Them niggas been up der in da Angargtic. They be do a research.

But dem niggas been wake up da elder ones, make them niggas been wilin.

ANTARCTICA: Imagine being stranded at a remote research facility in Antarctica for 10 to 15 months with no way to escape. Now, imagine one of your colleagues suddenly turns violent, attacking you and your fellow scientists. That’s the grim reality unfolding at South Africa’s… pic.twitter.com/rrX8uCT1lR

— @amuse (@amuse) March 19, 2025

Trapped Antarctic scientists beg for help after ‘assault and death threats’ from colleague

A South African research team in Antarctica is stuck there for the next 10 months without a way to leave with a crew member who has allegedly become erratic and violent.

Maybe next time… pic.twitter.com/knL0iIs4fO

— Art Vandelay (@nononomoreon) March 18, 2025

Yall people in da communididy need be think firs for you get up to da Angargtic and starts to be open dem ancient ruins, yall muthafukas know them old gods been freeze in dat mutha aint got no pasitive thanking for communididy people.

Niggas gots to thank firs, and be think if dey doin’ good when dey be do dey research ifn dey shad been woke dem elder ones. Them muthafukas be creeby as hell an aint never done nothin fo no nigga.

But a nigga dees days, he be thinkin “mights well woke dem bitches up, see what dey got goin on.” Next thang, niggas be wilin like a mf, dey trap wit dem elder ass bitches, make dey ass gone goofy.

Folks gots to understan that we needs to be have a concern fo da community. If you did a research, you seen dem elders in dat ice, you leave da muthofucka on ice. Aint wake his ass up. Think fo yo keeds, bitch. Folks gon be callin in da angent casmic horror return da earf, aint nothin go right wit dat.

The American Sun has published an anonymously submitted anecdote entitled “The Disappearing Americans” about people moving out of the city which I found interesting.

It may well be that my advice is sinking in with a larger portion of the population than I know, or it may simply be that people are instinctively recognizing that something wicked this way comes.

Understand, this is just an anecdote. Statistics on the actual number of people selling their homes and moving out of the city would be more or less impossible to compile.

A month ago I had a conversation with a married couple selling Real Estate for clients in a major U.S. city. My wife and I sat around the dinner table with them, assuming to hear stories of excited clients making a huge payday with the housing boom. The impression I received from him was a more subdued, almost mourning tone.

“No, he explained, “it’s actually a lot different than that. About nine out of ten of our clients are selling to move to the country.”

The instant thought I had was of the family I knew who moved and tried to raising egg-laying chickens, only to fail miserable and try to slaughter them to eat, only to get skin and bones. Did they have any idea of what they were doing?

He continued to explain how they weren’t doomsday type people, nor ignorant people with little understanding of country life, or even people who were impacted by the BLM riots of the last year, but simply normal folks who have a sinking feeling of something terrible coming in the horizon. They were people he had relationships with, and only had a primary interest of your average family. Most of their politics were mildly right but hardly what would be considered hard-right. They weren’t looking to build a new community, or to even be self-sustaining to work the land. The underlying plan of everyone was, quite simply, to disappear from general society. It wasn’t a flash of idealism, but a fundamental dread of something terrible in modernity that had no distinct form. Like a Lovecraftian monster, the only option was to flee and make oneself invisible.

While harrowing, I considered it an interesting anecdote until, a few weeks later, another family I was close to explained how they, too, were moving away, and told my wife and I the exact same reason. They didn’t have any high aspirations for living on the soil for virtues sake, but as a possible necessity to withstand what is coming. They noticed the increasing radicalization in their part of suburbia as their neighbors slowly seemed to be turning into fanatics for a strange and foreign ideology.

It’s easy, in retrospect, to understand the aura of doom. The Covid hysteria that turned annoying leftist neighbors into wannabe stasi-snitches has only accelerated, as many have found they like the taste of this new found power. Many people who live in the suburbs now don’t see their neighbor with a Gay Pride flag waving on their doorstep as an annoyance, but an existential threat to their existence. The neighbors of suburbia who once only had political differences have become uncompromising enemies with no hope of peaceful resolution.

The analogy of a Lovecraftian cosmic horror is a good one. It not only provides imagery of this unfathomably dark, evil force, but it also speaks to the way that corrupted people will follow the evil in order to take part in the power that it wields.

For those who haven’t read H.P. Lovecraft – firstly, I will just say that you should. Even though you’ve probably seen various depictions of it in popular culture, his style was unique and doesn’t really translate outside of the written word all that well. (It’s also ultra-fascist material, which makes it all the more fun.)

