Blue Movies, Brown Actors

3,614 words

As a child, I used to enjoy being taken each year to visit the north-west English seaside town of Blackpool, where the annual Blackpool Illuminations event brought in visitors from all across the country to peer in wonder at displays of large novelty colored light-bulbs hanging like magic fairy-lanterns in the glistening night sky. Today, English travellers prefer to jet abroad for their vacations instead, leaving Blackpool’s tourism-dependent economy trashed, and an awful lot of money-leaking hotels standing almost empty along the increasingly tatty sea-front – empty, that was, until the government realized they could stuff them all full of illegal immigrant boat-people on the cheap.

One of the biggest complaints of the migrants holed up in such hotels is that, at least officially, they are not allowed to engage in activities of employment, so just have to laze around on their free beds all day long, alone and solitary. To combat such enforced lassitude, therefore, why not kill two birds with one stone, by illegally entering both the workforce and one another simultaneously – live on film, if need be?

Blackpool’s eighteenth-century Metropole Hotel has been used to house invading Muslims since 2021, but during a standard room-inspection in July, officials were stunned to discover one enterprising Syrian man had teamed up with another compliant female migrant to create their own explicit OnlyFans account, offering what were in essence taxpayer-funded porn flicks to purchasers online. They had erected a camera and tripod at the end of the bed, upon which the woman was found lying spread-eagled in elaborate lingerie, surrounded by dildos.

This was presented in British media as shocking news, with the Home Office calling them “dreadful allegations”, but the couple’s illicit actions are only part of a wider pattern. It turns out there is an entire new category of Internet erotica out there called “Refugee Porn”, which is growing in popularity as more and more immigrants pour into Europe. This is primarily a commercial phenomenon – these films make pornographers money – but a clear secondary point of the genre seems also to be to subliminally accustom native Europeans to the idea of engaging in sexual relations with non-white lovers. Should it really therefore be called “Miscegenation Porn”?

Refugees Much Too Welcome

It appears the phenomenon began in Germany, where in 2015, in response to the then-ongoing Arab Spring, Angela Merkel spread her entire nation’s legs wide and invited anyone black or Muslim who felt like it to dive deep inside Mutti’s trench for shelter. Bizarrely, it seems the main immediate response of a substantial proportion of the German public to the consequent influx was to go online and begin eagerly typing the term Refugee Porn into the search-bars of Internet porn sites.

Western academia today being what it is (i.e., a sewer), professors have since been paid from the public purse to investigate how often terms like “Slut in a Hijab”, “Raped By Africans” and “Halal Blowjob” have been typed into Internet search-engines across Europe, and then correlate them with major geopolitical events across the continent. Could it really be the case that, the more immigrant-related stories that appear in the media, the more online onanists look such things up?

It seems so. The pattern holds up all over Europe, with Refugee Porn being particularly popular in the UK during the 2016 Brexit referendum, and the specific nationalities of arousing immigrant searched for directly corresponding with the specific nationalities of Muslim or African newly present in each European nation: films about Moroccans with interesting pizza-delivery methods are very popular in Holland, for example, whilst Parisians prefer to search for mind-warping footage of “Arab Women From the Suburbs”, with the dusky whores of the surrounding banlieues very much in mind.

Thanks to Frau Merkel’s kind 2015 actions, however, Germany has become the continental center of such research, with it being estimated at least 800,000 searches for Refugee Porn take place there each month. Academic bean-counters claim to have reliably matched surges in access to specific migrant-related German news stories such as the Balkan route into the country being closed off in March 2016, when “broadcasts were filled with pictures of desperate people trying to cross the borders and overfilled detainment camps.” These were supposed to elicit sympathy amongst viewers, but instead only seem to have caused certain self-stroking Germans to fantasize about exploiting incomers with legally undeclared offers of employment, money or shelter in return for intimate bodily services rendered, hence clips soon appearing with titles like “Syrian Refugee Sucks Huge White Cock In Return For Dinner Money”.

“Refugee pussy is welcome here,” one German porn-user wrote in the comments section under such a film. I really wish leering left-wing activists dressed in stained raincoats had been honest enough to write that on their placards when Willkommenskultur-ing all the huddled brown masses out of German railway stations and into their neighborhoods back in 2015. If they had done, more of the Muslims might have just stayed at home, thinking Syria and Iraq to be a tiny bit safer.

Islam Means Submission

Conversely, other spikes in searches related to reported rises in anti-immigrant sentiment, such as when mosques were firebombed across Germany in October 2016, or during the 2017 election campaign, when the anti-immigrant AfD party ran with the slogan “Burka? We Fancy Bikinis!”, this notion apparently being taken in an unintended way by some porn-loving citizens. Academics guess that anti-immigration voters enjoy watching Muslim females being dominated on-film as a proxy revenge against their real-life husbands and boyfriends forcibly breaching the country’s borders themselves, with white web-users leaving crude messages to this effect in the viewer-comment sections.

