Succeeding the Potter Period series (1, 2, 3).
Along with the collapse of the Soviet Union, bankers were preparing to resume full-on western colonialism, invading and inviting the world. As part of this process, they created several wars in Eastern Europe and the Middle East, the most famous of those being the 1990 "Gulf War," where April Glaspie gave Saddam the all-clear to invade Iraq. Underestimating the staying power of Iran after their man Saddam had so badly damaged it during the extended 1980s war--and Russia's willingness and ability to help Iran survive--the J.S.A. focused on destroying Iraq through invasion and sanctions. Iraq somehow persisted until 2003 despite Clinton and Gore's best efforts, but the destabilization of the region proved highly profitable even though Iran still existed in 2016, and the survivors of the post-Cold-War invasions--the children of the 1990s and 2000s--would prove to be, once they came of age, successful foot soldiers in the invasion of the West.
In the Potter Period series, we discussed how the eponymous narrative embraced a benign nihilism, preparing that same post-Cold-War generation of children, albeit in America and Europe, to feel duty-bound to welcome their destruction by the angry DU-riddled rapist-children that the previous generation of the West had been lured into creating. The nihilism in Potter is vast in scope, latently and suggestively destructive in many ways, from the retrospective lies imposed subsequent to its creation, as well as its clear message of inherited predestinatory blank-slateism.
The blend of muck that comprised Potter's abysmally maleficious source material as we now know it, is at its thematic core the modernized work of the Verkhovenskys, as (un)original as many necrotizing philosophies, whether Marxism or mercantilism. It consumes, rather than builds; it borrows, rather than creates, like a "found art" of words and concepts, congratulated, like all other current popular works, for the slightest hint of accidental novelty in our familiar cliches. What is of further interest to us in pursuing the ways this particular media trend charts, as well as expresses, current forms of nihilism disguised as heroic trope, is that the Potter that formally defined the period is actually a backup version of a product initially released in time with George H.W. Bush's Operation Desert Storm: in 1991, a Jewish woman named Jane Yolen was credited as the author of Wizard's Hall, a magical tale of a young boy named Henry who discovers he is a wizard descended from an old wizard bloodline, and is sent to a special wizard's school in Britain. The school is accessed through a magical portal at a train station in London, and at school,
(Many other authors sued or threatened Rowling's publisher for plagiarism, but whether their claims were pretty farfetched [some] or semi-plausible [some], massive money crushed all the cases like it was predetermined. The very best case for direct plagiarism, almost point-for-point, was in Yolen's relatively-failed [but paid-critically-hyped] book, and Yolen and her publisher not only showed no interest in going against her partner at the agency, she also cut off all future works in her stillborn series, redacted plot summaries of her book, and appended all advertising of her work with references to how original and great Harry Potter was. For political parallels, look to Al Gore's concession speech; for military parallels, to ISIS' choice of targets.)
We must consider Wizard's Hall as a failed dry-run for Harry Potter not because we're trying to point out that Rowling is a hack, or because the first front the media corps used for the narrative--the Jewish female "author"--was not an appealing enough image to sell sufficient copies in Europe and America, even receiving the same echo-chamber buildup that the initial Potter release would later receive. The important thing to note, now that there is a "Harry Potter"-branded stage play being released, is that the original Anglo-Semitic "secret world representing inborn shame over the Celts raped/murdered by Torah-Christian shabbos goys" plot fronted by Yolen included not only Henry/Harry's redheaded Scots-Irish subordinate best friend, but Henry/Harry's black African female friend. The "Hermione" of the first attempt at establishing the Harry Potter phenomenon was black--but, like the wealthy Jewish authoress rather than the "genuine English single mother" role played by Rowling, that proved too much for the first attempt at popularity. The African presence was dialed back, Hermione was recast as a white girl, and then, decades after the first Potter-titled version was tested out, Rowling "wrote" a play in which grown-up Hermione was portrayed as a black girl.
As Vader would put it, "The circle is now complete." Dostoevsky's Demons tried out one version of Anglo-wizard multikulti during the Gulf War, realized they'd gone too far, dialed it back to a complete straight WASP cast, released by a straight WASP woman, and achieved the success that was their original goal. Their small steps later in the narrative, to introduce background black characters, were so tentative because they were hesitant about repeating the mistake that had helped to kill the 1991 series. Only when enough years had gone by, and enough fans had built their personalities around the Potter philosophy, could Hermione become black again. Her personality did not merely not matter, to "Yolen" or "Rowling" or any of the other fronts, let alone to the media corporations creating the many and varied product-aids; rather, she never had a personality. It was a token, a thing used in furtherance of an agenda, before the late-90s children even had a chance to assume they were reading about a character.
