Actual "Sinners" discussion thread

go watch Sinners w/o seeing trailers or any of the marketing, just know that there's vampires and music plays a big role

really enjoy it (neither w/o its flaws nor some major artistic breakthrough, but definitely an entertaining, stylishly-made flick)

want to discuss it, open the one thread about the film

90% of the replies is seethe about black people and hating the film out of sheer principle; things that are certifiably good about it are claimed to be utter utter utter shit

This place is so tiresome more often than not, I hate that I actually missed it while it was down.

This here thread is for actual discussion of the new film "Sinners". If your only contribution is going to be seethe and bile, please take it to . It's OK to dislike the film, just be argumentative about it and not "I HATE NIGGERS, AAAAAAAAAAAAAAAAAAAAAAA".

Justify the first hour and a half of the movie where nothing happens. That's way too long for "character building and story setup".

That's way too long

Not it isn't. Fucking zoomers with their fried attention spans. Most older movies are way slower than Sinners, the drama in the first half of the film is itself fast paced.

Well, if there's no aids-commie shit in it, which I find hard to believe, I'll give it a shot. There's blatant commie faggotry and then there's the sneaky type, which ppl are slower to pick up on.

Anon. It's the most astroturfed, overrated flick since Black Panther or Get Out (whichever came out last). And you know exactly why. And all the fucking cattle "cinephiles" repeating marketing talk like "best original studio movie of the decade" or whatever even it was make me seethe (yes, seethe).

The first part was based, ngl I would've watched an entire movie of just the gangster twins coming back to their hometown and dealing with the fallout

That one music scene made me understand why they get like that when there’s music playing

Also, all of the talk about it being box office hit is ridiculous looking at the actual numbers ($100M budget vs so far $120M worldwide gross with 3/4 of that being domestic).

it's totally justified to spend the lenght of one movie so the audience understands this is Jim Crow Era Mississippi and that the twins are gangsters recently returned from Chicago

You're baiting. I won't even get into how the Vampire stuff never actually kicks off and how the ONE fight scene you get is so lame and retarded. In fact, it's so lame and retarded that a random nigger they cut from the entire movie randomly shows up with the crew holed up in the speakeasy and dies to Jack O'Connell's character for no reason other than O'Connell needed to kill someone who wasn't part of the crew. Then O'Connell doesn't bite Michael B Recessed Chin Chudnigger when he has him pinned down...because...
Just awful writing and pacing when the Vampires actually break in. Completely nonsensical and riddled with plot armor.
Also Michael B Recessed Chin Chudnigger dies from a single pistol shot...but King Klu Klux Klan survives multiple 40 caliber machine gun rounds? Awful writing.

OP here, continuing:
I did not originally intend to see this. When I heard Jordan was playing twins in a vampire film set in Jim Crow south I had assumed it would be dumb politicised trash, so I did not pay attention to any of the marketing. However it was getting a lot of good buzz and a critic whose opinion I hold for gospel praised the film, particularly its musical heart, so I decided to check it out and I'm glad I did.

The pros:

The main concept of the transcendence of music and its relationship with the supernatural (blues as the devil's music) and generally how important music is to human existence

This really resonated with me. I loved how you had two types of folk music "battling it out", the blacks with their blues on the one side and the mick vampire with his Irish songs on the other.

Cool setting

The racial tensions of Jim Crow south are fascinating and I love the blues, even if I don't know much about it (I do know "Smokestack Lightnin", so I assume the names of the twins refer to this).

Good cast

Standouts to me were the old bluesman, the voodoo momma, and the mick. Even though not enough screentime was given to him and his motivation, I found him a compelling and sympathetic villain.

Handsomely mounted and well put-together

Whatever else you might say about the film, it's very well-made on a technical level and its meaty budget shows.

Win for original cinema

I've seen some bitch about this already, but I don't see why (well, except for contrarianism and general asininess) the same people who religiously hate IP-filmmaking are not celebrating this

I don't know what to tell you, I haven't paid to any of the marketing or online discussion for this. All I can say is that I liked the film, so maybe it's not being astro-turfed and it's genuine word-of-mouth praise.

so maybe it's not being astro-turfed and it's genuine word-of-mouth praise

It's definitely fucking astroturfed.

