. ‘Tip o’ the hat’ to the writer for watching this material so
    folks with weaker stomachs don’t have to. The analysis is top-notch.
    It’s important that people know what’s going on.
    All of these strategies couched in/rationalized as ‘social justice’,
    need to be understood as proof that the Bolshevik Revolution and WW II are still raging in (((Hollywood))) hearts.
    They’re using SJ as a pretext to carry out blood libel on our people.
    We live in post-South Africa times.
    We know how their game is played and what to expect.
    (((Hollywood ))) is giving us the rope with which to hang them.
    Gather and use this material, with your own memes, to bring them down

  119. @Truth

    Essentially you are correct: We are all being played. But, as a black man, don’t you find the white progressive sacralization of blacks condescending?

    • Replies: @Truth
  120. @Yutani

    My advice was in the comment: Create culture that is infused with your vision. This is the way to touch hearts and minds. And maybe your desired outcome will follow.

  121. anaccount says:
    @Gene Su

    I don’t watch the Jewtube anymore but there is a very low probability that this show has the depth you claim it has. Do you really think that entertainment has become smarter or more nuanced over the last several years? I doubt this show is an exception.

  122. Hiop says:
    @Truth

    I don’t understand this commercial. Is Charlize the ultimate alpha male? So if a woman drinks this beer she too can become the ultimate alpha male?

    • Replies: @Truth
  123. Truth says:
    @Hiop

    So if a woman drinks this beer she too can become the ultimate alpha male?

    I don’t know, but according to the commercial, a eunuch pretending to be a woman can.

  124. Polemos says:
    @Truth

    Isn’t Run DMC black?

    I mean, they’re aren’t uttering words but rapping, so you’re technically right, but …

    • Agree: Truth
  125. bro3886 says:
    @Pilgrim786

    It can’t really flop since it’s on HBO, they’ll run it as long as they think it has any propaganda value. The economics of the cable industry have stripped away the obstacle of public opinion.

  126. @Harbinger

    Western msm/entertainment is now completely black dominated and that instantly pushes me away from it.

    Not completely, Harbie. It’s worse. Up here in Boston, it’s a stew of the freaky and multi-culti, a message or three in every single commercial. In jewelry commercials, the Black man is with the White woman (likely NOT a Jewess), sometimes it’s a Black/White lesbian combo, the White half always a chubby-pig. You’re right about messaging, though. A drug, Humanta (or some such) opens with a fast shot of a bearded White hipster and his sassy Black wife at home, then without the wife, the White husband is shown taking his high-yellow mud-baby daughter out to the candy store, to lunch, the park (it’s a pretty long commercial), with lots of hugs so we know the White father has permission to be father to mulatto-type.

    I bet they’re DESPERATE to give White nerdy kids with money ‘permission’ to support/marry Black-and-sassies. As a couple, White man/Black woman better stay out of Black regions, Black boys would lynch a White hipster for stealing a Black woman. In other commercials I see nerdy incel-sorts with FAT/Sassy Black women of wisdom most recently in a commercial for Swiffer. Bedding, in the expensive Sleep Number ad they depict a Black man and a White woman ALWAYS now. And the Black men are gradually getting darker in the ads. It’s subtle, but you notice if you’re as racist as I am these days. Heh, one of em shows a REAL Lee-Roy Black guy with the woman testing the mattress , so you know the woman is paying, a scene we never see. There aren’t wedding bands, so no telling what their deal is. Chevy commercials are good for Lesbians, the minority half of the coupling mostly Hispanic, depending on the brand but more Asian lately, with a fat White Lesbian ‘wife’. Apparently fat Lesbian White chicks have Yellow Fever too! Verizon, insurance, furniture, banks, all depict their friendliness toward the freaks of the world. It is the job of normal sorts, cis or whatever, to take note of those merchants and never buy from them. See, we can’t be violent of a sort they utilize, but we could starve them for their messages. Boston, though, I’m convinced it’s a test-bed for commercials later sent national.

    Fat-chick acceptance is on now, too. Macy’s did an ad with an enormous, slab-sided White chick with arms that looked like legs of lamb hanging from her shoulders. It’s beautiful to be fat, I guess, hold the insulin. They depict the White chicks in the lesbian couplings as fat. But in the commercials with Black men, they always show a beautiful Blonde chick with HIM. In no commercials do I see the actual norm, a White working guy with two White kids, and one fat White wife. Normal doesn’t sell because normal folks don’t consider this existential. So so it goes, the bar always moving.

    • Replies: @Truth
  127. Truth says:
    @Jim Christian

    . Up here in Boston, it’s a stew of the freaky and multi-culti, a message or three in every single commercial

    Yes… and in such small portions…

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