David Lynch has died at the age of 78.

Although he had emphysema from nearly 70 years of smoking, it appears that his death ultimately came as a result of being forced to flee the LA fires.

But yes, he was going to die either way.

People attack me for being pro-smoking, but what do you want? You want to live to be 100? Why would anyone want to do that?

The average US life expectancy for males is 77. Obviously, the reason the US number is so low compared to other countries is that the US is an obese country, and given that Lynch was not obese, he may well have lived another few years if he had not been a smoker. Fair enough.

But who knows – maybe if he had not been a smoker, he would have been obese?

The point is: this smoking thing is really exaggerated beyond anything remotely reasonable. If everyone was in tip-top shape and the government was very strict about toxins in the food and water and in the environment, maybe it would be reasonable to talk about smoking as a health risk, but literally everything is worse than smoking. Watching the most obese country on earth talk about the threat of cigarettes is pathological.

Funnily enough, I was recently talking to someone about the available BluRay releases of the original Twin Peaks, and was going to watch it. Literally, just a few days ago. It’s been a while since I’ve watched it. I like it a lot, though it is of course one of the great tragedies of film and television that the studio interfered and destroyed the show by forcing Lynch to solve Laura’s murder.

I would like to go back and watch some of his other films. I never understood Mulholland Drive or Lost Highway, but in reading other people comment on these films over the years, I’ve realized you’re not really supposed to understand them. I do think Blue Velvet is a great film, and I really appreciate the aesthetic of Dune, which lines up with the books much better than the new films, and it’s unfortunate Lynch’s Dune film was such a disaster when it could have been great.

Though I appreciate the work, I’m definitely not the biggest fan. What I can say about David Lynch in memoriam is that he is the sort of person you want to have in society, involved in the conversation, because he was a very unique person. I remember back a million years ago hearing him on Alex Jones saying that 9/11 was done by the government. He later came out and said that he was a Democrat but that he couldn’t be a Democrat because they try to stop him from smoking. During Trump’s first term, he said he was the greatest president in history because he was destroying everything. He was obsessed with transcendental meditation and other strange new age things. You need people like this, and unfortunately, our society always sidelines these types of people, as we have a culture that demands uniformity of thought.

As time goes on, more and more interesting people are dying and fewer and fewer are being born. There are very few interesting millennials. Me, Sam Hyde, Moist Critical, that guy from My Chemical Romance, maybe a few others. I’ve never seen any interesting people younger than millennial. They are very feminine retards who say nothing interesting and can’t even make memes. All zoomer memes are just bastardizations of millennial memes. These people are totally devoid of creativity.

People can complain about boomers and they should, but there were a lot of interesting boomers. That’s just a fact. They made a lot of good music and other art. They did a lot of weird things.

So, those are really the messages: smoking is good and it’s a shame all the weird people are gone.

Yesterday, I wrote about the recent controversy of casting a very gross black woman as Juliet in a new British production of the (currently) most popular William Shakespeare play. She is cast alongside that gay kid from Spider-Man. Having a handsome white boy next to this objectively unattractive black girl has led to a backlash on the internet.

The media is focusing on how mean it is that people are saying they don’t like this, and how it is hurting the feelings of the girl. I noted that no one is specifically trying to hurt this girl’s feelings. What the media is doing is bypassing the entire discussion around using black casting in white productions, particularly focusing on race-mixing, in order to attack white people as a group.

In 2022, a Twitter account called “Dr. Thala Siren” (this appears to be a pseudonym) coined the term “fan-baiting” to explain this phenomenon of movie studios casting blacks and women in traditionally white male roles in order to cover-up for bad writing and force critics to claim their productions are better than they actually are.

The essay the tweeter wrote relates a lot to what I wrote yesterday, and is worth sharing.

“Fan-baiting” is a form of marketing used by producers, film studios, and actors, with the intent of exciting artificial controversy, garnering publicity, and explaining away the negative reviews of a new and often highly anticipated production.

Fan-baiting emerged as a marketing strategy in 2016/17, after fans of beloved franchises such as Ghostbusters and Star Wars objected to what they saw as poor writing choices, sloppy scripts, and cheap alterations to plot lines and characters for the sake of shock value.