Most alarmingly, when hundreds of native German women were sexually assaulted in public across the country to ring in the New Year of 2015/16, particularly in Cologne, searches for Refugee Porn also soared; did some German women out there actively want to be gang-raped by Middle Easterners? Even if they didn’t, it was increasingly going to start happening anyway, and some commentators went so far as speculating the growing popularity of Refugee Porn was a socially positive development, helping get native German women used to the whole idea.

Pro-migrant website InfoMigrants.net ran an enlightening piece about Refugee Porn in 2019, interviewing Professor Jakob Pastötter, a state-subsidized pervert posing as a Professor of Sexology and Cultural Anthropology at Düsseldorf’s German Society for Social Scientific Sexuality Research.

“Sexuality is one way to familiarize yourself with new things,” Pastötter explained. I wouldn’t like to see how he christens his new cars.

This same principle applied to imported Muslims too. The best way to get to know them was simply to sleep with them, or at least view close-up footage of other white people doing so: “By approaching new phenomena from a sexual angle, we get to understand these things better.” When you hear a woman say “Faster, Günther, faster!” in Arabic, for example, it gets the viewer habituated to hearing such strange alien tongues in wider everyday life.

What at first may appear to us as aberrant sexual practices may actually just be simple cultural misunderstandings, said Pastötter, so “Pornography can help normalize attitudes towards what is regarded as an atypical brand of sexuality.” Would this even include “atypical” sexual acts like those perpetrated across Cologne during New Year’s Eve 2015?

Lords of Her Ring

It is not as if Professor Pastötter actively advocates white women getting used to being raped in real life or anything quite so inflammatory as that, but he does feel that Refugee Porn can be considered a cheery “tool of empowerment” for its non-white participants. Generally, refugees are thought of as being socially powerless beings within their supposedly oppressive host societies, as in the clip cited above in which a sad lady in a hijab eats random dick for falafel money. In other Refugee Porn movies, though, the power-relations are directly reversed, with the Muslims in charge and the whites being abused, which allows them to “take the lead or take charge in whatever situation is depicted, while in reality, these groups of people perhaps lack that level of agency” off-screen.

Do refugees really “lack that level of agency” off-screen in countries like 2020s Germany, though? It seems to me that many are now home-movie-directors of a fully empowered and dictatorial style to put even Hollywood Golden Age martinets like Alfred Hitchcock to shame. In an edition of his “Diversity Rape of the Day” column on his excellently abusive website (a section since abandoned, as it would now have to be updated every hour, not every day, and he just doesn’t have the time) in December 2023, Canadian journalist Mark Steyn unimprovably detailed the following real-life piece of hard-core Refugee Porn being made by migrant mini-Hitchcocks in a park in Hamburg:

Have you ever been to Hamburg’s Stadtpark? They call it the ‘green heart’ of the city, over 350 acres of woods and lakes and meadows, playgrounds and sports fields and concert stages, plus Germany’s largest planetarium. It’s also a great place to rape someone. So a fifteen-year-old girl gets dragged into the bushes by a gang of four ‘youths’. They rape her, and take the trouble to film themselves doing so. Because, after all, if you gang-rape someone, you want to have something to show to the lads who weren’t able to make it. When they’re sated and push off, the girl gets to her feet and staggers away only to run into five more chaps, who rape her all over again. And film it all over again, in what by now is enough video for a full-length feature – over two-and-a-half hours. That’s getting close to Lord of the Rings – and with a cast to match: the semen of nine different men was found in and on her body. And from all over the map: Egypt, Libya, Kuwait, Iran, Afghanistan, Montenegro, Poland, Armenia [but not Germany itself, obviously] … That’s a lot of diversity: it’s like the UN General Assembly of semen.

Sounds like it would get a lot of clicks online. Are the vulnerable non-CGI orcs “empowered” enough for you now, Professor Pastötter?

Explosive Love Scenes

But it would never do to leave such unpleasantly brutalizing amateur bush-dwelling film-makers stuck in the European public’s head as being characteristic of Refugee Porn participants. Rather, actors have to be portrayed in a more sympathetic light, as with a bizarre 2016 profile of then-19-year-old Syrian refugee-turned-porn star Antonio ‘The Arab King’ Suleiman, in Swedish online outlet The Local. Suleiman, the website gushed, “hopes to change people’s perception of Syrians and refugees – through porn.”

