The New Superman Movie is Basically Nazi Agitprop Against Jews

Congrats to Nick Fuentes for his screenwriting debut

I just finished watching the new Superman movie and I was legitimately stunned by just how anti-Semitic it is.

I went into the film with low expectations because I saw various mentally ill leftist figures on social media crow about the film as a total cultural war victory against Israel, America, the West.

Shaun King wrote on Substack that ‘‘Outside of literally calling the two nations Israel and Palestine, it couldn’t be any clearer.’’

Hasan Piker called it ‘‘two hours and ten minutes of ‘‘FUCK ISRAEL.’’

So I bought a ticket with all this in mind and took a notepad to the screening so that I could write down my observations. These are detailed below.

The primary villain in the new Superman film is Vasil Ghurkos, the leader of the fictional country of Boravia, which is very clearly supposed to represent Israel. Vasil Ghurkos happens to look almost exactly like David Ben-Gurion, the primary national founder and first prime minister of the State of Israel. He also happens to have the exact same accent as Benjamin Netanyahu. We first see him shrieking on American television, demanding American support for Boravia-Israel. He tells us that the ‘‘streets must be flooded with the blood of every Jarhanpuran-Palestinian.’’

Ghurkos-Netanyahu and Boravia-Israel want to invade the neighbouring country of Jarhanpur, which is very clearly supposed to represent Gaza. We are told in the film that Superman previously showed up during a previous bout of fighting between Boravia-Israel and Gaza-Jarhanpur to intervene on the side of the Palestinians, and that this drew the ire of the American and Israeli governments. Indeed, Superman tells his love interest Lois Lane that he flew the Netanyahu character out to the desert where he tortured him with a cactus to stop threatening the Palestinians, which I suppose represents a nice power fantasy for lefties.

So the film basically centers on Netanyahu’s attempt at getting revenge, an Israeli-American military industrial complex plot to take out Superman and incapacitate him so that Boravia-Israel can have a free hand to re-invade Gaza-Jarhanpur and genocide the Palestinians.

Now, we are told in the film that Boravia and Jarhanpur are in Eastern Europe. But when we see footage of evil Boravian troops massing on the border with Jarhanpur, it is very clearly a desert setting. The civilians of Jarhanpur are very clearly Arab Muslims with the women all wearing hijabs. They hold sticks and stones against the might of the Boravian forces who are depicted as an all white colonial force. We later see a map of Jarhanpur in the film and the outlines of the state of Jarhanpur look very similar to Gaza.

My guess, for what its worth, is that the script probably originally called for Boravia to represent Russia, with Boravia’s leader representing Vladimir Putin. We see hints of this previous incarnation of the film buried beneath the final cut. For example, Ghurkos speaks a Slavic language and when he’s finally killed in the film’s triumphant final moments we see him dropped from a great height over a very clearly Slavic capital city that looks like Moscow, complete with the onion domes of Russian Orthodox architecture. So there are indeed some half-arsed references to Eastern Europe for plausible deniability, even though these references very clearly don’t make sense within the film’s universe.

The overall narrative of the film is so clearly related to the Israel-Palestine conflict that these references just end up feeling like a pentimento, ‘‘the presence or emergence of earlier images, forms, or strokes that have been changed and painted over by an artist.’’

That is because the film spends so much time trying to present Boravia-Israel as a parasitic ally lording over the United States. This is not a state hostile to America like Putin’s Russia, but instead an ally that corrupts and defiles America from within.

Their behavior in the film mirrors all the most vicious anti-Semitic caricatures and conspiracy theories about the Israeli-American alliance. Boravia-Israel basically dominates and lords over America, wantonly slaughtering random American civilians and blowing up New York City skyscrapers with constant false flag terrorist attacks.

So the thesis of the film is essentially that America is dominated by Z.O.G. (Zionist Occupied Government). There is a hidden cabal of cackling Jews who run the government and control the country through the military industrial complex and a corrupt network of media oligarchs who propagandise and brainwash the American population into submission to Boravia-Israel.

And it is not enough for the film that Boravia/Israel simply lords over the Americans. The Boravian-Israeli government actually operates Z.O.G. across multiple different dimensions. They operate ‘‘pocket dimensions’’ where they hold and torture their enemies in chains while plotting to control the entire cosmos. These ‘‘pocket dimensions’’ create black holes that threaten the stability of the entire cosmos and indeed the very space-time continuum. So the film portrays Z.O.G. as a cosmic, supernatural force that threatens all living things in the universe.

