In 1943, Dutch animators produced Reynard the Fox, a cartoon based on a medieval fable about a fox who deceives other animals to his advantage, such as his uncle Isengrim the Wolf. But in this war-time version of the tale, Reynard instead leads a conservative revolt against a degenerate elite of rhinoceroses.
The new King, a donkey named Baudouin, has henceforth permitted all species of animals to mix together. The cartoon portrays a female goose hatching a child that is half goose, half turtle. Her husband responds with shock and anger but does nothing more. The new world order shall be inhabited by the most ungodly creatures produced by women who betray their kind.
The scenes forebode a transhumanist clown world. Then, Reynard, disgusted by the rising degeneracy, decides to rally the strongest men of the unmixed races, from the bears to the badgers, and together they drive the nosy rhinos into the sea. The cartoon ends with Reynard fathering children who look just like him.
After its first screening, this version of Reynard the Fox was deemed unfit for public sensitivities but whoever wrote the screenplay had seen into the future of our civilization. We are presently living in the transracial, transgender, and soon-to-be transhumanist dystopia formerly known as the West.
North American culture in particular has reached Weimar levels of degeneracy. The Weimar Republic was the democratic-socialist government of Germany in between the two world wars, the Interbellum period before the Bavarian insurgents and their mustached leader put on their boots and stomped on to Berlin.
The brownshirts hailing from Munich’s beer halls had good reason to take their capital. The mechanization of agriculture had left millions of young German men and women in want of a meaningful life. Machines could now do the work of ten men, and family farms soon transformed into large conglomerates.
The leftover women had to postpone or even forgo motherhood and flocked to the big cities to sell their bodies where unemployable men ended up in the gutters and sedated themselves with alcohol and drugs.
It’s no different in the West today. Though China may have banned commercial advertising that makes its men look effeminate, in Weimar America, men in pink stiletto heels may pretend they’re U.S. generals, yet the clueless and mentally deranged U.S. leadership can’t figure out why Russia is somehow beating them in Ukraine, even losing the meme war to literal Kremlin trolls.
Every degenerate influence we find in today’s clown world was tried and tested in Germany a century ago. By the 1920s, Berlin had become an “omnisexual erotomania fueled by cocaine,” the world’s open-air circus for interracial pornography, pedophilia, and prostitution. It was the Marxist dream come true, a world governed by scientific atheism along with its mental breakdown.
The Marxist clique that gathered around the Frankfurt School even established its own institute for sexuality to promote, among others, transgenderism. It was in Germany that the first sex-change operations took place. The aims of the godless communists were clear: destroy the notion of biological sex, deconstruct white masculinity, and erase the ideal of the Christian family.
After the Germans’ defeat, the American CIA opened its European headquarters in Frankfurt, and soon thereafter, our culture began to change. The CIA could wield a seemingly unlimited budget to start pouring American propaganda into Western European minds. For the first time in history, European audiences were exposed to the American Negroe.
Was it perhaps an act of revenge on the American part? Though Portuguese merchants started the trans-Atlantic slave trade, Europe itself had hardly imported any African men, and apart from Portugal, the continent was still largely free from immigrant demographics, contrary to the Americans who had been living with blacks for almost three hundred years.
Soon, European women began giving birth to the mixed-race offspring of African-American soldiers stationed in their continent. The clown world that the Germans had so fanatically tried to put to sleep now spread across Western Europe. As per the Hooton Plan, it is meant to erase white male lineages and have our stock replaced with immigrants from African and Arab regions.
The mass migrations into Europe today are nothing but a continuation of this genocidal plan.
Still, if mixing the races together on such a large scale isn’t bizarre enough, the real interest of Weimerican degeneracy seems to lie in the complete and total erasure of humanity itself. As in the 1943 cartoon of Reynard the Fox, Americans have in fact inaugurated a donkey as their President. If Joe Biden plays the role of King Baudouin, then who are the rhi-nose-ceroses pulling his strings?
Looking back at the past half-century of Hollywood blockbuster movies, Western moviegoers have undeniably been brainwashed to fall in love with the strangest creatures from the edge of the universe. From Charlton Heston’s first kiss with an apewoman, to Han Solo’s gay adventures with a life-sized dog Chewbacca, to the mixed-species crews of Star Trek and the Star Wars rebellion, to reruns of ALF, Steven Spielberg’s E.T., and to the inter-species copulation in Avatar, Hollywood has systematically offered its audiences these ungodly bands of weirdos, as if to drive home the mantra that “diversity is our strength”.
But diversity isn’t a strength. The subliminal message is: white men are stupid, the white family deserves derision, and homogenous groups of white people are inherently evil. At the very least, white groups need a token Negroe to pass the diversity test. The only way to pay for the original sin of being born white is through miscegenation.
Diversity is death. Transhumanist diversity is a mental disorder, and we ought to welcome a conservative revolt against its proponents.
No wonder we’re not allowed to watch Russian movies. From Moscow’s theaters, we enjoy a rather different view of the world: pro-white, pro-family, and pro-Christian. We watch movie themes in which white guys beat African-Americans, and the white guy gets the girl. Even if Russian films rarely entertain the clown fiction of extra-terrestrials, when they do, they make the alien man look white.
Having watched about a dozen of some of Russia’s top-grossing movies, the conclusion is that Russian cinema has no trouble working with all-white casts. Their movies are rooted in the sort of ethnocentric bonding Americans now call racism. Russian heroes often fight the Devil himself, who is sometimes depicted as an American businessman.
Above all, Russian movies carry a strong religious theme. Orthodox Christianity permits believers to take pride in their faith, even on-screen. The Soviet atheism of yesteryear has blown over to the West, but in the East, a fertile morality has taken root.
For too long, Hollywood has subjected moviegoers to an insidious barrage of diversity training that, by now, has brainwashed generations of people into accepting transgenderism, transracialism, and transhumanism as perfectly normal ideas.
The pinnacle of American sickness is seen in the Netflix dating show Sexy Beasts where men and women of different races wear animal masks. The show pretends it helps people focus on their personalities. This is a red-herring argument, for greater visual diversity among people does not produce a psychological diversity, nor must ethnically homogenous groups all suffer the same boring personalities.
In fact, the very reason why the white race is so divided today is precisely that we have such differing personalities. Our liberal ones prefer to side with others who look different but think alike—for example, a shared hatred of white men--whereas our right-leaning personalities prefer to support their own kind regardless of ideological differences.
Only one of these positions is the altruistic one and it’s not the liberal kind.
It’s time to do something about Hollywood. This movie industry that has had the greatest influence on people of North-West European descent openly wages war to humiliate, even erase, white men, and to degrade the white family in nearly every movie, every soap opera, and every TV commercial. We have to shut Hollywood down.
The future of the white race depends on this choice between American degeneracy or a return to religious orthodoxy. If men of the West won’t follow Reynard to overturn the transhumanist nightmare, this very decade, Western Russia may become the last surviving bastion of the white race.
The last time a European regime attempted to bring back moral normalcy was when the Bavarian boot-stompers took charge of the Berlin cinema. To anyone looking for an antidote, I recommend watching some of the award-winning German films of the 1930s and 40s, most notably The Lost Son (1934, Der Verlorene Sohn) by Luis Trenker.
Share this post