Lead writer for Netflix’s The Witcher series. Yes, her name echos.

Being a creation of BASED Poles based on their own traditional fables, The Witcher vidya series is one of the single pieces of mainstream culture that isn’t a kikeed-out Jewfest.

Strong White male hero, hot chicks, violence – it is everything that Gamergate fought to preserve.

It was recently announced that the series would be adapted for TV.

As I previously reported, IGN was hoping that The White Wolf, Geralt of Rivia, would be played by a Wakandan.

Since then, I’ve been lurking on /tv/ checking if  new information regarding the series has come out.

Apparently Netflix wants this to be their next big thing and supposedly wants it to be the next Game of Thrones. As such, they are pissing money into the project.

The good news here is that if they want to make a lot of shekels, they might not make the lead roles non-White. Maybe.

It’s also speculated that the series will not draw from the books as a major source, but instead the games and “original” ideas.

The bad news is the lead writer in the above picture is a female Jew and the director is Neill Blomkamp, the the South African ultra-cuck behind the leftist propaganda films Elysium and District 9. One one of those is about Whites have built an advanced space society with advanced medical technology while non-Whites were stuck on Earth living in ghettos. The other a giant metaphor for South African apartheid – of course the oppressed aliens were the good guys.

The Media File:

A little background information first before I jump into all the propaganda points. Elysium takes place in the “far” future of 2154. However the director, Neill Blomkamp, says “This isn’t science fiction. This is today. This is now.” The world is divided into two classes of people. The people on Earth who are suffering and working hard to make a living. And then there are the people on Elysium. Elysium is an incredibly large space station which for all intents and purposes isn’t a space station. It has its own atmosphere, gravity and full habitation complete with homes, grass yards, trees, etc. Elysium houses the ultra-wealth who controls major corporations and lives a life with “no poverty, no war, no sickness.”

The main villain is Elysium’s Secretary of Defense, Jessica Delacourt played by Jodie Foster. She vigilantly defends Elysium from illegal immigrants. Immigrants whom are trying to go to Elysium to use their advance medical devices called Med Pods that can cure cancer on the spot. No, I am not making this up. Delacourt also uses some very questionable and mentally unstable agents on Earth led by a man called Kruger (played by Sharlto Copley) to shoot down these illegal immigrant ships.

One of the beginning scenes features, Delacourt defends Elysium from a group of immigrants. And by defend, I mean, by killing the immigrants. Delacourt represents the natural progression of the Republican’s immigration policies. From self deportation, building a giant wall at the border, and a mandatory verification for jobs, Blomkamp uses Delacourt to illustrate what will eventually happen if Republicans get their way in immigration policy. Obviously, this differs from the Democrat’s view of converting them into citizens. This becomes even more apparent when Max to literally make everyone a citizen of Elysium.

Delacourt and President Patel argue about Delacourt’s methods. Patel might not represent Obama specifically, but Patel does imply a minority (at least in America). Additionally, Delacourt’s reaction is to rig the system to become the next president. This mimics the recent arguments of Democrats against the new Voter ID laws, recently enacted to prevent the rare voter fraud. Democrat’s complaints: the new Voter ID laws unfairly discriminates against minorities which helped them win the past two presidential elections.

It goes on.

Even if they don’t make the leading roles some kind of diversity pick, there will certainly be an endless amount of poz. My best guess will be that they will somehow turn the sorceresses – a group of super-cunts with magic who try to play politics – into even bigger strong independent woman super-cunts. They will also probably be well respected as strong independent women with great insight.

In the games (I haven’t read the books yet) this is not the case at all. They are either distrusted or outright hated by pretty much everyone, and kings only keep them around because they have a habit of throwing temper tantrums and nuking everything with fireballs from the sky.

Obviously, most nobles and kings prefer to have male sorcerers as advisers and will cut out or kill the witches whenever possible.