As the film reaches its climax, Lex Luthor and Z.O.G. are willing to legitimately exterminate humanity and the entire universe with a black hole purely so as to stop Superman from resisting the Boravian-Israeli invasion of Burhanpur-Gaza.

This is where the film devolves into frankly Goebbels-tier racism, where the Yahudi/Jews/Zionists threaten the entire universe as a kind of interdimensional, supernatural pestilence. I suppose that it is probably relevant here that the director James Gunn once joked about Jews and ovens.

So this is the basic lay-out of the film, the basic foundations of the universe the writers constructed. Within this lay-out, we find many outright examples of cartoonish, clownish anti-Semitism and blood libel.

The very first scene, for example, depicts a Boravian-Israeli super-villain blowing up skyscrapers in Manhattan. Throughout the film, the Boravian-Israelis just constantly blow up and incinerate dozens of towering skyscrapers across New York City. A very clear wink and nod to anti-Semitic conspiracy theories depicting the Jews as the real perpetrators of the September 11 attacks.

And the blood libel does not stop there. At one point the evil stand-in for Ben-Gurion/Netanyahu abducts a random Arab street car vendor named Malik from the streets of New York City and has Luther execute him as punishment for giving Superman some Halal food.

I think Malik is actually the very first human character we are introduced to in the film, depicted helping a battered and severely injured Superman up from a crater. He tells Superman ‘’I gave you free falafel.’’ What a nice man, we all think.

Ultimately the film only goes to these lengths to humanise him so that Lex Luther can viciously shoot him in the head for no reason while the evil stand-in for Ben-Gurion/Netanyahu cackles with glee and Superman cries ‘‘NOOOOOOO!’’

I mean, the subtlety of it all is just genius. They literally just pick up a random Arab street car Halal vendor off the street and then shoot him in the head and laugh. The message is: ‘‘ISRAEL IS EVIL, THE WHITES/JEWS HATE ARABS.’’ Only a toddler could not read this subliminal message or hear this dog whistle.

Over and over again we are bombarded with the message that BORAVIA-ISRAEL and the Z.O.G. AMERIKKKAN MILITARY INDUSTRIAL COMPLEX are EVIL. We watch the Secretary of Defence plot with Lex Luthor to kill Superman for Israel. We are pressed over and over again with the message that these ties are CORRUPT and sealed in blood.

For example, reporters tell us in the film that Boravia has purchased $80 billion in arms from Luther Corp and that Luther Corp in turn lobbies for Boravia.

We are then told that Boravia-Israel had only paid for $1.5 billion of the $80 billion in arms, promising Luther half of Gaza in return for the rest.

‘‘Why does he need a desert?’’ one character asks. ‘‘Because it has great resource deposits,’’ comes the reply. A direct mirror of infantile leftist materialist analyst claims that Israel and America are only in Gaza for the desert strip’s plentiful sand deposits or something.

Luther actually details his evil Z.O.G. plans very extensively for Superman, and by extension, the viewer. He boasts of his interdimensional bot farms where literal monkeys work on treadmills 24/7 to smear Superman with evil Hasbara propaganda.

As Shaun King correctly notes in his mentally ill Substack post about the movie, their cartoonishly evil propaganda smears against Superman are supposed to mirror contemporary right wing racist Islamophobic rhetoric today. Ben-Gurion/Netanyahu accuses Superman of wanting to start a harem of women to ‘‘outbreed’’ Americans and subjugate them: ‘‘WHO KNOWS HOW LARGE HIS HAREM IS ALREADY?’’¹

Lex Luthor accuses Superman of ‘‘'GROOMING US’’ to secretly take over America. The allusion to an Oriental style harem and the focus on ‘‘GROOMING’’ and ‘‘OUTBREEDING’’ is supposed to present a caricature of anybody critical of Islamic extremism in Europe. I mean the reference to ‘‘GROOMING’’ is extremely on the nose in light of the incendiary debate over grooming gangs in Britain.

We watch as he is dehumanised. ‘‘Superman is not a man, he’s an it, an alien,’’ Luther pronounces. “I’ve sacrificed my own humanity to help get rid of it.”

Their evil is just blatantly cartoonish and stupid.

I mean, just compare this buffoonery to the fascinating villains of the Nolan Batman series. Heath Ledger’s Joker, Tom Hardy’s Bane. These were genuinely fascinating characters with fascinating backstories and tortured motivations. Remember Joker’s explanation of his scars?

