It’s Christmas soon, and braindead normies still call Die Hard the ultimate Christmas movie. I rewatched it (hadn’t seen it in years) and realized this isn’t just a classic action movie. It’s one of the sneakiest pieces of proto woke, anti white, diversity worshipping propaganda ever slipped into a movie.
Let’s start with the ''heroes.'' The only two white people the movie allows to be ''good'' are John McClane and his whore wife Holly. John gets to play hero only because he’s a cuck simping for his career-first feminist wife, then proving his moral purity by worshipping black competence. Holly is approved because she’s the ''empowered'' white woman who rejected traditional roles for corporate success, and she’s literally the only person in the building (besides John) who isn’t afraid of the main villain Hans Gruber and openly challenges him.
Every other white character is portrayed as an idiot, coward, traitor, or psycho.
Early on we get the ''empowerment'' moment at the Christmas party. A pregnant woman nervously asks if the baby can handle a sip of champagne. Holly smirks and says, ''That baby’s ready to tend bar.'' This isn’t random 80s edginess. Late 80s is exactly when second wave feminists were waging war on the ''mommy track,'' traditional pregnancy taboos, anything that might chain women to biology instead of the workplace. Alcohol while pregnant gets reframed as harmless and liberating. Its a very sneaky scene I somehow missed before.
White male authority figures come off as uniformly pathetic. The police chief is arrogant, incompetent moron. The movie revels in his fuckups so the black saviors can shine.
The coke snorting yuppie Ellis tries to cut a deal with Hans Gruber, betraying McClane to save his own skin. Another jewish attempt to undermine white integrity, showing them as self serving snakes.
The white FBI agent Johnson is a cartoonishly evil psycho with zero regard for civilian lives, screaming ''Just like Saigon!'' The message is: White power structures are sociopathic at their core. (Black partner only exists to make the propaganda slightly less obvious.)
The villains are mostly blonde German bank robbers led by Hans Gruber. Jewliwood couldn’t resist to show white europeans getting humiliated on Christmas Eve. And of course the team’s tech genius isn’t German. No white gets that role. It’s a nigger, the monkey super brain cracking the vault.
The film smugly pats itself on the back: ''See, bigot? You assumed only whites or Asians could be this intelligent. Surprise we gave it to the superior black intellect instead.'' Another subtle flex that diversity owns the future.
The real saviors at the end: Two niggers. The fat black cop guns down the blonde Aryan chad. The limo driver blocks the getaway in the garage. White ''hero'' John literally cannot save the day without them.
That is what this ''Christmas classic'' really pushing: Feminist woman are good and brave. White men are evil (cowards, traitors, psychos) unless they’re the cucked type who know their place and worship niggers. Diversity finishes the job whitey started and couldn’t finish.
I think that’s all. Yippee ki yay, goys.
Let’s start with the ''heroes.'' The only two white people the movie allows to be ''good'' are John McClane and his whore wife Holly. John gets to play hero only because he’s a cuck simping for his career-first feminist wife, then proving his moral purity by worshipping black competence. Holly is approved because she’s the ''empowered'' white woman who rejected traditional roles for corporate success, and she’s literally the only person in the building (besides John) who isn’t afraid of the main villain Hans Gruber and openly challenges him.
Every other white character is portrayed as an idiot, coward, traitor, or psycho.
Early on we get the ''empowerment'' moment at the Christmas party. A pregnant woman nervously asks if the baby can handle a sip of champagne. Holly smirks and says, ''That baby’s ready to tend bar.'' This isn’t random 80s edginess. Late 80s is exactly when second wave feminists were waging war on the ''mommy track,'' traditional pregnancy taboos, anything that might chain women to biology instead of the workplace. Alcohol while pregnant gets reframed as harmless and liberating. Its a very sneaky scene I somehow missed before.
White male authority figures come off as uniformly pathetic. The police chief is arrogant, incompetent moron. The movie revels in his fuckups so the black saviors can shine.
The coke snorting yuppie Ellis tries to cut a deal with Hans Gruber, betraying McClane to save his own skin. Another jewish attempt to undermine white integrity, showing them as self serving snakes.
The white FBI agent Johnson is a cartoonishly evil psycho with zero regard for civilian lives, screaming ''Just like Saigon!'' The message is: White power structures are sociopathic at their core. (Black partner only exists to make the propaganda slightly less obvious.)
The villains are mostly blonde German bank robbers led by Hans Gruber. Jewliwood couldn’t resist to show white europeans getting humiliated on Christmas Eve. And of course the team’s tech genius isn’t German. No white gets that role. It’s a nigger, the monkey super brain cracking the vault.
The film smugly pats itself on the back: ''See, bigot? You assumed only whites or Asians could be this intelligent. Surprise we gave it to the superior black intellect instead.'' Another subtle flex that diversity owns the future.
The real saviors at the end: Two niggers.
The fat black cop guns down the blonde Aryan chad. The limo driver blocks the getaway in the garage. White ''hero'' John literally cannot save the day without them.
That is what this ''Christmas classic'' really pushing: Feminist woman are good and brave. White men are evil (cowards, traitors, psychos) unless they’re the cucked type who know their place and worship niggers. Diversity finishes the job whitey started and couldn’t finish.
I think that’s all. Yippee ki yay, goys.
