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Three Heroic White Films
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Eckhart, Capt. Sullenberger, Eastwood and Hanks

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I’ve put aside two hard-hitting essays regarding the ongoing assault on Whites in the United States because I suspect readers need a break from the relentless negative news we’ve all been exposed to. I confess I’m more than guilty of pointing out how rapidly the situation of Whites has become exceedingly bleak, I suffer from that situation in real life, and like readers, I need a break, too. So perhaps the current relative lull in The System’s assault on us will allow readers a chance to watch one, two or all three of the uplifting Hollywood films I’m going to recommend.

Thus, in this essay I will celebrate these three implicitly pro-White films that since 2016 have somehow survived the gauntlet of our modern commissars to emerge as honest, realistic stories of White men doing heroic deeds. No Numinous Negroes, no Wakanda, no “Jews to the Rescue.” Just White men like we really have been since time immemorial, placed now in modern technological settings that we White men have ourselves created. The three films are Deepwater Horizon, Sully (both 2016) and Only the Brave (2017).

• • •

Deepwater Horizon

Deepwater Horizon (2016) trailer

The disaster film Deepwater Horizon stars three A-List actors: Mark Wahlberg, Kurt Russell and John Malkovich. It tells the true story of a huge oil rig in the Gulf of Mexico that suffered a series of fatal explosions, resulting in a massive oil spill that made world headlines for weeks. Deepwater deals with hard men who work with their hands. They are the kind of men who keep America humming, putting gas in the tanks of the cars and trucks we drive, providing the backbone to the globe-girdling U.S. military, and keep toasty warm the homes of Americans in subzero locales such as Minnesota, Wisconsin and Michigan.

Mark Wahlberg plays the lead with grit and seriousness. He has a man’s job to do — and he does it.

Ditto for “Mr. Jimmy,” the rig manager played by an aging Kurt Russell. No cute jokes for either man or knowing winks at the audience. Instead, they are gruff, no-nonsense employees in the high-stakes world of oil drilling, where mammoth machines can chew up a man in an instant and hellish infernos can erupt from liquid gold far under the ocean. Deepwater Horizon captures these dangers in spades and blasts them out at you without mercy.

Kurt Russel as Mr. Jimmy
Kurt Russel as Mr. Jimmy

Not only is there non-stop suspense and action in this flick, there is also a depiction of the unyielding business pressures to get the job done no matter the cost or risks. Here we are treated to masterful dialog by the trio of engineer Wahlberg, rig manager Mr. Jimmy, and John Malkovich as Donald Vidrine, a senior British Petroleum supervisor.

I know little about the South, but it sounds as if Malkovich is using a Louisiana Creole accent, which I found fascinating. As Mr. Vidrine, he cloaks his no-nonsense demands in folksy sayings and metaphors, which Wahlberg and Russell take in stride. I’ve already listened to this dialog half a dozen times but could stand to listen to it a dozen more times. Experience the best part here.

John Malkovic as Mr. Vidrine
John Malkovic as Mr. Vidrine

Once you’ve enjoyed the theater skills of the voices and dialog, watch it all again for the attempt to give an inside view into the workings of one of the biggest corporations on earth. I don’t think any knowledgeable film buff could watch this scene without thinking of Ned Beatty’s amazing soliloquy about the world of money in the 1976 classic Network. Both speeches are pure magic.

The business considerations as cause of the disaster out of the way, we next enter into the fires, explosions, deaths & injuries, and heroics of the men on the doomed oil rig. Truly it is a glimpse of hell.

Some crewmen survive, some die, some are gravely injured. One man selflessly sacrifices his life to save fellow crewmen, the vast majority of whom are White — and male. An exception comes in the form of a subcontractor position played by Gina Rodriguez, a Puerto Rican American actress. She has one line where she clearly makes a better decision than her male boss, but when the fires rage hot, she breaks into an uncontrolled panic and is saved by a daring and level-headed White male (Wahlberg’s character).

As we will see later with Only the Brave, Deepwater honors the eleven men who lost their lives by showing their photos at the end of the film. The postscript reads: “The blowout lasted for 87 days, spilling an estimated 210 million gallons of oil into the Gulf of Mexico. It was the worst oil disaster in U.S. history.” The men lost in that disaster were not “deplorables,” “insurrectionists,” “right-wing terrorists” or “White supremacists.” They were White men like our fathers, brothers, classmates and neighbors. They equal the Real America. It is proper that they are honored in this film.

