The Right Stuff
August 15, 2016
This review contains spoilers.
I think there’s nothing sadder than when a right-winger watches some standard Hollywood fare put together by a team of registered Democrats and ascribes some deeper right-wing message to the film. I can remember reading a film review written by a self-described anarchocapitalist that argued Paul Blart: Mall Cop was promoting the privatization of law enforcement. I would laugh at how desperate these people were to read their special snowflake political views into some form of entertainment when it obviously wasn’t there. That was, until I saw Batman v Superman: Dawn of Justice, and I realized that the film’s director, Zack Snyder, must be a White Nationalist who intentionally put multiple 1488 styled messages into his film and, in the process, created a fascist masterpiece.
The first thing that tipped me off was the casting of Jesse Eisenberg as the film’s main villain, Lex Luthor. Why would they cast such a spindly, squeaky-voiced and unintimidating actor who is mostly known for comedies in the role of one of comic books’ greatest super villains? Then I realized why; it’s because Eisenberg is Jewish and Snyder wanted his audience to know that Jewish subversion is the greatest threat facing the Western world today. The recurring theme of the entire film is that Eisenberg’s extremely Jewish acting Luthor works behind the scenes using manipulation and deceit to sow division among his potential foes and ultimately tricks Batman and Superman into battling each other. Snyder is trying to point out to us that this is what the Jews did to us with World War II by causing us to fight amongst ourselves instead of uniting against our common enemy.
Snyder’s own deep-seated hatred of non-Whites is evident from both the film’s casting and its portrayal of non-White characters. The films main protagonists, Batman and Superman, are the perfect Aryan ideal. True, the actress cast to play Wonder Woman is an Israeli model but she presents as Western European much like the two main heroes and, unlike Eisenberg, does not act Jewish at all in the film. The actors chosen to fill out the lower ranks of thieves and criminals in the film are mostly not White and are dispatched like cannon fodder by their racial superiors. The most perfect example of this is an African warlord who takes Lois Lane hostage. He is portrayed as very savage but also easily defeated showing that Blacks are dangerous but not a serious threat when confronted without hesitation. The sequence when Superman faces the African warlord seemed like it was directed by Moonman(http://knowyourmeme.com/memes/moon-man). Superman is incensed and snarls at the sight of this subhumanoid groid touching his milky White love interest. Lois Lane gives Superman a look of approval right before he uses his super-speed combined with his super-strength to brutally kill the violent nog. The viewer is left with the inescapable conclusion that the only proper response to Black lawlessness is ruthless aggression and a stiff police-state-style crackdown.
Repeatedly throughout the film, the Jewish Luthor deviously uses others to accomplish his demented goals. It would later be revealed that the African warlord was only being used by Luthor in his plot. This demonstrates Snyder’s belief that Blacks are only pawns being used by the Jews. Luthor’s mercenaries eventually kill a bunch of the Africans and try to frame Superman for it. A villager from the warlord’s tribe actually testifies before Congress giving a testimony made up of fabrications. Snyder here dives right into the problems associated with women engaged in politics. The female senator who calls the hearings is easily manipulated by the Jewish Luthor into furthering his scheme. The Black woman lies under oath and blames Superman for the deaths caused by Luthor’s mercenaries while the dumb senator believes her every word. The symbolism here was even too much for me to believe. Snyder is practically screaming at his audience that women do not belong in politics because they make decisions based on emotions and not logic and are too easily led astray. Snyder also has the Jewish Luthor orchestrating this political circus featuring a Black woman telling blatant falsehoods to a gullible audience. This was way too similar to the scene of Mike Brown’s mother addressing the Democratic Convention to be a coincidence. Even a man who loses his legs during a super-hero battle is himself used by the Jewish figure of Luthor to further his plan to defeat Superman. Much like the Jews attempted to use a cripple to damage the Trumpenfuhrer, so too does Luthor use a wheelchair bound man to smuggle explosives into the Capital Building to get back at his perceived enemies. And when the female senator doesn’t do exactly what Luthor wants, he dispenses with her much like the Jews do when their cronies outlive their usefulness.