A Cinemascore

Anon Babblepol still refuses to believe normalfags just liked the movie

Black people show up for the one decent black movie that comes out every year. Of course all the black people they polled are going go give it top marks. I went to see it opening night and the theatre was 90% black when that theatre normally has a 95% white clientele.
It's just niggers showing up because it's a nigger movie for niggers.

original cinema

How is slamming down a Polymerization on Abe Lincoln Vampire Hunter and that Kray movie starring double Hardy original cinema again?
No one (serious) is saying it's bad, what's being said is that it's overrated and being astroturfed. The word of mouth here is actually mostly the press talking about word of mouth, hyping this shit up.

The cons:

The twins gimmick

There is no conceivable advantage (except in terms of marketing) to Jordan playing dual roles, he could've very well played solely the stoic older brother, with a flashier, jivier actor playing the cad younger brother.

The writing/plotting of the last third

Is simply not great and very sketchy (except for the epilogue). The stand-off with the vampires was woefully short. Also it was confusingly shot, it felt like there were double the amount of humans fighting the vampires (those fuckers chewed down what felt like way more survivors than there were). Smoke's death was stupid, it's like after the vampires are dead Coogler didn't know how to tie his arc off and just had him gloriously mow down Klanheads like Leo does nazis in OUATIH. Also how the fuck did he die from that bullet wound, wasn't it a through&through that he should've just walked off?

Sketchy writing for the villain

We get very little for his character, but man does O'Connell make it work. I did like how his entire motivation for starting the massacre was seeing his family again.

Predictable plotting overall

While I enjoyed it, most of the plot was rather predictable and formulaic.

How is slamming down a Polymerization on Abe Lincoln Vampire Hunter and that Kray movie starring double Hardy original cinema again?

The fact of the matter is it's not based on any IP and it has some interesting ideas in it concerning music. Yes, it has some obvious inspirations (certainly not what you cite -- why don't you cite Social Network, that has twins too), but it's still a breath of fresh air in the modern miasma of franchise filmmaking.

Polymerization on Abe Lincoln Vampire Hunter and that Kray movie starring double Hardy original cinema again?

Extremely disingenuous post and I even agree that this movie is overrated and not the #1 movie of all time as it's currently being rated on IMDb.

it's overrated as fuck in the sense that normies are claiming it to be one of the best movies ever made.

but it was plenty decent, and one of the better IMAX viewing experiences i've had in a while.

6.9

>The twins gimmick

i'm almost 100% certain Jonathan Majors was originally cast as Smoke and then his nigga-rape case turned everything upside down.

imagine the same scene with elvis being joined by wagner and eminem and whities going apeshit clapping and twerking in the theaters and then claiming it's the movie of the year like it's citizen kane

But you get the point, don't you? How is this more original than the majority of non-franchise movies coming out? Because of the musical numbers? Last Night in Soho, shit as it was, came out just a couple of years ago.

Jack O'Connell's character did nothing wrong. He just wanted to reconnect with his ancestors. Leave it to niggers to be greedy little shits.

Baffling movie. I was curious if this hack director could achieve something with an original creation after running from the Marvel plantation, but no. Same woke afro-confused, one-dimensional, juvenile racial pandering shlock as Wakanda Kendrick Lamar nonsense, sadly. From african-americans who never set foot in Africa, from a black director celebrated and earning millions to make big movies, who grew up under black president Obama and DEI but pretend racism and oppression is everywhere in USA.

There is one scene that everyone raves about: a choreographed long take where the blues player "summons" the history of "black" music, from tribal African dancers to modern hip hop vulgar trash with trap and twerking or whatever. Even if you appreciate what can be good about black music like jazz and soul, you should see this as a collapse of black culture not worthy of being celebrated, the whole hood materialistic money gangster rap culture shit that's been nothing but a poison for blacks.

Thematically it's so confused because it doesn't question any of the underlying meaning behind all of it, it's just a shallow idea for a gimmick video.

Tonally, it's an interesting shift because it hints at the movie going in a weird supernatural dimension with music opening time rifts... except it never gets explored in the movie again. Feels more like a statement or a music video concept disconnected from the rest of the movie.

Filmmaking wise, it's a generic long take, well made sure but copy pasted, how many of virtuoso long takes like this have we seen recently? Nothing remarkable to differentiate this one if not for the gimmick. It's no Onions Cuba ffs.

Other funny thing is everyone praises the mix of black music, blues with tribal and hip hop sounds but it was all composed by a white guy. So much for black music celebration by a black director. Also for zero reason at all, there's some Asian characters in the mix and an Asian dancer. Whole thing is so confused, dumb wokeshit.