• • •


The second film of my trio is the Clint Eastwood-directed Sully, the true story of Captain Chesley “Sully” Sullenberger, who glided a crippled airliner away from the towers of New York City and safely landed on the frigid waters of the Hudson River. What is so wonderful about the film is the fact that it is so true to real life, something Hollywood is not always known for.

Let me explain with this little experiment. Think about the last time you walked through an American airport, particularly one that is heavily domestic. Who were the pilots in uniform you saw strolling down the corridors pulling their leather flight bags?

A Nice White Flight Crew  —  Airport (1970)
A Nice White Flight Crew — Airport (1970)

Admit it — you saw White males in uniform. That would make sense, since unlike most other professions today, piloting airplanes in America has remained in the vicinity of 95% White and male. This must gall liberals and social engineers, for these groups dream of a world of “equality,” that is, one in which White males are purged, punished, eliminated, or at least relegated to humiliating positions of impotence.

Sully came out in 2016 in the face of endless promotion of non-white diversity and “vibrancy,” going against all that Hillary Clinton and her vast entourage represented, and supported the reality that it is White males who built the public manifestations of Western civilization and to a large degree still keep it going.

Oh, how delicious it was to watch Tom Hanks as a competent, seasoned pilot, making the best decisions in only seconds.

Next to Hanks sits the first officer, played by Aaron Eckhart, who is tall, square jawed and tough. Dare I say he’s almost Aryan?

Hats off to Eastwood for casting Hanks and Eckhart as the cockpit crew of Sully. Further, most of the supporting cast is White as well. Real life, real celluloid representation. Sometimes, that’s all I can ask of Hollywood, a wish I don’t often have granted.

Actual Pilots “Sully” Sullenberger and Jeffrey B. Skiles
Actual Pilots “Sully” Sullenberger and Jeffrey B. Skiles

Because of its unvarnished heroism, I’m going to give a somewhat detailed description of the action in Sully. It was frigid in New York on January 15, 2009. “Sully” Sullenberger sat in the left-side seat, while first officer Jeffrey B. Skiles sat to his right. Skiles was slated to fly this leg of the journey, and the plane lifted off uneventfully, turning northwest. As it neared 3,000 feet, the A320 struck a flock of large Canada geese, some of which were ingested into the two engines. The collision resulted in a full loss of power. Coming at such a low altitude over a major city filled with skyscrapers, the situation was critical.

To provide backup power, Sullenberger switched on the tail-mounted APU, a generator which provides auxiliary power. The pilots had only seconds to decide whether to return to LaGuardia, try to reach Teterboro Airport on the New Jersey side of the Hudson River, or find some alternative. Drawing on his vast experience, Sullenberger determined that trying to reach either airport was a poor choice, so he opted to land on the calm winter waters of the Hudson. Passing less than 900 feet over the George Washington Bridge, the plane landed safely in the middle of the Hudson, where all passengers and crew were rescued by nearby boats.

Eckhart, Capt. Sullenberger, Eastwood and Hanks
Eckhart, Capt. Sullenberger, Eastwood and Hanks

Enjoy looking at the faces of White men like this while you still can. Unlike so, so many other “reenactment” and “based on” films and documentaries, Eastwood’s Sully panders not at all to liberal pieties, not even in minor roles such as air traffic controller or captain of a ferry boat. We don’t have the cheesy cabin ensemble of multiracial passengers, something ushered in by the likes of Airport 75 and other such dreck from the seventies. Sully is like the cast of The Waltons, imagined as if John-Boy had grown up and become a pilot like Sullenberger. No drinking, no drugs, no wild sex. Just traditional White Americans living their lives and dealing with the challenges life inevitably throws their way.

Surprisingly, despite its debut during the run-up to the Hillary-for-President season, the same press that so blatantly supported Hillary and savaged Trump as “literally the next Hitler” gave Sully overwhelmingly positive reviews. For instance, reviewer Simon Thompson awarded the film nine out of ten points, writing: “Sully is a beautifully balanced, classily nuanced and hugely engaging film that avoids all the clichéd pitfalls it could have slipped into. Tom Hanks gives one of the best performances of his career and Clint Eastwood’s direction is beautiful and rich. It’s not just a great movie, Sully is one of the best pieces of cinema that a major Hollywood studio has released this year.”

