1,258 words 
Adolescence is the British regime’s current propaganda vehicle of choice. It has been designed to prepare the public for a bout of severe social media censorship via the Online Safety Act. As is the case with the vast majority of regime and allied propaganda, it attacks white working class males. A group which has no organized defense, nor allied defenders aside from the occasional Zionist looking to use them as street fodder against Mohammedans.
Adolescence is a serialized crime drama that follows the story of a native English lad who murders a girl. He does so after coming under the influence of the online manosphere.
The program’s high production values and quality acting are as apparent as the assault on native youth. And of course, the better the quality of the propaganda and the more skilfully muted its manipulations, the more effective it is in solidifying the pervasive, institutional anti–whiteness that has imbued high, low, and popular culture.
It was produced by Stephen Graham who also acts in the film. He is mixed race, while white-presenting. Graham is generally a solid character actor though sometimes overwrought. For non-Brits, you might know him from Snatch, The Irishman, or Peaky Blinders.
A scene from Snatch. Stephen Graham is on the right.
Graham’s breakout role was in the “gritty” This Is England. He plays a violent, nationalist skinhead in the all too predictable film.
In his screen work and interviews, Graham comes across as affable and humble. He lacks the nonsense that so often accompanies Hollywood types, though at core he still has the same world view and intent to demoralize and demonize whites. That this near hegemonic media hostility transcends genres, nations, and budgets gives us to clues as to who bankrolls and creates the relentless media assault on greater Europe, whether Boers, Russians, Germans, or working class English lads.
British cinema is renowned for its social realism. The tone of Adolescence is in line with the genre’s conventions: mundane characters, humdrum locations, everyday concerns, and the aesthetic bleakness of contemporary Britain. This heavily cultivated grittiness is designed to provide a sense of authenticity, of a deeper commitment and comment on what is really going on when it is merely another variation on the regime’s narrative. This manufactured “realness” makes the whole project even more insidious.
The most obvious example of the inherent anti–whiteness in Adolescence is the race swapping. While blacks residing in Britain often play as indigenous heroes and heroines, kings and queens included, whites only get the chance to play blacks when productions try to hide the criminality of Africans in Europe, Canada, the US, and everywhere else included. To add to the narrative deceit, the only black character of significance is an eminently reasonable and intelligent policeman.
Anne Boleyn race swapped by the BBC.
The propaganda piece was inspired by the murder of a young, foreign woman at a bus stop in Croydon, an area of London heavily occupied by Africans. The murderer, Hassan Sentamu, was black, as was the victim, Elianne Andam. Sentamu stabbed her to death over a teddy bear. As far as his physicality and demeanour goes, Owen Cooper, the actor who plays the murderer is light years from the perpetrator. Cooper’s a very British looking, gentle indigenous lad.
The murderer Adolescence is based on.
The regime’s depiction of a misogynist, knife-wielding killer.
Because firearms are difficult to get in Britain for your everyday street criminal, black gangs have resorted to knife crime. In areas with high African populations like parts of South London, there are numerous street attacks where resident Africans hack away at their victims, sometimes fatally. It is generally an intra-racial crime.
In the UK there is a tradition – “British boys use their fists.” While knife crime does occur among the native British, it is relatively rare, as are sex crimes. Not so for blacks and Muslims. It has become so endemic in Britain that the concern around scissors and butter knives is comparable to the American liberals’ moral panic over firearms.
Like Graham, the writer, Jack Thorne, has previous form. He has a history of race swapping when “reimagining” a version of the seminal German play, Woyzeck which has the black activist famed for making Star Wars even more ridiculous, John Boyega, playing a German soldier.
Diversity on a London street.
With the exception of actors, models, and others who make a career out of their physical appearance it is best to avoid attacks on physical appearance. The writer of Adolescence, Jack Thorne, is an exception. He looks as anticipated, a hybrid of two memes, the soy jack and happy merchant.
Thorne has been diagnosed as autistic. That someone lacking the ability to notice social cues has been so profoundly conditioned that he knows whites must be evil and blacks must be good, despite the events the propaganda was based on and the statistics which show blacks are vastly overrepresented in violent crimes, is further evidence of the depth of contemporary anti-whiteness.