Fleeing Syria in 2012, Suleiman initially dreamed of finding celluloid celebrity in the UK or USA, “because they are famous for their performing arts”, but he found himself stuck in Germany where ignorant casting directors initially did not anticipate any meaningful demand for Refugee Porn, so turned him down at any and all casting sessions. Therefore, in desperation, like so many of his later viewers, “I decided to take matters into my own hands” and make a “genuinely Arabian” porn flick, in order to begin “challenging viewers’ [racist] perceptions” about whether or not Muslims were sexy.

Historically, Westerners have tended to see Muslims on TV only on the news, when they have been bombed to shit and bones by Americans, Israelis, Brits or each other. Footage of starving skeletal children in Gaza is a challenging wank for anyone besides the propagandists of Hamas, who love to see such material being pumped out, however, so Suleiman hoped to conceptually redefine Muslim bodies anew in occidental eyes as being something far more positive in their nature:

I think it’s better to have sex, than to make war. For over five years now, Syrians have mainly been pictured under rubble, massacred, their dead bodies in the Mediterranean, or humiliated throughout their perilous journey to Europe. Surely that’s what degrades and violates the ‘Syrian body’ [and not its appearance in online pornography]. Yes, I used my body. I used it to show that this body can make love, can have sex, and does not only exist in order to die.

In conquered Europe, even the porn is now Marxist race-propaganda.

You Can Leave Your Hijab On

Academic research in the West has long since become a form of intellectual masturbation in and of itself, as can be seen in deeply over-thought research papers like “Crisis and Sexual Exploitation: The Case of Refugee Pornography” by Alexander Gertz of the University of Kassel.

Here, with specific reference to the regrettably influential “Orientalist” ideas of 1970s Marxist Palestinian academic Edward Said, Gertz analyses the curious phenomenon of female Muslim porn actresses often baring all in terms of breasts, vagina and anus, yet leaving either their hijab on, or else even their full-blown niqab, as in the totally face-obscuring black cloth-mask thing that makes them look like bee-keepers in mourning. Sometimes, at the film’s end, the white man then rips off the item to expose the woman’s face like they do with the unmasked baddies at the end of Scooby Doo.

Maybe in some cases the veil is purely a practical measure in case the actress has a nice body but a face like Rashida Tlaib which will only crack the camera-lens, but to most puzzled Westerners’ eyes this just looks like they are sending out more mixed messages than a crotchless burka. Why do they do it? Gertz has been subsidized by the German taxpayer to provide us with an “answer.”

Edward Said famously theorized that Occidentals patronizingly romanticize Muslims as an exotic Oriental “other”, so as to maintain some kind of debilitating conceptual power over them. According to Gertz’s analysis, the hijab acts as a visible fetish-like signifier of the porn actress’ innate Muslimness, which could be taken in several ways. Maybe it inflames the racist white Western male viewer’s malign patriarchal and colonialist gaze, with him desiring to rip it off and unveil her fully, not only in body but also in soul; an already naked Muslim woman shorn even of her final sheltering hijab is naked indeed, being subjected to a conceptual epistemological rape as well as a physical one. This would represent the viewer masturbating by proxy over impossible neo-imperialist fantasies of maintained Western colonial control over the Middle East. France might no longer own Syria, but it certainly still owns Syrian women’s vaginas, perhaps.

Cases where the hijab is forcibly removed for the final shot are even more worthy of political analysis. Is it all a process of AfD-inspired retribution for the ungrateful post-2015 actions of Merkel-imported male rapefugees? After politically impotent German men hear of their own women being street-molested by hyper-virile Syrians in Cologne, perhaps their more sexually dominant white male proxies on-screen could then tear off the actress’ hijab and gain revenge on outraged Hausfraus’ behalf, a kind of Reconquista via rough sex. After all, once the man has finished what he’s doing and successfully ejaculated all over her hijabless head, the act of colonial invasion “culminates in the male orgasm, [and] the Orient has been defeated.”

Contrariwise, it might all be far more benign. By ripping off her hijab, the dribbling white actor may well be symbolically liberating the refugee actress from oppression by the male Muslim patriarchy back in her backwards homeland; she wouldn’t be able to do things like this on film over there, but it is racist to say she wouldn’t like to, if only given the chance by a pumped-up kuffar white man.

But, on the other hand, maybe this is itself a rather patronizing and stereotypical depiction of what life in Muslim lands is really like, not to say yet another example of that dreaded “white savior syndrome” in action? So, is this bold anti-racist action in and of itself just another example of Western racism and Islamophobia? Is it in fact nothing more than a disguised microcosmic pornographic re-enactment of the US-led invasion of Afghanistan, one of whose stated war-aims was to liberate veiled women from the notoriously rapey male Taliban? Discuss: and then get an actual university degree at the end of it.