A reviewer at wrote:

As Capt. Chesley “Sully” Sullenberger, the plain-spoken, cool-headed veteran pilot who pulled off the impossible under immense pressure, Tom Hanks once again reminds us why he continues to be Hollywood’s best personification of the all-American Everyman since James Stewart’s “Mr. Smith Goes to Washington.” Who else is so good at encapsulating such red-white-and-blue values as never-say-die commitment, pride in a job well done, doing your duty no matter the cost and selfless courage in the face of disaster without being a goody-goody bore?

Even the Village Voice said kind things about the film: “This is a talky, mild-mannered drama about stoic, middle-aged white men exhibiting poise amid chaos and illustrating the sanctity of simply doing one’s job.”

If you’d like more background on Sully, see my original 2017 review here.

• • •

Only the Brave

Only the Brave is another story about the lives of White men who get their hands dirty. Early on, we see a scene where a moderate forest fire is being handled by a hot and sweaty crew. Miraculously, there are no affirmative action minority hires in this scene, no tough Puerto Rican chick, no sensitive black guy. Just garden-variety White men — tough men. And the entire movie remains that way without exception. Even the men’s families are nice White people:

Like Deepwater Horizon and Sully, Only the Brave is based on a true story, the incredibly tragic demise of 19 out of 20 members of an elite firefighting crew called “Hot Shots.” On June 28, 2013, dry lightning ignited a fire near the hamlet of Yarnell, Arizona, just northwest of Phoenix. While the situations in the first two movies discussed above involved sudden accidents that unexpectedly overtook the White heroes, in Only the Brave, these firefighters knew they were always living on the cusp of danger, thus making these men the truest of heroes because they knowingly risked their lives to protect their fellow Americans.

The film is centered around crew chief Eric Marsh, played by a man’s man, Josh Brolin. At every turn, the film succeeds in portraying Marsh as a thoroughly admirable character who is a natural leader of men.

The film includes a number of softer scenes of Marsh with his wife, likely inserted to drawn some women to the film, but it is clear that Marsh’s life is out in the mountains facing fires that aim to kill him. I suppose that conflict with his wife provides some of the tension in the film, but the wife is grossly outclassed by Marsh’s masculinity and intense focus on his job. At one point, for instance, while the couple is sharing a candle-lit bath, the wife asks a taciturn Marsh, “Do ya wanna talk about it? Or do you wanna do your John Wayne thing?” Marsh remains silent.

Of course she already knew the answer. Immediately, the movie cuts back to the male action. How appropriate, though, that the wife referenced John Wayne, for this 2017 film and its characters belong back in the Wayne era when men were men and women were women. Right and wrong are clearly understood, and there is no hint whatsoever that these men’s world will soon be overtaken by foreign immigration, Black Lives Matter degenerates, or feminists running amok on the streets. America is still a White man’s country.

To be sure, these men are not cardboard characters lacking flaws. Indeed, they are human. Second to Marsh is Brendan, a young man who in the beginning of the movie is shown smoking meth, committing petty larceny, and getting one of his throw-away girlfriends pregnant. His struggle to grow into a mature man is a central theme of the movie, along with Marsh’s decision to take Marsh under his wing and keep him from reverting to an aimless drug addict. (Careful listeners will catch a fleeting conversation revealing that Marsh himself had addition problems, so his decision to mentor Brendan is rooted in that sense of identification.)

Brendan indeed grows, slowly taking responsibility for his girlfriend and baby daughter. Like Marsh, however, his life is largely focused on the wild land, where all plant material is nothing more than “fuel” to a firefighter. None of the men here put their women or their wives above their duty and bonding with their firefighting brothers. Nineteen of them pay for this focus, too.

In short, one day the men are caught by unpredictable winds and overtaken by torch-like flames. Here it is not “toxic masculinity” that is pilloried but the very best traits in real men that are celebrated and duly honored. Death through sacrifice is the highest calling of the Granite Mountain Hot Shots.