Along side these critics, there was a small group of bigoted but vociferous commentators who objected to the inclusion of black and female actors in roles traditionally held by white male actors. Some of these individuals began publicly harassing actors.

Bigots have always attacked diversity on screen, but in a highly polarized political climate, instances of harassment on garnered disproportionately massive media coverage, which provided production studios with both free publicity and a new defence against actual critics.

Studios seized the opportunity to discredit criticism of poor writing & acting, insinuating that these, too, were motivated by bigotry. What used to be accepted as standard critiques were increasingly dismissed as part of the ignorant commentary of a “toxic fandom.”

Soon, it became standard practice before release to issue announcements specifying diverse casting choices, coupled with pre-emptive declarations of solidarity with the cast whom they now counted on to receive disparaging and harassing comments.

Actors who are women and/or BIPOC became props & shields for craven corporate laziness and opportunism. The studios save money both by avoiding expensive veteran writers as well as by offloading publicity to news outlets and social media covering the artificial controversy.

“Fan-baiting” works. It brings in a new sympathetic audience whose endorsement is more about taking a public stance against prejudice than any real interest in the art. “Fan-baiting” also permits studios to cultivate public skepticism over the legitimacy of poor reviews.

“Fan-baiting” also compels reviewers to temper their criticism, for fear of becoming associated with the “toxic fandom” and losing their professional credibly, resulting in telling discrepancies between critic and audience review scores.

The true nature of “fan-baiting” is never so clear as when a script is well-crafted and audience reviews are accordingly positive, exposing the announcements, declarations of solidarity, & grooming of skepticism for what they really are: cynical corporate marketing tactics.

Put another way, media corporations have found a way to monetize the racism that they set their actors up to receive.

Amazon knows exactly what it’s doing. One of the first images released was of Disa. On cue, a couple bigots said the predictable, allowing a giddy Amazon to release its pre-prepared scripted statement denouncing the “pushback”. It’s the new business model.

https://www.complex.com/pop-culture/amazon-lord-of-the-rings-tv-series-team-responds-pushback-diverse-cast

Fan-baiting isn’t “black people getting cast”. Rather, it’s corporations banking on black people getting harassed to inflate publicity. Hence, diversity casting is in part motivated by the hope that the corporation can maximize harassment and, consequently, $$$.

Racism and sexism are the main issues. A secondary issue – one that is being overlooked – is corporate monetization of bigotry. Even while a studio purports to be “challenging bigotry” it is also counting on bigots being bigoted, and doing its best to direct them to the actors.

Solution: Media corporations should (a) hire experienced writers and give them the time required to write great characterization and plots for these actors, (unlike Amazon and Disney) and (b) accept critique rather than suggest all critique is motivated by bigotry.

As evidenced by the success and great reviews of HBO’s “House of the Dragon” in comparison to Amazon’s Rings of Power, both of which feature a diverse cast, the problem is the quality of writing, not the complexions of the actors.

For those of you who like this thread on #fanbaiting, know that it is an example of structural racism: the individuals involved may not be personally racist, but the profit motive of the corporations who employ them orients them to make decisions that harm racialized peoples.

I don’t necessarily agree with all of that, but I agree in general.

This essay is primarily about films and shows such as Captain Marvel and Amazon’s Rings of Power that were very bad and yet deflected all criticism by claiming anyone who doesn’t say they are good is a hater. What the Romeo & Juliet production is doing is slightly different, but along the same lines: they are creating a situation where “good people” are morally obligated to go see this production to show solidarity against the evil Nazis who do not think that gorilla bitch is attractive.

Further, while I agree that this is a financial strategy used by Disney and the streaming services to prop-up bad writing, there is also definitely an agenda to attack and degrade white people. It just so happens that this agenda is also exploitable by people who want to rush through poorly written productions and then demand good reviews under threat of accusing critics of being haters.

It is also true that most of us (even me, to some extent) will ignore a certain amount of diversity casting if the production is otherwise solid. I’m hearing good things about the new Fallout show that was released yesterday. I plan to watch it and write a review. A lot of right-wingers liked Dune, despite the diversity. I think Dune was boring as all hell, regardless.

