A Jew by Any Other
by Douglas Mercer
THE ROYAL Court Theater in London put on play about a greedy industrialist who wanted to dominate the world and the playwright named the protagonist Herschel Fink. After the Jews of England were through with ripping them a million new ones, the theater and playwright got up off their knees and the character had a new name. Grudging permission to proceed was granted, but everyone was quite aware they were on notice.
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It’s getting so bad lately you can’t even say “bloodsucking vampire” without having the Jews crawl all over you. Most people hear “bloodsucking vampire” and they think you are referring to bloodsucking vampires — but the Jews hear “bloodsucking vampire” and they are very, very sure you are referring to them. The Jews know a trope when they see one, and they also know themselves.
Their outrage evinces a guilty mind.
Because if, when you hear “bloodsucking vampire,” you think it’s referring to you — it’s because you’re a bloodsucking vampire. And in the case of the Jews, that’s surely true.
There are some words you can’t say without drawing the ire of the Jews. These are “off limits” words because the Jews are touchy as Hell about them. These words are “banker,” “globalist,” “internationalist.” Say any of these words and the Jews will crawl all over you.
But it’s a case of the Jews protesting too much. As it is said: If the Jew fits, wear it.
What’s in a name? Well, when it comes to the name Herschel Fink and the Jews, a whole Hell of a lot, apparently. In case you name a fictional character Herschel Fink, the Jews will be all up and down your back.
But call them what you will, a Jew by any other name is just as much a bloodsucking vampire.
Don’t you agree?
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You see, of late in England (aka: Cuck Island) a playwright wrote a play centered on a billionaire mogul who seeks to dominate all markets and all metals and monopolize them, thereby gaining domination of the world. This alone would likely have been enough to send the Jew antennae up sky-high, and to have them slithering out of the woodwork, as they are very sensitive about accusations that they seek to rule the world, even more so now that they do. But the playwright not only made the “mistake” of portraying a power-hungry mogul bent on controlling the world, he made another “mistake” as well. An unforgivable error, to hear the Jews of England tell it. As I mentioned, the name of said mogul was Herschel Fink.
For all his trouble, the playwright might as well have named him Israel Cohen, or Schumley Rabbi, or Shekels Moneystein. He might as well have dressed him up in a prayer shawl, a tiny hat, have him blow a shofar, gulp down lox like it’s going out of style and go around munching bagels, set the play in Florida and have him wear white tennis shoes, and show him whining all the time about “far right extremists” and confessing how much of an immigration enthusiast he is.
In fact, “Herschel” alone would have been enough to draw down Jew fire, like Herschel Smith. If he had named him Joe Fink he might have been able to slide under the radar, but you never know — these Jews are a nasty and a vindictive lot.
But Herschel Fink?
He should have saved himself some trouble and pinned a yellow star on him or had the character give detailed instructions about how to drain the blood of Gentile children right there on stage.
Because “Herschel Fink” — well, that’s about as Jewy as it gets. And it made Jews go into heart-attack mode; they shook the presses, they hounded the institutions, they activated the politicians, they propagated the telephone trees and smear campaigns, they rattled the cages. All of “high society” was out in force, the word went out far and wide, and they shook the theater down.
They demanded the name be changed to something more suitable, something more, well, Aryan. Because crapping all over White people is fine and dandy.
And all of this is rather funny because when I hear a character is named Joe Smith, even if he is a power-hungry mogul, it doesn’t bother me a lick. But then I rather like being of English descent, and I don’t care who knows it.
Furthermore I’m not a bloodsucking vampire and, in the end, that makes all the difference.
* * *
What’s in a name? The Bard didn’t think all that much, and he’s a pretty good authority. But then he lived in an England where he could depict a Jew accurately, as a money-grubbing greedy merchant who demanded the living flesh of an Aryan. But in today’s England there’s a lot in a name — at least when that name is Herschel Fink and there are Jews around — which there always are, alas. Indeed, it seems that all of the cultural and political cognoscenti were out in formation on this very very important issue; they were all flapping their gums and their wings, beating the air over nothing. They were all up in arms, falling all over their very important selves to distance themselves from this bloody atrocity, to accuse, to recriminate, and of course to make quite sure nothing as heinous as this ever is allowed to happen again in merry old England.
The Jews rule England. Hitler knew it. Doesn’t the Royal Court? Doesn’t Al Smith? Well, if they had any doubt about it they don’t now, now that the Jews of England have shoved their fists down their throats. You can bet they are currently hyper-aware of that fact.
To a normal person, all of this seems like much ado about nothing, or a tempest in a teapot. But when you live in a teapot, a tempest can be quite terrifying. Particularly when there are Jews around.
The play Rare Earth Mettle, by Al Smith, originally featured Hershel Fink as the CEO of an electric car company. Marketing material for the production appeared to portray a messianic billionaire trying to monopolize the earth’s resources.
Sound like a Jew to me, even without the name. Case closed. Billionaire? Monopolize? Whatever the name, that’s got Jew written all over it. Vulture capitalism is Jewish capitalism. A Jew by any other would be as greedy.