This filmic manipulation was bankrolled by Netflix, a propaganda vector relentlessly hostile to Europe and its constituent peoples. Mark Randolph, one of the founders of this ferociously midwit outfit, is Jewish. To demonstrate the historical trajectory of Jewish influence in anti-European media, Randolph is related to Edward Bernays. Bernays was the Jewish manipulator who made a fortune out of manipulating the US population in the early 20th century. He is the author of the works, Crystallizing Public Opinion, Propaganda, Public Relations, and The Engineering of Consent. The titles speak for themselves. Bernays is perhaps most infamous for making the hideous habit of cigarette smoking popular among females by paying attractive women to take it up.
Bernays, and by extension Randolph, are related to the Jewish psycho–meddler, Sigmund Freud. Freud was among those to most apparently reveal the qualities of the Hebraic mind while manipulating the group consciousness of Europeans, causing significant meta damage to their hosts, as is the instinctual and conscious wont of the organized Jewry.
Netflix’s propaganda piece is an ostensible vehicle for the Labour Party’s Online Safety Act which will bring the level of censorship in Britain on par with that of Russia. The notable difference being Russia’s institutions haven’t been occupied by a hostile, global clique that has every intention of demoralizing, and ultimately destroying, their host population in mind and body.
Though the transition is decades old, the bitter irony is the Party that once gave some hope, support, and succour to working class British boys, just like the one presented in Adolescence, now attacks them as the most dangerous of threats. The Party has been totally co-opted by comfortable urbanites, hostile bands of ethnic shills, and sociopathic, midwit careerists. There is no sweetness to balance the bitterness of the enduring betrayal and suppression of the ethnic interests of Britons in their homeland.
Tactical race swapping and the relentless representation of evil, moronic, incompetent, and otherwise negative portrayals of white people has reached saturation point. The singular exception is when they replace villainous foreigners with whites. The reality of white erasure is impossible to miss, excepting the most blunted, distracted minds.
Hope lies in the sheer obviousness of the regime’s effort to destroy those they are supposed to represent. That middle and working class Britons are forced to look to spiv libertarians such as Nigel Farage for salvation is evidence of how desperate the situation has become. Like in most of the West, it is a race against time as nationalist forces start to penetrate the mainstream despite regime suppression and redirection.
17 comments
This reminds me of the case where a White Vietnam Veteran in Oakland beat the hell out of a much younger negro on a bus that was harassing him circa 2011. It blew up on the net so much so that Hollywood jews made a movie about it called “Bad Ass”, however they changed the White Vet into a swarthy mestizo and they race swapped the negro into two White skinheads. The jew who made the movie said he did this on purpose to anger the “White racists” who rejoiced in seeing an old White guy beat the crap out of a young black thug instead of the norm which is usually 15 blacks stomping an old White guy, robbing him and leaving him for dead.
I remember that incident, the vet went to the front of the bus to try to defuse the situation but the shit-talking mud pursued him and got his ass whipped. There was also a shit talking she-boon that was egging the mud on, they were working together; I think she was also recording the event. The event drew a lot of attention on Stormfront due to a white girl sitting calmly as if nothing were going on.😄
An Internet search for “Epic Beard Man” or “AC Transit bus fight” brings up many links from this Feb 2010 altercation. Videos of the incident are still on YouTube. They are highly amusing and instructive.
Thomas Bruso became famous world-wide and a national hero.
Do you remember back in the double oughts of an hispanic teacher somewhere in the Southwest who posted an essay online advising whites not to send their kids to school with blacks? He described all his bad experiences with black students and described white students as angelic. I have been unable to find that article; I would appreciate any information as to where it is? 🧐
Do you remember back in the double oughts of an hispanic teacher somewhere in the Southwest who posted an essay online advising whites not to send their kids to school with blacks? He described all his bad experiences with black students and described white students as angelic. I have been unable to find that article; I would appreciate any information as to where it is? 🧐
They always choose loyalty to their darker side. Stephen Graham was appointed “Officer of The Order of the British Empire”, in 2023. When degenerate heroin addicts like Jagger are knighted and hostile aliens made officers of an empire and are actors to boot it is clear that a civilization has collapsed. May the nationalist penetration accelerate fast enough in the race against time.
Rome had it right when it came to the social limits that were placed on entertainers.
I thought this was a great series. I did not emerge feeling anti-white afterwards. I had never heard of Hassan Sentamu, and a show realistically portraying his actions would never have been made at all. Now we know the inspiration.
The series is likely more nuanced than the actual event. It doesn’t offer any easy explanations.
The boy murderer was bullied, but that is not an excuse.
His dad and mum might have done a better job as parents, but their daughter turned out just fine.
Social media may have been a bad influence, but plenty of boys and girls see it and don’t behave this way.