In the stories, there is usually some remote area, such as a rural fishing town, which has been infested by the evil. The villagers have surrendered themselves to the evil, in exchange for the power that it gives them. The way people are embracing this leftist totalitarian agenda is virtually identical to this, and it almost feels as though Lovecraft was writing these stories as an analogy for the current age.

These people who have embraced this gay agenda, this virus and vaxx agenda – they seem almost possessed. You rarely see their mouths, and so can never fully understand the emotions their features are attempting to communicate, but their eyes have begun to look progressively darker, with a hint of being animated by some otherworldly evil.

Lovecraft is a fan favorite among graphic artists, given that he provided detail of such weighty and unique imagery. Ironically, or perhaps not, various portrayals of the cultists in these stories have them wearing masks that do not look different to the coronavirus masks that this current cult of evil are wearing on their faces.

Having worked to strengthen my faith in Christ in recent years, I now feel that what we are looking at in the dark eyes of these vaxxers is a real dark force that they have become vessels for.

I know I’m not the only one feeling this. I am good with words, but even I struggle to put this phenomenon into words. So it is not surprising that the average person cannot even begin to describe the sense of dread they feel, or what informs this dread.

I hope this anecdote featured in the Sun is correct. As I’ve said often recently: this battle is over, and we have lost. The only possible action that is conceivably reasonable at this time is retreat. The monsters are in control. But the way that they control is through these people who have surrendered themselves to the darkness. Accepting the vaxx is the physical sign of submission to that evil, in the way that a tattoo, branding, or physical mutation would be in a Lovecraft story.

If you can get away from this evil, to join with God-fearing people outside of the cities, I believe that God will lend you his protection.

In the Bible, it repeatedly tells us that an entire urban area can become corrupted by dark forces, which are typically associated with homosexuality and a rejection of God. The solution that is always given, in both the Old Testament and the New, is to get away from these urban centers, lest you yourself be consumed by the darkness.

Indeed, the central characters in Lovecraft’s stories repeatedly ignore signs of the evil that has enveloped the dark locations, letting greed or curiosity get the better of them, and remain until they are forced to join the cult, or sacrificed to a demon in a blood ritual.

All of the signs of something very evil having already begun are all around you in the cities. I tell you to leave because I care about you, my people, but also because I know what is going to happen. Hell is going to open up, and those who do not run will be swallowed. I want the White Christian people to continue on into the future, so I want as many of us as possible to escape, so that we can survive and rebuild.

Anyone who takes the vaxx is already gone. They have already surrendered to the forces of evil. Even if they are members of your family, when the time comes, they will turn against you. They have chosen to embrace the fear, and whatever part of their humanity remains will be stripped away in the coming years, until they are nothing but a drone serving the forces of evil.

We are already seeing the scapegoating of the unvaxxed, just as we are seeing the scapegoating of whites. It is already getting heavy. The next phase is going to be brutal – and it is going to begin this fall.

House prices are historically high right now, as a result of the inflation agenda and the buying up of property by Wall Street firms. You can easily sell you home in the city, without much effort, and you can leave. If you’re renting, it will be much cheaper outside the city.

You know I’ve called every single element of this agenda. I’m now calling doom.

The time is right now. This is your last chance. The next round of lockdowns will be absolutely maximized, and you will not have the opportunity to escape once that begins.

They’re finally making a big budget H.P. Lovecraft TV series.

As a major Lovecraft fan, I was happy to hear about this. I personally believe that Lovecraft has some stories which would work very well in both film and television, and have been heavily saddened by the fact that the industry has failed to produce anything good from his work.

HBO has a mixed track record with their original programming, but they’ve definitely done some good stuff, and they would have the resources to make a legitimate Lovecraft TV series that was legitimately good.

There’s just one problem…

It’s all blacks!

Literally, this is a black show!

Nothing in it but a bunch of black people!

Clearly, this is Jordan Peele – the black film director who produced Lovecraft Country – taking a shot at the legacy of Lovecraft himself. Lovecraft was an infamous racist, not just in his personal life, but as a writer. Many of his stories feature beastlike negroes, wily Asiatics and conniving hook-nosed Jews.

If Peele would say, “you know, I know Lovecraft didn’t think much of my kind, but I really love the guy’s work, and I’m going to make a show that will be something that he would be proud of,” then a lot of people would have respect for that.

Instead, he’s said, “those passages in Lovecraft about black beasts really rustled my jimmies, so I’m going to shit all over him, and make a show that would disgust him as a way to insult the legacy of an infamous racist.”

