Utopia Talk / Politics / The jewish Question (Thread #1 of 110)

Cherub Cow rank	Sun Mar 01 17:41:29 Previous thread: http://uto...hread=95502&time=1771693782147 Thus we established that the jew serves Memnoch the Devil ("Melmoth the Wanderer"; the Wandering jew) and is "Chosen" only by this Satan; no one is "Chosen" without Good Works, and the jew rejects all such Good Works, even believing that he is above menial tasks (see, for instance, the laziness of the jew on his "shabbas" and how historically he has insisted that non-jews work on their own sabbaths). It is the nature of the jew to destroy and enslave, and indeed all of the fruits of his behavior work towards these ends above all others. We will now turn our attention to the jew as the alien. This was covered thematically in the previous thread via stories of the jew as "alien" immigrant in, for instance, "Superman". We recall that the comic-book Superman was created in 1938 by the the jewish Joe Shuster and the jewish Jerry Siegel from a distortion of Nietzsche's work on the «Übermensch» (the "Over-Man"). The jewish version of the Superman (mashiach) is encapsulated in the jewish murderers and homo/pederasts Leopold and Loeb, who, believing themselves to be Nietzsche's Over-Man, killed a little White boy for sport in what they felt was the height of their nature. In the mind of the jew, it is thus Clark Kent himself who is Superman — a jewish reporter in charge of public perception — and the persona of "Superman" is how the deluded jew sees himself and publicizes himself to the public (i.e., Clark Kent is the reality of the jew and "Superman" is the jew's self-deception). We see this lived-out in the jew's real-life large-scale capture of media, with explicitly jewish papers such as the New York Times being merely the falsification of an "objective" standard which very transparently serves world jewry. We see this also in the jewish ADL, which was founded after a jewish murderer, Leo Frank, was correctly hanged until dead following his sick crime of raping, mutilating, and killing a little White girl for sport. And the fiction of Superman shows an interesting story as well: the jew as literal alien (within fiction). That is, we cannot forget that the jew in his story has used not just the metaphor of an immigrant but a fictional telling of an alien from another world ("Superman" being from Krypton). This is a recurring theme in stories which warn of the jew or which describe the jew via "Revelation of the Method". For instance, it might surprise people to know that these are all stories of the jew: • "The Day The Earth Stood Still" (1951 and 2008) • "The Puppet Masters" (1951) • "Invasion of the Body Snatchers" (1956 and 1978) • "The Thing" (1982) • "They Live" (1988) • "The Faculty" (1998) Thus we see a recurring theme in alien fictions which warn of world jewry: • infiltration • parasitism • virus logic • subversion of hosts • destruction and compromise of authority figures • capture of truth-making apparatuses (e.g., media, education, government) • uncanny replication or inhuman variants (e.g., the hybrid, the mind-controlled, the similar but 'not quite right') We can recall of "The Day The Earth Stood Still" (1951), for instance, that the story begins in an idyllic (at that time simply "normal") American town near/within D.C. The alien, Klaatu, after escaping into society, is able to wander into a boarding house where he is received as a normal White man. The character of Helen Benson is so trusting of well-to-do White men (as might be typical of relationships between White men and White women in a functioning and homogeneous society) that she very quickly entrusts her own son to be watched unattended by Klaatu for the afternoon. The dramatic irony here, of course, is that Helen sees a trustworthy White man, while the audience knows that this is an alien. The audience can sense the danger, but Helen, who lacks the perception to see this distinction (e.g., via the strange mannerisms of this outsider which are not quite right), trusts the alien. Of course, as the story progresses and she learns the truth, she finds that Klaatu is not only an alien but has already seized total control of society (this is via the metaphor of controlling all machines; this relates to the jew as the gremlin in the machine, which was explored later by Spielberg). We thus see multiple warnings here which include a new need in the West to be suspicious of these uncanny visitors (a loss of trust in society following WWII jewish immigration), a need to be vigilant about infiltration and ploys for control of society by these foreigners (e.g., taking care not to grant foreigners access to industry), and the precarious position of having to convince infiltrating foreigners to *not* destroy one's own society. Of this last point we see this position given even more drama in the updated version (2008). In the 1951 version, we see a particularly White American perspective at work, wherein world jewry is threatening the annihilation of the West and Westerners are forced to bargain for their own right to live following the full infiltration of the jew. In the 2008 version, however, much of White society has already been destroyed by the jew. Instead, a composite character for scientists (played by John Cleese) and the new Helen character all but plead to Klaatu to not destroy the world. Throughout the movie we see people of various ethnicities (e.g., Chinese, English, black) pleading with the jew not to destroy them. Even a jew (the jewish Jennifer Connelly) must plead with jewish power to not destroy these people, since her own son is