The irony is that the playwright, with the very English name of Al Smith, said he intended the play to “combat racism.” The irony is he turned out to be a “racist” himself. At least according to all the social swells.
And the amazing thing is that the playwright and the theater claim they had no idea that the name Herschel Fink sounded Jewish. In related news they state that they did not know there was a rumor going around that Jews have big hook noses and like to eat bagels by the barrel-full and drain the blood of White children for their rituals.
They didn’t know Herschel Fink was a Jewish name? Did they say that after they came out of the hermit’s hut, or the cave? Or as they emerged from under a rock? Not to know that Herschel Fink is as Jewish a name as Moses Goldberg is really hard to credit.
At the beginning of November, theatre management said they were unaware Herschel Fink was a Jewish name and that they and the writer were deeply sorry about what had happened, adding that it was an example of unconscious bias they would reflect deeply on.
So after telling the big lie that they did not know in a million years about the slimy Jewishness of Herschel Fink, they went into apology mode and put the dunce cap on themselves and went into the corner for an unspecified period of time. Of course everyone knows what they are really saying. Of course they knew it was Jewish name, but they can’t bear to admit it in public — that would have been much too mortifying — so they’ll say they had no idea, then grovel in the dirt, in the hope that somehow that will be enough and the Jews will get off their backs and not be crawling all over them. And both they and the Jews will know (with a wink and a nod) that it will never, that is never, happen again.
Mind your place, goy.
That’s how the slimy Jews operate. When they have our people by the testicles, they know our hearts and minds shall follow.
Why in the world would anyone have the theory that Jews want to dominate the world?
Does anyone have the foggiest?
In seeking to dispel what they call the myths about them, the Jews perpetrate them.
We are in conversations with this director as we hold ourselves accountable for why this was not taken further or passed on to the writer. The theatre said it was steering an internal review and working with members of the Jewish community to understand how this harm was committed.
Oh yes, all the therapeutic nonsense will come to the fore. There will be investigations, there will be outreach, and Jews will be consulted. They know where their bread is buttered. After all, they are a “progressive” theater company. (Is there any other kind?) They know those lights are not going to stay on by themselves, and they’ll always need money — and, more often than not, that means Jews. The Jews used to ply the peasants with liquor but now they ply the impresarios with cold hard cash and “moral” shakedowns. But, either way, it’s bloodsucking vampires all the way down.
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When word came down that a made-up grasping greedy billionaire was called Herschel Fink, all Hell broke loose and all of the rats went scurrying, and left the ship. The “elites” of London would rather be known for stealing old ladies’ handbags or knocking up fourteen-year-old virgins than to have even the faintest hint of “anti-Semitism” about them. They fled for the hills and couldn’t get away fast enough.
Two corporate backers of London’s Royal Court theatre are withdrawing financial support in the wake of an anti-Semitism row. Two of the Sloane Square theatre’s corporate sponsors, law firms Kirkland & Ellis and Weil, Gotshal & Manges, told BBC London they would no longer fund the Royal Court. A spokesperson for Kirkland & Ellis said: “We condemn in the strongest possible terms any and all forms of racism and discrimination, including anti-Semitism, and in light of the recent events, we were unable to continue our sponsorship.” Weil, Gotshal & Manges, the theatre’s only gold corporate sponsor, said: “Weil strongly condemns any form of anti-Semitism or discrimination, whether conscious or unconscious, and we will be withdrawing our support for the Royal Court.”
Damn, the high powered swells are out. They took the money and ran. “High society” moneybags have spoken, in no uncertain terms. But cultural figures will put their foot down at this infernal meddling in the arts, right? They are a sensitive and artsy bunch, and they believe in free spirits, and free speech, and free sex, and free lunches, and free everything, right? They are those prime individualists and egotists and don’t like group-think or pressure from the “suits” or the big bosses, right?
Wrong. They caved like a Haitian hut in a mild breeze.
In response to The Sunday Times investigation, prominent Jewish actress Tracy Ann-Oberman tweeted: There can be no better place to start unravelling anti-Jewish bias, unconscious or otherwise, than in the very progressive left theatre space.
On 8 November the leadership of the Royal Court was informed that the name had been raised by a Jewish director in a workshop discussion held as part of the series Directors: Working on New Plays in September 2021,” said the theatre in a statement released to the BBC.
When the controversy surrounding the play began, Director Adam Lenson said: “Casually making a Silicon Valley billionaire Jewish perpetuates antisemitic stereotypes and will cause ideological harm.”
Well, ok, those three are “artists” but they are Jews as well, so their dudgeon is baked in the matzo balls. Aryan artists, apparently, were laying low hoping not to be caught in the crossfire and were unavailable for quotes.
As for someone who runs a Jew museum, who curates those shoes and fake photos, you know which side of the street that person is going to come down on — and in what “morally pure” tone it will be wrapped in.
“This image is a stereotype as it shows a Jewish person in a malevolent way, so it’s a racist depiction of a Jewish person — rich, controlling, in power,” said Frances Jeens, interim director of London’s Jewish Museum.