Then again, possibly the woman leaving her covering on is a form of brave anti-colonial resistance; beneath the Darth Vader-like niqab cloth-helmet, how do we know she is not rebelliously cursing her forced white lover, pulling tongues at him, or making ‘mong’ faces? One Muslim porn-star, Mia Khalifa, became world-famous for getting repeatedly pounded while wearing a niqab, using the experience to later launch a new career as a far-left pro-Palestine activist. How did people know it was even the same actress between films?

Whatever the true reasons for Arab porn-sluts donning headscarves may be, Professor Gertz concludes with a cautionary question. With typical left-wing academic concern, he asks whether or not watching Arab ladies take tumescent white rods on-screen could ultimately “disturb integration processes and fuel right-wing attitudes” towards refugees? It seems unlikely because, in the years since Gertz wrote his research-paper, the plotlines of Refugee Porn movies appear to have taken a distinctly pro-migrant slant to them – particularly the gay ones.

Berlin Blues

Over at England’s University of Warwick, a lucky researcher named Matthew Abbey has apparently been watching lots of gay porn films involving brown men, as detailed in his paper “Refugees Welcome: Including in (Gay) Porn: Violence Under the Mask of Liberation”, a detailed anal-ysis of the 2017 homosexual porn movie Refugee’s Welcome, which tells “the fictional story of Moonif, a young gay Syrian refugee who explores his sexuality upon arrival in Berlin.” However, Abbey admits that, “as a white queer Western academic living in a country where I hold citizenship, I have to recognize the place of privilege” from which he masturbates, and wonders how moral the film’s whole premise really is.

Abbey notes that, amongst all the rapefugees let into Germany by Merkel from 2015 onwards, there must have been “at least 60,000 people who identified as LGBTQI+”; he could easily count them, because their burkas and turbans were all sparkly and pink. In many Muslim countries, being gay is illegal, so just telling officials you are queer is meant to be a potential grounds for receiving asylum. But how does one prove one is homosexual these days?

One would have thought the answer was obvious, but not necessarily. Queers from the Muslim world may perhaps be culturally queer in a different way to German queers, which Abbey warns “has resulted in people seeking asylum having to conform to narrow and unidimensional understandings of their sexuality and gender, many of which are based on Western stereotypes of the white gay subject”, such as attending Pride parades or having sex with other men. Unfortunately, it appears Refugee’s Welcome may only help reinforce such racist “Western stereotypes” about what constitutes Muslim gayness, something Abbey disgustedly describes as “the obscenity of demanding queer refugees only becoming intelligible through narratives of liberation”.

The basic plot of the movie is that, upon arrival in Berlin, Moonif is set upon by a band of white neo-Nazis who call him a Paki. When Moonif replies that, actually, he is from Syria, the Nazis cruelly gang-rape him in the street as a form of racist sexual punishment, another case of blatant race-swapping in terms of who the real sex-criminals are likely to be within a German context these days. Then, however, another white homosexual appears on the scene, an actor apparently famous in the world of gay German porn known as “Pig Boy” – with a name like that, you would have thought a good Muslim like Moonif would have fled from the sight of his forbidden sausage immediately, but in fact he proves all too eager to swallow it. Dietary restrictions be damned!

After beating off the Nazis single-handedly, Pig Boy turns his attention towards an unconscious Moonif, “pulling his pants up and checking for signs of life” (in what way?), before hauling the poor Mohammedan over his shoulder and taking him back to his sty, where he lovingly nurses him back to consciousness. Once his guest is fully healed, Pig Boy sucks Moonif’s toes, then oh-so-gently sodomizes him, thereby demonstrating conclusively that “neo-Nazis gang-rape, but regular white Europeans make love.” Eventually, it turns out one of the Nazis Pig Boy roughed up has died from his injuries, making the new couple wanted men in the eyes of the fascist German cops. So, they go on the run, hitch-hiking out of town – but before long they just get bored and decide to bum each other in some bushes beside the Autobahn instead.

Hearteningly, via their shared union, each man has been forced to partially share in the existential state of the other. Pig Boy is now a kind of homeless refugee too, just like Moonif is. And Moonif is sexually liberated and Westernized in his turn, just like Pig Boy, now able to openly have sex with other men in small expanses of roadside shrubbery with nary a second thought about being beheaded by a radical imam.

The movie was produced by someone with the presumably fake name of Erika Lust, described as being “a famous Swedish porn director, screenwriter, and producer known within the feminist porn movement for pushing boundaries while using porn as a means of education for viewers.” Erika’s valuable educational message in this particular instance? That, alongside exchanges of bodily fluids, sex with immigrants can lead to an equally messy but pleasurable exchange of cultures too. Try telling that to the poor 15-year-old German girl gang-raped for real in Hamburg in 2023 by the United Nations of Sperm.

Has there ever before, in all of human history, been a regime so ideologically totalitarian that it even wants to control your very orgasms as well as everything else now? The things really getting raped in such films are their viewers’ minds.