Again out of character, Hollywood critics lavished praise on this traditional film, with the critics of Rotten Tomatoes praising in unison with average viewers the merits of the film. “Only the Brave’s impressive veteran cast and affecting fact-based story add up to a no-frills drama that’s just as stolidly powerful as the real-life heroes it honors.” Another wrote that, “Only the Brave is a visually splendid, spellbinding, and surreal movie that also happens to be an emotionally shattering, over-the-top ugly-cry for the ages.”

• • •

Viewing these films is easy with Amazon streaming rentals, but for the same price you can buy new DVDs if you still have such archaic equipment lying around. Move fast, however, for our post-insurrection respite will likely not last long. In a thousand ways, The System has announced that characters like all the White men in the films just reviewed are now Enemies of the People. In self defense, will real White American men now show the bravery and determination seen in the noble acts of participants in these movies, as well as the real men they were based on? Time will tell.

(Republished from The Occidental Observer by permission of author or representative)
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  1. anon[712] • Disclaimer says:

    I think that the Mr. Connelly is mixing up Airport 75 with Airplane. Airport 75 has an almost completely white cast whereas Airplane was full of minorities and is a silly comedy.

  2. Bert says:

    The Alamo was followed by San Jacinto.

  3. Anon[537] • Disclaimer says:

    And now we have the insufferable BBC casting a groid actress in the role of Anne Boleyn in a docu-drama of that poor woman’s life, as the wife of Henry the eighth, in the 1500s, in Britain. Will this sheer insanity never cease?

    • Agree: Gordo
    • Replies: @Joseph Doaks
  4. martin_2 says:

    When a film is based on a true story, and involves the loss of life or at least a life threatening situation, then surely even Hollywood will not have the gall to cast the heroes or heroines as anything other than their true Race, and this usually means white.

    I remember ramzpaul had a good video – IMO his best – on this, although it might have been banned by youtube now. He discussed the cave rescue of the boys in I think it was Indonesia a few years ago. Who were the experts risking their lives leading the mission back into the cave to retrieve the unfortunate boys? Was it a kick arse white woman, or a sassy black woman, or a wise cracking black man? No. it was the usual suspects. Two white men.

    • Replies: @Cowtown Rebel
  5. These movies are cheap action films cashing in on real life accidents.

    True heroism hasn’t been seen on American film since 1970.

    Praising these movies as “heroic white films” is cringe and boomer AF.

    • Troll: follyofwar
  6. Gunga Din says:

    What a shame Sullenberger let the mask slip when he scathingly blasted Trump before the election. Just another brainwashed lib.

  7. The great actor and director 90 year-old Clint Eastwood won’t be with us for much longer. Will there ever be another pro-White director of distinction to take his place.?

    • Replies: @Mike Tre
  8. anarchyst says:

    Although fiction, I would like to add the movie “Law Abiding Citizen” to the mix.
    Although the self-serving, corrupt black prosecutor (played by Jamie Foxx) gets his way at the end, Gerard Butler’s character Clyde Alexander Shelton gives the black (jew)-run “justice system” a run for its money.
    This film is a good example of the corruption of the American “justice system”

  9. Sully is the story of an Obama era hoax.

    No low slung podded twin engined airliner landed on the Hudson that day.

    It’s impossible and complete rubbish.

    A fake plane story as an occult adjunct to the fake planes on 911.

    • Troll: 36 ulster
    • Replies: @GeneralRipper
  10. These three movies are crap.

    • Replies: @A.R.
  11. unit472 says:

    Deepwater Horizon should have been a good movie. Instead it became a typical Hollywood special effects spectacular of fiery explosions, close ups of sweaty faces with no real effort to explain what had gone wrong or why.

    The actual story and events were much more interesting than the events on the Deepwater Horizon. BP went from villain to hero as they desperately tried to cap the well. The initial efforts using robotic submersibles 5000 feet below the Gulf of Mexico that BP wisely allowed to be televised live were unsuccessful but demonstrated the amazing technology the off shore oil industry had developed. Then came the incredible effort to drill a second well, locate the first well deep beneath the ocean floor and drill into it to plug it. That too was all white men doing amazing things.

