Douglas MercerEssays

Zero Days Without Jewish Tricks

by Douglas Mercer

ZERO DAYS without Jewish tricks: That’s pretty much the reality no matter when you start counting.

Veit Harlan was the foremost film director in National Socialist Germany. After the war he was put on trial for “crimes against humanity” simply for having made a movie Jews didn’t like (Jud Suss). If that’s the standard, when we obtain complete police power how many people can we put on trial for crimes against the White race?

Jews, White “Jews,” Negroes, Mexicans, Indians, the entire grab bag of race chaos.

All will be picked up in the first wave of arrests. All will be in the dock.

Jud Suss was the true story of an 18th-century Court Jew who abused the trust of the prince, raped a White girl, and was hanged like the filthy dog he surely was.

The most famous scene in the film is when the raped White girl drowns herself, unable to endure the shame of having been defiled and deflowered by a dirty Jew, and the blood-maddened crowd carries her body to the home of the Jew and demands justice.

The Jew must pay! they scream.

If you believe the propaganda, this movie was shown to peaceful Germans who, after seeing it, quickly set about sending six million Jews up the smokestack or, alternatively, turning them into refrigerator magnets or other assorted knick-knacks.

What Harlan really did was educate the German public about the Jewish poison in their midst, something for which he should have had a medal pinned on him.  Actually he did — because National Socialist Germany was that kind of place.

* * *

Zero Days without Jewish tricks.

The Universal Pictures film Get Out is the very twisted story of rich White people who turn Blacks into zombie slaves.

The new Amazon Prime series Them shows a Negro couple who move into a safe and clean White neighborhood, and the “racist horrors” that ensue when the decent White folks want them gone.

The Universal Pictures film Us has been shilled as “another thrilling exploration of the past and oppression this country is still too afraid to bring up. Peele wants us to talk, and he’s given audiences the material to think, to feel our way through some of the darker sides of the human condition and the American experience.” Black-as-night Lupita Nyongo’o (Kenyan and Mexican, what a witches’ brew of DNA that is!) stars in this anti-White vehicle. Another shrill shill said: “Peele goes even deeper into the conflicted territory of class and race and privilege.” It’s about “American” privilege, you see. The trailer features a White woman about to plunge a pair of scissors into her own head.

Of the Amazon Prime Video show The Underground Railroad, Negro director Jenkins has said that he made the series to “counter Trump’s slogan of ‘Make America Great Again’; I think in that world there’s this vacuum in the historical record or this failure to acknowledge those things, then slogans like this, and even worse actions… will continue to proliferate. So, I think it’s important to fill in those cavities and to acknowledge the truth of what this country is.”

These tropes are tripe.

The HBO series Lovecraft Country has been described as the story of Atticus Freeman as he joins up with his friend Letitia and his Uncle George (close Black kin to Chicken George) to embark on a road trip across 1950s “Jim Crow USA,” where they struggle to survive and overcome the racist terrors of White America. (The racist terrors of White America? Stick around. You haven’t seen anything yet.)

Now BET (Black Envious Trash) joins the lists with a show called Karen, the story of a Black couple who move into a clean, nice, White neighborhood and the “racist horrors” that ensue when the decent White folk want them gone. If that thumbnail synopsis sounds eerily reminiscent of the thumbnail synopsis of Them it’s no coincidence, it’s the same damn story, just with the “Karen” twist. Apparently Negroes in the script department are in short supply, so in the future they’ll just tell the same story over and over again.

In other words they are getting high on their own supply.  

So, after a certain point, all dramas will depict Blacks who move into a clean, nice, and beautiful White neighborhood, decent White folk object, and before you can say Jackie Robinson the trees lining the spacious streets are littered with dark fruit.  

The Karen angle, of course, refers to White women who think people should behave properly in public and are willing to give them what for if they don’t. Can they be overbearing? Sure, but it’s better than the Negroes who play their hoe- and bitch-ridden music all over the place and can’t quite get their clothes to fit. And by golly if we had ourselves a decent society in the first place, the Karens of the world would have nothing to do.    

Taryn Manning is a White might-as-well-be-a Jew, starring in Karen as a crazed White woman who terrorizes her new Black neighbors. As for perpetrating blood libels on her own people, Manning has said:

I felt a social responsibility to take on this role. Even if I had to play the villain to affect change around the globe, then I was more than willing to step into the role. What’s been going on is devastating. It’s time for change and for me to be a part of the bigger picture, meant a lot to me.

To compound the horrific nature of this vile human being, Manning’s mother’s maiden name is White. So by taking on the role of Karen. the stereotypical assertive White female, in the show, she is not only slandering our entire race but very literally and specifically casting shame on her own family.

We’ll pick this race traitor up in the first wave of arrests.

A synopsis: “Karen Drexler (Manning), a racist white woman who makes it her personal mission to displace the new Black family that has just moved in next door to her. …Community activist Malik (Hardrict) and his wife Imani (Burke) are the couple who have just moved to the Atlanta suburb, but they won’t be backing down without a fight.” The trailer shows Karen walking into her neighbors’ kitchen, seeing the Negress preparing food, and saying “ah, slaving away in the kitchen.” Subtle, that. (The money-man behind the film is not Black, of course: Matthew Helderman of Bondit Media Capital, also a participant in “CareerUp,” a Los Angeles “Jewish networking” organization that helps young Jews advance their Hollywood careers.)

Karen features super-aggressive racist White police, and a little White girl telling the Negress: “She doesn’t like Black people.”

Who does?

In the ad for the picture, the title “Karen” appears, and Karen herself is in an ominous-looking silhouette in one of the letters, while in another of the letters a noose slowly appears. More subtlety.

Zero days without Jewish tricks, don’t you know.

Until we put a stop to it. And then our days will be Jewish trick free.

* * *

Source: Author

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Howard
Howard
6 July, 2021 1:49 am

ZERO DAYS without Jewish tricks: were there ANY DAYS without Jewish tricks ??

Patrick Pappano
Patrick Pappano
6 July, 2021 6:18 am

A YouTube video showed up recently of a black preacher exhorting his black congregation to wrap their brains around the fact that black Africa did not contain even one great historical building let a lone one great city, for the entire continent. Now add in that King George III refused the request of the governor of South Carolina, around 1650, to cut off the importation of black slaves. Obviously the king was just doing the service of the Jews, who were in the slave trade. The real casualty however, is the almost complete loss of consciousness that preferring our kind is crucial to everything we call civilization. The only reason you have a black community is that they prefer their own kind. The real crime is breaking down community barriers.… Read more »

Patrick Pappano
Patrick Pappano
6 July, 2021 6:26 am

“Called “gaslighting,” this type of abuse uses statements like the above to create doubt in a person’s mind by making them think, basically, that they’re going insane, says Janie McMahan, licensed marriage and family therapist.” The American white public is being “Gaslighted.”

Prinz Edelhart
Prinz Edelhart
7 July, 2021 9:28 pm

How historically accurate the Veit Harlan version of Jud Süß is may be debatable, but what the movie does better than perhaps any movie ever made is show the standard Jewish modus operandi: How they infiltrate a society, how they maneuver themselves into positions of power and what they then do with that power once they’ve achieved it. The whole sordid affair starts when Karl Alexander, Duke of Württemberg (SW Germany) – an overweight, corrupt, lecherous man of advanced middle age, portrayed by German film giant Heinrich George – needs an expensive gift to distract and mollify his wife who is getting a little annoyed with his dalliances with ballet girls. Thanks to his rather ostentatious lifestyle, however, the ducal coffers are empty and there are no funds for such… Read more »