One of the last scenes is MJB killing dozens of one-dimensional KKK caricatures out of nowhere. It's so dumb and shoved down your throat. "see, subtext"? It's like, the same underlying subtext as the end of Night of Living Dead but done without any kind of sophistication or meaning. But with even less subtlety than Romero (who did it when it was meaningful). You know, the guy who put the "here, politically charge subtext" sign in horror movies discourse, looks subtle by comparison.

Or, it's a Tarantino revenge fantasy but without his filmmaking talent and movie genre understanding. It's really dumb, so confused, because it doesn't work as a vampire movie either. It's a half-vampire half-body snatchers movie that doesn't really understand the mythology rules of either genres so they don't mix well at all. So, is this a movie about community or racial unity or mixing or freedom or... it doesn't know.

The final scene is also embarrassingly bad and makes no sense or carries zero emotional payoff despite trying so hard to look like it does. Oh the subtext again "that night... we wuz free". What? The musician kept playing since then and blacks have never been freer than then. So what is it? Whether you take the plot at face value or see the subtext metaphor, both make no sense in the stupid context of the story. Just some pseudo-deep way to end a shitty hack movie that only retards will find meaningful.

Rest of movie is a poorly written and directed and drawn out vampire movie. Characters constantly making stupid decisions to advance the plot, corny unfunny lines, action scenes are shot terribly, it lasts 2 hours 15 when it could have lasted a lean 1h30 and be a decent b-movie but no every movie now needs 1 hour of exposition before it can start. There's a gimmick where MJB plays twins and it adds nothing to the movie, his performance is completely unremarkable, and the rest of the ensemble cast is just as transparent. Praise is baffling. It's still marvelshit.

Tonally, it's an interesting shift because it hints at the movie going in a weird supernatural dimension with music opening time rifts... except it never gets explored in the movie again.

That's the whole reason Jack O'Connell attacks the niggers. He wants Nigger Jazz Man to be a part of his crew so he can summon his Irish ancestors.

Tonally, it's an interesting shift because it hints at the movie going in a weird supernatural dimension with music opening time rifts... except it never gets explored in the movie again.

I had not heard about "the special scene" and was totally caught off-guard by it in the best way possible, however I was disappointed that it didn't lead anywhere down the road, so I agree with you on this. Rest of your comments (which you copy-pasted from the other thread) are dreck.

Did you see Coogler list his "cinematic infuences"? Yes, it's bad.

Spike Lee, John Singleton, Ernie Barnes, Steve McQueen, Ava Duvernay, Euzhan Palcy, Eudora Welty, Oscar Micheaux, Robert Rodriguez, Barry Jenkins, Quentin Tarantino, Nicolas Roeg, Andrea Arnold, Jeremy Saulnier, Paul Thomas Anderson, Joel and Ethan Coen, Bill Gunn, Jordan Peele, John Carpenter, Boots Reilly, Shaka King, Nia Dacosta, Terence Nance, Rian Johnson, Bradford Young, David Cronenberg, David Lynch, Chris Nolan, Emma Thomas, Theodore Witcher, Francis Coppola, Julie Dash, Steven Spielberg, Kahlil Joseph, Mati Diop, Ben and Josh Safdie, Stephen King, Robert Palmer, Amiri Baraka, Martin Scorsese, Brian De Palma, George Lucas, Ta-Nehisi Coates, Walter Mosley, Stephen Graham Jones, Joel Crawford, Wes Craven, and many others.

Mildly obscene fakelore turns the blues into horror-movie trash.

The black blues/vampire hybrid Sinners mimics a mixed-genre Tarantino bash. Its story of Chicago gangsters, twin brothers Smoke and Stack (both played by Michael B. Jordan), who return to their Mississippi hometown in 1932, closely follows the plot of the Nineties vampire extravaganza From Dusk till Dawn, which was directed by Robert Rodriquez in QT fanboy mode.

Coogler goes for the same trite Afrocentricity as when he made Marvel’s Black Panther and its inexcusable sequel Wakanda Forever, but the mash-up of Southern black-blues mythology with horror-film gimmicks exposes his immature cultural appreciation.

Jordan’s dual roles emulate the Rodriquez siblings who were played by George Clooney and Tarantino himself, but with no sense of parody. Instead, Jordan’s CGI Winklevoss stunt is distinguishable only by having one mean brother in a blue cap and a meaner brother in a red fedora.

