What a fitting term to describe the modern fetish of the cinematic anti-fascist warrior which is pathetically consumed by the drooling lemming masses left, right and center. On one hand there’s the do-gooder Captain America who, through a serum invented and administered by a literal kike scientist, is transformed into a Zionist show-dog starring in flamboyant Allied stage spectacles all the while clobbering those despicable Nazi goons on the battlefield, even up to the Führer himself. Shining brightly on his trusty shield, made out of Kangz mythical metal from Mother Africa, is the heraldry of the Beast System. On the other hand an even more iconic comic hero is manifest as a jew’s twisted perversion of the Übermensch, upholding “truth, justice and the (((American way)))”. This particular character is pitted against the fascist General Zod who will stop at nothing to secure a future for their endangered, superior race. The protagonist’s answer to this is zealous defiance in defense of parasitic racial aliens, thus betraying his race and upholding modern civilization. Sound familiar? Though not illustrated, live film has proven to be equally as cartoonish as the inherently kosher comic industry (the overwhelming takeover of the cinema by comic book characters reinforces this).

Adolf Hitler has always been a top target of ZOG media, even before the end of World War 2, and will persist to be so long as this degenerate Kali Yuga persists. Standardized hate of Hitler’s National Socialist Germany aside, Hollywood fully understands that the roster of their greatest and most dangerous enemies didn’t stop there. With the 2019 release of Quentin Tarantino’s “Once Upon a Time in Hollywood”, the Beast System’s media tentacle has become even more transparent in its unholy crusade against the Sacred Swastika and all true Hitlerian Ambassadors of Nature past, present and future. This has potently manifested with an ever growing focus on demonizing Charles Manson and the legendary white bastion he created.

First we begin with Tarantino’s release a decade prior, “Inglourious Basterds”. The perverse scent of kike fantasy truly reeks with this one. In a highly petulant expression of comical lament that (((they))) couldn’t kill our Greatest Leader in real life, a self-soothing film is then created where kike soldiers infiltrate a theater to gun down and blow up the entire leadership of the Reich, along with the theater goers at large and Hitler Youth present. Indoctrinated lemmings have been conditioned to cheer on the death of “evil racists” onscreen (and off) for decades, so why stop there? The momentum continues.

Let’s not forget 2012’s “Django Unchained” in which Tarantino smugly bastardizes Richard Wagner’s Ring Cycle by portraying a nigger “Siegfried” gunning down as many white men and women as he can in pursuit of his own sheboon “Brünnhilde”. Humorously there exists an unintended yet glaring realism in that the film’s protagonist is completely incapable of achieving his goals without the aid and intellect of his self-hating German sidekick. One can at least tip a hat to this nubian revenge porno for that alone.

That brings us to the recent release of “Once Upon a Time in Hollywood”. Within the racial sphere I’ve witnessed this ongoing sentiment of hatred toward Charles Manson based on the sensationalist suspicion that he was no more than a mere System psyop. This herd remains sadly unaware that they are but the opposite side of the the same kosher coin, parroting the non-racist lemmings who also clutch their pearls at the mention of Charlie and the Family. What’s curious about this sentiment, however, is that HERE and NOW in the depths of the darkest age the ruling Beast System has produced a mainstream film doing the same thing to Manson as they did to Hitler ten years ago with the same marketable brand-name director. Within a recent short span of time alone, “Hollywood” has been but one of multiple kosher films released continuing the status quo portrayal of Charlie. This is no accident. This is a clear manifestation of the enemy’s growing fear of the Universal Order that Manson represents along with the inevitable continuity of his legacy, thus resulting in the ultimate liberation and vengeance of the Aryan.

Admittedly I never forked over my shekels to view Tarantino’s latest abortion. I merely watched a review. To save you all time and brain cells, the film concludes in a similar fashion to “Basterds” with some bourgeoisie movie industry protagonists slaughtering members of the Manson Family, thus displaying an honest and revealing persistence of what was projected on the big screen only a decade ago as the noble leaders of National Socialist Germany are gunned down for the entertainment of the popcorn-devouring masses. As the kikes and their liberal/conservative pets get their revenge fantasy fix by killing Hitler in one film, so do the Hollywood elites, kike and shabbos alike, get their’s by killing the Manson Family in another. Kosher fantasy fan-fiction historic revisionism aside, the not-so-subtle link between these two cosmopolitan fairy tales is immediately obvious as “Once Upon a Time in Nazi Occupied France” is followed up by “Once Upon a Time in Hollywood”. Furthermore this potent connection is blatantly highlighted as the actor protagonist of “Hollywood” takes a flame thrower to Nazi characters as part of a movie shoot and later mirrors this by doing the same to the Manson Family in real life. Thus in this “righteous” Tarantino tale, in yet another mass produced ejaculation of kike fantasy, the race traitor whore Sharon Tate and her abominable kike spawn are spared their deserved fates.

Anyone with half of a brain can at least take a step back and truly see the underlying patterns if they really wanted to. Simply look what has been done to Hitler for so long by the mass media. If Manson were truly a pawn of the Beast System as so many misguided sheep proclaim, then why is the EXACT same treatment being increasingly doled out to him by the ZOG media masters in this darkest and most kosher of ages?

Inglourious indeed.