The most fascist part of the film might be Batman himself who, from his earliest appearance, is filled with rage at the fact that Superman has come to his world. The virulent xenophobia of Batman is reinforced throughout the film, especially in his discussions with his butler, Alfred, when he insists that the only proper way to deal with this foreign intruder is by murdering him in cold blood. Batman engages in torture to get information out of criminals and brands them with a bat symbol which then leaves them as marked men when incarcerated. Snyder here has remade Batman into a KKK-like hero and promotes vigilantism, torture and extrajudicial executions. I was half expecting Batman to lynch one of Luthor’s henchmen or leave a burning cross on the front lawn of the Fortress of Solitude. Batman also is opposed to multiculturalism as evidenced by the fact that the gang of criminals he brutally defeats are made up of various races. Batman is furious at the prospects of miscegenation and shows no mercy when he attacks the multicultural kidnappers. When did Batman develop these racialist views? One might be tempted to think that the scene where Batman’s parents are killed was the turning point as the shooter appears to be darker skinned. I couldn’t tell from the scene if the actor was actually non-White or not but he looked to be Arab. I concluded from this that Snyder was warning us not to accept refugees into our country or they will tear apart the families who are already rightfully here.
There are many moments in the movie that I felt Snyder put inspiring 1488 messages into the film telling the far right viewers to not lose hope in our struggle against the enemy in our midst. One such moment is when Batman is talking with Alfred about his plan to kill Superman. “This might be the only thing I ever do that matters” says the morose Bruce Wayne to Alfred’s astonishment. Snyder here is telling us that, likewise, overturning the 1965 Immigration Act might be the only thing that we ever do that matters. All of those other issues that right-wingers feign interest in are secondary to this threat of unchecked immigration which is remaking the demographics of our country into those of a third world hell-hole.
The battle between Superman and Batman is very entertaining as Batman faces overwhelming odds and still triumphs over the much more powerful Superman. The fascist Snyder here was telling his fellow 1488ers that no matter how much the deck is stacked against us, we can win if we simply find the Jews’ kryptonite!
Ultimately, Superman and Batman join forces with Wonder Woman against Doomsday. The Doomsday creature is made by the Jewish Luthor from the remains of the Kryptonian General Zod and is obviously a metaphor for ISIS. Snyder is trying to illustrate how the Jews and Israel created ISIS through their meddling in the Middle East and have now unleashed this seemingly unstoppable monster on the western world through the open border policies the Jews have forced on us. And how do Superman, Batman and Wonder Woman react to Doomsday? Do they start a new hashtag campaign of #NotAllKryptoniansAreUnstoppableMonsters or try to engage the beast in a discussion about what is the source of his rage? No! The three heroes immediately join forces to exterminate this threat by any means necessary. Ultimately it is Superman who is able to kill Doomsday but, in so doing, loses his own life. Batman is supposedly sad about this but the viewer can see that racist and xenophobic Batman is secretly grateful that the last Kryptonians are finally dead.
Even the end of the film is bombarding the viewer with 1488 messages. Eisenberg as Luthor has his head shaved upon being imprisoned and between the bald head, frail frame and the clothing he wears, Eisenberg looks like a picture of an inmate at Auschwitz. What else could the fascist Snyder be telling us with this other than OOSHTBHFAM? In a climatic scene where the extreme right-wing Batman confronts the now openly Jewish schemer, Eisenberg tells Batman that he has summoned Darkseid to destroy Earth. Although, the name “Darkseid” is not specifically mentioned, it is implied and fans of DC comic books know the character well. Using the character named “Darkseid” is clearly a way for the filmmakers to reference the threat of large numbers of “Darkies” invading our country. You don’t have to look very deep to understand what is obviously being communicated to the viewers. The Jews will use invading hordes of dark-colored people, AKA “darkies,” to ruin our country unless we stop them. Overall, the film was fantastic and I enjoyed every moment and I believe so will other White Nationalists. I give Batman v Superman 5 out of 5 Roman salutes on the fashy movie rating scale.
Captain Confederacy is a racist, inbred redneck from the Deep South who thinks the KKK did nothing wrong.