I also think they will likely make the Scoia’tael (Elven and Dwarven guerrillas trying to reclaim their racial homelands from Human colonists) into an analogy for Syrian refugees from Somalia and DACA babies. Of course, being the true hero of the oppressed, Geralt would help them at every turn.

That’s just a prediction however, I might be wrong. But even if I am wrong with how they do it, I doubt I am wrong in saying this will be a massive poz-fest killing yet another piece of European culture.

This film is designed to undermine the white advocacy movement. It will fail. Badly. Like the film ‘Cabaret’ with its iconic song, ‘Tomorrow belongs to me’, this film will bring people, good people, quality people, into our movement.

Nate is an intelligent, but lonely, classical music and literature loving young desk-bound FBI agent, bullied in, and bored with, a job overseeing the fitting up of American Muslims for conspiring to carry out acts of terrorism they really wouldn’t have the first clue about carrying out. He is persuaded to go under cover into ‘the American White Supremacist scene’.

His immediate superior, the one who does the persuading, is a peroxide-blonde, gym fanatic, adrenalin-junkie, Agent Angelo Zamparo, who, probably due to her Mexican blood/connections, has a grudge against Whites. The senior boss is a Jew who, due to all the hassle involved, tries to dissuade Nat from accepting the assignment – “You know how management feel about under-cover work, they will have you chasing paedophiles on an Indian Reservation”. The inference is far from politically correct. The FBI then are the good guys, but there isn’t much good about them, not by anybody’s moral standards, and the only thing they are actually any good at is understanding human nature.

The bad guys, on the other hand, are far more interesting. Like the race they represent, the survival of which they fight for, they come from all strata of society, all classes, all tastes and all cultural levels. While undercover, the agent Nate exposes his mind to all the unexplored regions of a world he never knew existed, far less ever understood.

The truth is in front of us – but most people are blind…. We all create a narrative based on what we think is important. We see what we want to see. But just because we are not looking at something, it doesn’t mean it isn’t there … There’s only really a handful of people who know what’s going on, but I want to be one of them. I want to make a difference … What do we dream of? What is the world we wish to build? It will be a world like the one that shaped our race in Europe. A world of forests, mountains and lakes – not a world of concrete, asphalt and garbage … That’s the world I see, that’s what keeps me strong.

The undercover agent soon finds himself on friendly terms with those he is supposed to be infiltrating; listening to Brahms and Tchaikovsky, discussing high culture and movement philosophy, and welcomed into their wholesome families and valued for what he is, not for what he owns, he warms to them and here … almost … the film could have taken an unexpected turn and become truly a classic.

He soliloquizes: How can I convert people like them? You can’t, you can only destroy them.

His mind gives him another option: Either that, or join them.

The agent of ZOG becoming an agent of White Survival would have been the twist to end all twists. Instead the film shies away into predictability. And yet there lingers a something that might have been as the supremacist leader consoles him.

It’s hard to find what we’re looking for in life. But then I listen to something like that (Brahms Clarinet Quintet) and realise that one man made something that will make millions, maybe billions of people feel like we just did. We all have that power, all of us … change the world, right wrongs, fight injustice … its people like us that feel these things the most – idealists.

For those curious about Our Cause there is much of nutritional value here. Cameo appearances are made by Francis Parker-Yockey’s Imperium, William Gayley Simpson’s Which Way Western Man, Ben Klassen ‘The White Man’s Bible’ and Louis Beam’s ‘Essays of a Klansman’ and his theory of ‘Leaderless Resistance get’s a look-in too. David Lane’s ‘Precepts’ are quoted from;

The simplest way to describe a democracy is this: Three people form a government, each having one vote. Then two of them vote to steal the wealth of the third.

At the end of the film, the FBI agent, now no longer under cover, and awaiting his transfer and promotion to yet another sterile dreary desk job, while reminiscing about the man and his comrades whom he betrayed, ruefully quotes from Byron’s ‘Manfred’:

This should have been a noble creature. He hath all the energy which would have made a goodly frame of glorious elements had they been wisely mingled.