part jew and part black. We thus see the monstrosity of the jew as alien, who is willing to destroy even his own people to expand some idea of jewish power, and we see that even those who accept multiculturalism are still to be destroyed by the jew (we can refer even this to jews arranging the Rwandan genocide so that blacks with White features would be annihilated). This theme of even other jews being expendable is further reflected in jewish works such as "Wag the Dog" (1997), where the works of a jewish producer in propagandizing the West are celebrated, but where one jew oversteps the plans of world jewry, he is eliminated. This is, of course, a reference to jews killing the jewish Stanley Kubrick (died March 1999) after Kubrick revealed the sexual blackmail and ritualistic murder schemes of Baal-worshiping jews in his movie "Eyes Wide Shut" (July 1999); Kubrick refused to censor his movie before release and gave-up too much of the game, and this was, of course, decades before the jewish Epstein scheme was revealed to the public. We see similar themes in the main storyline of the X-Files TV show and movies. The central story of the X-Files, as most readily revealed in the 1998 movie, is that civilization has been infiltrated by "aliens" who intend to colonize the world. Most of the "Men in Black" who work behind the scenes throughout the X-Files story are Western oligarchs who have been bargaining with these "aliens" since WWII ("The Syndicate"). In the movie, the Western oligarch played by John Neville even gives to Mulder the explicit motive of these "aliens": these "aliens" seek to create a "slave race" (his actual words) out of humanity, which will serve a new "alien" ruling authority. This is, of course, the jew's own prophecy of global domination, and "The Syndicate" is, of course, a cabal of treasonous oligarchs who are staying rich while their own people are annihilated. In Season 10 of the X-Files, which aired in 2016, the show-runners clearly even got further confirmation of their ideas of this "alien" scheme with regards to viral weaponry. They wrapped this story only a year or two before COVID-19 (season 11 wrapped in 2018): http://www.youtube.com/watch?v=CkmRyIz87ew In one line describing the main plot, they explain that a viral weapon will be developed to kill or enslave everyone but "the chosen" — these "chosen" being elites who will "cull, kill, and subjugate". Who could that be? Who calls themselves "chosen"? We can, of course, relate this to COVID-19's targeting pathway. COVID-19 selects highly for the ACE2 receptors of White Westerners, and has the lowest selection affinity to the ACE2 receptors of jews, particularly Ashkenazi jews ( https://pmc.ncbi.nlm.nih.gov/articles/PMC7439997/ ). And, of course, this is before we even look at the utility of jewish-produced "vaccines", such as that of Pfizer's jewish CEO Albert Bourla. One of the hilarious (in a dark way) outcomes of conformism experiments conducted as a matter of "public health" by jewish oligarchs was that people would willingly get "vaccines" and "boosters", and in peak irony would face immense issues with their immune systems after these injections. It is almost a cliché that some boomer will tell you that they got a booster and then got COVID shortly afterwards, and rather than putting these details together (i.e., realizing that the booster caused the illness), they will tell themselves lies like that, "[It would have been worse if I hadn't just gotten that booster!]" So, effectively we have a propagandized public that is willingly making itself sick to please jewish agitprop. Current estimates are that about 70% of the American public is "fully vaccinated" and about 81% got at least one shot. Just imagine jews knowing that they can kill that percentage of the population. By some theories, these shots were pre-coding templates which can activate further weapons. So, for instance, a second weapon could be designed which targets people who carry the "vaccine", and those who bonded the most with the "vaccine" would become the sickest (e.g., White Westerners). This theme of the jew as alien continues today. The jewish Steven Spielberg is releasing "Disclosure Day" in June 2026, and this is transparently the story of the jew revealing his power to the world. Disclosure Day trailer: https://www.youtube.com/watch?v=DLv9WFOe6GU We have referred this trope of the jew revealing himself to the world in previous stories of the vampire. Stories of the vampire are largely about the jew, and thus in these stories we see a familiar trope: the vampire is a disgusting creature (and, of course, a plague carrier, which aligns with the X-Files and historical cases of jews using viral weapons) which cannot see its own reflection. Like Clark Kent, he enthralls the public with agitprop which tells of his power and right to rule (a lie of the jew as "Superman"), but when the vampire is at last revealed by the "light" (i.e., the public's full awareness), he is destroyed. The jew, as vampire, thus imagines himself to be the rightful master of the world, but he can only maintain this self-perception so long as he stays in the shadows and avoids looking at himself as he actually is (i.e., the jew avoids his reflection and avoids the scrutiny of the broader public). In some tellings, this "light" is the Son of God, thus "sun" is combined with "son", and this pairs also with Christianity's defense against the jew. The vampire, as jew, is anti-Christ, and thus he turns away from all Christian signs (e.g., the Cross, the Church). The idea in these variations of the vampire story is that the "light" is both the sunlight