• British TV Crime Drama. Reviews by Rerevisionist

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It's fascinating but depressing to review the BBC over its century or so of living death. Its main purpose is to present the Jewish worldview to innocent, or gullible, people, largely British. I'd prefer some other person or persons to do in-depth review material; but, at present, they certainly won't. So you'll have to make do with my sketchy effort at rummaging through sewage. Let us skip through thirty years or so of this material, following the guiding death star of such dark counterluminaries as Alan Yentob of Baghdad, now 'Creative Director' of the BBC.

The BBC's news policy, just like US Jewish media policy, is to understate anything relating to the many downsides of unasked-for immigration. In the case of crime drama, this means that factual material about black/coloured on white crime, however horrific, is censored. And that any related material is censored, too: Moslem heroin peddling, illegals living at the bottom of immigrants' gardens, children at school attacked by hammer-wielding mobs, blacks trading in body parts and eating brains (check it out), such cases outside the normal visual field as P.C. Blakelock (killed), Kenneth Erskine (black serial killer), Delroy Grant (possibly six hundred rapes of elderly women until caught—the case was briefly famous for an entirely misleading photofit picture).

There are of course more refined aspects to police work. Lawyers who make money from Jewish laws on bogus human rights. The use of infiltrators, often enough to corrupt organisations. The arranging of fake demonstrations. Corrupt officials in Common Purpose meetings. People making money from 'public finance' schemes, essentially moving Jewish paper money into the pockets of other Jews. Faked statistics of (for example) imported diseases, or handouts to fake charities, or stores of goodies to be handed out (under the Official Secrets Act) to Africans. Legal manoeuvres by Jews: see for example the real life of Lady Birdwood.

Let me insert a mention of Judge John Deed, 'created by G F Newman', who is credited with writing some or maybe all of these 'courtroom dramas'. Martin Shaw does his best to simulate a judge, though the club feeling seems to me to be missing, presumably to suggest a non-existent feeling of tension within the legal profession. The judge is shown reading his Times, or Guardian. The female characters are chosen to sound intelligent and middle or upper class; who knows. Episodes concentrate on 'politically correct' themes, for example the BNP as violent, and black gangs non-violent. Viewers who are Jew-aware might equip themselves with a scorecard: whites crooked, blacks good. Immigrants good. A constant theme of Jew 'news' is of whites as dangerous, presumably to spread unconscious fear, particularly fear by white women of white males—good-looking sex marauders, for example, analogous to the Sharon Tate/ Manson Jew mythology. Episodes with Jews planning frauds, hiring thugs, running voter frauds and so on do not exist. The policy seems to be for Newman or (probably) large numbers of subordinates to look out for some criminal event, then reverse races, sexes, or whatever to give a Jew-approved story. I just watched an episode I'd guess based on the case of a black mental inmate found eating a murdered man's brains. Newman reverses the races (though of course only Jews are a race) and has some pathetic actor sporting a pale swastika caught eating a black prisoner. Permitting some swipes at the prison 'service'. There were odd interpolations, I'd guess supplied by a wife, mistress, or goy prostitute.
Financial power never to be discussed—the 'national interest' never includes the floods of money controlled by Jews or defrauded by Jews. All crime attributed to whites. Well, not all: I glimpse bits of a dramatic presentation of someone from the Middle East allegedly murdering a girl—girls unable to escape Tel Aviv brothels are never shown. I imagine every episode has a major theme plus marginal interest to fill the time. And the major theme being an issue which the white peasants have to be told they are wrong to imagine is unjust to them, such as fake immigration material.
The overview point here is that Jews control, or try to control, a large number of Jew-directed frauds. Unsurprisingly there is potential tension between the real world and Jews, but also between Jew turf wars. This for example we see a good-looking white male shown as dangerous or psychopathic; part of the Jewish world view. But there are no episodes, I presume, showing a psychopathic Jew mass murderer of the Shipman type. We see a supposed HIV-infected woman, protesting against the medical establishments, but of course not making a good case; TV actresses don't do that. The AIDS myth is by now fading, of course. Probably it's late now to have 'astronauts' and nuclear frauds, but there are plenty more such things: forced fluoridation is a Jewish thing; so are jailed white women (but not fake refugees) who didn't pay the BBC tax. As anyone can see, the entire parasitic structure of Jews in Britain is disgustingly aimed at importing illegals and fake refugees into Europe. Again, the great judge rules in favour of them, and, implicitly, the entire import structure. Part of this process is making mixed race 'relationships' look normal, so we have a chimped-out black boxer, interspersed with TV ads by Jewish ad agencies showing supposed mixed race couples, preferably in bed—not of course Jews. Nobody refers to the Jewish 'Ripper' murders. No 'rabbis' are prosecuted for sex with small children. Corrupt Jews giving advice to thugs are not shown. Policemen have a good chance of being shown as corrupt. But blacks in the legal hierarchies are unlikely to be shown as incompetent; the series has at least one implausible token. Jews are not likely to be shown wishing deaths on the best of whites; nor are their Kol Nidre machinations likely to be dramatised.