This was a great ensemble piece, including the directors. Jack Thorne wrote the recent, Toxic Town, but that was a mediocre re-telling of a UK pollution tragedy thought to have caused birth defects.
I will grant that minority characters are overrepresented in this drama. England and Wales are 82 % white, 4% black and 9% Asian. The son of the detective, a nerdy black student, is nastily bullied by some white students. I like to see some stats showing which teenage races bully other groups.
https://www.ethnicity-facts-figures.service.gov.uk/uk-population-by-ethnicity/national-and-regional-populations/population-of-england-and-wales/latest/#by-ethnicity-5-groups
“I did not emerge feeling anti-white afterwards“ – That you would not was certainly the hope of the film-maker.
The main thrust is to popularise the idea of social media as a radicaliser of peri-pubescent English choirboys into hypersensitive knife-wielding firecrackers just ready to be lit by a cruel word from a young woman. The average viewer will be oblivious of the negative protrayals of the White men and the positive ones of the browns and blacks. It is very skilful propaganda, obvious only to someone who is looking for it and that person is not the target. In any case it’s main purpose is not racial, that’s incidental, but as the reviewer stated to prepare the way for yet more censorship with a story that resonates with the demoralised White majority.
The late Hollywood actor, Victor Morrow was Jewish. In at least two prominent roles in the films Blackboard Jungle and the Twilight Zone movie, he plays an Irish bigot.
Just like a Jewish communist played the English idiot, Alf Garnett. And a Jew wrote the character Archie Bunker. They’ll do anything to reduce the status of Whites who have any positive sense of themselves.
Race-swapping, of course. Blacks commit violent crimes, and the media blame it on innocent Whites. Compare the photos above, of the actual perpetrator (Hassan Sentamu, a Negro psycho, aged about 20) with the actor who that role in this BBC farce (a White boy, aged about 10).
Jew propaganda on the BBC, as usual. Keir Starmer is a communist Jew. That explains why he facilitates the importation of Negros into Britain.
Starmer’s wife is Jewish, but he is not genetically Jewish as far as I know. He is just a wayward autistic gentile degenerate who mindlessly follows the flow of liberal social and cultural rot so typical of affluent Western societies. Smart enough to be a lawyer, but too stupid to see he is ruining the society he lives in. The West has grown the sweetest and most succulent casabas ever produced in the melon patches of world civilizations. The result is an abundance of rotting casabas and an infestation of fruit flies descending on the decaying produce.
England has definitely fallen further off course from their founding than the US. True, we present all minorities as brilliant and whites as groveling fools, but we know it’s fantasy. Somehow blacks get elected and act like the dimwits they are. I don’t feel like we have normalized the abnormal quite so much as Britain. Why even create a reverse story like this? Haven’t the British men been stomped on long enough? The never ending race mixing as a norm. If they enjoy the company of black Africans and other sundry minorities, they should go back to their ancestral homes with them and stop tearing at the fabric of Britain. It’s tragic it’s come to this where they have to take the story of a black murderer and make them white. Depressing.
The notable difference being Russia’s institutions haven’t been occupied by a hostile, global clique that has every intention of demoralizing, and ultimately destroying, their host population in mind and body.
Of course they did occupy Russia from 1917 until 1924.
Unless this trash drama leads to more Orwellian legislation, the most likely outcome is that British shitlibs will torment their teenage boys more than is usual. Poor lads. For that demographic there are basically two outcomes: tranny or stormtrooper. Bottom line: this series is an accelerationist’s dream.
Is it not somewhat unfair to say that accelerationists are just exterminationist daydreamers, but rather have accurately predicted Whites been pushed into the horrid position of eventual armed struggle or death by our disgusting regimes? What possible alternative hope do White Brits even remotely have nowadays? I think the Australian nationalists are forming their own political party with Sewell at the helm and wish them all the success but I doubt such would even be allowed in England.
I watch some mainstream British TV political commentary and from what I’ve seen they are absolutely obsessed with Andrew Tate. He does have a large platform so I think some attention is reasonable, but it seems highly disproportionate.
However, even if one thinks young men are being turned misogynist by Tate, there’s been polling done that he is viewed much more favorably by young black and Asian men than White ones (41%, 31% and 15%, respectively): https://www.vice.com/en/article/andrew-tate-young-people-support/.
This seems pretty intuitive to me – Tate is promoting an r-strategy of high promiscuity and little parental investment, which is more common among Africans than Whites, and thus will be more appealing to them.
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