When Smoke and Stack fight off devious redneck vampires who are members of the Ku Klux Klan, Sinners is no different than the trivialization of slavery in QT’s Django Unchained. This social justice kitsch becomes a mildly obscene evocation of racial terrorism. (One of two epilogues feature a roided-up Jordan reliving Stack’s WWI trauma in his own KKK massacre — an Inglourious Basterds rip-off.) Coogler attempts to out-scare Jordan Peele’s Get Out, using horror tropes to match the anguish expressed by the blues.

But Coogler shows no real understanding of Southern blues culture beyond Smoke and Stack’s facile cynicism: “Blues wasn’t forced on us like religion,” Smoke says. “It’s the magic that we do.” The film’s opening narration about “music so true, it can penetrate the veil between life and death” panders to Millennial segregation. That old “crossroads” mythology about Robert Johnson selling his soul to the devil is replaced by references to West African griots and hostile white devils. It’s critical race theory stuff, a Black Studies curriculum by way of Hollywood.

Why is this hackneyed, race-based action movie (Coogler calls it “genre fluid”) titled Sinners? Churchgoing is at such a low point that even black politicians who recently sang “We Shall Overcome” in petulant protest in Congress have lost sight of what religion once meant to the civil rights movement. Since contemporary audiences no longer relate to the concept of “sinners,” Coogler’s sense of black American religiosity is limited to jinxes. Stack’s former lover Annie (imposing, womanly Wunmi Mosaku) briefly mentions a mojo bag and haints. This fakelore is as unconvincing as the 1930s Jim Crow Mississippi locale — a pretend South like in The Color Purple musical remake and The Piano Lesson.

Stack debunks Annie’s sexual aggression (“Your body can’t forget me”), but the film’s best scene lacks the emotional pull of the sensual-spiritual mix in Jonathan Demme’s Beloved, coarsening black emotional relations. Stack rejects Annie’s hoodoo, saying, “No ghost, just power. Only money give you that.” This is hip-hop juvenilia for the millennium, minimizing black culture as, essentially, spiritually rootless.

Coogler exploits the blues without accounting for its compelling folkloric qualities that contributed to the exceptionalism of American popular culture. The vampire attack lacks Robert Rodriquez’s flair (Autumn Durald Arkapaw’s cinematography is grim and underlit), ruining the juke-joint celebration that crosses the time barrier, combining L.L. Cool J hip-hop, Chinese opera, Alvin Ailey ballet, Mariachi bands, and Bollywood dancing in a Dionysian revelry that rehashes the Matrix Reloaded multiculti orgy.

This reverse-racist showpiece is a counterpoint to the KKK vampires waiting outside the juke joint — indulging in red-eyed drooling and jig-dancing to the Irish-Scottish folk tune “Wild Mountain Thyme.” At first it suggests the coven scene in Nathaniel Hawthorne’s short story “Young Goodman Brown,” but more likely, it’s a simple-minded rebuke of the Coen brothers’ folk music thesis in O Brother Where Art Thou? Coogler displays a 1619 Project purpose: His juxtaposition of vampire/tribal debauches revives the irresolvable racism that lay at the heart of Americana.

Coogler’s one-dimensional rehash of black American history degrades the legacy of the Southern blues, a subject that playwright August Wilson explored in his best dramas — Ma Rainey’s Black Bottom, Seven Guitars, and Joe Turner’s Come and Gone. The latter featured Delroy Lindo in an astonishing Broadway performance as a man battling the internalized power and anguish of the blues and the church. But Lindo’s role as Delta Slim in Sinners degrades August Wilson’s concept so laughably that it proves Coogler’s generation has lost connection to black history, art, and spirituality, traducing all that into Hollywood trash. Like the trite Black Panther, Sinners is just ethnic heresy.

The king has spoken.

this nigga was pure kino. his scenes carried the whole film.

What exactly do you mean by "first half"? If you mean everything before the story moves to the club, then that indeed is complete valid "character building and story setup", as you put it. If this includes the club scenes up till one the twins is killed, then this constitutes the best part of the entire film, so I don't know if there's anything to justify here.
That deranged circle dance they do to his Irish jig was awesome, he was like the pied piper leading them on. All it was missing was them lining up to riverdance like picrel

Complaints that all films are remakes or Sequels

Original film comes out

Complaints that its woke and too many blacks

Fucking chuds ruined everything,

that was the best scene in the whole movie

he's a very high IQ genius
how long can you last before you close the window due to being blown away by his sheer intellect and complex speech?
youtube.com/watch?v=E_lGmy0utYM

Personally I am not seething over the film, but I was surprised how much Coogler sounds like a stereotypical negro. All that was missing from his speech was "shiet" and "cuh".

