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Of the media products that suggest prior knowledge of the 9/11 attacks, the Iron Man cartoon that aired on October 22, 1994, must be at the top of the list because the 17-minute television cartoon depicts a plane and missiles hitting the Twin Towers and a plane smashing into the Pentagon in the first minute. The 52-second video clip (above) from the episode entitled “The Grim Reaper Wears a Teflon Coat” shows these depictions.

Because this program clearly suggests prior knowledge of the 9/11 plot to attack the World Trade Center and the Pentagon, the first question to be asked is, who produced this program?

Read the rest from Christopher Bollyn

Aryan Skynet

You can’t keep racist hipsters down.

Heat Street reports:

A record label has dropped the band Dream Machine after two of its members were caught expressing “ugly opinions” about political correctness, safe spaces, feminism and immigration. … Castle Face Records criticized comments that musician couple Doris and Matthew Melton made during an interview with the French publication Still in Rock.

“We’re horrified and ashamed by this, and we appreciate people being upset but respectful in letting us know how they felt about it,” the record label posted on Facebook.

Hipster Racists In Love

Still In Rock asked about an apparent controversy at the SXSW Festival where foreign bands were told they would be deported if they played shows that that were not on the schedule. Band member Matthew Melton responded with pure hate speech, suggesting “playing a big festival in the United States of America is a great opportunity and…

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57th Annual Writers Guild Awards - Show

Nice tie

Some of the guilty feel compelled to give the game away, as it were. Zionist Wag the Dog (1997) screenwriter and playwright David Mamet happens to be one of them. Yesterday I watched his early movie House of Games (1987), which is concerned with a group of Seattle conmen, and followed it up by listening to his audio commentary with actual hustler and sleight-of-hand manipulator Ricky Jay, who plays one of the flim-flam men in the film. Mamet, who has a pronounced affection for shysterism and cons, would return to the theme in The Spanish Prisoner (1997) and other screenplays. Just like Lindsay Crouse’s character Dr. Margaret Ford, who has a fatal “tell” and inadvertently gives herself away by making repeated Freudian slips, David Mamet also feels compelled to say too much. He and Jay, he says, “spent many, many years talking about the similarities between drama and the confidence game – that what you’ve got to do is distract the person in order to get them to do something they wouldn’t ordinarily do. For example, to distract them so they don’t say, ‘Wait a second. Elephants can’t really fly, this movie’s a bunch of nonsense.’” Jay concurs that “the power of film in general is one of the biggest cons.” Profanity merchant Mamet’s greatest revelation is still concealed up his tuxedo sleeve, however. Remarking on the character of the conman played by Mike Nussbaum, Mamet says, “One of the great rules of life – I made it up – is never trust a Jew in a bowtie.” Just remember, readers, that it was the racist, anti-Semitic, Holocaust-denying, conspiracy-theorizing bigot Mamet who said that – not me.

Spielberg

Oscar-worthy apparel

Rainer Chlodwig von K.

Aryan Skynet

How many of you voted for ‘change’ in the last election? I estimate it is about the same number of people who voted for ‘change’ when they voted for Obama (and Bush Jr, Clinton, Bush, Sr, etc, etc, etc). You all keep voting for ‘change’, yet what do you get?

You truly thought that thru every one of these lying bastards’ words spoken, that ‘change’ would come. That wars for Israel would stop. That the neocons and war hawks would be taken down.

At my personal blog I explained that Obama was simply a black Bush, that there was no real discernible difference except on the SJW areas of divide. In this past election, myself (and the excellent writers here at Aryan Skynet) took great amounts of time and effort to point out what is really easily discernible: that Trump doesn’t have an honest, principled bone in his body…

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Aryan Skynet

Moonman Elizabeth Cady Stanton (1815-1902)

Anti-racism and immigration advocacy – or, at any rate, virulent anti-white attitudes – are de rigueur for today’s crop of Third Wave feminists. Many of these young women would probably be surprised to discover, however, that women’s suffrage activism and other liberatory initiatives hide a progressive heritage of elitism and eugenics. No less a figure within the movement than the honored Elizabeth Cady Stanton was, by today’s standards, a bigot and proto-Nazi who wanted to exterminate six million blacks and Irish.

