Fake “Woke” Disney REMOVES Black characters from promotional materials in China while inciting anti-White hatred in America to appease Leftist mob

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by JdN staff writer – based on a report exposing Disney’s hypocrisy in the National Review and Washington Examiner.
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Staff training materials I’ve seen attacking “Whiteness”, tackling critical race theory and “combating White Privilege” –  that were leaked from the Walt Disney Corporation this past week – covered all the usual “social justice warrior” talking points.
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There was a “White Privilege checklist”, “educational” materials discussing “microaggressions”, the importance of diversity, the peacefulness of the Black Loots and Murder movement  and “antiracism”.
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Disney – a film studio that’s whitewashed non-White characters from its films, stolen stories from European mythology, lore and and fairy tales for generations (which they then Jewified) in order to enrich itself -all but denounces the United States as a systemically racist country that targets Black people in the staff “educational material” I’ve seen, while promoting the likes of China in films like ‘Mulan’.
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The hate-filled materials also tout a “21-Day Racial Equity and Social Justice Challenge” and a “75 Things White People Can Do for Racial Justice” how-to guide, as if to drive home how insufferable all of this is.
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Although Disney no longer casts White Actors with hokey Midwestern accents 😉 and comically sticks them in brown faces to play non-White characters, some might say, Disney is JUST as racist as it’s ever been.

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I’d say they are ten times worse, as they are now literally attacking Whites, while before they just whitewashed a few Arabs and monkeys (I’m talking about the primates in the Lion King, nothing hateful 😉 …

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And I’m not just talking about how Disney portrays White heterosexual males as bumbling idiots in “Frozen”, but just how conspicuously racist their actions have been in China. 
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In 2016 Disney first shrank, then DELETED the brutally unattractive John Boyega’s Star Wars character – he’s an obvious no-no for a Chinese promotional poster of one of that terrible franchise’s (think about all the anti-German, anti male and feminist imagery) films, while removing characters played by Oscar Isaac (Guatemalan) and Lupita Nyong’o (from Bongo Bongo Land by way of Wakanda). 
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For a company that “prizes” inclusivity, Disney’s focus on erasing or minimizing people of certain races or ethnic backgrounds to appease China is well-documented. The last bit of the company’s spine was removed in 1999 when Disney made a play to regain access to the Chinese market after the perpetually offended Chinese Communist Party threw a tantrum over the Martin Scorsese film ‘Kundun’ which was sympathetic to the Dalai Lama. Disney bribed its way back in by promising a Disney Park in China.
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Since then, Disney’s focus on “inclusion” has been limited to anything that would keep it included in the Chinese market. That means minimizing Boyega and erasing other non-White actors from promotional posters. It also means whitewashing a Tibetan character in the Marvel film ‘Doctor Strange’. And then, of course, Disney brought back the film ‘Mulan’, which helped ease tensions with the CCP in 1999, for a live-action remake..

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Note – Boyega is an out of control, anti-White BLM supporting Black supremacist, as evidenced in the following maniacal video filmed in London’s Hyde Park. Besides, our people may be “cucked” enough to want to see his ugly mug on film, but the Chinese most certainly ain’t!

www.youtube.com/watch?v=sn2i0wfM2h0

The United States is steeped in systemic racism according to Disney.

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But what if arms of the Chinese government are actively taking part in the genocide of the Uyghurs in Xinjiang? They get Disney’s thanks for letting it shoot the film in the same region as concentration camps.
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By Disney’s lights, police in the U.S. are racists hunting down people over their skin color. But police in Hong Kong, brutally suppressing pro-democracy protesters? They get praised by Mulan’s lead actress with no consequences.
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While Disney touts its “long history of inclusivity,” its history of kowtowing to China’s racism and exclusion – in pursuit of money – is continuing to be written every day.

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Its social justice façade fades quickly when China comes calling because the Company knows its customers, from the apolitical to the race-obsessed progressive culture to whom it is pandering, will let it get away with it every single time.
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And what of the demons in Hollywood who attack people of European ancestry, while they culturally appropriate our greatest work?  
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I first think about the scores of Hollywood film companies that have ripped off Hans Christian Andersen for over a century now – and continue to do so – and that haven’t paid a penny to the incredible man’s descendants or the Foundation that was set up in his name in his homeland.
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Why aren’t the demons behind the forthcoming ‘Little Mermaid’ “live action film”, directed by Rob Marshall (jew) from a screenplay penned by Jane Goldman (another jew) and David Magee (presumably a gentile of Irish ancestry. Still not Danish….) and set to music by Lin Manuel Miranda (an anti-White Puerto Rican racist), paying to exploit the story?
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Why isn’t Disney (at the time run by a jew) sending the Hans Christian Andersen Foundation royalty checks for the BILLIONS they have made off the animated ’90s film (produced by a homosexual jew that died of AIDS)?
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Make no mistake. The vast majority of the people that got rich off ‘the Little Mermaid’, as well as the film ‘Frozen’ (a horrid feminist corruption of Andersen’s tale, the Snow Queen), were jewish, and CERTAINLY NOT DANISH.
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Now THAT’S what I call cultural appropriation!!
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This though shouldn’t surprise anyone.
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The real reason Jewish criminals that built the modern entertainment industry ventured to Hollywood in the first place had nothing to do with the natural “lighting” and good weather, as Hollywood historians claim. It was so New York-based Jewish crooks could bypass paying Thomas Edison for his inventions!
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Lawrence Lessig, author of the excellent 2004 book, Free Culture, writes:

