Cinematic trailers for the next movies are often more revealing than the movie itself for the moral universe of Hollywood. Before the opening spaceship shot of Rogue One, we were treated to a jump-cut sequence of multiracial families and half Negroid kids yelling cheerfully in suburban houses, followed up by a mixed-race man waving a book and repeating “Love, love, love, love, love!” at the top of his lungs in complete tearful hysterics. Of course, it was a Google advert. Advertising what? Google. Google is Love, Google is Life. Bookmark Counter-Currents today because the search engine rankings are will be painfully full of liberal spam to “fake news” ham in a matter of months.
Following breathless mania for métissage, the next trailer for Hidden Figures explained in great detail that America’s space program would have failed utterly if it wasn’t for the civil rights struggle of Negro women mathematicians within NASA. Based on an “Untold” “True” Story that has only remained “Untold” because the Hollywood Truth of it hadn’t been invented yet. And then we had 1950s civil rights struggle Negroes retold by Denzel Washington as family drama. 94% on Rotten Tomatoes, goyim. To break the 95% ceiling you have to be a Holocaust movie or have a homosexual negro (Moonlight, 98%).
After the battering of grievance propaganda, the trailer for The Space Between Us unwound its light sci-fi, white boy on Mars falls for white girl on Earth narrative. While the past is full of bitter and entitled darkies, in the future, everyone in white, and life is easy. Donald Trump’s America has clearly made the first steps to becoming galactic after solving the civil rights issue by simply removing all the blacks. Nonthreatening indie rock music and teen romance blended subtly with imagery of clean spacesuits, bright classrooms, and the landscapes of a high-tech humanity living harmoniously with nature. I like to think that one day, that boy earned the honor of joining the Imperial Storm Troopers.