In case you haven’t noticed, Jewish entertainment portals have been spawning nothing but negro insurrection media as of late. From Mafia III to the new “Birth of a Nation”, images of exaggerated or imagined white wrong doings are being pounded into suggestible black brains, combined with auspices for what the response ought to be: to begin indiscriminately murdering white people on the street.   What is going on in a climate of already extreme levels of black on white violence is truly vicious and evil, there is an organized push to create a cultural catalyst for ape anger to be channeled into generously financed organizations like Black Lives Matter, which suits purely Jewish political aims at the negroes own expense.  Are whites ready to defend their families and lives?

Birth of a Nation, which will obviously win all the (((Oscars))) no matter how good or bad it is (unless they can get a Holocaust movie out before the end of the year), tells the story of Nat Turner’s slave revolt, which in the film’s story is sparked by a group of white men who grab Turner’s wife Cherry and gang-rape her before his eyes. There’s only one problem: there is no historical evidence that this  rape ever happened. According to the Leftist publication The Nation , the film review states:

Consider, for example, the film’s troubling depictions of black women. A crucial turning point in the movie occurs when Turner’s wife, Cherry, is brutally gang raped by a group of slave patrollers—an attack the film portrays as the spark that ultimately drove Turner to launch his rebellion. But there is not a shred of historical evidence to suggest that Cherry was ever raped by slave patrollers, nor is there any evidence to indicate that an attack on his wife inspired Turner to rebel. By all accounts, Turner took up arms against slavery because he believed slavery was morally wrong and violated the law of God.

Back in the real world , blacks currently rape  37,460 white women per year, compared to the inverse of 0-10 white men who rape black women. Of course  blacks are taught by Jews in movies and sometimes in college that this statistic is so one-sided because racist policemen find white men gang raping black women at equal rates, and either join in or let them go, but in reality the truth is that white women are simply not attracted to black women. In fact, the vast majority of white women aren’t attracted to black men either, which is remarkable since almost everything in our culture is oriented to promoting the black on blonde union (which some mistake for being the facts in the real world).  The only kind of white women who would ever develop sexual feelings for a black man are the lowest of the low in terms of looks and personality, the psychologically mangled (the same kind of women who would look at their pet doberman one day and try to fuck it) , or cum dumpsters looking to fleece black athletes and celebrities for their money.

In other words, the scene in the original Birth of a Nation (1915) where a white woman commits suicide as she is about to be gang-raped by blacks is much more plausible than the propaganda in this remake.

With that said, the miniscule number of white men who are attracted to black women are treated with open hostility by black men. While blacks as a rule impregnate their women then kick them to the side of the road, and every nation on earth where blacks are a majority is plagued by stomach churning forms of sexual violence (of the stick a shotgun inside and pull the trigger type of sex assault, not the Swedish definition of hooking up with a drunk chick) , they none the less become enraged and jealous at the thought of a white man touching one of their own.

The goal of the scene in this movie, and the black on white bloodbath that follows, is to agitate blacks watching into murdering and raping whites as revenge for something that never happened. Luckily, most blacks are too stupid to sit and pay attention to anything more nuanced than Fast and the Furious, and white people (except maybe a few college aged white women) are pretty sick of these nigger sci-fi versions of history, so Birth of a Nation bombed at the box office.  

Writers of Birth of a Nation are Two Black Rapists

The stunning irony of this bogus white on black rape scene is that the black historical hoax writers Nate Parker and Jean McGianni Celestin, guided by Jewish producer Jason Michael Berman and edited by Gentile hater Steven Rosenblum, actually raped a woman themselves.

In 1999, Parker and Celestin brought a presumably white or non-black female Penn State student  (blacks are 5% of Penn State, most of them male athletes) back to their dorm, where she lost consciousness and they engaged in the peculiar and nasty African mating habit of multiple men having sex with a single woman at the same time.  Both admitted to the sex act but fought in court, with Celestin getting convicted and Parker managing to get an acquittal.  Celestin then appealed the verdict while Parker allegedly used his freedom to stalk and threatened the victim on the campus. At the appeal, the judge found that his sentence was actually too lenient, and orders him to 2-4 year in prison.

