Daily Stormer The Most Censored Publication in History
Should I stop putting “nigger” in the titles? I don’t think it matters at this point. The Daily Stormer is devolving into self-satire as its author prepares for merciful death.
I wrote a thing a couple weeks ago about Disney’s own dive into self-satire, being pushed as a company that only produces George Floyd-oriented entertainment products. The concept of “George Floyd-oriented entertainment” is itself a self-satirization of modern Jewish-liberal values: even if George Floyd is the single most important man who ever lived, why would he need to become the center of all entertainment products? Jesus was the “old school George Floyd,” a literary figure whose death made him the most important character in civilization’s story for 2,000-odd years before Floyd came along, and yet, during that 2,000 year reign of Jesus, no one said “the main character in every fictional story much be a reference to Jesus.”
Unlike Christianity, Jewish-liberalism is a religion that is obsessed with harassing and berating its own followers. Christianity has this “free will” thing, whereby a key to the faith is that you come to it yourself. Jewish-liberalism celebrates the fact that it forces itself on people via state and corporate power. Part of the self-satirization here is that you would expect your followers to pay to be berated, that you would turn beratement into entertainment.
We should probably back up a few steps here. I should outline what I mean by “George Floydism.”
Basically, after George Floyd died of a drug overdose while being arrested for yet another felony, the Jews made him into a kind of Jesus figure in their secular religion for the goyim: Floyd was a black man who died for the sins of white supremacy, and whites could only find redemption in Floyd. The path to redemption was kneeling before the negro.
The religion of George Floydism is an inversion of Christianity. The trappings are all there: a dying savior, original sin, a need for a public display of personal repentance for collective imperfection.
In this infamous clip, a white couple (male and female) kiss the boots of a gang of street niggers in order to show their repentance of the original sin of whiteness:
The death of George Floyd and the ensuing riots were a moment in time for the Jews, which they fully capitalized on. The media hype surrounding the death was not actually “pro-black.” No black issues were addressed at all, and instead blacks were told to cheer for “defunding the police,” something which has since led to mass death in their communities. They remain poor, by the way. Whichever other circumstances still exist. There is just a lot more crime in their neighborhoods, because police are afraid to enforce the law for fear they will be charged with a racist murder.
Because the Floydist revolution was singularly anti-white male, it ended up having all these other anti-white male elements that don’t necessarily have anything to do with African-Americans and their struggle with poverty. Floydism is aggressively pro-homosexual and pro-transvestite, as well as pro-feminist.
It’s not exactly clear how this happened, but somehow you ended up with: “We need to allow trannies in the girl’s bathroom because George Floyd is dead.” The fact that this sort of reasoning is acceptable should prove beyond any doubt that Floydism is anti-white and not pro-black, because trannies have nothing to do with black people. However, on some level everyone understood that “black lives matter” was about hurting white men, so I don’t know that proving that this is the case actually does anything.
People call it “woke.” It’s a combination of various anti-white and anti-male agendas. George Floyd brought a religious tone to what are otherwise clearly political and very Jewish agendas.
One of the tenets of the religion is that white people – specifically white men – should embrace being displaced, and refusal to do that is the ultimate sin. This created a bizarre conundrum for entertainment media: the creators of the media are held to the standards of Floydism, and must therefore feature primarily black, female, and gay characters in their media. However, their customers, while obligated by this new moral order to submit to humiliation by paying for entertainment products that celebrate their displacement, cannot be tracked and held to account. Directors, producers, and talent can go out and scold people as heretics for not paying for their Floydist products, but they do not have the ability to force people to pay to see their materials.
Disney’s Floydist “The Marvels” flopped earlier this month, leading to the media and the film’s black slut director blaming “sexism, racism, and homophobia.”
They do this every time.
A few months ago, they did it after Black Little Mermaid AKA Sambo Fish failed.
Although blaming these demonic forces (niggers, sluts) that wish to destroy all that is good and wholesome may be cathartic for the individuals passing out this blame, you are still, ultimately, left with a for-profit company (Disney) that is failing to make a profit as a result of their decision to push this neo-religious agenda on the public.
It’s truly a pickle for Disney.
Two weeks after the total failure of The Marvels, Disney released “Wish,” a Floydist film for kids.
I did not watch “Wish.” I do not know if the “George Floyd” aspect goes beyond the aesthetic phenomenon of “heroic female negress fights evil white male patriarch.” Disney’s last film, Elemental, was literally about race-mixing. Wish doesn’t look like it has particularly heavy Floydist themes, but this is not particularly important, as the aesthetics are themselves the main theme: everyone sees the advertisements for the movie, and knows immediately what this is. It is a film designed to shame white people for existing.
Note: conservatives keep claiming that “diversity” is not the same thing as “woke,” and in some strict sense, this is maybe true. I remember enjoying the original Blade film as a kid, and I don’t remember anyone saying “I’m not watching this niggerfest.” However, at this point, everyone recognizes the black casting as a personal attack on white people. It’s also just too extreme: there is no logical reason that everyone has to be black now.
The film flopped, of course. At time of writing, the weekend isn’t over, but it looks like it may well be one of the single most expensive flops in film history.
(Remember that the budget listed on Wikipedia is not the film’s actual budget, as usually 100% of the cost of the film is spent on advertisement.)
This is flop after flop now, and the upcoming slate of MCU movies are all scheduled to be George Floyd films.
‘Captain America: Brave New World’
‘Agatha: Coven of Chaos’
‘Thunderbolts’
(It’s a multi-racial thing like the failed “Eternals” film.)