Heath Ledger’s Joker offers two completely contradictory stories - one relating to an abusive father, ‘‘a drinker, a fiend’’ who mutilates his own child, another relating to a beautiful wife who ‘‘gambles and gets in deep with the sharks.’’ They carve her face and drive him to insanity.

Decades have passed since Heath Ledger’s Joker. People are still fascinated by him. They still debate his motivations and the source of his downfall into insanity and evil.

Compare this to the cartoon retarded clowns of this new Superhero film. What are their motivations? UMMM, SO WE ARE WHITE, AND UMMM WE ARE WHITE COLONISERS, AND UMMM WE HATE BROWN PEOPLE AND MUSLIMS, AND UMMM WE’RE EVIL, YEAH. You don’t exactly have to be a detective, for fuck sake. It’s just twelve year old shit.

This is all supposed to present a caricature of Israeli hasbara and thereby mock anybody in the real world who is critical of Hamas or Islamic extremism more generally.

The film basically seems to revel in ramming this leftist messaging down our throats.

Luther attacks Superman’s Fortress of Solitude in an assault that basically inverts October 7. They behead and decapitate Superman’s friendly robots and try to murder his dog, which inverts the actual history of October 7 where Hamas fighters filmed themselves executing family pets and attempting to behead Thai migrant workers while screaming ‘’YAHUD! YAHUD! YAHUD!’’

They then have Superman arrested by ICE on false grounds and thrown into a heavily militarised private prison that looks a lot like El Salvador’s CECOT. We are told that governments around the world farm out their political prisoners to this black site. A media report helpfully clarifies for us viewers that the government can only do this because Superman was stripped of all legal and human rights by a Supreme Court decision that denied human rights to illegal aliens. WOW! It is just like Le Real Life™️.

Honestly the movie actually has really funny Third Worldist themes.

Superman wants to help the Palestinians-Jarhanpurans because he sees himself as an anti-imperialist survivor of genocide and colonisation - he talks about the destruction of his home planet, his history, his culture. He denounces Boravia-Israel’s attempts at ‘‘regime change,’’ mocks their claims of bringing freedom to the Burhanpurans. He literally says: ‘‘Jarhanpur is not perfect, but that doesn’t given Boravia the right to invade … Boravia is not well intentioned, they aren’t freeing the Jarhanpurans.’’ Why do we need to base Superman off fucking Noam Chomsky? I don’t know. All art and creative endevour must be subordinated to the Omnicause for some unclear reason.

Superman ultimately breaks out of CECOT in the film. The final boss fight takes place inside a baseball stadium, an implicit stand for American identity against the insidious forces of the Yahudi.

Luther and the AmeriKKKan military industrial complex work in conjunction with the Yahud to try and defeat Superman inside this baseball stadium by covering him with a scary black goo substance that seeps over his blue Aryan eyes and steals them away from him.

Perhaps director James Gunn was inspired by Zahra's Blue Eyes, the Iranian state television series which centers on a Jewish plot to steal the eyes of Palestinian children in the West Bank. Honestly, thank you James for giving voice to the oppressed peoples of the Global South and letting the subaltern speak. We all know that the perfidious Yahudi are always trying to steal the blue eyes of their racial superiors, and it is important we emphasise this to the world in top-tier Hollywood AAA productions.

The movie ends with Netanyahu killed and Luther arrested and paraded before television cameras as an agent of ZOG, a ‘‘traitor,’’ a ‘‘foreign agent.’’ Leftist power fantasies fulfilled. We see a figure on the television declare that the one thing both liberals and conservatives can agree on is that Lex Luther is the devil. Tucker-DSA red-brown alliance against Israel COMPLETE.

Gunn includes like one single throwaway line near the end of the film to try refute allegations that he basically made a groyper movie. Lex Luther, the stand in for the American military industrial complex, says - “I’m not controlled by Israel, I actually made the conflict to distract everyone.’’ But again this doesn’t make sense against the backdrop of the entire rest of the film which consistently portrays him and AmeriKKKa as slaves to the Yahudi.

I guess I should conclude by noting that the Superman character is played by a Jewish guy, but who even really cares considering the entire movie is basically a groyper fantasy about Z.O.G. and the interdimensional Zionist threat.

Seriously, what a psychotic clown show. Don’t people want to be treated like adults? Who actually wants this slop?

1. Actual verbatim quote from the film