This was something that was done with the 2018 Aquaman film as well, which featured Lovecraftian themes but made a point to attack the author. Some other show also did this, and The Verge claimed it was a trend.

I don’t know why, if these people don’t like Lovecraft because he was a racist, they don’t just leave him alone and let him rest in peace. Basically, he was not especially popular in the modern era, specifically because his works went out of publication because the Jews who run the publishing industry were offended by it.

So why not let it lie? Why keep doing these attacks on him?

In actuality, this show isn’t based on Lovecraft at all, but on a 2016 novel called “Lovecraft Country” that is about a black man fighting against racism, and features parallels between cosmic horror and racism. Because the one thing scarier than gigantic hell-monsters from outer space is someone hating the color of the skin.

The author of that book, Matt Ruff, is everything you would expect and worse.

Jordan Peele has had a lot of success using horror themes that are popular with normal white people to push his black racial nonsense on people who otherwise would not be interested.

However, the people are left wondering if it is his plan or the plan of his weasel-faced Jew wife.

Peele actually is a talented comedian, and a talented writer insofar as he was the writer of the various good sketches on his comedy show “Key & Peele.” However, his movies are simply not good. I had to watch “Get Out” simply because it was a cultural phenomenon and I wanted to know what was going on with it, and it was everything that E;R’s review said it was.

I did not watch “Us,” though I’ve heard it was not as bad.

The Twilight Zone television show that Peele produced was not a black race propaganda show, but it sucked.

Peele may be a talented black artist. I’m not against the possibility of such a thing. In fact, I would like it if there were more productive black people, as that could potentially lead to black people pursuing pursuits other than murder and mayhem, which would be a positive development for everyone. However, at this point, I have seen nothing at all to make me believe that Peele is good at anything other than shucking and jiving.

I will not be watching this Lovecraft show, and will not review it. However, I have been occasionally reading from a complete works collection of Lovecraft, and I might write some reviews for this site. Actually, I was also thinking about writing a piece of fan fiction.

The premiere episode of Lovecraft Country airs on August 16 on HBO and rarbg.to. 

Be ready to turn the cassette over when instructed

I knew this movie sucked before they even made it, because I’ve seen a lot of adaptations of Lovecraft’s writings, and every single one sucked to varying degrees.

And even featuring the greatest actor of all time, this one sounds pretty bad…

Slash Film:

One thought kept running through my head as I watched Color Out of Space: “What the fuck is this?” It’s become almost a cliche at this point to highlight how “weird” and “bonkers” the latest Nicolas Cage movie is. But even those well-versed in the art of Cage’s self-titled Nouveau Shamanic acting style won’t be prepared for what’s in store with Richard Stanley‘s adaptation of H.P. Lovecraft’s story. The prospect of Cage uniting with such a fascinating director as Stanely – whose career hit a major roadblock after the disaster of shooting The Island of Doctor Moreau – is too intriguing to pass up. But is the end result actually worthwhile? Or just so damn weird that it has to be seen to be believed?

Nathan (Cage) and Theresa Gardner (Joely Richardson) are living a seemingly idyllic farm life in rural New England, raising alpacas and ignoring the outside world. The family has gone through a recent trauma in the form of Theresa’s breast cancer, but the family – which also includes Wiccan teen daughter Lavinia (Madeleine Arthur), stoner teen son Benny (Brendan Meyer), and young child Jack (Julian Hilliard) – seem to be in a good place for the time being. That won’t last, though. Because one night, a meteorite crashes onto the Gardner farm, unleashing a wave of madness and what-the-fuckery designed to drive both the family – and the film’s audience – out of their minds.

Of course they (((modernized))) the family, which in the original story are decent, salt of the earth type farmers who probably wouldn’t know what an alpaca is.

You can’t have any of that in CURRENT YEAR, it’s illegal.

Also, this inane human drama they always force into every adaptation runs against the main point of cosmic horror, which is the complete insignificance and helplessness of the human species in front of the infinite void and the horrors that inhabit it.

Calling Color Out of Space weird seems like an affront to weirdness. This movie transcends the weird, dipping into territory that I don’t think they’ve invented words for yet. Part of that has to do with the schizophrenic tone at play. Stanley has conjured up some truly nightmarish imagery, most of it involving body horror that turns people into mutated spider-like abominations. But the film also apparently wants to be some sort of gonzo comedy, and that never quite coalesces with the horror.

