Blonde Bashing at the Box Office

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In the movie “Fools Rush In” a European man rejects a blonde woman for a Latina. The Latina is portrayed as being desirable and the blonde woman is presented as unwanted and unsexy, so much so that the white man actually wants to hide from her and does so. The blonde white woman also is shown as someone who willingly embraces her own destruction and thinks she is a joke herself, a Zionist endorsed role model for any little blonde girls out there still remaining… In fact, when the white male lead is standing the blonde woman up for a date to run off to  Mexico, “Danke Schon” plays in the background, as if to say, “thanks but no thanks” to all things European. Also- in the movie- his association with a Latin woman leads him away from commercial superficial things, and to God! (-; The elimination of his race was “meant to be”.

Instances of such anti-blonde brainwashing, vindictiveness, and hatred are so numerous in Zionist made films, it is hard even to categorize them, except to say that they are the rule, not the exception. For example, there is “Starship Troopers”, where the European hero again prefers a Latina with no personality to a beautiful blonde girl with strength and character, and in fact, he degrades the blonde girl by only sleeping with her out of pity because the coach suggests it. Then she dies of course. In “Maid in Manhattan” we have the same sort of thing. Jennifer Lopez plays an ignorant maid who is thought of as sexy, and of course the blonde woman in the piece is portrayed as lifeless and undesirable by comparison. This last part must have been hard to manage.

Blonde Bashing at the Box Office

Clockwise from bottom left, unknown blonde South African woman, Jennifer Lopez, Salma Hayek, Grace Kelly “Princess Grace” and Ursula Andress… blonde white women, who have not been featured as movie heroines for many years now, and who may not exist soon…

There are countless such movies and in fact, I cannot think of one modern movie offhand that in not in this vein. Either the blonde woman is portrayed as weak and unwanted, or evil, shallow and stupid… and this has gone on now for decades. Often there is some sort of physically asymmetrical feature in the blonde women cast as villains that are used to in order to help categorize them as ugly,  as with Johanna Barnes, Elaine Hendrix, and Glenn Close, who all have slightly disproportionate  features.

Men identify with the leading character and this has an effect. White men are often portrayed as weak and indecisive while black men are shown as strong and decisive too.… Nordic people who actually prefer their own kind as mates are called racists and are presented as unfashionable.

Even the Yuletide season is not safe from these relentless efforts to associate blondeness with evil and ugliness. In “Mr St. Nick”, blond, blue- eyed Kelsey Grammar, prefers his Latina cook  to his blonde fiancee, who is, of course,  evil, larcenous, and unfaithful… As he flies off in his sleigh,  he even looks to be ready to adopt a small Latino boy, and groom him as the next Santa…. No white Santas in the future girls and boys… ho ho ho!

Most offensively of all to those of us of European religion, the Zionist produced movie, “Thor”, portrayed a Hebrew speaking Jewish woman, rather than a blonde European woman, in the leading role. We are not allowed to exist even in our own culture. What is the motivation for all of this never-ending hatred? They are so jealous of us they cannot stand it.

And now for our article about blonde bashing…            

Here are the villains,  Nordic blond males all!

Here are the villains, Nordic blond males all!

Many movie goers have not taken it in yet, except perhaps on a subconscious level, but Hollywood has relentlessly been pushing the concept that a villain must be blond for decades now. There are so many examples one could cite that only the most obdurate skeptic would continue to doubt after viewing them, so I will mention but a few of the more outrageous and ludicrous instances, believing that old saying that, “A man convinced against his will is of the same opinion still.” Some people will never believe the truth despite overwhelming evidence because they don’t WANT to believe.

 The latest blond  bad guy of note has got to be Javier Bardem in the newest of the 007 James Bond series, “Skyfall”. Not since Robert Shaw, Captain Quint in “Jaws”, was made flaxen haired for his villainous role in “From Russia with Love”, has there been such a startling transformation. Bardem, a Latin born in the Canary Islands, had hair so dark to begin with, that even the best hair colorists could not lift it so many shades, leaving his eyebrows a disconcerting shade of orange in some shots. His Latin accent and distinctly non Nordic features also did not persuade, so why, one wonders, is there all this futile effort to change him to what he so clearly is not ?

Just as so many films like Stan Lee’s “Captain  America” and Steven Spielberg’s Indiana Jones series must be pushed into the World War II era so that there can be evil Nazi opponents running amok, big screen antagonists must be made fair haired. The anti white sentiments that so strongly emanate from Hollywood cannot admit of any portrayal of the enemies of all mankind except that they be blonde.

If all else fails, Hollywood producers will resort to simple conditioning. If blond men  such as Sean Bean, Dolph Lundgren, and Alexander Godunov are consistently portrayed as villains and dark haired Hebraic men such as Henry Cavill and Robert Downey Jr. are cast as Superman and Sherlock Holmes, the viewing public will eventually change their  associations, and begin to identify with the dark haired heroes they are presented with over and over again, or so the theory goes. Not even the ladies can be spared this condemnation for being blonde.

Think of the two aspiring wicked stepmothers in both of the “Parent Trap” films…blonde and scarier than Cruella De Ville. Speaking of Cruella, golden haired Glenn Close played the bunny boiling monster in “Fatal Attraction”. But don’t think of all those scary blondes…cuddle up with Sharon Stone from “Basic Instinct” when she gets through trying to kill Arnold in “Total Recall”. Just relax, the nanny from “The Hand that Rocks the Cradle”, blonde beauty, Rebecca De Mornay, will be watching the children.