Stanton, who advocated for women’s reproductive sovereignty, was sympathetic to aspects of the free love movement of the time, but would not have been caught dead at a SlutWalk. “When [her cousin] Elizabeth Smith Miller, confused by her relative’s stance on free love, asked Cady Stanton directly if she espoused the ideology, she replied that she was opposed to the sexual promiscuity of many of…

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White Girl

Just when you thought the movie industry had hit rock bottom, along lumbers White Girl with its Jewish jackhammer to get at the rock beneath the rock. Following on the heels of American Honey (2016), White Girl exemplifies a long tradition of cinema that seeks to shock the sensibilities with its exposure of the wild rites of the rising generation – a genre that stretches from the earliest juvenile delinquent pictures up through the likes of Over the Edge (1979), River’s Edge (1986), Kids (1995), Bully (2001), Spring Breakers (2012), and Heaven Knows What (2014).

White Girl is yet another foray into the demimonde of ugly people in ugly clothes engaging in ugly, loveless dances and lewd acts to ugly, afro-degenerated soundtracks – with the difference that this entry makes its anti-white agenda totally explicit. Purporting to tell the true-life experiences of some lowlife named Elizabeth Wood, the story follows an Oklahoma City slut (Morgan Saylor) after she moves to New York – ostensibly in order to “study” – but instead uses her parents’ money to buy drugs and get into trouble.

Gazing longingly out the window of her apartment at a group of loitering mongrels, White Girl announces, “I’m gonna go get some” and so sets out on an odyssey of debauchery that will occupy the next eighty minutes or so. White Girl falls hard for hat-backwards barrio banger Blue (Brian Marc), who tenderly screws her against a wall. After Blue gets arrested, he trusts her to get his supply of dope back into the hands of his ruthless supplier; but, being the stupid White Girl that she is, she instead hopes to raise money for his legal defense by trying to move the powdered product herself – with inevitably catastrophic results.

Not worth watching more than once, White Girl is a nihilistic film that thrives on shocks and not much else.

3.5 out of 5 stars. Ideological Content Analysis indicates that writer-director Elizabeth Wood should be institutionalized for her own protection and that White Girl is:

3. Media-skeptical. At the very least, White Girl presents a sobering picture of the species of undesirables who seek employment in the media. The idiot protagonist, the sort of lout produced by a lifetime’s ingestion of mainstream media poison, has gone off to New York to study writing and the “liberal arts”. White Girl’s sleazy magazine editor boss (Jewish actor Justin Bartha, playing a character with the distinctly goyische moniker Kelly), meanwhile, hopes to inflate the value of some worthless artwork he bought by spotlighting the artist (“Rambo”) with a special profile.

2. Pro-drug. The script halfheartedly makes a distinction between marijuana and harder drugs – “We just smoke weed every day, all day,” explains one of the mutts – but all drugs are inextricably linked with sex in the film. The title character falls in love at first sight with a street pusher, and plying women with cocaine or alcohol comes across as an expeditious means to satisfaction. Kelly gains instant access to White Girl’s orifices when he lays out some lines of cocaine and essentially rapes her with little resistance and no consequences. The movie appears to want to dissimulate about its intentions and provides a couple of scenes of morning-after horror and vomit for plausible deniability; but the association of sex with drugs is undeniable in the face of such moments as a young woman snorting a line of cocaine from a man’s penis.

