Blackpill knowledge makes a lot of mass entertainment unwatchable.
But as recent as 2001 Blackpill realities were implicit in mass entertainment, though often in Romantic chivalric forms. Note how the below scene at the end of "Enemy at the Gates" vaguely echoes Sydney Carton's sacrifice at the end of "A Tale of Two Cities." Carton sacrificed himself to the French Revolution execution squads in place of Charles Darney because the beauty -- who might as well remain nameless -- loved Darnay, and Carton was a bluepill faggot who still cared about the foid's happiness despite her choosing Chad instead of him. The sacrifice at the end of "Enemy at the Gates" is a bit more realistic in that the Joseph Fiennes character's sacrifice is more on the surface a suicide as a result of blackpill awareness-- that the beauty preferred Nordic Chad (here played superbly by Jude Law -- Nazi-party poster-boy, but here a Russian) to the Judaic Ralph Feinnes whose intellectual communist fanaticism as a signal to attract mates could alas not compensate for non-Chadness from the point of view of the foid. The Feinnes' character's "sacrifice" in reality stems from not just the awareness that It's Over but that it also Never Began.
But as recent as 2001 Blackpill realities were implicit in mass entertainment, though often in Romantic chivalric forms. Note how the below scene at the end of "Enemy at the Gates" vaguely echoes Sydney Carton's sacrifice at the end of "A Tale of Two Cities." Carton sacrificed himself to the French Revolution execution squads in place of Charles Darney because the beauty -- who might as well remain nameless -- loved Darnay, and Carton was a bluepill faggot who still cared about the foid's happiness despite her choosing Chad instead of him. The sacrifice at the end of "Enemy at the Gates" is a bit more realistic in that the Joseph Fiennes character's sacrifice is more on the surface a suicide as a result of blackpill awareness-- that the beauty preferred Nordic Chad (here played superbly by Jude Law -- Nazi-party poster-boy, but here a Russian) to the Judaic Ralph Feinnes whose intellectual communist fanaticism as a signal to attract mates could alas not compensate for non-Chadness from the point of view of the foid. The Feinnes' character's "sacrifice" in reality stems from not just the awareness that It's Over but that it also Never Began.