Those words would have been better aimed at the FBI agent himself.

It all begins with the word. Prepare for the unthinkable. We are going to win.

Jew Gene Wilder is dead.

Willy Wonka and the Chocolate Factory was okay, I guess. Didn’t really do justice to one of my favorite books by my favorite Jew-hating children’s author, Roald Dahl (Mr. Fox was my personal favorite with James and the Giant Peach being probably objectively the best – read them to your kids!), but it was a helluva lot better than that Johnny Depp disaster.

The rest of his movies were all horrible.

Anyway, I’m glad he’s dead.

Gene Wilder, who regularly stole the show in such comedic gems as “The Producers,” “Blazing Saddles,” “Young Frankenstein,” “Willy Wonka and the Chocolate Factory” and “Stir Crazy,” died Monday at his home in Stamford, Conn. His nephew Jordan Walker-Pearlman said he died of complications from Alzheimer’s disease. He was 83.

His nephew said in a statement, “We understand for all the emotional and physical challenges this situation presented we have been among the lucky ones — this illness-pirate, unlike in so many cases, never stole his ability to recognize those that were closest to him, nor took command of his central-gentle-life affirming core personality. The decision to wait until this time to disclose his condition wasn’t vanity, but more so that the countless young children that would smile or call out to him “there’s Willy Wonka,” would not have to be then exposed to an adult referencing illness or trouble and causing delight to travel to worry, disappointment or confusion. He simply couldn’t bear the idea of one less smile in the world.

He continued to enjoy art, music, and kissing with his leading lady of the last twenty-five years, Karen. He danced down a church aisle at a wedding as parent of the groom and ring bearer, held countless afternoon movie western marathons and delighted in the the company of beloved ones.”

The Harry Potter Jew Daniel Radcliffe plays a convincing Neo-Nazi White Supremacist in this film lol.

The Hollywood Jews are continuing with their ridiculous and absurd anti-White propaganda.  The latest anti-White film coming down the pipe is called “Imperium” which stars the Harry Potter Jew Daniel Radcliffe.  Radcliffe plays an FBI agent who is assigned to infiltrate a terrorist group of Neo-Nazi White supremacists.

The trailer is quite comical.  This Jew film is essentially taking all the things Islamic terrorists are doing in White nations but depicting White supremacists doing them instead.

These Jews are becoming increasingly unhinged with their propaganda.  A large number of comments under the video are exposing the film’s obvious anti-White agenda.

Most of us have become familiar with the tactics of Jewish propagandists in the age of the Internet.  In fact, the increased speed in which we can communicate is making it rapidly easier to deconstruct and discredit their propaganda.  Jews have relied on a technique that Adolf Hitler described as the “big lie.”  They use their media and entertainment outlets to construct false narratives that are repeated over and over again.  It is a form of mind control they have used to push stories like the Holocaust hoax of 6,000,000 Jews getting killed in shower room gas chambers.  By repeating these and other falsehoods on such a grand scale, many good people are unable to rationalize how anyone could be deceptive enough to create such a lie let alone be able to sustain it.

Conversely, our propaganda is based on truth and logic.  The only way the Jews can counter our message is by preventing others from hearing it.  This is often done by shutting down the messenger.  If they are unsuccessful at achieving a full shut down, they rely on name calling and emotionally charged rhetoric against said messenger.   For the Jews, this was much easier in the pre-Internet days.  They had the luxury to create more outlandish and absurd propaganda because nobody had a big enough medium to effectively challenge them.

I thought it would be worthwhile to briefly analyze some of these pre-Internet propaganda films.  In particular, I wanted to revisit a number of lesser known movies that were released in the early to mid 1990s which pushed an anti-White or anti-Nazi theme.

The first movie I wanted to look at is the 1990 science fiction film called “Prayer of the Rollerboys.”

