Tuesday, January 26, 2016

Muh Slavery Movie to Correct Injustices, Earn Big Money

Jew-controlled Hollywood and the talmudvision graphically paint a bizarre anti-reality that, even in this era of high-speed internet everywhere, is still consumed and believed in by an alarming number of Whites. In this kosher alternate dimension the U.S.S.A. is approximately 50% negro with a black female being the most typical American. Said negroes are intelligent, well-mannered, honest to a fault and long suffering in the face of their comically ineffectual White colleagues. Crime is almost entirely perpetrated by White males, often rural Bible readers. Materialism, promiscuity and sodomy are presented as glamorous and not at all life-destroying. Sincere belief in anything other than semitic nihilism is relentlessly mocked.

Suffice it to say, when this jewish angel dust hit turns to the past we're given something even more ridiculous, generally a lengthy discourse on "White man bad" that you'll be expected to pay for the privilege of viewing. We need to stop feeding the jew. It's time to cut out the rabbinical fantasies, turn off the spiritual poison and get ready for the coming collapse.

Meanwhile, here's an exciting new film about the jewish slave trade that conveniently removes all reference to the friendly merchant and his Middle Passage of joy and light, to say nothing of how the negro animal sold their own people to Shylock. Let's instead focus on demonizing, you guessed it, rural Whites. Wow, so brave.

“Without an honest confrontation, there is no healing.” That’s from Birth Of A Nation director-producer-star Nate Parker today onstage at the Sundance Film Festival. 

It's time for that honest confrontation. The negro is a genetic alien and a failed branch of humanity that is simply not compatible with civilization. They need to be removed. Paying the jew to bring them here was madness.

His telling of the early 19th century slave revolt led by Nat Turner had audience members crying in their seats and jumping to their feet in a prolonged standing ovation at the film’s conclusion.

Yay, kill Whitey! This is racial cuckoldry. Sit and watch the graphic anti-White fantasy, cheer as the "bull" murders White women and children in glorious color. Cry like the coward you are, endorse your own destruction. May history forget Whites like this ever existed.


Potential buyers for the film streamed out of the lobby mere minutes after the cast had left the stage post-screening.

We're creating amazing art full of profound messages (Whites bad! Kill Whites! Nigga bodies! Ah! Ah!) but gots to get dat papa, gnomesayin'?

Some worked multiple cell phones (with assistants standing nearby fielding calls of their own) in what appeared to be fevered discussions about the awards-bait film. 

The word has come down from zion that we need "mo' wadds foe dem nigga falms" and there's profit to be made from White cucks. We need to get this turd into theaters, stat.

“I made this movie for one reason only, creating change agents,” adding, “there are still a lot of injustices in our world.”

Two minutes later he was seen aggressively negotiating for shekels from the carpet bag of Big jew.

You're our best ally, merchant!

“These people thought they were doing good when they were doing bad,” said Parker of his effort to depict the entirety of the slavery ecosystem. “In 2016, that echoes,” he added, to a roar of approval from the Park City crowd.

If there's one thing we can relate to in [current year] it's misguided and insane do-gooding that leads to predictable "minority" disaster.

While comparisons undoubtedly will be made to such films as Best Picture Oscar winner 12 Years A Slave, Parker’s movie has the added visceral impact of a movie like Schindler’s List, or a handful of other well-told films that depict genocide.

Still waiting for a film about the Holodomor. My spell-check still doesn't think that's a word.

For all the talk of Sundance becoming overly corporatized and perhaps losing sight of its indie mandate, watching a filmmaker put everything on the line on both sides of the camera is a reminder why there really is no festival quite like Sundance.

Yeah, talk about taking a huge risk by making the controversial statement that muh slavery was bad and Whites were pure evil. And then the big rewards in fiat currency from g*d's chosen, it really makes you want to cheer.


A scene from the past or the near future?

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