The comedy comes almost entirely from Cage, who appears to be acting in a completely different movie than everyone else. As the meteorite unleashes all sorts of alien toxicity into the air and slowly drives the family insane, it’s Cage’s Nathan who goes the craziest, which means we get to watch scene after scene of Cage screaming about alpacas, peaches, his father, hospitals, bad smells, and more. The crazier his character gets, the more out-there Cage becomes, often using the same goofy voice he employed as the yuppie bloodsucker in Vampire’s Kiss.

Make no mistake: watching Cage lose his shit is an absolute blast, and it’s nearly impossible not to burst into laughter as the actor goes off. The problem is that Cage’s work is so far removed from everything and everyone else in the movie that you start to resent any scene that doesn’t focus on him. It doesn’t help that the rest of the cast is alarmingly lackluster. Richardson does well with a somewhat undercooked part, but the remaining actors are oddly limp, delivering their lines as if they just learned them a second ago. Madeleine Arthur, in particular, is distractingly bland as Cage and Richardson’s witchy daughter. Sadly, she becomes the default main character, and it becomes quite difficult to care much about her actions.

This sounds more like a Junji Ito parody than anything Lovecraft would write.

Really doesn’t make me wanna watch it.

All of this works to create a sensory overload, resulting in a film that drains you emotionally and mentally. As things grow more dire and mad for the Gardners, don’t be surprised if you find your eyes starting to water and your head starting to pound. It’s not an altogether pleasant experience, but it’s probably the exact sort of nightmarish, unquantifiable situation that would make H.P. Lovecraft proud.

Yeah, no.

Lovecraft would probably not watch it in the first place because one of the characters is played by a half-Chink, and two of the things Lovecraft hated the most were Chinks and mongrels (and that’s assuming he wouldn’t have hanged himself the first time he saw a child tranny dancing for money in a fag bar).

He really didn’t like mongrels

There are no good movies based on Lovecraft’s work, and there probably will never be.

I could name ones I’ve seen that are far worse than this one, but even the better ones are just mediocre at best.

Now that these useless vermin are running out of things to reboot, they’re probably gonna use Lovecraft’s work next, since he’s been getting more popular lately, and all his works are in the public domain, so I expect the first movie about stunning and brave tentacled trannies ass-raping Trump voters to death within the next 5 years or so.

But you don’t need any of this – everything he wrote is available for free, and if you’re lazy like I am they’re also widely available as audio books from a lot of different narrators, many of them very good.

That’s the best we’re ever gonna get.

His non-fiction is just as good, BTW.

This story is about Jews of the communist variety. I wanted to make sure you guys knew in case Lovecraft was being too subtle.

Lovecraft, like all men of the time, was a White Supremacist.

Lithub:

So long as modern stories of white genocide, superpredators, and the alleged master race find fertile ground on American soil, the contemporary relevance of Lovecraft will extend beyond what some fans care to admit. His bigotry and race-inflected narratives can’t be wished away, cherry-picked, or swept under the rug in favor of his more widely known literary techniques and accomplishments—especially as hell-bent right-wing insurgents proudly claim him as a true elaborator of reactionary horrors. His stories and politics are still breathing, even the most defiled and rotten among them.

Making no efforts to conceal his bigoted theories, Lovecraft took to pen and publication with the most grotesque appraisals of those he deemed inferior. His letters overflow with anti-Semitic conspiracy theories of an underground Jewry pitting the economic, social, and literary worlds of New York City against “the Aryan race.” He warned of “the Jew [who] must be muzzled” because “[he] insidiously degrades [and] Orientalizes [the] robust Aryan civilization.” His sympathies with rising fascism were equally transparent. “[Hitler’s] vision . . . is romantic and immature,” he stated after Hitler became chancellor of Germany. “I know he’s a clown but god I like the boy!”

And his contempt for blacks ran even deeper. In his 1912 poem entitled “On the Creation of Niggers,” the gods, having just designed Man and Beast, create blacks in semi-human form to populate the space in between. Regarding the domestic terrorism of white minorities in the predominantly black Alabama and Mississippi, he excused them for “resorting to extra-legal measures such as lynching and intimidation [because] the legal machinery does not sufficiently protect them.” He lamented these sullen tensions as unfortunate, but nevertheless says that “anything is better than the mongrelisation which would mean the hopeless deterioration of a great nation.” Miscegenation permeates his letters and stories as his most corporeal fear; he insists that only “pain and disaster [could] come from the mingling of black and white.”

He whined a lot about Hitler. Because he thought he was silly. Even though he agreed with all his politics. Which is somewhat interesting.

He was a much better writer of short horror stories than Edgar Allen Poe, but has been kept out of the schools because of how vocal he was about the kikes.