1. Anti-white. Whatever claim White Girl might have to being a cautionary tale is forfeited by the flippant choice of celebratory ape music about pimping white flesh to play during the closing credits. A Jewish triumphalist proclamation of victory in the face of ubiquitous European degeneracy, White Girl is nothing if not an expression of ethnosadism. Zio-prostitute Chris Noth of Sex and the City infamy puts a gentile face on the sleazy lawyer archetype in his role of George, the unscrupulous attorney White Girl hires to represent Blue. In one telling moment, a drop of wine trickles like blood from the corner of George’s mouth – a projection to the effect that whites, not Jews, are the vampires that prey on America. “It’s a really fucked up system,” this character explains. “You could have a white kid stab someone to death and he’ll get less time than a black kid caught with a miniscule amount of drugs. This is the way it is.” One of the movie’s objectives is to get across the propaganda meme of “white privilege”, with White Girl seen to escape unharmed, suffering no repercussions after precipitating what is likely the end of Blue’s career. He goes to prison while she, unperturbed, is accepted back into the fold of the “college” life. White Girl, unsurprisingly, was produced by a rats’ nest of ethnics including Ariel Schulman, Orlee-Rose Strauss, and Gabriel Nussbaum – all of whom, one can only imagine, are deeply concerned about the plight of white girls worldwide. Another producer, Christine Vachon, made The New York Observer’s list of “The New Power Gays” – homosexuals being Jews in spirit and politics.

Vachon

Kosher Lunch

Chris Noth

Chris Noth 2

Rainer Chlodwig von K.

Skynet‘s old acquaintance Rabbit offers his observations on The Wicker Man (1973), a film that presents an interesting comparison with another British pop-cultural artifact of the seventies that I viewed recently: the miniseries Children of the Stones (1977), which – as I discussed with Kyle Hunt of Renegade Broadcasting – casts the pagan heritage of Europe in rather a sinister light, from a Judeo-Christian perspective. Rabbit sees in Christopher Lee’s cult leader a proto-“neoreactionary” figure, while I find in Children of the Stones a demonization of nationalism and Europe’s pre-Christian identity.

Rainer Chlodwig von K.

Read Rabbit’s review: Revisiting The Wicker Man – AltLeft.com

Aryan Skynet

Wyndham Lewis 2 Wyndham Lewis around the time of the First World War

The writer and painter Wyndham Lewis presents a study in contradictions. He was, for one, a violent man and a soldier who longed for peace. “Lewis as an artist and as a writer is an American, a Briton, an Englishman, a Europeanist, a modernist who advocated ultimately the values of tradition within the vortex of force that he put forward, and I personally think he was a great man in his troublesome and vexatious way,” Jonathan Bowden avers1; but he was also a revolutionary, both artistically and politically, and reluctant to be constrained by the particulars of an exclusive nationality. “Wyndham Lewis was an exemplary modernist cosmopolitan: born a citizen of three nations, Lewis extensively toured the artistic scenes of pre-War Europe as a young bohemian,” points out Emmett Stinson:

[…] Lewis’s autobiographical works emphasize his unequivocal belief…

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A source who was in the audience on Monday told us that the political spat was “painful to watch.”

Read the rest: Oliver Stone’s ‘Late Show’ interview went completely off the rails | Page Six

Aryan Skynet

Stonewall 2 Unrest at the Stonewall Inn, 1969. Site of the coming-out party for today’s gay rights movement, the Stonewall was a disgusting dive operated by the Genovese crime family.

J. Edgar Hoover, it is now generally recognized, was a woefully compromised public servant who allowed organized crime to prosper under his auspices – all while pursuing chimerical communist bogeys into the fifties and sixties. Did the Israelis hold Hoover’s leash? The answer may lie with Hoover’s involvements with Roy Cohn, Meyer Lansky, and a homosexual blackmail operation utilizing underaged boys.

Justin Cascio summarizes the New York syndicate-homo connection at Mafia Genealogy – also introducing an odd character nicknamed “The Skull”:

Lucky Luciano built the Genovese monopoly on gay nightlife in New York City in the 1930s. […]

Of the Five Families of New York, Lucky Luciano’s was the one we now call the Genovese crime family. […] Until 1957, when Vito Genovese…

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Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

Norður

“We must secure the existence of our people and a future for White children.” — David Lane

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A History of the Russians and the Jews

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