During this time, the alleged harassment from Parker drove the victim to attempt to commit suicide multiple times and eventually wound up in and out of psychiatric supervision. Eventually, in 2005, Celestin managed to win a subsequent appeal hiring a new and talented lawyer that managed to exonerate him on a technicality: the victim was scared to go and testify. In 2012, Jane Doe, succeeded in killing herself.

Social justice warriors have taken to protesting the film on their own, albeit in a rare instance, without support from establishment Jewish leadership or publicity (unlike with the Brock Turner case that was blown out of proportion to a laughable extent).

Because the identity of the victim of the alleged rape has been kept secret, the Judeo-Left doesn’t know that she’s probably white, so they feel free to protest one of the few instances of a sexual assault that actually played out like a Lifetime movie (except the perpetrators were blacks with a racial chip on their shoulder, rather than white suburban dads).  Had ‘Jane Doe’s’ identity been made public, Birth of a Nation would’ve had these same trust-fund babies seeing it over and over just so that it could become slightly profitable.

The Cultural Marxist code is that you never take the side of a white person against a black person regardless of the context. This time, the victim’s brother Johnny still refusing to give away their identity, has sabotaged the pay day of these Jew serving nigger charlatans.  As for the continued calls to race war and little flare ups of it happening across the country, if a small band of elderly white South African mercenaries can dominate most of the armies and militias in Sub-Saharan Africa , just imagine how fast they’ll be crushed in  USA if one day we get together to fight back.

He’s a gang-rapist??? No one could have predicted it.

Are you guys tired of winning yet?

I hope not – this VICTORY TRAIN is just getting rolling!

Hollywood Reporter:

For two years, the film Academy has been hit with fiery criticism over its all-white Oscar acting nominees. So when Nate Parker’s The Birth of a Nation premiered to cheers at the Sundance Film Festival in January and sold for a record $17.5 million to Fox Searchlight, it looked like a savior Academy voters could embrace, in part to rectify past wrongs.

You mean slavery?

Birth of a Nation seemingly had everything going for it. The film could claim historical importance — it tells the story of the slave rebellion led by Nat Turner in 1831. It had the imprimatur of the Sundance Institute, where it had been developed. Parker himself had the kind of personal story that often resonates with Oscar voters, since he’d temporarily set aside a promising acting career to pursue his passion project, which marks his directorial debut. And, in the months since its debut, as the Black Lives Matter movement has gained momentum, Birth, rather than just revisiting the past, looked as if it could become an important part of the national conversation about how black men are treated in America.

And now it can be used in the national conversation about how Black men treat White women in America!

Talk about flipping the script on these kikes!

But now the film is seen as tainted after details resurfaced from a 2001 rape trial in which Parker, now 36, was acquitted but accused of reprehensible acts (his friend Jean Celestin, who shares a story credit on Birth, was found guilty, but the conviction was overturned), and it was revealed Aug. 16 that Parker’s alleged victim killed herself in 2012.“Personally, I find it really hard to separate the man from the film when he wrote, directed and starred in it,” says Marcia Nasatir, an Academy member in the executives branch. “Do I want to see a movie from someone who has committed an assault against a woman and who I do not think recognizes his guilt? Right now, based on what I’ve read, I would not go to the movie.“

That’s a top-ranking member of the academy, folks.

This nigga just got popped.

This nigga got popped, this nigga got drown, this nigga got found on the other side of town!

The question is whether other Academy members will respond similarly. Among those surveyed, few had previously known of Parker and most are first learning about him via the media coverage of the resurfaced rape claims. Most have not yet seen the film, which has screened only at select festivals and private tastemaker events since Sundance.

Fox Searchlight maintains it is charging ahead with an Oct. 7 wide release plan and a roll-out that will include a high-profile screening at the Toronto Film Festival and a “road show” with Parker visiting college campuses.

rofl

College campuses?

Like the one where he got charged for GANG-RAPE???

Nate Parker with his wife lmao

Also, it isn’t being mentioned much, but he was accused of rape at least one other time while in college.

He was a bloody African rape-machine!

A planned screening and Q&A with Parker on Friday at the American Film Institute was canceled late Tuesday, and others could follow.