I hate chuds but most movies that come out are "original" and this is fucking marketing gaslighting.
Black genius is still midwit/borderline midwit level. Like, look at Kanye (126 IQ). They'll never get over racial IQ disparity and it would be best for everyone if they stopped LARPing.

Whoa, niggers are so cool!

bingo, reminds me of talib which they tried for years to spin as the "smart side" of hip hop and he's complete fucking moron
smarter nigger in the room is still equivalent to the dumbest white guy

It's OK to dislike the film, just be argumentative about it and not "I HATE NIGGERS

Why? The movie itself is just Coogler screaming, "I HATE CRACKERS!" Why should White people just sit and take this racist shit and pretend like it's something other than a "Kill Whitey" fantasy? Imagine a movie where two White men kill a bunch of black power vampires, would they just sit and take it and pretend that it has some other type of message or artistic value? I'm sick of this entire genre of obviously hateful anti-White bullshit being treated like it's anything but that, and we have to keep our mouths shut and pretend as if the people who make these movies aren't simple racists.

That's the scene everyone was raving about? That looks like shit.

SHIIIIIIIET YOU BE SAYING YTPIPO BE TAKIN THIS SHIT FROM US LIKE VAMPIRES SHIIIIIEET

Surely Michael B Jordan knows how similar his name is to someone far more famous and deliberately exploits this

complete fraud lmao, half the names are just named because they're black even if they have zero cultural relevancy or make shit movies (singleton is the black brett bratner but they were so desperate in the 90s to find the "next spike lee") and trying to make himself like a deep arthouse cinephile when he's just a marvel hack, his whole career is propped up by DEI policies and coasting off non-black created IPs (recycling rocky, marvelshit and black panther created by two jews btw it's not even something organically conceived by blacks, vampire mythos) but he has such racial and cinematic arrogance, when his racial politics are moronic and his filmmaking skills are way overrated, instead of just doing cool humble black shit (like blade, now thats african-american vampire capeshit kino at least, everyone still loves it decades later but it was just a humble b movie, no one trying to pretend it was a masterpiece MOTY saving "original cinema" nonsense)

I feel like it would’ve been better as a stand alone series so they could expand on all the bullshit they touched upon.

Gang warfare

Money problems

Native American Vampire Hunters

Would’ve been kino

I HATE THAT PEOPLE HAVE PRINCIPLES

retard cope. its a shit movie where the evil white kkk nazis woudl show up whether there are vampires or not. and the kkk burning crosses should be saving people from vampires and misunderstood by history if they want to do some vampire historical nog fantasy.

wypipo bad

pass

Did you say that to their face?

unironically defending the movie length prologue to a vampire film, whose vampire part realistically is only 20 minutes of a 140 minute film

You're literally a paid shill.

Hailee pulled off the fuckbait 1930s-50s era film female role as well as anyone in modern cinema has

And isn’t this basically Michael B’s first non capeshit big time role?

yes i want to have sexual intercourse with Wunmi Mosaku

People these days always say

it should've been a miniseries!!!!

and sometimes more is not necessarily better. This is one of those cases, the story didn't need to be longer than it was -- who the hell cares what the twins were up to in Chicago.
I was surprised by how "foul-mouthed" she was. Not that it was anything horrible, but it did partly feel like a conscious attempt by her to shed her child actor persona. Wish she'd gone all the way and had actually shown some skin.
She's way too big and fleshy for my tastes, but her face was nice enough, I'll give you that.

Are you implying that a black might get violent?

chink cunt shouts "COME ON IN" for absolutely no reason because the movie stalled due to Vampires not being able to enter a building unless invited in

Absolutely retarded. I can't believe some paid shill is defending this mediocre niggerslop.

First hour and ten minutes is nothing but exposition and backstory

MBJ has no reason to play two characters that look and act exactly the same. Should gave just been one part.

Why are the cotton fields cgi?

Why do they keep showing flashbacks to scenes that happened 5-10 minutes ago?

Why did they kidnap that one guy just to have him be a bouncer?

If the MBJ brothers already got rich in Chicago, why didn't they just open a club there instead of moving to a poor town in rural Mississippi where'd they make less money?

Why where four vampires able to get in uninvited before they mentioned the rule about inviting them in?

Why didn't they just wait inside the barn until sunlight?