  12. Some very unheroic movies

  13. ebear says:

    Does Hollywood really have an agenda, besides making money? Could it be that heroic portrayals of Blacks in cinema is simply pandering to a Black audience, a more sophisticated version of the Blacksploitation genre of the 70’s? If feeding delusions sells tickets do you really need a deeper motive, considering the love of money that characterizes the owners of that medium?

    Take rap as a counter-example. Controlled by the same interests, in what way does Gansta “culture” wrapped in mindless doggerel advance the conquest of White America? As far as I can tell it alienates just about everyone, with the exception of white suburban teenagers on the loser path, so if anything, it acts as a useful filter.

    The TV ads are easy to explain. No hidden agenda there, this is simply pandering to the “woke” mob, and a conscious effort to avoid the attention of the Twitterati. But who watches TV anymore, so basically it’s a wash.

    Final point: if Whites are so easily led down the path of self-destruction, then what does that say about their intelligence? Are people that stupid really worth saving, and how would you do that? By writing movie reviews?

    White Nationalists commit the same categorical error as their Black and Jewish counterparts: they consistently confuse Race with Culture.

    • Replies: @Cowtown Rebel
  14. @ebear

    Race and Culture are inextricably intertwined. How is that not self evident? If you want to see Pagodas and Chopsticks, you will traditionally find them in China, where they were created by the Chinese. Their languages, Mandarin and Cantonese, are also Chinese. If you desire to immerse yourself in Chinese Culture, then you will have to reside among Chinamen. They may come here and adopt aspects of our lifestyles and values, but that doesn’t mean they aren’t still Chinese. They simply become hyphenated Americans who have traded portions of their identities for acceptance and prosperity.

    Does America have a White Culture? Absolutely! As diluted and corrupted as it may have become, each section of the Country has it’s own unique brand of White Culture. Often, several varieties of White Cultural influences can be found within any given geographical location. Cuisine, attire, accents and music still define certain regions, and a stronger emphasis is placed on those aspects of identity in those areas. It may be that some ancestral connections have been severed, and maybe even lost, but others survive and some may even be beginning to be rekindled.

    (((Hollywood’s))) agenda has long been to undermine and subvert White Identity, subtly at first and much more aggressively in recent years. From the slow mainstreaming of miscegenation in films like “Guess Who’s Coming to Dinner?” and the guilt trip induced shaming contained in “To Kill a Mockingbird” to the more recent Negrophiliac “Jungle Fever” and the White Self Hatred manifest in “Mississippi Burning” (among literally hundreds of other similar films produced between and since) the goal of destroying the White Race by condemning, then ridiculing, then denying their Culture has had a great deal of success in the last seventy years. It has effectively distanced a great many White People of the last three or four generations from their Cultural foundations. But, much to your dismay, this hasn’t resulted in a complete erasure of White Culture from our collective conscience. There are still places where it is paramount, and there are new generations of White People who are seeking to reconnect to their distinct heritages. The continual Left Wing assault upon Whiteness may actually be causing more White People to embrace their identity as opposed to rejecting it.

    How do we save the White Race? Through movie reviews? That might be a start. Older films like “Zulu” (1964), that clearly demonstrate the superiority of White Culture over that of Africans, can be useful. Another method, that I personally have adopted, is to personify Whiteness. And, to take every opportunity to point out the fact that others from around the globe abandon their primitive lands and practices to come here and adopt Western principles in business and education, and to partake in the benefits that White civilization alone can provide.

    In the veins of White Men flows the blood of explorers, pioneers, conquerors, inventors, scientists, and innovators, the likes of which no other race of people can come close to laying claim to. From the depths of the oceans, to the polar extremes and the mountaintops, and into the stratosphere, the White Man has ventured into and charted them all. Every time you flip a switch and a room is illuminated; whenever you turn a key and an internal combustion engine roars to life; or if you look up and see contrails traversing the sky; you see evidence of White Culture and what it has contributed to the World. Whenever a member of another race operates a motor vehicle, views a motion picture, or even turns a light on, they are guilty of Appropriating White Culture.

  15. @martin_2

    Hollywood has already substituted Negroids for White Men in what are purported to be non-fictional accounts of actual events. Just a couple of examples include Danny Glover’s character in “Bat*21” and Morgan Freeman’s role in “Dolphin Tale.”

