January 17, 2019
When I found out the third season of HBO’s neo-noir true crime anthology True Detective was about a high-level pedophile cult again, I had to watch it. Despite it going BLACK, I had to do it.
The show’s creator, the Italian goy Nic Pizzolatto, is clearly woke to the SPQ (Satanic Pedophile Question), and it’s very interesting to see what the Jewish producers of HBO allow to be featured on their network.
And this season, the show had more than Jewish producers, but an actual Jew writer and Jew directors.
Firstly, I will say that it does appear to have returned to a basic crime story after the second season became a complete disaster. They definitely took the criticism in mind when writing this. It looks and feels like the first season again, only blacker.
They do actually show the classic 1989 Washington Times front page about a pederasty ring in the Reagan White House on the show.
Also, one of the boys who might have been involved in the child murders that the plot revolves around is wearing a Black Sabbath shirt, and they say that this is the name of a satanic mass.
This of course hints at the fact that satanism became a part of our popular culture in the 1980s.
But for the most part, the story hasn’t progressed to the point where they’re talking much about satanic pedophiles. Only the first two episodes have aired.
What stood out there was the entire character of the black guy.
They’ve taken the current trope of a black man playing a character who is otherwise white in his behavior, which is in everything now, and mocked it – while also reinforcing it.
The show starts out with a trope we are all too familiar with: a black guy who strangely acts like a white person and is extremely concerned about saving white children. This “they also care about our children” trope is a false trope, which is self-evidently false, but it is shoved down our throats so much that it is difficult for people to notice.
In actual fact, the only people who run around caring about other people’s children are white people. Black people don’t even care about their own children. There is a basic instinct in mammals to protect children, so it’s possible that a black man might save a white child if he sees him ready to die right in front of him (and then ask for a reward). But he’s not going to go around thinking about it and aching over it – that is something only a white person would ever do.
All of these shows have this “they’re like you” element. And in some ways maybe that’s true, but only in the most basic ways. But people can’t really distinguish between reality and television, because of the way the brain works. If you see enough of these blacks on TV acting like white people, you just believe it’s the case without thinking about it.
Let me say this straight-up: black people are not introspective, and so they don’t worry about anything. If they were going to sit around worrying about something, it would not be saving white children from satanic pedophiles.
This black guy is also a Vietnam vet, because the show’s main timeline is in 1980. So he’s broken up about all of the violence he experienced in Nam, which is also something that wouldn’t happen to a black person.
That is more or less where the standard trope ends, and then you move into weird counter-tropes.
The first counter-trope is that this black guy hunts down the only black woman in the Alabama town that the show is set in and falls in love with her. I have not seen a black character with a black woman on a white show in years or perhaps decades. They always shove race-mixing in white shows with black men.
The second counter-trope is that the black guy is a BASED conservative black guy who is a Republican and is shocked to find out the only other black person – the woman he falls in love with – is a Democrat liberal who went to San Francisco to be a hippie. I have not seen a conservative BASED black Republican in a Jewish production ever in my life.
The third counter-trope is that in the current year – the show goes through three different timelines – the black guy interacts with some typical annoying bleach-blonde white bitch who starts talking about “racism and the intersectionality of authoritarian systems” and he gets confused and angry. This scene appeared to be Sargon of Akkad tier mockery of the Ess-Jay-Wubbleyoos.
The fourth counter-trope is that when the topic of racism is discussed, the black woman says that the kids make some jokes sometimes but they just do it because they are poor and downtrodden themselves. I am not aware of any Jewish production in a very long time showing racism as the result of anything other than psychopathic evil.
So What is Going on Here?
While it is funny to think about the idea that Jews are so subversive that once their ideology becomes the dominant force in society they start subverting that, I don’t think that is actually what’s happening.
What it looks like is that the Jews are aware that people are getting tired of the same old stale memes being shoved down their throats, so they’ve decided to use one of the most popular shows to put out a twist on the continuous narrative.
Because again: they’ve still got the basics of the “just like you”/”despite appearances, black people are actually good” narrative in it.
I think the Jews understand that in order to keep things feeling fresh, to continue brainwashing people with IQs above 90, they have to attack their own narrative in a way that makes the astute viewer feel smug that they noticed this. The viewer then feels warmth toward the show because it’s rewarded them personally for noticing that it is not pushing the same exact thing as every other show on TV.
Basically, this takes things back to where they were in the 1980s, where you had Jew messages on television, but you didn’t feel as though they were reaching out from the screen to punch you in the face for being a white man and thus a Nazi.
I suspect that this is probably the beginning of a trend, where media will begin featuring just-as-unrealistic-but-not-as-offensive black characters.
I Do Not Recommend
I would not recommend this show to anyone.
It appears that it will be fine as far as plot, unlike season 2, and you have all the gritty art direction with all the cinematographic throwbacks to classic noir cinema. And you’ve got the T-Bone Burnett soundtrack. And you’ve got some satanic pedophile mystery.
But despite all of that, who actually wants to sit around watching niggers?
If we were living in the 1980s, maybe I would recommend it. But we’re not.
Everyone in the West is inundated with a 24/7 niggerfest against their will, so voluntarily watching them makes little sense.
I will do my duty and watch the rest of the series and inform you of any interesting bits about the satanic pedophile mystery.