Why are all the vampires standing around like retards waiting for the sunlight to kill them?

Stupid movie.

It's trash and only successful because nigger movies drive niggers white women and soys to the theater

chink cunt shouts "COME ON IN" for absolutely no reason

She verbalises the reason right before she does so, retard: if they don't end those bloodsuckers right then and there they're going to spread out to the towns and kill all their loved ones. It was a now or never moment.

That one girl twerking with Harriet Tubman

Kek. What the fuck?

No surprise that a clerk at bank of a America thought that he was trying to rob a bank. He can't even explain right away why he needed so much money in cash.
The body cam footage is hilarious

I just asked her to count the money elsewhere, we're in Atlanta, yo, some nigger seeing that much money being counted at the front of the bank will rob me, so I gave her a piece of paper saying "give me all Muh money frum muh bank accoun-t, count it in the back, bichhh"

Let's let all the vampires inside to slaughter us and give them a place to take shelter from the Sun

Retarded plan. Retarded movie. Retarded cope.

Not watching and here's why:

youtu.be/TCU2wrJIMlw

Black people are never responsible for black anything being successful. You know who buys the most concert tickets for gangster rappers? White people. Same here, retard.

It's a ripoff of From Dusk 'till Dawn.

this film is like it was specifically made to make Anon Babble angry

No, he's implying that you're a whiney crybaby chud. Keep seething, keyboard warrior.

White people are the ones showing up to Madea and Tyler Perry films

Major cope lol

larping niggers shooting Whites

again

But there's no action or plot moving the film forward before the vampire part in Sinners lol.

I loved how his Irish accent came through whenever he sang

From Dusk 'till Dusker

the first hour hostage gangster part in dusk is actually fun and has that energy of tarantino being high on coke, the first hour in this is the most boring exposition of nothing happens

also no salma hayek sleaze kino

I had always liked O'Connell in everything I'd seen him in and this put me over the edge, I think I'll now watch picrel and Eden Lake for him alone.

only good actor character in the whole film

his screen time is reduced to less than five minutes despite being the antagonist

this is done because he is white

but at the same time the film tries to paint him as a victim because he is Irish and the Irish were treated like niggers in America

Absolutely retarded film that had no idea as to what it was trying to say except NIGGERS GOOD YPIPO BAD

I mean, you’re on a Neo-Nazi forum

There was never going to be good discussion about the movie here at all

White liberals love to patronize black people and feel virtuous about it. This movie will undoubtedly be showered with awards and praise, when in reality it’s just not bad. It’s like how girls tell the fat girl she’s so beautiful, it comes from a place of condescension.

Black artists should be treated with honesty and fair criticism like everyone else, especially when they make another piece about race for the umpteenth time instead of something original. This movie was on the verge of being great, and this director has tons of potential. But he’s not getting proper criticism so far.

Preacher tells son not to play music because it's evil

Music summons vampires and gets everyone killed

Preacher tells Don to stop playing music because it's evil.

Nah. Imma do my own thing!

If anything, it shows the impulsive and self-destructive nature of niggers.

They made being a vampire look so fun, most of it is just river dancing to folk songs and staying out of the sunlight

Don't forget that the Hailee Steinfeld and Michael B Jordan vampires are actually good vampires simply because they are black!

I have nigger fatigue and won't be watching this, ask me anything

black panther was only successful because of blacks

Major cope lol

keep your identity

become a nightowl

be young forever

gain superstrength and flying abilities

and, if lucky, get to fuck Hailee Steinfeld for all eternity

You gotta be retarded to not want to get turned. Stack won.

I mean, you’re on a Neo-Nazi forum

So what does that say about you then if you spend your time hanging around with Nazis in a Nazi bar?

When biggers advocate for the release of a murderer just because he killed a white kid, you unknowingly radicalized anyone who is ultimately tired of nigger worship, ratchet culture, and the overall waste on society that black Americans are. No one gives a fuck. Jordan Peele or cuglar or whoever already showed they're racist with get out, black panther and whatever other magical negro bullshit. The fatigue is real, the pattern recognition is real, and blacks as a whole need to hold themselves accountable for making every other race think of them as inconvenient as a whole. If it's every white persons fault for slavery, it's every niggers fault that your niggers.

That your not judgemental and prolly more open minded and can be around people you don't agree with and hold some sort of discussion even if your just trolling , unless your bald with a swastika tattoo or a hoodrst low IQ nignog.

No u