I would like to introduce a new author to the site, Anglo, who has written this guest post. This may be his only work here, but I am quite proud to be publishing it. The piece starts below the line.

As a former Star Trek fan I have been watching with interest Red Letter Media’s coverage of the latest manifestations of the Star Trek franchise, particularly Star Trek Discovery (more fittingly called “STD”) (2017-Present) and Star Trek Picard (2020-Present), and enjoying their scathing reviews of these two new (and artistically bankrupt) “Star Treks”.


To summarise the RLM reviews: Mike Stoklasa and Rich Evans – both long-time Trek fans – carefully compare and contrast “classic” and “new” (or maybe “nu”) Treks and come to the conclusion that the modern Star Trek producers and writers are overly concerned with addressing current political and social issues and are using the Star Trek franchise to preach their political views.

They contrast nuTrek with the classic Trek approach to addressing contemporary political and social issues.  In classic Trek both sides of a given issue are presented and intellectually dissected and explored by the characters before arriving at what is often a compromise, which pleases neither side but is often the most reasonable and balanced conclusion which can be reached. This unhappy compromise is not even the real point of the story – as the popular saying goes, “it is the journey, not the destination, which is important” – it is the debate which matters.

With STD and Picard this is no longer the case and instead we are presented with a one-sided reading of events which accord with “left-wing” jew diversity and inclusion dogma (all of the creators of nuTrek are jews including the showrunner Alex Kurtzman).

Absolutely zero sympathy or consideration is given to the opinions or beliefs of the opposing side, in fact the opposing side is often actively belittled or mocked.   The “nasty” side is generally represented by those who the nuMarxists consider the embodiment of stock “evil” characters – i.e. straight White men.  These evil Whites are sometimes accompanied by the occasional house nigger to remind blacks that only ideologically compromised negros cooperate with whitey.  They even managed to shoehorn I.C.E. into the second season and showed brown people in cages.

In addition to the neo-Bolshevik preaching, it is also noted by Mike and Rich that the stories themselves are nonsensical and illogical, mere bridges between action scenes.  Intelligent discussion has been superseded by long, drawn-out action scenes; character development cast aside for memorable but bizarre and incongruous actions.  It seems that the people responsible for popular television shows are no longer even trying to pretend to be writers, directors and producers but rather have decided to become outright neo-Bolshevik political activists.  Increasingly they rely on overblown action scenes and “wow” moments (sure to excite the praise of the open-mouthed, over-socialised NPC twitter user) to disguise their inability to craft a congruent storyline.

Star Trek is only one of many television shows which are currently experiencing this sad decline in writing and conceptual innovation.  During the 2010s a strange and disconcerting phenomena began to widely appear – that of the “reboot”.  As most people know, the “reboot” is essentially the rehashing and reworking (usually by casting a black woman or a homosexual in the leading role and dumbing down the dialogue and ideas) of previously used concepts.  Just as the insipid, money-laundering, pedophile-run fashion industry has made a virtue of dredging previous periods for ideas, the trend has now been taken up by a completely artistically bankrupt, goyim-purged Hollywood.  But how is any of this connected with the title of this piece, that is, “jew nepotism and the decline of the creative arts”?

It can be seen by anyone who investigates jew success in western countries that extreme “in-group preference” (i.e. nepotism) has played a very important and defining role in the transformation of the jew from a money-grubbing merchant and societal pariah to an empire-controlling puppet-master.  However, there are certain obvious negative issues which arise from the practice of nepotism – which is why it was often frowned upon in the (formerly) meritocratic west.

Hiring the weaker candidate due to their association with your family group or tribe will result in any given workforce losing its talent and ability, and this effect will be compounded if those who are deliberately overlooked for positions come from the ranks of a people who have not only have created the modern world, but are also responsible for most significant scientific discoveries and works of music, literature and philosophy for the last two thousand years.

Nepotism has worked for jews until recently, mainly because they were willing to employ enough Europeans to do the serious work while the jews occupied themselves with profiteering, molesting shiksas and raping children.

However, due to the increasing lack of high-profile jobs (caused by the refusal of the elderly to retire, the shoehorning of intellectually incompetent negros and Mexicans into boardrooms for political purposes, the simultaneous growth of the population and the offshoring of industry) the jews have decided that the skilled and productive European must be dispensed with, and all high-profile positions must eventually be given to a jew: “hey we can do that goy’s job just as good, right?”  Wrong.

As something as mundane as the decline of the Star Trek franchise demonstrates: when a company or industry becomes occupied by a race of merchants who lack serious conceptual creative ability things quickly degenerate.  The fact that Star Trek is now a thinly-veiled propaganda exercise is directly linked to the inability of the jew mind to see beyond present day issues and jew concerns.  No longer are Star Trek characters an optimistic vision of future enlightened philosopher-explorers, rather Picard and his contemporaries have been transformed by the gutter-dwelling jew mind into foul-mouthed, self-interested, corrupt bureaucrats.

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  1. Welcome!

    Jews categorically have no ability for self-reflection.

  2. Good start.

    I like to write plays in my free time, and the one jew I’ve known as an adult was introduced to me as having worked on Friends. After getting to know her, it turns out she may have once been on the set or something.

    No big deal, she still is totally creative and a free-spirit who is writing her big screenplay… except that in the time I knew her I wrote several shows that were performed on stage, and she wrote… nothing as far as I know, and when we collaborated on any show, she had no ideas to contribute but just constantly said “Oh yeah, wow great idea! You’re a great writer.” And just to confirm those compliments she plagiarized a song I wrote for another show she was involved in.

    During this time she’s always talking about this editor she knows at scholastic, or a meeting she’s got with people from Paramount… jewish nepotism is a hell of a drug.

    Oh and recently I bumped into her and was telling her about a musical I’d written, she was ever so insistent that I e-mail her a copy. Needless to say I passed up the opportunity to have my work plagiarized in the next Disney or Dreamworks film.

    1. Did you fuck her? lol

      1. Eww gross no

        She’s old and jewish, so you know what that looks like

  3. Star Trek was always jew propaganda. They just couldn’t be as blatant about it in the 1960s. By the 80s they realized they had grabbed enough control of the pop culture that they no longer needed to sugarcoat their poison pills in entertaining and well written scripts, so they dispensed with them and went to the full tilt propaganda we now know.

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