Such an act is, besides being as anti-artistic as the rest of Potter, the foulest possible type of racism. Wanting to live in a segregated community, believing that blacks are low-IQ or violent or whatever, is one thing, but viewing such an identity as a malleable form of salesmanship with which to exploit shifting perceptions is the propertization of not only the literary character, but the real-world racial character of the people being so exploited. The mechanistically callous way that the U.S./U.K./Israeli alliance massacred millions of Arabs and Persians and black Africans in the 80s-2010s, in order to foster the mechanistic invasions and rapes of America and Europe in the 2010s, is mirrored, to the deepest and darkest roots of its antilife creed, in the primary international children's instructional text of the Potter Period.
Over the course of the twentieth century, many--perhaps beginning, in the most obvious and direct way, with Henry Ford--have made speculations or accusations that the collective mind which we have come to know as our corporate media has acted not for truth, art, or even profit, but in the service of omitting, massaging, lying, and even wholly fabricating what we now think of as "news," and serving a similarly obscene function as the gatekeepers of mass art. Illustration, cinema, literature, the stage, the symphony, and countless other venues large and small (down even to community theater via the funding powers of governmental nonprofit regulators and university censors) have all been speculated to be news-like--inasmuch as what we now call news still resembles what might have once been, on this planet, news--in that they have been accused of being created, not to inform or inspire, but to mislead and destroy. Actors were chosen to be attractive rather than to accurately portray characters, and noises/plots were chosen to titillate rather than improve. The once conspiratorial rumor that movie-houses and the like were merely out to "make a buck" is now broadly considered to be the resigned truth. As we progress through the evolution of those monstrosities, more and more we see that the profit motive, so innocuous and simple, is less important than the creation of false perceptions, and the misleading of successive generations of humanity.
The slanty-eyed Jap of the cartoon slur helps make plausible the lie about unprovoked sneak attacks, followed in mere decades by the Kunta-Kinte-esque narrative of the innocent Japanese Americans sent to camps during World War II. Not only are we to be lied to about how inhumanly horrible the Nips are, and how we must nuke their children to save ourselves an invasion because they're too irrational to surrender, we're also supposed to believe that, faced by the atomic horrors of the Churchill-Stalin-FDR alliance, recent immigrants would not have attempted to save their homeland by resisting the Allied tyrants. The implausibility of either lie is atrocious, yet even if you believe that FDR knew nothing, or that fresh immigrants suddenly became loyal to the globalist madmen intent on firebombing and occupying their ancestral home for the next century, witnessing the media's pollyannaish lies about Nip savagery almost immediately preceding the utterly innocent Japanese-Americans downtrodden by the irrational mob, your choler should rise. (Whether or not the percentage of Japanese-Americans who resisted is higher than it is officially believed to be is irrelevant; what is relevant is that it would have been morally correct for them, as for German-Americans or Russian-Americans or English-Americans, to resist the atomic banksters and their pre-NATO thugs.) This is a creature which knows no truth or honor from either end; it will insult all existence with a white James Bond and then a black James Bond, ever pure and innocent, feigning a heedless disregard for the possibility that its well-recorded trail of fecal bloodstains has been immediately washed away by this latest token.
Most of us have come to know that "Hollywood" chooses situations and/or actors for token reasons, now. It is equally acceptable, even popular, in both the La Raza and the Stormfront discussion groups to address the issue of how Hollywood has a fetish for tokenizing different ethnic groups by using their presumed identities to make a cheap point. Producers, after long denials of the payola and rigged game shows, have gone from admitting in interviews that they tokenize acting roles, to cheerfully announcing that they do so, albeit because it is necessary for diversity. In the Potter Period, through the abandoned blackface of Hermione and her subsequent re-blackening after the billions were made, we see the published proof of how unimportant those principles are, and how willing they are to stuff any identity into the proverbial cage until and if it will serve their lower ends. If life follows art, then the absence of art leaves life following Harry Potter.