What I have previously argued is that creative people tend to be intellectually honest, much more so than the average person, and it is therefore hard to get creatives to work on these diversity propaganda projects, as they are so intellectually dishonest by their very nature.

Frankly, there is really no reason that a diverse production can’t be of good quality. After watching the first episode, I thought that the feminist version of True Detective was going to be good. It turned out it was horrible, but the problem was definitely bad writing.

See: After True Detective Season 4, The Hunt for the Great Woke Whale Continues

The whole society is intellectually bankrupt, which is why nothing is good. This is not necessarily a direct result of diversity. It is simply that this forced diversity agenda is a parallel result of intellectual bankruptcy.

Having black characters is not a problem in itself. Black people exist and they buy movie tickets. However, we all seem to understand the difference between “oh, they put these black character in so black people could relate to the movie” and “they put these black characters in as an attack on white people.”

This Romeo & Juliet casting is obviously the latter, and it is very obvious that this was done to hype up a play that otherwise, no one ever even would have heard about.

The former looks like this:

Well.

At least she’s only gotta do a few months for causing someone’s death.

I think they should have just let her go, because she has a vagina, but at least she’s not being given even a fraction of the kind of time a man would get for the same crime.

It will become impossible to replace all white men with women and blacks if we’re giving them serious prison sentences every time they do something that results in someone’s death.

BBC News:

A movie set weapons handler who loaded a gun for actor Alec Baldwin before it fired and killed a cinematographer has been found guilty of involuntary manslaughter.

Hannah Gutierrez-Reed was found not guilty of a second charge – tampering with evidence over the 2021 shooting of Halyna Hutchins on the set of Rust.

The 26-year-old could now face up to 18 months in prison.

Mr Baldwin also faces a manslaughter trial over the fatality.

Ms Hutchins, 42, was killed after a gun Mr Baldwin used in a rehearsal fired a live round on the set of the Western in New Mexico.

Jurors deliberated for three hours before returning Wednesday’s verdict.

A representative from Boeing was waiting outside the courthouse to offer a job when she gets out of prison.

Previously: Disney Releasing Fourth Consecutive George Floyd Animated Film Despite Massive Losses

I wrote a long thing about how much money the “woke agenda” AKA “George Floydism” is costing Disney. I wrote about the fact that Disney is slated to release its fourth George Floyd children’s animated film, despite losses.

The MCU, which is a much bigger project than the animated films, involving a lot more money and future money. Instead of producing what people want, however, Disney is doing George Floydism.

The Marvels is a feminist film that also pushes the race agenda, starting an astonishingly ugly white women with foot fungus, a female paki, and a negress.

Released this weekend, it did not go over well, and the studio is now set to lose tens or hundreds of millions of dollars on this attempt to force extreme Jewish values on the public.

The Hollywood Reporter:

The Marvels box office debut is anything but marvelous.

From Marvel Studios and Disney, the superhero tentpole opened to an estimated $47 million at the domestic box office to rank as the worst start in the history of the Marvel Cinematic Universe. It also came in behind expectations overseas, where it launched with $63.3 million from 51 material markets for a global start of $110.3 million against a hefty $200 million production budget.

The Marvels marks a new low for Kevin Feige‘s Marvel Studio and adds fuel to the theory that superhero fatigue is a real thing as fanboys grow weary of a glut of titles and are hence far less forgiving. Marvel has been unrivaled in its success for years, with its movies collecting more than $30 billion in grosses at the worldwide box office.

Everyone knew this was going to happen. Everyone knew that the core audience of MCU films is not interested in grrrl power films, let alone all of this race propaganda.

Pre-George Floyd, pre-summer of love, 4 of the top 10 highest grossing films ever were MCU films.

Because of this bizarre Jew agenda, Marvels, which cost as much as the big films, is now set to be one of the biggest box office disasters ever.

This is funny and I’m happy and they deserve it.

But it is confusing.

Is it really just BlackRock that’s responsible for this? Or is something else going on?

It is frightening to see corporations losing money on purpose in order to push a George Floyd black, anal, and vaginal agenda onto the public.