    Other affronts to White Men include the substitution of White Firefighters for an assortment of multi-ethnics and genders that were selected for a Statue of the flag raising at the site of the World Trade Center’s collapse.

    Then, there are the blatant and obvious attempts to warp history like the Broadway play “Hamilton” purposefully casting a Negroid in the part.

    Much like Black History Month, if you stray from Music and Sports, there isn’t much material left to focus on. So, you can do as (((Hollywood))) has long done and make up a “Wakanda” attributing advances to Negroes that are nonexistent; exaggerate and conflate their few genuine contributions like in “Hidden Figures” or you replace White Men with Negroids and create a Myth.

    • Replies: @WhiteWinger
    , @Danbusters
  16. I read that Marsh took Marsh under his wing. Was that part of his “addition” problem?


  17. I’ve seen sully, boring film. Articles like these… and you wonder why people don’t like us. There’s a lot of white greatness out there. We don’t need to praise sully

  18. KenH says:

    These are all great movies that depict the real life heroics of white men. I would add Midway from 2019 to that list as well. There’s also Top Gun but that dates back to 1986. The 2021 reboot is all about race and gender diversity.

    Hollywood made a fictional black Sully in the movie Flight starring Denzel Washington as an alcoholic pilot who’s amazing feats in the cockpit while drunk off his ass saved a lot of lives. Blacks can only match the heroics of real life white men in the fantasies of Hollywood movies.

    • Replies: @Mike Tre
    , @WhiteWinger
  19. Mike Tre says:

    Christopher Nolan is all I can think of.

  20. Mike Tre says:

    I haven’t seen any of these movies. I was a big fan of Eastwood and Hanks for a long time until I fully realized the truths behind race realism. Since then I have turned away from both actors because both are dishonest blank slating egalitarians to say the least.

    Hanks: This man is pure narcissism. Most of the roles he takes now are those that allow him to present himself as the absolute apex in human morality and bravery. Sully, Captain Philips, Saving Private Ryan, Apollo 13, etc, etc, etc.

    The Green Mile was one of the most disgusting allegories of white-man-bad, magic negro, interracial cuckolding and interracial homosexual dom/sub propaganda that has ever been flung into the faces of whites. And Tom Hanks was right in the middle of it.

    And Eastwood.. has this guy made a movie since the late 70’s without a black or POC sidekick?

    • Replies: @Cowtown Rebel
  21. Mike Tre says:

    ” There’s also Top Gun but that dates back to 1986. The 2021 reboot is all about race and gender diversity.”

    The original Top Gun has as Cruise’s love interest as a super big brained top secret clearance dog fighting specialist female. It also has the token negro (the same actor who plays a super genius computer hacker working for a group of German terrorists [because you know, a bunch of Germans couldn’t find another German smart enough to be their computer hacker guy as compared to an Erckle like American negro] in the movie Die Hard) co-pilot/navigator which was likely unheard of. Just because the degree of shoehorned POC roles 30-40 years ago was to a lesser extent than today doesn’t mean they weren’t already working that multi-culti stuff in at every opportunity.

    • Replies: @KenH
  22. @Cowtown Rebel

    danny glover’s part in Bat 21 wasn’t black in the true story????SHIT, never knew that, but from finally learning the true nature of ((( hollywood ))) thru the last 25 years,it all makes sense now.

  23. @KenH

    And another Denzel film that came soon after, Unstoppable, based on a real incident in 2001, about a runaway freight train, with the same, untrue heroism by a Black male.

  24. @Mike Tre

    “The Green Mile” used a Magic Negro formula that may trace its origins to the unlikely sources of Bill “Bojangles” Robinson and “Uncle Remus.” Although, those were sympathetic portrayals, they were, in spite of the negative light they are currently viewed in, accurate reflections of race relations in a time before M.L.K. and The Civil Rights Movement. The Mammy, the trusted House Nigger, the Overseer or aged Field Hand, may have not only had a place in the hearts of their owners, they often reciprocated this affection and they were frequently influences on the Master’s children. Martha “Mittie” Roosevelt used to entertain her young son Theodore “Teedie” with stories about some her favorite Servants back on the Bulloch Plantation, where she grew up in Georgia. Stories from some early prominent Southern musicians recall a Slave that had taught them to play a musical instrument when they were children.

