As I write at Mom’s, the most common TV commercial on the never-ending banality box, is for HIV treatment for gay black men. I first noticed these commercials being prominent in Portland, Oregon area bars from November 2019 thru March 2020. This is now, wherever I go where a TV is on, the most common TV commercial, butt sex meds so that homos can keep taxing that hairy ass.

As an honorary African American I am disgusted with how black men are being depicted as more and more gay in TV commercials and more and more cucked in soap operas and TV dramas. Light skin hetero black men are now almost exclusively the side kicks of white heroines, to include Halo Cheezit box advertisements.

Yes, everything is now entirely gay, even pride, pride is no longer a general term that anyone can be associated with. This June 2022, pride became the exclusive domain of homos, butt-rammers, trannys, lesbos, rug-munchers, cross-dressers and hairy cocksuckers. None of the scores of TV ads, like Queer History, or the scores of News cast mentions of Gay Pride Month [with gay being a semantic theft as well, assigning lighthearted joy to only homosexuals] call this month anything other than “Pride Month.”

Even blacks did not get this with February, this semantic exclusiveness. Yes, in most American public schools, the only history every studied is black history. But the news and commercials do not call February “History Month” but “Black History Month.” Blacks are merely more important than other races of breeders. But non-breeders exist suddenly, in the last two years, since the medicalization of law enforcement and social control and the ascendancy of pharmaceutical corporations to the apex of the societal pyramid, upon an exclusively superior plane, aggregating entire broad concept words like rainbow, gay, queer [used to be a boxing term for being stunned by a punch] and even pride, to non-breeding diction alone.

I see this now placing us on the trans-human cusp, the brink into the abyss.

When was the keenest warning knell?

I think I discovered it the other night at Megan’s when she found a movie for me to watch. I hate superheroes, knowing in my bones that all caped and tights wearing super heroes had always been homosexual avatars of heroic negation. No movies sell better as a class than superhero movies, comic books on the screen. No class of movies gets more advertising on TV.

I once tolerated the Punisher movies because it involved non-cucked vengeance with actual killing and did not utterly enslave the hero to social hive norms like Batman, Superman and all the other homosexual anti-heroics.

I was told that I would like Deadpool, that Deadpool is not a superhero transformed by science or accident, but a criminal, American Ninja with pistols who casts fun with a wink and a nod at the freakshow of the X-Men and such.

It turns out as I watched the early goings of the movie, that Deadpool, the anti-hero, is overtly far less masculine than the bad guys or the male extras, that he is a Low-T narrative vehicle.

So I stay up to watch this movie and what do I see among the totally fanciful Kung Fu Theater inspired action?

Every scene has dialogue or inner monologue that references man-on-man homosex, like petting testicles, butt intercourse, oral sex, etc., every scene in the first half hour of the movie.

I was ready to shut this off until a hot black-haired evil bitch was introduced as a lust-interest. The fairly graphic sex scene was an entire scene. I sat up and thought, ‘Okay, the director is redeeming himself here, maybe throwing a bone to heterosexual viewers.’

Then, the climax of the sex scene is of the hero being graphically sodomized by the woman in black leather, wearing a big black dildo, ramming it up his ass until he agrees to enjoy it!

Since our entire shamtopia is based on fictional programming, with John Wayne movies of the 1950s programming us to accept news and policing uncritically, and since atomized American men are mostly slaves to comic book superheroes and crossover movies, I think that whenever Deadpool the movie was made, marks the point at which America became hopelessly homosexual in outlook.

The thing is, this movie was aimed at the non-cucked dissident male, anti-establishment nerd, a creature far more aware of the evil that media does than the cucked workhorse enslaved to Mammy Murica, and that this was a real identity hit job. In fact, the one hobby where tranny’s of the male-to-female variety are now most common is in the comic/science-fiction/fantasy role playing fandom. It was a hit job on the escapist refuge of the most socially critical male minority. The urban flight equivalent would be flying 10,000 homos into Cody Wyoming to buy up all the real estate that Blue State refugees from Globo Homo were hoping to relocate to practice hetero-family Christian living.

When was the movie made?

I have no way of knowing. But you probably do.

That is when I think this anti-nation took its plunge into the butt-buddy abyss. The genius of using the natural cynical backlash of the anti-hero who will kill bad guys to provide a narrative avatar for the alienated Post Modern man who can’t get behind Batman any more, with his cop cuckery, and wants to root for the Joker. By taking those emerging dissident minds and making the condition of their anti-hero dissent be an embracing of male-to-male ballsack worship and female-on-male tool-assisted anal intercourse, ranks as a great stroke [no pun intended] in the final emasculation of a cucked nation.

This all works because of John Wayne and vintage Hollywood, of the Western American adventure tropes of (1.) vaginal authority over masculine morality and of (2.) the self-removal of the victorious hero from the scene of the battle, in recognition that his toxic presence prevents social healing: the hero riding off into the sunset, his actions having rendered his own presence obsolete. [1]

What a think-tank session this must have been like in 1999:

“Gentlemen, in the 1960s we removed the black father and destroyed the Negro family. In the 1970s and 80s we removed the white father and paved the way for drug addiction. In the coming century we need to divert the fatherly instinct from the womb to the colon, all under the pretense of vaginal worship.”

…

Prot-Homo Notes

-1. The movies Shayne, The Magnificent Seven, High Noon, Rio Bravo are key examples. The into-the-sunset scenes of such Clint Eastwood counter culture movies as For a Fistful of Dollars, High Plains Drifter, Joe Kidd, The Outlaw Josey Wells [verbal declination to continue as a hero in the final scene] are tropes that are most graphically shown in Shayne and must be inserted to balance the antisocial actions of the hero in favor of the Cuck matrix.