Previously: Disney Releasing Fourth Consecutive George Floyd Animated Film Despite Massive Losses

I wrote a long thing about how much money the “woke agenda” AKA “George Floydism” is costing Disney. I wrote about the fact that Disney is slated to release its fourth George Floyd children’s animated film, despite losses.

The MCU is a much bigger project than the animated films, involving a lot more money and future money. Instead of producing what people want, however, Disney is doing George Floydism.

The Marvels is a feminist film that also pushes the race agenda, starring an astonishingly ugly white women with foot fungus, a female Paki, and a negress.

Released this weekend, it did not go over well, and the studio is now set to lose tens or hundreds of millions of dollars on this attempt to force extreme Jewish values on the public.

The Hollywood Reporter:

The Marvels box office debut is anything but marvelous.

From Marvel Studios and Disney, the superhero tentpole opened to an estimated $47 million at the domestic box office to rank as the worst start in the history of the Marvel Cinematic Universe. It also came in behind expectations overseas, where it launched with $63.3 million from 51 material markets for a global start of $110.3 million against a hefty $200 million production budget.

The Marvels marks a new low for Kevin Feige‘s Marvel Studio and adds fuel to the theory that superhero fatigue is a real thing as fanboys grow weary of a glut of titles and are hence far less forgiving. Marvel has been unrivaled in its success for years, with its movies collecting more than $30 billion in grosses at the worldwide box office.

Everyone knew this was going to happen. Everyone knew that the core audience of MCU films is not interested in grrrl power films, let alone all of this race propaganda.

Pre-George Floyd, pre-Summer of Love, 4 of the top 10 highest grossing films ever were MCU films.

Because of this bizarre Jew agenda, The Marvels, which cost as much as the big films, is now set to be one of the biggest box office disasters ever.

This is funny and I’m happy and they deserve it.

But it is confusing.

Is it really just BlackRock that’s responsible for this? Or is something else going on?

It is frightening to see corporations losing money on purpose in order to push a George Floyd black, anal, and vaginal agenda onto the public.

If you’re getting bored with Irish identity themes, please standby. It’s almost over. It will come back, but right now, it’s almost over. Next week, we’re starting fresh with hot new themes and edgier jokes than ever before. We need to continue on with general self-discovery, instead of my own personal self-discovery journey. 

I had a revelation of Irish identity while watching Martin Scorsese’s The Departed. This was one of the only Scorsese films I hadn’t seen, and it seemed to have been waiting there for me.

I had seen Gangs of New York several times. Even when it first came out, when I was a teenager, long before I was any kind of racist, Bill the Butcher was the sympathetic character of the film to me. Of course, upon rewatching it after having become a racist, my view of the American native trying to protect his city and his country from foreign influence and foreign hordes.

I think about my work all the time, and putting the film on, I was thinking “I’m gonna title this review ‘Irish Identity on Steroid.'” I suspected that I would have serious sympathy for the Irish in the film, in light of my Irish identity revelations. This did not occur. Bill is still right.

The film opens with a flashback, showing kinsman Liam Neeson as a priest, praying for the guidance of Saint Michael the Archangel. That was very emotional for me.

But the actual story told in the film is not really about the Irish. That may sound counterintuitive, but it’s not. It’s a film about tribalism and tribal identity, and tribal conflict.

Here’s the thing I thought: this exact same story could have been told in Shanghai, with Bill the Butcher as a Chinaman and the Irish as Korean immigrants. Nothing about the story would have changed. Korea is effectively to China what the Irish are to the British (and through the transitive property, Americans). Actually, that was the funnest part of watching the film, is thinking how this was showing something that could apply other places.

Bill doesn’t actually hate the Irish as individuals, he hates them as a group that is flooding his country. He befriends many Irish, and refers to his Irish gang members as “former Irishmen,” meaning he believes they can become Americans. He is also obsessed with Liam Neeson, who he kills in the opening, as “the last honorable man,” and despite his protestantism, he keeps an icon of him with a candle burning.