The backlash means rival campaigns for films dealing with black subject matter likely will press their cases even harder. And unlike past seasons, this year there are a half-dozen films that, at least on paper, deserve serious consideration.

Most prominent among them are Loving (Nov. 4), writer-director Jeff Nichols’ look at the landmark 1967 Supreme Court case Loving v. Virginia, which struck down laws prohibiting interracial marriage; Denzel Washington’s Fences (Dec. 25), his adaptation of August Wilson’s Pulitzer Prize-winning play about a black family in 1950s Pittsburgh; and Theodore Melfi’s Hidden Figures (Jan. 13, following an Oscar-qualifying run), starring Taraji P. Henson and Octavia Spencer as real-life math whizzes who worked for NASA during the 1960s. Other contenders: Oscar winner Lupita Nyong’o stars as the mother of a young Ugandan chess phenom in Mira Nair’s Queen of Katwe (Sept. 23); Barry Jenkins’ Moonlight (Oct. 21), about a young man coming to terms with his sexuality; Southside With You (Aug. 26), in which Tika Sumpter and Parker Sawyers play Michelle and Barack Obama on their first date; and Will Smith, who plays a man trying to rebuild his life in December’s Collateral Beauty.

In an effort to avoid another #OscarsSoWhite flap, Academy PR consultants and the awards media likely will shine a spotlight on such movies, but the campaigns also risk pitting “black” films against one another. Even before Parker’s rape case re-emerged, strategists quietly were laying the groundwork to position their movies as more palatable alternatives to the violent, R-rated Birth.

Yeah, see – they are now just openly admitting that nominating Blacks for Oscars is part of an affirmative action program.

That’s what it means when one gets dropped because the maker is a gang-rapist and the others then believe they have a chance.

It’s called a “quota.”

They are going to have to choose something to get rid of the image Hollywood is controlled by Whites.

Despite the welcome crop of black movies that will jostle for attention, there’s a question whether each will be judged on its own merits. The risk is that because of all the focus on race, the films will be forced to contend with an unspoken quota system, with each competing to fill a limited number of slots. “I’m already prepared for the backlash of any film that centers on marginalized communities being thought of as an affirmative action or a quota pic,” says April Reign, the activist who coined #OscarsSoWhite.

HAHAHAHA!

WHAT DID YOU WANT THEN????

April Reign didn’t want a quota system. She just wanted Black films to win Oscars based on merit. So basically, #OscarsSoWhite was a demand for Black people to start making better movies. I mean. I guess. 

WILL ANYTHING EVER SATISFY YOU DUMB MONKEYS????

GO BACK TO AFRICA – TAKE YOUR GANG-RAPE AND BORING MOVIES THAT PEOPLE ONLY WATCH OUT OF GUILT OVER SLAVERY WITH YOU!

See ya later, Blacks! Send us a postcard from Africa! Oh right – no mail service!

A devilish Black bastard has remade the KKK film “Birth of a Nation” as a film about killing Whites.

In fact, it isn’t actually a remake. The Negroid figure who created this evil production, Nate Parker, simply took the name of the classic and fantastic KKK film, and made it about the mass-murdering Negroid slave Natt Turner.

Here’s the film’s latest poster.

So, so clever.

What a clever, clever Negro we’ve got on our hands here.

Ohhhhhhh weeeee!

Dat boi be a smart one.

Natt Turner was a baby-killing mass-murdering terrorist who the film portrays as a hero, apparently for the purpose of attempting to incite a race war.

Nate Parker wrote, directed and starred in the film. He also served as the film’s rapist, murderer and welfare scammer.

Nate Parker, artistic genius

Parker first got his big break when he was walking down the streets of LA naked eating bananas and Phil Spector thought he was a monkey and tried to have sex with him.

Famous Jewish music mogul Phil Spector.

When Parker began to speak, Spector brought him to his friend Harvey Weinstein, who declared him the next big thing for the stupid goyim.

Parker was confused by these events, and allegedly remains in a state of confusion to this day.

Insiders have claimed that this film was mostly made by its Jew producer, Jason Michael Berman, and that Parker spent most of the production period eating bananas and looking for people to rape.