‘Blade’
‘Avengers: The Kang Dynasty’
(This Kang was fired because he’s facing charges for domestic assault. He will presumably be replaced with anther Kang.)
‘Fantastic Four’
Maybe this will be normal, but I doubt it.
‘Ironheart’
It’s literally “nothing but George Floyd.” The only non-Floydist film in the MCU schedule is Deadpool 3, a film that was already in pre-production at Fox when Disney bought the studio.
Chinese people will not watch these films, and I suspect many or most of them will be banned in China anyway for including homosexual themes.
It’s really impossible that this string of Floyd films will not collapse the most profitable film series in all of history. It is simply incredible, to sacrifice this kind of money on the altar of George Floyd.
This controlled demolition of the MCU comes after Disney canceled almost all of its upcoming Star Wars projects because no one liked their weird agenda.
The trend is going to have to be bucked at some point, or the industry is going to collapse. Disney cannot go on forever hemorrhaging money like this. It’s a publicly traded company. The stock prices are half of what they were when this series of Floydist films was announced, and so many of them were released and failed.
Meanwhile, Disney’s theme parks, which were also very profitable, have become dens of sexual iniquity.
It’s just a huge gay orgy, apparently.
We have to wonder, as many parents are, if they are also touching kids.
This summer was the park’s least profitable year ever (excluding virus lockdown years). The media blamed… global warming.
Speaking of blaming things, the list of things blamed for the failure of Wish is pretty hilarious:
- Disney stopped using Twitter to advertise because Elon did antisemitism
- People no longer view Disney as a family friendly company (because of conspiracy theories by right-wingers)
Here is a list of 2023 Disney films:
Several of those, I don’t know. But of the big budget releases, every one was a flop, other than Guardians 3, which is the only one that did not pander to George Floyd ideology. Five of six of the big films were Floydist.
Next Goal Wins was a race propaganda film, and while not big budget, flopped miserably.
The basic excuse for why Disney has embraced “Total Floydism” this is that Jewish investment company BlackRock, a significant stockholder, pushes it as part of their ESG agenda. BlackRock owns nearly 7% of Disney, making them the single biggest shareholder by a lot. However, most of that was purchased this year, after the big drop in the price of the stock. When all of these Floyd films were planned, they owned just over 2% of the company.
Maybe that is enough to explain what is going on here. I don’t now.
It could also be that Disney locked itself into this “woke” thing by going all in, thinking it would go over well, and now they have no way to get out.
It’s frightening to watch for-profit companies stop caring about profit and instead care only about pushing an agenda. This is not the way the system is supposed to work.
I do not think that simply “the Jews” is enough to explain what is going on here. Jews collectively push subversion, but when it comes to individual Jews, most would rather fleece the goyim than turn them gay.
Self-Satire, Self-Sabotage
I don’t know about the specific mechanism driving Disney to destroy their own company, but the concept is clear: liberalism has to liberate, and it will eventually start liberating itself from its money.
Disney is not actually doing self-satire. It looks like that, but it is actually just an earnest “Jewish ideological overload.”
They have pushed themselves into a corner where the only thing they can liberate is their own financial ventures.
That said, there is a possibility that they are going to start taking a step back from this. It will be a “two-steps forward, one-step back” situation, where they will likely continue to push certain parts of the agenda, but less aggressively.
We’ve seen this “one-step back” elsewhere. Marvel Comics was going total forced-race mania in the mid-10s, and has now backed off of this. The comics are not as white as they were when I was a kid, but virtually every character in the company’s major event of the fourth quarter of 2023, Ultimate Invasion, was entirely white.
A top Marvel executive said, in 2017, that the company’s diversity push was destroying the company. David Gabriel, commenting on the drastic decline in sales, said: “People don’t want any more diversity.”
At the time, Marvel looked like this:
If you go to a website, say maybe a Russian website that does not respect copyright, you can review Marvel’s comics and see that they have totally walked back the diversity agenda, bringing back white characters to replace the new diverse cast.
I’m sure there are people at Disney pushing for this – I posit that Iger himself is – but as outlined above, they’ve already planned years’ worth of films.
In my last article about Disney, I noted that their upcoming animated film Elio features a quadroon – a boy with a mulatto mother and a white father – which seems to represent dialing things back. Instead of a black character, which has been at the center of the last four Disney cartoons, you have a 25% black character that looks white.
“Anglin, Why Do You Care So Much About This?”
No doubt people are asking why I put so much energy into analyzing Disney films.
Well. I think it’s important. These films set the tone for the culture, and the culture is a lot more important than the political world when it comes to shaping society. In fact, the culture shapes the political world.
The Jews are going to have a rough time going forward, because they’ve been doing this mass child slaughter thing, and I think it’s likely that the Jews will be held to account for what they’ve done to our culture. It is now okay to talk about a “Jewish agenda,” because the Jews no longer have this shield of the Holocaust. When people start analyzing the role Jews have played in culture, a lot of people are going to be angry.
Footnotes
*To be fair, current year comic books are not really children’s stories. No children read comic books – they would rather jack off to tranny porn and embrace tranny fantasies in Fortnite – so they are written for adults. Further, I don’t really read a lot of comics. But I do check in on them, just like I check in on movies, shows, popular music, and NYT bestseller novels. I check in on everything.
Endnotes
This article could have been a lot tighter. But I think I went over the ideas pretty thoroughly.