which shows the horrible figure of the jew as well as the public's ability to carry the light of the Son of God, which, if properly held, will allow them to hold the morality necessary to send the jew back to his home in hell with his god, Memnoch the Devil. Since Christianity is often subverted by the jew (see, for instance, "dispensationalism" and the delusions of modern Christian Zionists), these vampire stories often warn of vulnerabilities within Christianity which might allow the jew entry (e.g., the cardinal sin of the vampire story is inviting the vampire into one's home in the first place). Some claim that Christianity itself *is* the jewish subversion, but this is an error that Nietzsche explores (this Nietzsche work will likely be examined in this thread). The jew is, after all, anti-Christ. I should also remind that it is not that any system is fully immune to subversion and thus we must blame a system itself for being subverted. You could literally build a society that has a sacred law that no jew ever be admitted, and after a few generations that law might well be subverted. In fact, jews were for this reason not allowed mass-immigration into these United States until the 1880s, which, as was elucidated in the previous thread, explains why Bram Stoker wrote Dracula in the 1890s. One example is the movie "Daybreakers" (2009), where the vampire pathogen can be destroyed by controlled light exposure and "save" the vampire, which is a metaphor for jews sincerely converting to Christianity. Naturally, that movie was not written or directed by jews but rather German-ancestry Australians. We should separately note that Martin Luther was largely correct about such attempts to convert jews to Christianity, which is to say that it is incredibly rare that this ever happens sincerely, and where conversion happens it is typically only done for subversion and securing of jewish breeding schemes (hence the "Dune" metaphor of the jewish Bene Gesserit). But, the world of "Daybreakers" at least shows that the ultimate outcome of jewish mastery of the world is vampires eating vampires until everyone has rotted into desperate parasites with no remaining hosts. So, within that context, the writers could be saying that jews would only convert to Christianity once they are brought to the natural conclusion of their own natures, which is, of course, self-annihilation. Of this note, we would refer to the Great and Glorious Titus Caesar Vespasianus, who did not defeat the jews so much as allow them to see their own destiny. This is also the story of the jew as the "wandering jew" (hence the jew's god is Memnoch the Devil or Melmoth the wanderer). The jew who remains anti-Christ (as the jew doomed to walk the earth for taunting Christ) is doomed to forever plague the dark corners of civilizations, denied entry or entering only through sick subversions (e.g., prostitution, usury, blackmail schemes in whore houses). The idea behind the jew as wanderer is that he must build his own society through his own good works and shed his disgusting natures. In the Melmoth story, this occurs through the jew attempting to subvert his way into society but being found out and scorned by faithful Christians. An idea within Melmoth's death in this 1820 tale is that the Devil has died in the jew and given way to living through Christ. Of course, again, as Martin Luther warned, we have never seen this take place in a jewish society. This is a door that Christians leave open for the jew at their own peril, which goes back to never inviting jews in in the first place; if they can fix their natures, they can do it on their own and away from all societies. Regarding "Disclosure Day", we can see why jews such as Spielberg are testing the waters by revealing "aliens" (jews and jewish power) to the world. The pride involved in the vampire story is that the vampire accumulates more and more power until he believes that his power can overcome people's shock at his sick nature. Hence stories such as Dracula proceed as the vampire gains more and more power and more and more footholds in the target society. In the case of "Disclosure Day", these "aliens" have infiltrated all societies globally. So, with their total power consolidated across all nations, jews in this story believe that they can reveal themselves to the world as its rightful master-enslavers. We can speculate how this will go, even with just the trailer so far. • Spielberg's 1977 "Close Encounters of the Third Kind", for instance, has already shown what the jewish Spielberg believes could take place with such a reveal of jewish power. The absurdly long and weird light and music show is, of course, a representation of jewish cinema. Thus, Spielberg figures that a perk of jews showing that they are in power is that audiences will delight at what jews can show them. Spielberg has also released works which warns jews about poor paths that they might take, such as • showing in "Munich" (2005) that jewish terrorism harmed not just these United States on 9/11 but has also resulted in a loss of jewish security in the diaspora (e.g., the surviving jewish terrorist fears for his life and is permanently paranoid and violently destructive of even his new friendly hosts). • In "Minority Report" (2002), Spielberg warned of what jewish pre-crime could do to society, basically warning of the issue of jewish anarcho-tyranny, where low-impulse-control criminals (classes "protected" by the jew) would be the only ones allowed to commit crimes while law-abiding citizens would be terrorized by these same jewish "protected" classes because they, being able to think ahead, would not commit crimes. • "Saving Private Ryan" (1998) even attempts to convince jews that they should be thankful that many Americans died to liberate and save them, which is a counter to the primary jewish narrative that basically posits that "no one" came to help the jews and that they saved themselves. Netanyahu himself continues to float this latter narrative (e.g., 2024: "Eighty years ago, during the Holocaust, the Jewish people were completely defenseless against those who wanted to destroy them. No nation offered assistance at that time" https://ww...