Eric Striker

Daily Stormer

March 13, 2017



I wrote about the new horror film “Get Out” a few weeks ago, and pointed out how the majority of the stellar reviews were written by Jews.

Some “conservatives” are interpreting this movie – which is about a black guy slaughtering villainous suburban white liberals who turn out to be secret racists – as a “Democrats are the Real Racists” type of message, but I challenge that summary. The film can be interpreted that way, but Jew producer Jason Blum and black director Jordan Peele’s sentiment isn’t meant to scratch the conservative itch for “based black guys” as Gavin McInnes claims.

Throughout history, the genocide of a people follows a process of dehumanization as a prelude. For example, in the bloodiest epochs of the Soviet Union, the targets for murder were labeled “counter-revolutionaries,” while in Israel, Palestinians (whether armed or not) are just “terrorists.”

White people in America are being targeted in the same fashion. Jews plan to gradually dwindle our numbers until we’re a small minority so that they can incite blacks and others to begin indiscriminately killing us and our families. In “Get Out” the whole family is killed, including the negro protagonist’s white girlfriend. If you’re a white liberal who bends over backwards to accommodate Jews and their non-white pawns, you won’t be saved, because it’s white genocide – no asterisk.

For this reason, the target of the “Democrats are the Real Racist” message here isn’t white cuckservatives – this is just Jews instructing blacks to see that left-wing whites also need to be attacked and eventually murdered.

The Jew lives vicariously through the black on a physical level, as they perceive negroes to be strong and brutal while they are usually physically weak. The Jew believes strongly that negroes are an inferior race, but conversely, also sees the negro as a more primitive, virile version of himself. Both races are carnal and “loose” – Jews are even prone to instant gratification, they just have the money to get away with it. The way the black and Jewish collective unconscious likes to solve problems (brutality, murder, terror) is identical, the Jew is just a very sophisticated version that is capable of shutting this off with his in-group.

Just like Jews are inbred but turn around and accuse Southerners of it, the Jew is the real cuckold that fetishizes black men. The concept of projection is largely psycho-babble, but the Jews who came up with projection were projecting themselves!

Liel Leibovitz writs for Tablet Magazine:

What’s truly terrifying about Get Out is that its monsters aren’t the stock bigots we’re used to seeing—the sweaty, swaggering sheriffs with Southern drawls, the oily Republican preppies—but a novel, and much more realistic, kind of menace. Peele’s villains say all the pretty things about white guilt and black empowerment and racial equality, but when it comes to doing, they’re very much proponents of more coercion from on high, more social engineering, more bad ideas that put the bodies and the minds of black people at mortal risk. Chris’ experience may be more macabre than usual, but it’s not fundamentally different than, say, that of the folks living on Chicago’s West or South sides—where 762 people were murdered last year alone, and where the response of the progressive administration was to call for making the already stringent and clearly ineffective gun laws even more stringent and ineffective—or that of the kids in Detroit, where decades of progressive policies have turned the public schools into crumbling monuments to hopelessness. In those cases and too many more, black lives matter mostly as abstractions, the moving background in the morality play designed to reinforce liberal pieties, vilify anyone who doesn’t hold the right opinions as racists, and, most tragically, ignore the real lives of real people in need of real help. American Jews, thankfully, are considerably more fortunate, but the dread evoked by Get Out is not entirely unfamiliar. In most of polite society, Jewishness is treated in much the same way as the murderous Armitages treat blackness: an idea to be celebrated while the actual people who embody it are destroyed. For proof, look no further than Linda Sarsour, one of the organizers of the massive Women’s March, protesting the inauguration of Donald Trump: Having raised tens of thousands of dollars to help rebuild a Jewish synagogue desecrated by anti-Semitic vandals in St. Louis, she thinks nothing of siding with Islamic Jihad operatives or embracing convicted terrorists who have murdered two young Jewish men. To our progressive betters, this is not a problem: They embrace Judaism but have no problem with those who kill Jews. Platitudes are offered, power is preserved, and the parade of folly goes on. Like many, I’ve witnessed it firsthand. Spending a few years as a professor at New York University, I soon realized that while my colleagues would, if asked, go to great lengths to denounce anti-Semitism as vile, they had little patience for anyone, myself included, who believed that Jews were people who deserved basic rights. When I emailed a fellow professor and asked to participate in a weekend seminar she was organizing to discuss the Israeli-Palestinian conflict—a subject I know a thing or two about—I was ignored, and eventually informed that the event was by invitation only, and that I wasn’t invited. It was, of course, dedicated to discussing the singling out of Israel for boycotts, divestments, and sanctions, a plot that would hardly benefit from the perspective of a proud Israeli-born Jew who insists his people have as much of a right to self-determination as everyone else in the world. It was this kind of corrosive ideology—extolling the values of diversity while enforcing a crippling orthodoxy that had little patience for Jewish identity—that eventually drove me to get out of academia. It didn’t take long for me to learn the same lesson Chris does in the movie, namely that the point of this new strain of toxic liberalism isn’t really to help victims of racism or anti-Semitism or any other sort of discrimination; rather, it’s to reconfigure the identities of white people so that they may go on and enjoy the same exact comforts to which they’re accustomed. It’s the same prejudices wearing better clothes. And it works because it projects its disdain for the unruly lower orders onto poor whites—working stiffs like that hapless cop, schlubs who probably eat at Denny’s and listen to Toby Keith and vote for Donald Trump—while continuing to deny actual black people the right to cast themselves as the protagonists of their own dramas outside of the rigid scripts written for them by the white elite. The same is true for anti-Semitism, which the same elites can now project onto Israel: The Jewish State, our intellectual and moral betters insist, is the home of the bad Jews, murderous thugs who massacre innocent Palestinian babies and therefore can expect nothing less than the knife, the bomb, and the rocket, while the good Jews are those who nod in agreement, smile politely, think little, and say less.

So there’s two ridiculous ways in which Jews view this film: payback against the “white elites” of liberalism (!), as well as an expression of violent resentment against some of these liberals, who as universalists, have the nerve to condemn Israel for sterilizing blacks and exterminating an entire race of native people. It’s that Aryan objection to double-standards and love of principle – even in the mangled form some liberals live by – that Jews revile and believe leads to “left-wing anti-Semitism.” And because they know it’s in our blood, with films like this, they’re showing how they perceive us, and forshadowing what they have in store for us.

The villains in “Get Out” aren’t “white elites,” they are part of that minority of wealthy white liberals, but ultimately not very powerful or relevant aside from virtue signaling. The Armitage family (the evil white people in the film) aren’t influential (((New York Times writers))), (((political donors))) or (((Hollywood movie directors))), they’re meant to represent middle class suburban lemmings, the type who are sheltered enough to believe the races are actually equal and don’t mind if their daughter dates a negro.

But Jews want non-whites to know: there is no such thing as a good white person.

If you’re a liberal or have people in your family who are liberals, make sure they know that they won’t be spared.

The Jew has a pathological hatred of our folk and of the West and if he is not stopped, we’re done. The problem isn’t in how we treat them or behave – any other people would’ve thrown these Jews in cryogenic chambers so science can analyze evil incarnate.

*Spoiler Alert*

The ultimate irony here is that the white liberals in the movie kidnap young blacks to transplant their brains into when they get old or sick. That’s the very thing the Jew writing this piece in Tablet Magazine is doing by superimposing his race on the black as a vehicle for revenge.

The multi-dimensional irony and hypocrisy, rest assured, isn’t lost on Liel Leibovitz, he just wants to make sure blacks think it’s Bill and Nancy the granola liberals next door who is using them for nefarious purposes.