    One need look no further than the graveyards where a former Slave is buried in the same plot as his former Master’s family to realize that genuine friendships existed in much the same way an employer develops an attachment for a long time, faithful employee, and the hireling feels a certain sense of gratitude for, and loyalty to, their jobs. There is an instance of this just over a mile from where I am currently sitting. A little further distant, in the adjacent county, sits a home that has been in place since 1866. Some of the homesteader’s Slaves followed him and he permitted them to work as sharecroppers.

    These weren’t unusual occurrences. When Jefferson Davis’ was freed from Prison, he was destitute. A former Slave wrote to him and sent him money, noting that he had always been treated well. Booker T. Washington, a Freedman writing in the first decade of the twentieth century, declared that he had ceased to hold any ill will against the people who had held him in bondage and he began to enumerate the benefits of being indoctrinated into western civilization regardless of how it came about. He was firm in his conviction that, long before Rosa Park’s staged bus incident, Negroes in America were in a better condition morally, spiritually, physically and mentally than any members of their race in any other part of the World. He was equally staunch in his denunciation of Negroes who would seek to aggrandize and enrich themselves at the expense of their past grievances. Unfortunately, over a half century of anti-White propaganda has negated these otherwise positive remembrances and occurrences substituting them with only the most extreme examples and damnable fabrications.

    “The Green Mile” is different in that it not only plays the tired and fallacious innocent Negro wrongfully accused and convicted by prejudice card that is used to exonerate every carnal outrage perpetrated by them both then and now, it goes a step further by endowing the poor, misunderstood victim of bigotry with supernatural extrasensory perception and miraculous healing abilities. It is purely a series of cheap emotional gimmicks from the beginning to end with the only aim being to demonstrate how gentle, benevolent and enlightened even the most intellectually challenged Negro can be compared to the White Rednecks he is surrounded by. Hell! He may even possess Super Powers!

  25. @Anon

    “Will this sheer insanity never cease?”

    Not until Badwhites show as much solidarity and make as much noise in the public square calling it out as the Goodwhites have so far done for years promoting it.

  26. Anonymous[103] • Disclaimer says:

    Crybaby whities whining about ‘magic negro’ and POC inclusion in movies are showing their lack of understanding in both storytelling and show business. Blacks are 13% of the U.S. population, but 25% of movie watchers.

    • Replies: @Cowtown Rebel
  27. It’s probably useless to say that Hollywood should not be supported at all. The general idea is that people are just going to waste their time watching something no matter what, so give them examples of the tiny minority of relatively less cancerous options that are feeding the beast.

    Fair enough, it’s the film version of praising McDonald’s salads for their potential to wean people off of junk food. Or a comparison of the mass produced hybrid vehicles that are really sticking it to the auto and oil industry.

    Our motto is “enslave yourself smarter, not harder.”

  28. @Anonymous

    What you misinterpret as “whining” is actually taking notes and correlating details. It is the process by which a case is built upon. In this instance, it is a case of Negroes taking credit for things that they could have never achieved had it not been for their exposure to White Civilization, and of them attempting to impose themselves into fanciful roles that are easily debunked with a cursory review. That Jews have an orchestrating hand in this is as obvious as the nose on their face. Your claim about our “lack of understanding” demonstrates that it is you who fails to grasp, or accept, the reality that we are wide awake and we fully comprehend what is happening.

    I understand “Story Telling.” It can be relating the details of an actual event or weaving a tale for the purpose of entertaining a reader or a listener. It can also mean lying and deceiving. I also know what “Show Business” is. It is a means of earning a living through marketing entertainment. It can be elevated, low brow, uplifting or obscene. That Negroes are drawn to the aspects of the business that are the least refined, most delinquent, and devoid of wit, class or sophistication is a reflection of the depth of their character. The fact that a large number of White people are also drawn to the inane and the immoral doesn’t take away from the simple and readily observable truth that there are infinitely more White people watching documentaries and reading books than Negroes.