But Bill is right. I don’t think that’s debatable. The Irish should have adapted, and even with Irish identity, my resentment towards the East Coast Irish who hate America has not lessened in any way. Jack Kennedy was an American. He loved America. His character was defined by his Irishness, but he was fully American. Bill might have resented Kennedy’s “Roman Popery,” but he would have respected him.

The Irish themselves are mixed between various groups. I’m sure there was a lot of mixing in Ireland, but the name, “Anglin,” is Norman. There’s some statue or lake or something in France with this name. So this mixing of identities and forming of new identities is just something that happens. Germany, Russia, France – they are all identities that are the result of mixing of identities, and that’s how America should be viewed. I know some Germans still identify with “Bavarian identity” because they’re Celts and not Prussian or whatever. But ultimately, previous identities wash away, and the new identity is embraced. This is called “ethnogenesis,” and it is something that America was finishing up with when the Jews opened our borders and created a fiasco.

The paternal relationship that Bill develops with Leo (whatever that character’s name is), after Bill has killed his father, is interesting, but I don’t think it has anything to do with Irishness. Leo regrets saving Bill’s life by killing one of his own kinfolk, but he’s also developed a relationship with Bill where he wants to protect him (even though the entire premise is that he’s getting close to him so he can kill him). But again, if you switched the setting to China, with Korean immigrants, nothing would change about that relationship dynamic. (I think even at this same time period, mid-19th century, there was a wave of Korean emigrants into Shanghai. But don’t quote me on that. There was definitely large scale North Korean immigration after the war, which caused all kinds of problems.)

In The Departed, you couldn’t switch out the races. Only Irish people act like that.

In Gangs, there are a few bits of commentary on the way the Irish fight with each other while they’re fighting everyone else, but then will also sometimes help their kinfolk against outsiders, even when the two are enemies. The Irish cop is more hateful towards the Irish than Bill is. Then there is some Catholic stuff. But these are just little side things. The entire main plot could be China-Korea.

There are good racist themes in the film. It’s obvious that Bill recognizes the Irish as white men, and wouldn’t be trying to Americanize blacks or Asians. Bill and all of the gangs are also totally opposed to the war with the South, viewing it as a waste of men and money, which is interesting. Given the way the history is framed it as “World War Slavery,” I think people don’t really understand how much urban Northerners opposed the war. The slavery thing is post-hoc, but at the time, Lincoln was talking about how bad it would be if the South seceded, and people in New York and Boston were like “who gives a shit if they secede, I don’t even know where the South is. I gather it is somewhere to the South of us, but this doesn’t have anything to do with me. If they want to secede, then let them.” Meanwhile, to the average Southerner, the question was existential.

The climax of the film involves that faggot Lincoln’s draft, and the city rising up against the rich, telling them to go fight there own war. It could be seen as a bit too much, but I think it was done in a clean way. The single worst thing in the film was the GCI elephant that was released from Barnum’s Museum during the riots. Like, bro. This movie cost $100 million. Get a real elephant to run across the set.

There’s a whole lot of good stuff in the film.

There are also some “New York” themes I didn’t really care about, because I’m not from New York and I’ve never had much interest in the cesspit. The film came out not long after 911, so it even has a WTC tribute thing at the end, which I thought was decadent and gross. “The violence of the birth of a nation” is an interesting theme, as no nation in history has been born out of anything other than mass death.

I think it is generally assumed that Scorsese meant to portray Bill as the bad guy and the Irish as the good guys, I did not pick up on that at all. There is a protagonist-antagonist relationship, which is simply the way a story has to be told, and which I guess people are trained to recognize as always being the good guy-bad guy dynamic, but Bill is a very sympathetic antagonist. He’s doing what he thinks is right, trying to protect what he cares about. That’s why he has so much affection for the priest, Leo’s father – he recognizes him as having been the same man as he.

It’s a very good film. Even though I didn’t find any particularly relevant Irish themes there, I think as a piece of art, it’s better than The Departed. In particular, the script is much cleaner. Both films were made around the same time, when Scorsese was a very mature filmmaker, so I think in terms of technique, there is not really much difference. They are both done very well.

