December 28, 2019
The shocking thing here is that somebody actually did something.
This brand of taunting has been going on for so many years now, one would no longer expect anyone to do anything at all. But, no.
This time, a thing was done.
A Christmas Eve fire-bomb attack on offices of a comedy troupe that produced a “gay Jesus” Netflix special is being investigated as an attempted homicide, police said on Thursday, a day after a shadowy group claimed responsibility in a video that included a far-right religious statement.
A group identifying itself as “Popular Nationalist Insurgency Command of the Large Brazilian Integralist Family” said in a video circulated on social media late on Christmas Day that it carried out the attack on the headquarters of the Porta dos Fundos comedy group in Rio de Janeiro. The men in the video wore masks, and the group does not list the identities of any leaders or members.
The video showed masked men throwing Molotov cocktails and reading a statement against the 46-minute comedy that Netflix released three weeks ago.
Entitled “The First Temptation of Christ,” the program depicts Jesus as a young man bringing home a boyfriend to meet the Holy Family. Around 2 million people petitioned the streaming service to remove the show, saying it offended Christians.
That’s some pretty serious stuff, a bunch of people signing a petition like that.
If you made fun of the Jews like that, you would be declared a Nazi, deplatformed, fired from your job, and harassed by fake journalists outside your home.
If you make fun of the Moslems like that, they will literally do a terrorism on you like they did on Charlie Hebdo.
But if Netflix makes fun of the Christians, they’ll put their petitions out on the Internet, and then most likely continue paying their Netflix subscriptions.
Except that one time in Brazil, when they firebombed the studio.
State police told a news conference in Rio they had verified the contents of the video showing three men in ski masks lighting Molotov cocktails and throwing them at a glass-fronted office that is the Porta dos Fundos’ headquarters.
No one was hurt in the incident and a security guard put out the blaze, according to a statement issued by Porta dos Fundos.
Rio police said the incident was under investigation as attempted homicide and causing an explosion. They said they did not currently consider it a terrorist attack, though such a classification had not been discarded.
Police said a group with a similar name and symbol, the Brazilian Integralist Front, had denied any links to the video, so investigators were not certain the attackers in fact were part of the far-right group they claimed to belong to.
Police have images of four men involved in the attack but do not know their identities. Authorities said they have formed a task force to resolve the matter as quickly as possible before the group can act again.
The video claiming responsibility shows three men in black ski masks and dark green jumpsuits reading a statement in front of a flag bearing the Greek letter Sigma, the symbol of Brazil’s integralist movement from the 1930s, inspired by European fascism. There was also an Imperial Flag of Brazil, the national symbol under Brazil’s former monarchy but not used since the 1800s.
The statement, read in a sound-altered voice, criticizes the comedy as “blasphemy” perpetrated by left-wing Marxists seeking to weaken and divide the country, and criticizes Netflix for airing the special.
Netflix did not respond to a request for comment about the video claiming responsibility for the attack.
The fact that this happened in Brazil provides no evidence that it could happen in a first world country, where it would have a much greater impact on entertainment culture. Violence in Brazil is like syphilis on a nigger – it’s exactly where you expected it to be.
Still, it does warm the heart to know that somewhere, this happened.
Obviously, you should not do things like this. But these sorts of happenings should be inevitable in any society that is not completely fragmented and sedated.
We are being forced through a cultural revolution in which the consensus values of faith, family and country are being replaced with anal sex and tattoos. Historically, paradigm shifts of such velocity could only be achieved with organized violence, because the people being subjected to them would lash out against them.
When the day of the masturbation machines finally comes, Netflix will have more than just this to answer for.
Their Gay Jesus special, at the very least, is honest on its face about what it is. It is a ritual humiliation of conquered Christian countries, meant to rub your nose in the fact that Christianity and no other religion can be mocked with impunity in Christian lands, and no one will do anything at all about it.
If you do not want to watch this, you will not be forced to – not yet, anyway – and anyone who does watch it knows in advance that it is about mocking Jesus, and wants to see it.
But this is not the first time Netflix has made a mockery of the things we cherish. It is for their acts of deceit, when they have wrapped up their infection in something that looked like it might have been sort of good, that they will be most severely punished.
I am referring, of course, to The Witcher.
This is Now an Article About The Witcher on Netflix
When Netflix released The Witcher, there was nothing in the trailer or description that suggested that it was actually about a strong, empowered white wahmen melting with bliss because she humped a queer looking nigger, and then nagging the alpha chad white male lead character to death for four hours of screentime because he failed to respect her wahmenly independence sufficiently.
I actually thought that it would be about the white guy killing monsters with swords and magic. You know – because of the hack-and-slash RPG series, also called The Witcher, which was about a white guy killing monsters with swords and magic.
Oh, how naive I was.
Of course, everything actually has to be about empowered white wahmen falling in love with niggers, ripping out their own uteruses in exchange for magical powers, and then sexually dominating tall, ripped, square-jawed Aryan monster-slayer protagonists, who are helplessly bewitched into crawling after the sloppy scraps of their nigger-wrecked goo.
Because of their strongness, and empowerment.
Also, the Jew is the metaphorical golden dragon. Or, the golden dragon was the metaphorical Jew. The rare, majestic pinnacle of intelligent life which must hide his true, perfect form beneath the unsuspecting facade of a short, effeminate, sly old man, and enlist the protection of Black Panther-looking niggerbitches against mobs of evil white men who have driven his kind to the brink of extinction out of blind, hateful ignorance and lust to steal his treasure, but who will bestow upon the goy good enough to defend him his highest reward – his wise advice.
A Jewess produced this, of course.
Also, any character can be a nigger.
Previously white characters can be niggers. Dwarves can be niggers. Elves can be niggers.
Elves can also be pajeets, rescue a helpless Aryan princess, and deliver her safely to the whiteish elves of the magical hidden forest who initially want to kill her as an intruder until she is spared by the elven queen, who, in her superior wisdom, is a nigger.
In addition, I would almost complain that the plot made no sense. Three different story arcs, happening decades apart, were narrated simultaneously and it only became apparent that they were sequential, and not simultaneous, around five hours in. So, the biggest plot twist was actually just that they narrated the story in an intentionally confusing manner. The characters were one-dimensional and their decisions did not seem to advance their own goals.
Still, I did not expect or want a good story. I wanted to see a hack-and-slash video game series made into a hack-and-slash television series. Where violence was offered, it was not exceptional or even above average. The monsters were just gross and not really terrifying. The fights were flashy, disjointed movements with a camera jump rate that would make you think that Paul Joseph Watson did the video editing, and the human fight scenes in particular had the sort of static, turn-based feel of a 1980s kung fu movie.
Even this could have been satisfying in a campy sort of way if they had served up a lot of it, but there was actually not that much violence, certainly not enough to live up to the title. The epic final battle was literally just a bunch of skank witches waving their hands around and launching cheap special effects with the liberated power of their rancid vaginas.
On a minute-per-minute basis, The Witcher was mostly just a drama about people talking. It is all build-up, and no release. At the end, it leaves you not only with a feeling of twisted disgust in your stomach, but it mentally transports you to a nightmare world where petulant skanks who would rightfully be raped into silence escape this justice because they have magical superpowers from cutting out their uteruses, and so leave you with giant blue balls of incel rage, forever just out of reach of their cock-slappable faces.
And this is exactly how the Jewess who created this series wanted you to feel.
If gamers do not rise up against this abuse, all of our childhood video games will be repackaged as out-of-control skanks and super-niggers humping and complaining, forever.