“Prayer of the Rollerboys” was a 1990 science fiction film featuring evil Nazi rollerbladers as the main bad guys.

Set in a dystopian future version of America, wars and economic collapse have decimated the country.  Most of the nation’s factories and farms are gone.  Non-Whites have mostly bought up what remains.  Much of the White population have been forced into homeless camps with street gangs taking control of major cities.  One of the most powerful gangs is a group of rollerblading Nazis who call themselves the Rollerboys.  Their leader Gary Lee played by the actor Christopher Collet, wants to buy back America and restore it as a homeland for Whites.  In order to do this, the Rollerboys are manufacturing and selling a synthetic drug called Mist.  They themselves do not use the drug but are using the sales so they can buy back America from foreigners.  The police are eventually able to enlist the help of a skilled rollerblader by the name of Griffin a childhood friend of Gary Lee played by the Jew Corey Haim.  In exchange for giving him and his brother a better life he agrees to infiltrate and inform on the group.  A female undercover cop played by the Jewess Patricia Arquette plays a significant role in convincing Griffin to be an informant.

Jewish actors Corey Haim and Patricia Arquette seek to take down a group of evil Nazi rollerbladers in the movie.

Naturally the Rollerboys are portrayed as the bad guys in the film.  The movie does a terrible job at selling the idea though.  On the surface, the Rollerboys have a noble reason for their existence.  America is in chaos and the Rollerboys want to restore it to greatness.  The movie presents a future that is not unlike what we see happening today in 2016.  It is just a darker and more exaggerated version of it.  So what the Rollerboys want to accomplish is actually good.

Top Nazi rollerblader Gary Lee just wanted to make America great again by making it White again.

However, we are supposed to not like the Rollerboys because they deal drugs and dislike other racial groups.  At one point the Rollerboys beat up a Negro father like figure to Griffin named Speedbagger.  One of the Rollerboys also uses the word “nigger” a few times which automatically means that they must be really bad dudes.  Griffin’s younger brother who starts dealing Mist for the Rollerboys ends up abusing the drug himself.  Griffin blames the Rollerboys for his brother’s drug addiction even though they discouraged their members and associates from using it.

Since this movie was released a short time after the expansive anti-drug initiatives of the 1980s, the drug dealing angle likely had much more of an impact at the time.  Throughout the 1980s, drug dealers were consistently portrayed as the most evil people to ever live thanks to Ronald Reagan’s alleged “war on drugs.”

There’s quite a few nuanced references throughout the film.  The Rollerboys use the saying “Day of the Rope” a term clearly stolen from the “Turner Diaries.”  Even though it is believed to be a reference to the day when they will kill all of their enemies, it turns out to have a different meaning.  It refers to a toxic chemical called “rope” which they have been adding into the Mist drug to sterilize its mostly non-White users.  One of the characters refers to it as their “Final Solution” a reference which has been used by Jews over and over again to make people believe that there was a sinister Nazi plan to kill millions of Jews.  There is only evidence that Hitler sought to relocate Jews out of Germany a fact that Israeli Prime Minister Benjamin Netanyahu has even admitted to.

An obvious reference to the term used in the “Turner Diaries.”

It is also worth noting that the film references the creation of a currency called the Euromark before the implementation of the Euro in 1999.  There’s other news headlines heard or seen throughout the film like the Israeli Defense Forces cleaning up a situation in Northern Ireland, Harvard University getting relocated to Japan and Germany buying up Poland.  Most of it is meant to portray a world in which Whites have been subjugated.

From start to finish, the film is full of over the top anti-White and anti-Nazi propaganda.  You have two characters played by Jewish actors who help bring down an evil gang of Nazi rollerblading drug dealers trying to sterilize the non-White population with their Mist drug.  They ultimately help the dysfunctional government maintain the horrendous conditions for White people in America.  The movie also presents a gross exaggeration of what real pro-White racial policies would look like.  The film creators undoubtedly wanted to reinforce the ridiculous idea that the adoption of any pro-White racial policies would lead to mass sterilizations and killings.