Political figures followed suit in letting out wails of horror.
The government’s independent anti-Semitism adviser, Baron Mann, told the BBC that companies financially backing the Royal Court theatre should seek answers from the venue about what had happened.
First off, the question becomes: Why does the government have an “anti-Semitism adviser.” Do the Jews rule England or what? And second off, that person is about as independent as that Jew museum director. Just imagine this putatively independent adviser saying: “You know, I’m just calling balls and strikes here, I’m totally impartial, and I have to say that on this one I think the Jews are blowing things all out of proportion. It’s only the name of a fictional character in a forgettable play, after all.” Of course that’s about as likely as him drawing attention to how Jews run England, or spitting on the Queen.
Mann said there were serious questions about how a theatre — which has received more than £10m of taxpayers’ money over the past five years — managed the affair.
With these Jews it’s always about the levers of power and money, is it not? If you didn’t know better, you’d think they had a monopoly on the world. Rare earth metals are the least of it.
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From all the attention this non-event got, you’d think it was the crime of the century. Another Shoah perhaps, or one of those “pogrom” stories they keep insisting are true. Investigations were carried out, as if it was a forensic issue and they were dusting for fingerprints. You’d think they’d do an investigation into how all those “refugees” slip into the country, but the media and the authorities have no interest in that. That they like. An “investigation” into Herschel Fink? It’s the name of a fabricated character, for crying out loud.
According to an investigation in The Sunday Times, three sources confirmed that a young Jewish director raised concerns with associate Director Hamish Pirie.
Directors at the Royal Court theatre were warned in a workshop earlier this year that the choice of the name Hershel Fink for a greedy billionaire character risked causing offence to the Jewish community.
It didn’t risk it; it was guaranteed. Jews would no sooner let the name Herschel Fink pass into the common culture than they would a documentary about Jewish degeneracy in Weimar, or a frank discussion of why they have been ejected from 109 countries.
The BBC contacted the Royal Court several times to ask for an interview with its artistic director, Vicky Featherstone, who oversees the theatre and initially commissioned the play, but these requests have never been accepted.
Those gumshoes at the BBC are really using up the shoe leather. Stop the presses, a playwright has crossed an imaginary line, has failed to sufficiently think about Jews around the clock, has failed to be fanatically obsessed with Jewish perfection and the necessity for constant and constantly-increasing obeisance to them.
The young director pointed out to Mr. Pirie that the name was clearly of Jewish origin and as such might draw criticism as it had developed into an antisemitic trope.
Such tripe about these tropes — a man can’t even call Jews hostile parasites nowadays without getting into hot water. It was a lot better in the old days when you could let a word like “kike” roll off your tongue and no one thought twice about it.
Safe to say, they are blowing this one way out of proportion. But then that’s what Jews do, take a molehill and turn it into a mountain, and before you can say “Jews are killing us” Moses Goldberg is coming down from that mountain with some scrolls that insist that everyone obey Jews to the last letter.
The Jews are our misfortune; true as the day it was first said. But if we don’t put a stop to this soon enough, it will be our tragedy, and then our catastrophe.
These are deeply hurtful stereotypes that have existed for centuries and is something that is very hurtful to the Jewish community today.
If there was ever a more obnoxious people than the Jews, bigger whiners and bellyachers, I’m sure you’ve never heard of them.
“There should be resignations. It’s not credible to continue a major arts venue like this with that kind of approach, attitude,” he said.
“This is horrendous stuff. It’s almost as simple as it gets. If this was some amateur dramatic society, I’d be horrified and want them to understand the hurt they’ve caused but this is a level far higher than that.”
They’ve responded to this one on an industrial scale for the simplest of reasons: You, see this one hits them where they live.
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And in the end, of course, the Whites of England fell like a Haitian hut in a mild breeze. The Jews got their pound of living Aryan flesh.
Following complaints to the Royal Court, Hershel Fink became Henry Finn.
Just like that. Henry like Adams and Finn like Huckleberry. It doesn’t get more Aryan than that.
The last name being of Irish origin and meaning, curiously enough, white or fair-haired.
The fact that due to the Jews’ actions, their raising holy Hell, their caterwauling, and their pious “moralizing” on the eternal theme of their victimhood and the ever present specter of the six million, and the fact that they got their way because of all that, that they got them to change the name, exactly confirms the very stereotype they say Herschel Fink fosters — and which they say they are seeking to dispel. This is lost on no one.
They could have just let it go; it was nothing after all, and had it wash away from collective memory in a few weeks. Instead they proved once more, if any more proof was needed, just what bloodsucking vampires they truly are.
And for all of the so-called cleverness imputed to this hostile and aggressive “elite,” when it comes down to it they are really not all that smart.
Perhaps all that blood they’ve been sucking has gone to their heads.
One thing I know for sure: There’s not much at all in a name, and a Jew by any other would be as foul.
Because whenever the Jews peremptorily raise their voices and insist, and whenever the Jews raise their voices and demand, and whenever the Jews raise their voices and say “obey,” always not too far in the background — or not in the background at all — you can hear the unmistakable din of iniquity.
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