 

“The Hollywood film industry was built by fleeing pirates. Creators and directors migrated from the East Coast to California in the early 20th century in part to escape controls that film patents granted the inventor Thomas Edison.These controls were exercised through the Motion Pictures Patents Company, a monopoly “trust” based on Edison’s creative property and formed to vigorously protect his patent rights.
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California was remote enough from Edison’s reach that filmmakers like Fox and Paramount could move there and, without fear of the law, pirate his inventions. Hollywood grew quickly, and enforcement of federal law eventually spread west. But because patents granted their holders a truly “limited” monopoly of just 17 years (at that time), the patents had expired by the time enough federal marshals appeared. A new industry had been founded, in part from the piracy of Edison’s creative property.”

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The vast majority of these men were jewish.
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A reference to an article by Thaddeus Russell I found in the Christian Science Monitor contained the following fascinating snippet on the origins of Hollywood. In spite of it being conspicuously pro-Jewish and biased against Thomas Edison, only someone with an evil mind, and half of one at that, would come away from reading this excerpt still thinking the “Jewish renegades” were the heroes of this sordid Hollywood tale….

“Soon after he invented the motion picture camera and projector,Thomas Edison formed his own movie production and distribution company.

In 1908, Edison joined with nine other film companies to form the Motion Picture Patents Company, a monopoly that attempted to control the making, distribution, and showing of all movies in the United States.

Edison and “The Trust” pledged to make only movies that promoted wholesome, Christian, and “American” values.

But on the Lower East Side, a group of entrepreneurial Jewish immigrants used Edison’s inventions to produce and screen their own films, which were shown in thousands of nickelodeons – five-cent movie theaters – in working-class neighborhoods all over the country.

These “outlaw” filmmakers started out as vaudeville and burlesque promoters, and many of their movies were sexier, more violent, and far more entertaining than the bland fare put out by the Edison monopoly.
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The great inventor was furious that “Jewish profiteers” were stealing his patent, getting rich from it, and using it to spread “smut” across America. So too were law enforcement officials.

In 1907 a judge in Chicago wrote that the nickelodeons “caused, indirectly or directly, more juvenile crime coming into my court than all other causes combined.”

Shortly thereafter the Chicago city council passed an ordinance granting power to the chief of police to censor motion pictures played in the city. In New York in 1907, soon after the police commissioner recommended that nickel shows be wiped out entirely, Mayor George McClellan was so moved by the evidence of immoral motion pictures polluting the minds of his citizens that on Christmas Day he ordered that all of the illicit motion picture houses be shut down.
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Moral condemnations and court injunctions didn’t stop the proliferation of nickelodeons that showed unseemly fare and violated Edison’s patent, so the inventor and his colleagues hired squads of thugs to shut them down.

They seized film, beat up directors and actors, forced audiences out of theaters, smashed the nickelodeon arcades and set fire to entire city blocks where they were concentrated.

But fortunately for the Jewish renegades, they lived and operated in neighborhoods where hundreds of soldiers stood ready and able to protect them – men like “Big” Jack Zelig, “Lefty Louie” Rosenberg, “Gyp the Blood” Horowitz, Joe “The Greaser” Rosenzweig, and the leaders of the notorious Yiddish Black Hand, Jacob “Johnny” Levinsky and “Charley the Cripple” Vitoffsky.

There were even women ready for the fight – fierce, well-armed “gun-mols” like Bessie London, Tillie Finkelstein, Birdie Pomerantz, and Jennie “The Factory” Morris. Cameras, projectors, film, and sound equipment disappeared from the storerooms of Edison companies and showed up on makeshift movie lots on the Lower East Side. Bullets rained down on the Trust’s enforcers from the rooftops of nickelodeons. And massive fires destroyed the Edison distributors’ warehouses in the Bronx, Philadelphia, and Chicago.

By 1915 the Trust had disbanded and the outlaw filmmakers moved west, where they could make bigger and better movies. Who were the men who, with the help of their nicknamed friends, fought Thomas Edison and the law and won? They were Marcus Loew of Loews Theatres and Metro-Goldwyn-Mayer, Carl Laemmle of Universal Pictures, Adolph Zukor of Paramount Pictures, William Fox of Twentieth-Century Fox, and the brothers Harry, Albert, Sam, and Jack Warner.”

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Sickening! And not only how the author spins the story (referring to Edison’s men as thugs and the jewish thieves as “renegades”) and misrepresents the facts, but what these Hollywood thugs and paedos have done to us as a people ever since!!
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So, next time you download a film – ESPECIALLY an old Disney film for your kids – don’t feel so badly.

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Note – The Lion King is a blatant rip-off of a famous Japanese comic series and animated film. Disney not only legally steals from greats like Hans Christian Andersen due to the fact copyright law does not protect the classics, it STEALS modern stories as well from poor authors who can’t afford to fight them in court. They are TRULY demons.

End article….