Ahhh, the children…all of the evil children in “Village of the Damned” and “Children of the Corn” had glowing white blonde hair to denote how creepy they are .From Johnny Lawrence, the pale haired , cowardly bully in “The Karate Kid” to Harry Potter’s arch enemy Draco Malfoy, the same note is struck… blondes are yucky , untrustworthy, ..repulsive. You can trust Morgan Freeman or any other black actor, but never, never trust a blond. I’ve saved the best for last- little Rhoda from “The Bad Seed”. Rhoda stomps the hands of her classmate who is clinging to the dock until he drowns because she wants  his spelling medal, then sets the janitor Leroy on fire because he begins to suspect what she’s like, kills an old lady by pushing her wheelchair down the stairs.. Well, enough of that… did you wonder…. white blonde braids.

Unfortunately, there is an audience out there that doesn’t care about the sub text that blonde women cannot be the love interest or indeed,even that heterosexuality is no longer considered to be politically correct. And as was bound to happen, Hollywood’s gay community now feels emboldened to raise its ugly head not unlike a sand snake from “Dune”. Having dispensed with any blonde women, they now deal with their dark haired sisters. The women in “Skyfall” are given such short shrift that it becomes clear that dealing with them at all has become a tiresome but obligatory duty much akin to taking the trash out. Of the three very brief heterosexual encounters Craig has in the 143 minute long film, the first, an anonymous Turkish woman, actually gets less screen time than the scorpion in a brief bar scene. After a little against the wall coupling, she slavishly kisses his shoulder while he neither speaks to her nor does he even look at her.

The second encounter is with a black fellow field agent named Eve who, of course, is attracted to him, but his expression when she is around is that of someone who has been sucking lemons. She shows up at his hotel room and flirts with him… (He finally smiles at her in a bit of lese majeste) shaves him with a straight razor and presumably has sex with him. The scene ends with a discreet withdrawal ..no embraces, no kisses exchanged- too distasteful one assumes.

The third encounter is with the villainous Silva’s  exotic Eurasian mistress, Severine. Of course, none of Bond’s love interests are white women. Bond offers to help free her from Silva’s cruelties and they end up getting close behind a steamed up shower door in an encounter that lasts for about half a minute.They then proceed to Silva’s hideout where the director Sam Mendes, and the screenwriter, John Logan, both openly homosexual ,show us their brand of real eroticism. While a helpless Bond is handcuffed and seated in a chair, Silva moves in very close and sensuously unbuttons Bond’s shirt and fingers a scar on his bared chest. Then Silva caresses Bond’s thighs and mockingly says that he may have a new first time experience. An unperturbed Bond asks, “What makes you think it would be my first time?” Well, well, and what should one expect when the Gatekeeper and the Keymaster get together and make a Bond movie?

Oh, and Severine is neatly dispatched in a ludicrous William Tell sequence. She is tied up in the courtyard with a rope large enough to secure the Titanic’s anchor and with a shot glass of Bond’s favorite whiskey perched on her head. Bond is forced to shoot  at the tiny glass, but misses, hitting a cornice. Silva then finishes the job, killing Severine as the glass tumbles to the ground.

Silva then turns to Bond and gloats, “I’ve won and what do you say to that?” Bond replies, “I call it a waste of good scotch!” My goodness, isn’t that the woman that Bond promised to save and had a romantic encounter with just hours before? That loud groaning noise we hear is not Sean Connery and Ian Fleming expressing their dismay, but the sound of rescue helicopters arriving just in time to take Bond away from another close shave with a woman. Certainly Daniel Craig, who earned 17 M plus bonuses for his role and is married to a Jewish woman, has capitulated to his masters’ views as he has been quoted as saying that the next Bond should be black or gay or female.

The dictum that all villains must be blond has been called a trope by one blogger. By this designation, he innocently assumes that the tendency is just a knee jerk response to a routine litany. Villains / must be blond as in Dominus vobiscum / et cum spiritu tuo.  I say it is not a benign quirk favored by screenwriters, but rather a purposeful  and malevolent attempt to marginalize and replace the attractive white actors of yesteryear. It is an animus that will never die until it is dealt with by people brave enough to act in their own defense. Few seem to appreciate what an outrage it is for an entire industry to so blatantly and shamelessly discriminate against another ethnic group. Were the situation to be reversed, there would be no end to the angry cries of racism and bias.

Blonde bashing at the Box Office

The new heroes… only they are not necessarily new… in some cases as with the Jewish Sherlock Holmes here, they are replacing European characters made by European authors, such as Sir Arthur Conan Doyle, with Jews. This is about racial replacement. Can you imagine what the reaction would be if the “Roots” slave characters were portrayed as white?

One bright light is that as Hollywood tightens its stranglehold on the industry and so unfailingly practices its own “cosa nostra” nepotism, it will lose more and more viewers who favor the wholesome family fare that can be found elsewhere in classic filmsthat will never lose their  appeal to a new and ever growing  audience.

Already the print media is contracting as former readers get their news from the internet, and the film industry will see the same falling away as any sentient moviegoers note the glaring lack of originality, talent and values in what passes for entertainment these days.

By Sharon Hodder-Fenner

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