    The two areas that Negroes aspire, and occasionally manage, to be successful in, Sports and Music, are enabled by White ingenuity and organizational skills. The musical instruments, the recording equipment, the lighting and staging, are all the result of White Cultural achievement appropriated by Negroes. Otherwise, the Soul Train would consist of a bunch of bongo beating, chanting, stomping Primates wearing leopard skin loin cloths and shaking spears. Have you ever seen an African “Banjo”? It’s a stick attached to a hollow gourd with a slender thread of sinew stretched from one end to the other. As for Sports, the rules, the plays, and the balls themselves are all the products of the pursuit of White leisure and entertainment. They were never meant to be The Be All, End All, or of National importance. The Protocols of The Learned Elders of Zion explained how the Bread and Circuses could be used to distract the masses and keep them mollified. On the subject of Sports, I still have trouble understanding how World Class Athletes and Grotesquely Obese Buffalo Women emerge from a Food Desert? Steroids, Food Stamps, and Lies are the only explanations that I can arrive at.

    Where do you get the 25% of Movie Watchers figure? Does that mean that 25% of the audience at the theater watching “Star Trek XXXVI: The Octogenarians” with you is Black? Or, are you talking about the percentage of the moviegoers at the premiere of “Big Mama’s House VIII”?

  29. anon[259] • Disclaimer says:

    You reveal your ignorance again and again. Notes and correlations have nothing to do with storytelling or show business, you sound like conspiracy-minded negroes and negresses still fixated on the ‘slave ship’ on the Snapple label. Track the number of yellow cars compared to green cars, and let us all know the significance of your note-and-correlation.

    Documentaries and books don’t make money, and the melanin-enriched don’t consume in quantity. Docs and books exist to promote a patron’s worldview and slide money to the favored, or to bolster a resume for the credentialist strivers. As for the 25% figure, Google is your friend. Recognize that you are gaslighting yourself.

  30. @anon

    Well, there is absolutely no point in debating with a Negrophiliac, Commie-Con, Moron who twists everything to suit its own contorted and demented psyche. Ignorance is revealed by a lack of knowledge. Yours is glaringly apparent. Hence, the reason that you ridicule documentaries and books.

    Notes are taken by Directors who correlate the dialogue with the action on the screen. Notes are also taken by Businessmen (including those in Hollywood) who correlate market trends analysis. Notes are taken by Writers (Story Tellers) who correlate facts with their imaginations. Do you even think before you type? Notes are also taken by Lawyers who correlate evidence to present a case. Which, in essence, is what many are doing when they first enumerate and then share their findings and submit their conclusions. Obviously, the concept is beyond your comprehension.

    If you understand anything at all, it’s that a lot of people are as stupid as you are, and are, therefore, drawn to the same common, vulgar, trite and trivial nonsense that you undoubtedly immerse yourself in regularly. Enjoy wallowing in sewage while the decent and conscientious White People seek to enrich themselves mentally, morally and spiritually. Google is nobody’s friend. You’ve got gas to spare, but your bulb is pretty dim. You do recognize what you can go do with yourself?

    • Agree: GeneralRipper
    • Replies: @Corvinus
    , @Tom F.
  31. @anon

    If I were preparing a report for General Motors, they might find a comparison of the number of green versus yellow cars to be of some significance. But, I can’t see how that information would be of benefit to us all. Still, if that is something that piques your curiosity, then, by all means, feel free to count as many cars as you like, being careful not to list the same vehicle twice. Then you may divulge the results of your research to us all if you wish. We’re all anxiously awaiting your report.

  32. KenH says:
    @Mike Tre

    The original Top Gun has as Cruise’s love interest as a super big brained top secret clearance dog fighting specialist female.

    Yeah, but it wasn’t over the top propaganda like we see today and the black pilot was just the black token on the periphery who played no meaningful role which was par for the course in 1980’s movies. This was designed to soften whites up for blacky to play larger roles in the 90’s and beyond.

  33. Corvinus says:
    @Cowtown Rebel

    Wow, you really know how to project. But that’s what you do as a gamma male.

    • Troll: GeneralRipper
  34. Tom F. says:
    @Cowtown Rebel

    LOL! Whatever you say, Cluster B.

  35. @Maxyboy2000

    Just like that goddamn fake Moon landing, huh bro?


  36. @Cowtown Rebel

    And there’s always such drivel as “Red Tails”.

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