From a pure film making perspective, this movie proves that the quality of productions turned out by the major Jew film studios has declined substantially.  This was a B-movie release in 1990 yet it is obvious that there was far more thought and energy put into the creation of this film than most of the crap we see put out today.  The Jews are totally off their game.  Their film releases have gotten progressively worse and they are simultaneously losing the ability to put out movies with plots that are over the top anti-White and anti-Nazi.  Alt-Right Nazi trolls on the Internet have really helped in this area.

The full version of the “Prayer of the Rollerboys” film is currently available for free on YouTube.  I’ve embedded it in the story in case anyone wants to see a lesser known yet prime example of anti-White propaganda from the early 1990s.

As the latest installment of Star Wars gears up to smash its way into our cultural psyche I thought I would take a closer look at who now holds the franchise that molded so many of my boyhood dreams and fantasies. Like many nerds I was surprised to learn that the guy who had just rebooted Star Trek was now going to take on Star Wars, it just seemed wrong, the camps have always loathed each other and now the destiny of both was in the hands of one man.

JJ Abrams, or Jeffrey Jacobs Abrams, is Jewish and was born in 1966, he started out in the movies at the tender age of 16 when he wrote the music for Jewish producer Lloyd Kaufman’s schlocky horror “Nightbeast.” Two years later, while still at college, Abrams wrote the script and produced ”Taking Care Of Business” for Jewish director Arthur Hiller and then followed up with writing the screenplay for “Regarding Henry” with Jewish director Mike Nichols and Jewish producer Scott Rudin. After writing the script for the flop “Gone Fishing” produced by Jewish director Roger Bimbaum. Abrams then moved into blockbuster territory by working on the screen play for “Armageddon” for Jewish producer Jerry Bruckheimer and Jewish director Michael Bay.

In 2001 Abrams set up his own production company called ”Bad Robot” with Gentile! Bryan Burk, going on to write and produce the show “Alias.”  Abrams then hit the big the time with TV show “Lost” which he Created and Produced with fellow Jews Damon Lindelhoff and Jeffrey Lieber. After serving as executive producer on “Six Degrees” for Jewish creators Raven Metzner and Stuart Zicherman, Abrams was truly entering Hollywood and out of TV.

In 2006 Abrams landed the spot for directing Mission Impossible 3, which had a budget of $150 Million, perhaps risky given that Abrams had, thus far, never directed a single movie, but armed with a script written by Jewish writers Alex Kurtzman and Robert Orci he got the gig which was produced by a company owned by Gentile Tom Cruise and the Jewess Paula Wagner. In 2008 Abrams produced “Cloverfield” a Godzilla rip off directed by Gentile Matt Reeves.

Having already been handed one lucrative franchise on a plate Abrams, in 2009, landed the long awaited reboot of Star Trek, produced by Jewish Damon Lindelhof and written by Jews Robert Orci and Alex Kurtzman. After a short team up with the Jewish director and mogul mentor Steven Spielberg for “Super 8” Abrams was then handed the biggest of them all. After boldly going where so, so many Jews had gone before Abrams was now set to take us all to a Galaxy Far Far Away…..

Star Wars: The Force Awakens, will be the seventh movie in the series and is written by Jew Lawrence Kasdan and stars half Jews Carrie Fisher and Harrison Ford, and fully Jewish actor Oscar Isaak. The rights to the Star Wars franchise itself passed from Gentile creator George Lucas to Disney under Jew Bob Iger.

Are these people the most amazingly talented artists in America? Or shockingly and blatantly nepotistic?

The disgusting filth and unnatural trash coming out of Hollywood holds no bounds.  One of the themes Jews have really pushed in pop culture are depictions of attractive White blonde-haired females having sexual relationships with Black males.  A new Warner Brothers film called “Focus” will continue this trend.