What I will say about Gangs is that the violence looks horrible. We think of most Scorsese films as all being violent, but it is usually just “all of the sudden someone gets shot.” That’s violence, but it’s not “action.” Gangs had actual action scenes, I think much more than any other Scorsese film, and they were not done well. The opening scene, showing the brawl between the Americans and the Irish was shockingly bad. It wasn’t choreographed or filmed correctly. If he was doing something he didn’t know how to do, Scorsese should have brought in some team of Hong Kongese to help. Seriously, call Jackie Chan. He’ll help you, he’s a very friendly person who just likes to help others, and he’s the single best fight choreographer who ever lived (please don’t think I’m talking about his American films, which are not good).

Danial Day Lewis is incredible in this film, by the way. It’s one of the most compelling characters of all cinema. I have argued that it is un-American to dislike Leo, but I don’t like him playing potato face (he’s not Irish, he’s German with an Italian paternal grandfather), and I don’t think he was really equipped to stand next to Lewis, who towered over everything. Of course, that was sort of the point, that Bill was a figure who towered over everyone.

Great film, but nothing important about the Irish that I found. It’s tribal themes, and Bill the Butcher is right.

If there is any personal revelation about my Irishness here, it’s that I recognized Bill as the good guy when I watched the film as a teen, even though I didn’t have the philosophical background on that. The Irish are very clannish and tribal, so if an Irishman watches the film with no context, maybe he will side with the Irish characters. However, if an Irishman like myself who was never actually conscious of the Irish thing watches the film, then the inborn clannishness and tribalism is going to cause you to side with Bill.

I keep giving the Chinese-Korean example, but the truth is, the story could have taken place in Northern Ireland in the precise reverse, with Bill as a Catholic Irishman befriending the son of a Protestant preacher he’d killed.

Disney has hit back at critics of their new Snow White film claiming that Mexican-Jew actress Rachel Zegler cannot possibly be “the fairest one of all.”

An executive producer working on the film told the Daily Stormer that the new film takes in “a world utterly dominated by niggers.”

“There are no whites in this world, so people think brown is white,” the producer explained. “After all, this ugly-ass slut we picked is whiter than any nigger.”

In total, the Disney exec said the word “nigger” 37 times in their 4 minute conversation with the Stormer.

The producer also responded to criticisms about the replacement of the 7 dwarves with 7 random “folks,” claiming that “you can’t do dwarves anymore, bro. People are a bunch of whiny niggers, and they hate seeing those little fuckers.”

The top billed exec added: “No one will watch a movie with dwarves, full stop. You notice that little fucker from Game of Thrones isn’t getting any BIG roles? Pun intended. People hate these fuckers. They give you nightmares, little creepy ass fuckers.”

The producer then said that when dwarves called him up about getting a role in the new film, he told them “kill yourself, you creepy little nigger beast” and hung up the phone.

Addressing concerns that some of the non-dwarves are white, and clearly fairer than the Mexican Jew playing “Snow White,” the executive explained: “those are dudes, brah.”

“Snow White is a bitch. She’s got a tight cunt and niggers want to fuck her. That’s the whole point of the film, dude,” he added. “Like, are you gonna fuck some dude instead of a bitch because the dude is whiter? You gonna suck his cock too? You probably would, you dwarf-loving faggot. Look, I gotta dip. Peace out, nigger.”

The Stormer reached out to the Disney head offices in Orlando to get confirmation that the new Snow White film takes place in “nigger world” and that the company views dwarves as “creepy little fuckers.” The head of communications inquired as to whether the Stormer was “working with the dwarf lobby.” They then asked the Stormer for a fax number.

Several hours later, the Stormer received this fax from Disney’s Orlando office:

The world’s best bittorrent website, RARBG, has closed unexpectedly.

They posted a message about how they don’t have any money and all their employees died from coronavirus or went to fight in the war.

Firstly, let’s just be clear – no one died from the coronavirus, because there was no virus.

Probably, some of their people went to fight in the war. I can believe that. Bittorrent people are the kind of people who would sign up for Wagner.

I’ve not given money to Jew media in years and years. Of course, I live in a country where torrenting is not illegal, and so I advise everyone to check their local laws on the matter. But it sure was nice to be able to download anything from this website.