-again-is-now/865645961989047/ ). In opposition, however, we should note that Spielberg also made Indiana Jones, which is a story of jews using Western power to reclaim "their" artifacts. The 2008 movie "Indiana Jones and the Kingdom of the Crystal Skull" was awful, of course, but what did Spielberg *say*? Regarding aliens, the claim he made is that all magic artifacts in the world (e.g., the Holy Grail, the Ark) were imbued with power by "aliens". Of course, we know that aliens are jews now, do we not? So while some complained that this plot point meant that Spielberg was undoing his previous films, in the truth of the "alien"-as-jew metaphor, Spielberg was saying that jews gave all powers to the world. So, in this narrative, it was jews who put power into the Ark of the Covenant and jews who gave the Holy Grail its power. In effect, he is doing as many jews have done, which is to claim that they invented everything everywhere, and especially that they invented Western religion. This is false, of course, but jews are vampires so they believe in their own prideful lies and cannot see their reflections. We should note further of "Ready Player One" (2018) that Spielberg is already on board with a jewish globalism. The premise of the story is that the world has been completely destroyed and made into Brazilian favelas (even in the West), but rather than people disconnecting from the shared delusion which has resulting in the decay of the real world, Spielberg's "benevolent" ending is that jews can celebrate the shabbas, since the delusion is only shut down one day a week. So, yes, all of society remains in ruin, but one day a week you can observe jewish ritual. We can see that pride at work. So these are the expectations we can have for "Disclosure Day". Like "Crystal Skull", X-Files, The Thing, and so many other "alien" fictions, we will likely face a narrative that "aliens" (jews) have been here since the beginning, and in Spielberg's version these jews likely will get away with exposing their power to the world because they'll be able to take credit for all of the "gifts" that they've given to the world — you know, like pornography, usury, exploitation, sexual blackmail, immoralism, enslavement. Oh no! Certainly *those* gifts will be omitted! But this technique of using "aliens" to reveal jewish power is an old one, and we should end by noting that this serves the jewish use of "Revelation of the Method", which in short goes that public opinion can be shaped or monitored by using these thinly veiled stories. So, if this is not Spielberg outright saying that jews are close to announcing that they are in control of the entire world (which is already happening but not to the broader public), then it is him checking-in with audiences on behalf of world jewry to ask, "[Theoretically... if 'aliens' were in control of the world... would you be okay with it?]" This is related to a thought exercise I put in Movie Talk years ago regarding the Star Trek TNG episode "The Nth Degree" (S04E19). The episode follows Lieutenant Barclay, who has been accelerated into extreme intelligence by some alien force. He uses this intelligence to take command of the Enterprise. But, the episode ends when the Enterprise has been successfully piloted by the hijacked Barclay into visiting a curious wizard-like alien who embodies all of the values of the explorer-minded Enterprise crew, who are delighted with the encounter despite all of the preceding drama. So, the thought exercise is this: was it okay for Barclay to hijack the Enterprise? Were the crew wrong to oppose Barclay, given that they got what they wanted? I forget who, but someone got very pissed off in that thread since they missed the point of the thought exercise. The answer is that of *course* the crew was right to oppose the hijacking of the ship. This is because of *control* and *choice* as self-determination. We cannot pre-figure that the destination is benevolent when the design is hidden or obscured (as indeed Barclay gave little indication that he was bringing the crew somewhere good). When we allow a pilot to bring us to another destination, we surrender control, but the choice of destination is maintained. When we surrender choice to someone whom we trust and whose values are similarly benevolent, we maintain control despite their own choices. But these variables are not met with the jew. As warned about in the X-Files, Melmoth, Dracula, and by centuries of tales of the jew, they hold the morality of Satan, and thus giving them control and choice which overrules our own lives will only result in the obliteration of free, noble, and wise peoples of the world.
Cherub Cow rank	Sun Mar 01 17:45:19 Oops, this is thread #2 of 110. .. Next topics: "STEPHEN BLOOM (Interview #16) His investigation into the Chabad Lubavitcher group in Postville, Iowa" http://www.youtube.com/watch?v=UAAYM4cm3EI "I Exposed New Jersey's Jewish Invasion..." [Tyler Oliveira; February 23rd, 2026] http://www.youtube.com/watch?v=cubO0lhOMcs
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