The movie stars the Black actor Will Smith and the White Australian blonde haired actress Margot Robbie.  The trailer of the film features Smith and Robbie in a number of sexually suggestive situations.

The bottom line is that it is unnatural to procreate outside of your race.  By mixing with someone outside of your race your children won’t look like you and they will be robbed of their identity.  Jews seem to believe that by promoting this type of propaganda it will result in fewer White children being born and that this will eventually allow them to rule over a bunch of mixed-race mongrels from their criminal headquarters in Israel.

The good news is that the JewTube comments under this trailer are very critical of the content.  Specifically, many comments point out how this film is being used by Jews to promote race mixing between White women and Black males.  Let’s hope this film bombs spectacularly.  Send a message to the Jews that we don’t want to see any of their disgusting race mixing propaganda by boycotting this crap film.

Feel free to go leave your own comments denouncing this sicking Jew propaganda effort.

Coming now is a new movie, from the Oscar-winning black bastard John Ridley, who made the libellous anti-White film 12 Years a Slave, which falsely depicted White slave owners as abusing their own slaves for no reason (the reality is that blacks liked being slaves), about the allegedly romantic and interesting life of the degenerate black musician Jimi Hendrix.

The film,  JIMI: All Is By My Side, portrays the early years of Hendrix’ life, when he was doing drugs and sleeping with White women.  Something which he also did for the rest of his life.  Hendrix is played by Andre 3000, of the rap group Outkast, while the love interested is played by beautiful Aryan Imogen Poots.

This movie appears to be clearly designed for the express purpose of further normalizing bestiality between White women and black men.

A human female is, as a rule (there are exceptions), incapable of using logical and rational thought to any significant degree, functioning almost entirely on emotion.  It is thus that the Jews who produce these films use romanticism to make the Negro appear to be an interesting creature, rather than a wild animal.

We know for a fact that people – women in particular – internalize the imagery and emotions seen in these highly-produced Jew films, and proceed to mimic the behavior patterns they witness.

It is of key importance to the Jew parasite that we Whites continue to destroy our racial heritage, whether it be through refusing to produce children or through producing children with the lower races.  Naturally, it is disgusting to any woman to imagine having sex with a monkey-like Negro, and so the propaganda in support of this agenda must be ceaseless.

A Solution You Can Embrace

The solution is to mock these women.  They will not respond to logical arguments.  But if they feel as social outcasts, they will then change their behavior.  As impressions are highly important to females, and the idea that everyone is looking at them as disgusting and worthless is an extremely powerful motivator.

Do not be stupid about it and get your ass-kicked.  That is counter-productive.  Give them the cold shoulder when you see such couples.  You may also enjoy looking at them, and then gagging, imitating as though you are about to vomit at the sight of these gross and unnatural act.  If the black sees you do this, he is unlikely to confront you, as he does not want to make an issue of the fact that his woman’s own people find her relationship with him vomit-inducing.  If he does make some comment, you simply say “sorry, Taco Bell’s hitting me pretty hard” or some such thing.  He won’t push it further, because he knows the game, and knows that if the girl had any concept of basic reality, she would have no interest in him.

Simple glares may also be useful.

These basic acts of defiance, in real life, really do a lot.  Neither the black nor the beast-fetishist woman will forget it, and they will probably mention it to others.  The female will seek reassurance from other females, as she already knows, on a biological level, that what she is doing is wrong.  And again, there is nothing more important to a woman than how the rest of society sees her, so not only will she question herself, all those females she seeks reassurance from will take note that if they go with a Negro, it may be that people will be staring at them with disgust wherever they go.

It is very important that the readers of the Daily Stormer do what they can in real life to forward our agenda, and small acts of defiance of the Jew system can be extremely powerful in their ripple effect.

So keep your head up, White Man.

Do not let the bastards drag you down.