Most of the other torrent sites are spammy, and tell you to click a magnet link and it’s actually some spam ad trying to get you to download an .exe malware file.

I’ve been using torrent for 20 years, and RARBG was the most straight-up and legit site ever.

People will always say “oh, just get on a private tracker,” and I know people feel really smug about being on private invite-only trackers, but the reality is, those sites don’t have as many old films, and they also have annoying nanny shit where they make you seed a certain amount.

I believe in 1:1 seeding, but I don’t really like some nanny watching me.

Hopefully, a new torrent site on par with RARBG will emerge. As of right now, I looked, and I don’t think any of these current ones are any good. You can get the torrent, but it’s a hassle, with them trying to do pop-ups and malware against you.

Torrenting is totally legal in Russia now, so there’s a big opportunity there. I’ve used RUTRACKER for music a lot, so I might go check what they’ve got going on with BluRay releases of classic films. Of course, they still refuse to put up an English version of the site, so you have to do annoying auto-translate bullshit.

We shall see.

The world’s best torrent website, RARBG, has closed unexpectedly.

They posted a message about how they don’t have any money and all their employees died from coronavirus or went to fight in the war.

Firstly, let’s just be clear – no one died from the coronavirus, because there was no virus.

Probably, some of their people went to fight in the war. I can believe that. Torrent people are the kind of people who would sign up for Wagner.

I’ve not given money to Jew media in years and years. Of course, I live in a country where torrenting is not illegal, and so I advise everyone to check their local laws on the matter. But it sure was nice to be able to download anything from this website.

Most of the other torrent sites are spammy, and tell you to click a magnet link and it’s actually some spam ad trying to get you to download an .exe malware file.

I’ve been using torrents for 20 years, and RARBG was the most straight-up and legit site ever.

People will always say “oh, just get on a private tracker,” and I know people feel really smug about being on private invite-only trackers, but the reality is, those sites don’t have as many old films, and they also have annoying nanny shit where they make you seed a certain amount.

I believe in 1:1 seeding, but I don’t really like some nanny watching me.

Hopefully, a new torrent site on par with RARBG will emerge. As of right now, I looked, and I don’t think any of these current ones are any good. You can get the torrent, but it’s a hassle, with them trying to do pop-ups and malware against you.

Torrenting is totally legal in Russia now, so there’s a big opportunity there. I’ve used RUTRACKER for music a lot, so I might go check what they’ve got going on with BluRay releases of classic films. Of course, they still refuse to put up an English version of the site, so you have to do annoying auto-translate bullshit.

We shall see.

Zack Snyder’s Superman/Batman/Justice League films were so bad it was had to even process how they were ever made in the first place.

However, Henry Cavill was the least of the problems with these films, and in fact he was not a problem at all.

New York Post:

In the latest shakeup from Warner Bros., Henry Cavill will not reprise his role as Superman after all.

The 39-year-old actor penned a letter to fans and posted it to Instagram on Wednesday night.

“I have just had a meeting with James Gunn and Peter Safran, and it’s sad news, everyone. I will, after all, not be returning as Superman,” he began.

“After being told by the studio to announce my return back in October, prior to their hire, this news isn’t the easiest, but that’s life,” Cavill added. “The changing of the guard is something that happens. I respect that. James and Peter have a universe to build. I wish them and all involved with the new universe the best of luck, and the happiest of fortunes.”

Cavill made his debut as Superman in 2013 in Zack Snyder’s “Man of Steel.” He reprised the role in 2016’s “Batman v. Superman: Dawn of Justice” and 2017’s “Justice League.”

I do not care about these superhero films and I do not watch them. In fact, I believe the government needs to intervene to stop these films from being made, as they are destroying society completely.

However: Henry Cavill did nothing wrong. He had the exactly correct Superman look, and actually looked like the classic Superman, Christopher Reeves.

None of this is his fault, and punishing him just shows that these people make these films for evil reasons, because they want to hurt people.

I suspect they will probably make Superman gay. There was already a gay Superman in the comics.

He can go on a quest to find a powerful homo who is able to fit his fist into his super-strong sphincter.

It is a story fitting for modern American society.