Andrew Anglin

Daily Stormer

February 19, 2016

In Forbes Magazine today, the filthy Jew Scott Mendelson is attacking the film Deadpool for being “too White.”

Please note that Mendelson’s article does not feature a yellow star anywhere, so the goyim don’t even know where this hateful filth is coming from.

As of Tuesday, Deadpool was the 24th biggest grossing R-rated movie of all time. As of today, it will probably be around 15th on the list and it could rise as high as fifth or sixth by the time its second weekend comes to a close. There are many reasons to celebrate this success and a few good lessons to learn. The unabashed crowd pleaser is somewhat unique in blending superhero origin tropes with bawdy comedy and slapstick ultra-violence. It features a slightly unconventional lead character and is an example of selling a cult-ish comic book character to mainstream audiences and an outright outside-the-box marketing triumph. But here’s one reason to be a little disconcerted about its breakout success: Hollywood may take the worst possible lesson from it and ditch its efforts at demographic diversity because it arguably reinforces the most conventional of conventional wisdom.

The goyim like White movies!

Shut them down!

Bury them in Blacks!

If that sounds a bit melodramatic, I sincerely hope it is. And for the record, whatever trends (be they good or bad) that are seen in the wake of Deadpool are not the responsibility or fault of anyone (Ryan Reynolds, Tim Miller, Robert Liefeld, Fox’s ace marketing department, etc.) involved in making and selling the picture as they wished to do so. But we all know that Hollywood will react to Deadpool by chasing the proverbial “next Deadpool.” And, when you boil down its primal elements, what is Deadpool exactly? It is (a pretty successful) bawdy and hyper-violent action comedy aimed at the Id of the stereotypical fifteen-year-old Caucasian male, be it literal or an older male indulging in a teenage mentality (47% of the audience was under-25 years old). It’s a mostly mainstream action comedy, with enough quirk to set it apart from the pack, aimed at the same audience demographic that Hollywood always seems to be chasing. … We crow about the $288 million worldwide success of Pitch Perfect 2, the $577m global success of Fifty Shades of Grey, and the $200m+ worldwide success of Straight Outta Compton (all of which came from Universal/Comcast Corp.) as evidence that films aimed at “everyone else” can make a lot of money on a reasonable budget. We hold up Gone Girl and The Revenant (both, it should be noted, came from Fox ) as the triumph of the breakout leggy adult-skewing popcorn blockbuster.

“We” in those sentences means whom?

Oh, right…

But now along comes Deadpool, which not only is a massive blockbuster but also cost a mere $58 million. It’s a “reasonably budgeted” action comedy aimed specifically (but not exclusively, of course) at young white males. And it’s going to make unholy amounts of money here and abroad. That’s great for the filmmakers and the studio marketing team. But it’s also a big an example of “confirmation bias” as you can imagine. It exists as a giant honking “See, we were right all along!” example of how much money studios can make when they craft a film aimed at 15-year old boys (or men old enough to buy a ticket to an R-rated movie but with the mentality of a teenager). It’s taken a decade for Hollywood to realize that smash hit films aimed at women and minorities aren’t standalone flukes but examples of a clear demographic demand. But I’m going to go out on a limb and suggest that nobody will think that Deadpool was any kind of fluke regarding demographics. … If I am being overly paranoid or melodramatic, then consider this a preemptive plea to Hollywood at-large to not use the success of Deadpool as an excuse to walk back from the (admittedly token) progress they’ve made in terms of making movies about more than just young white males and their hero’s journeys. But that’s what I fear, irrationally perhaps, that the success of Deadpool will bring about.

Why do you “fear” that?

Does it have anything to do with the shape of your nose, Mendelson?

Because it seems like it does.

It is just the kind of hit that will cause studio executives to potentially turn their back on attempting to find the (proverbial) next Creed, Gone Girl, The Fault in Our Stars, Pitch Perfect 2, or Twilight Saga. After all, why risk $20-$50 million on films aimed at women and minorities and hopefully make $150-$300m worldwide when you can spend $40-$70m on movies aimed at white males and make all the money from pretty much all demographics? The film played 38% female and 48% non-white on opening weekend, which (perhaps unfairly) further plays into the “white male hero’s journey movies play to everyone” mentality.

Because apparently, you filthy kike, people other than White males like looking at White males.

Deadpool was always a funny and popular comic book, and Ryan Reynolds, while not always popular, was at least handsome.

People like this. White culture is popular for the reason that people like it.

I know that is like another Holocaust for you, Jew, but this is the fact of the matter:

White people are fantastic.