Comment on detective stories, which you've never heard before: All such stories, to this day, use peculiarities and foibles of ordinary people: the shape of the compositor's thumb, the woman wanting her own tea-room, the Russian alphabet. There are never inferences about financial corruption, or brilliant deductions about corrupt politicians or fraudulent science, or insights into gun-running, or reflections on people who want war, or remarks on the manufacture of religious freaks.

Families: women unable to fend off immigrant males. Children unable to defend themselves. Clitoral excisions. Child abuse and official timewasting to cover it up. Genetic deformities encouraged by jewish inbreeding, and their derivative Moslems, the costs offloaded onto the 'host community'. It's worth a bit of speculation as to whether the surge in the whole detective and police genre was propelled by feelings of instability and insecurity; maybe to get people used to the idea of heavy policing.
More or less by chance I watched an episode of Inspector George Gently, set in something like the 1960s, in north east England, which turned out to be the final episode, at least judging by the death by a 'hitman' of GG. This was made as late as 2017. It amused me to see the Jewish-finance-free stuff (supposed Trade Unionists etc helping remove work, obviously, by now, 'antifa' types; incidentally some accurate mention of 'Maoists', hinting at links with Jews in China) and the killer, presumably with the implication that such things don't happen now. London is presented as dangerous, a favourite Jew theme, though replacing such Jews as 'Jack the Ripper' and the Krays with actors of stereotypes, to explain why the low-grade immigrants they are importing, who need constant government borrowing from Jews in perpetuity. Some children are shown as playing—thank got, they're safe! In another Jewish mood, there are street parties celebrating the admittedly retarded monarch. And to see the character say something like the Bogart 'hill o beans' speech. What really matters? The really important thing was fighting the Nazzies. Gently, the super detective, hasn't detected anything about World War 2. What a brain, eh. Another episode has Enoch Powell's only speech promoted by the Jewish media (the one that says "we" must be mad, not Jews) as though it was broadcast live from its obscure Brummy hotel.

New Tricks has a fictional unsolved crime department, with the usual low-budget-ish interiors (easier to control than exteriors)—office, flats ('apartments' in USA), shops, etc. It's always difficult for hacks to generate something new: one of the characters is something like 'Data' in one of the interminable spin-offs of 'Star Trek'—able to provide helpful pub-quiz style facts or factoids. Another used to act in a similar half-comedy thing and would certainly be recognised by many viewers. There's characterisation with assorted families, wives, etc. As far as I bothered to watch, virtually all the crimes and deaths are attributed to whites—it's a similar policy to black 'gentle giants' as shown on the USA's Jewish TV 'news'. The police are often said to be insightful, or sensitive—in the streetwise sense. Let's hope so, anyway. They must discuss cases such as Delroy Grant (above). They must have stories about personal guards of such people as Diana Spencer and Lord 'Cashpoint' Levy. 'New Tricks' is hopelessly unconvincing. The impression given is of bad actors given lines which are unworkable. At least that's a convincing act.

On Foyle's War I have to confess to never having watched an episode, though I am aware it's supposedly ITV, not BBC. (Supposedly; who knows what goes on behind the scenes?) However, a detective series set during the Second World War in Britain, and a year after after, I read. I'll make a few guesses here; perhaps I'll be set right: nothing at all on Jews running black markets. Nothing on Jews in propaganda departments, making up atrocity stories. Nothing as the war as a continuum in Jewish planning—for example, during the war they were planning black immigration, and the Holocaust hoax, for which they were ready and prepared, with the oiled plump pimp Dimbleby ready to go to Auschwitz, with two professional liars, sons, genetically primed for lifetimes of lies. Nothing on support for Stalin the mass murderer. Nothing on 'repatriation' to the Jewish hell of the USSR of 'citizens of the USSR'. Nothing on Eisenhower and his fields of death. Nothing on torture and testicle-crushings in expensive parts of London. Nothing of the Jew monopoly of money. Probably included: Hitler as evil, Churchill as wonderful: nothing on Churchill as procurer of war. Some bomb incidents, but not in Germany or France. Deserters, unwilling to risk death to help Stalin. Prostitutes—Jews love degraded white women. And so on. I recognised the Jewish actor, smirking in his wartime trilby, who had been in Brimstone and Treacle all that time ago. Series apparently written or assembled by another of the master race, Anthony Horowitz. Something about the 'Cold War' and rigging it up to conceal Jewish crimes in Russia. Plenty more. I looked online to see if someone, somewhere, in Britain and the rest of the world, has managed to do serious reviews of this soap opera of Jewish soap. But I could find nothing, though I did find a Jewish media review, claiming the 'star' was comfortingly English, a piece of effrontery reminding me of Alan Sugar's claim to be Cockney.
Both First and Second World Wars are of course subject to lies. I was amused to see a trailer for some rubbish about Gallipoli: 'The men fighting to tell the truth about the Great War'. Says the voiceover. Yes, of course.

... Until now!! An episode presented itself, and in the hope of seeing the Jewish nuke hoax presented, I watched it. Sundry actors, somewhat debased: a Dr Who, a woman who played a supposedly liberated WW1 woman many years before, an actor who was in Notting Hill as mike controller for an actress. The direction uses big close-ups, an intermediate style less usable with ever-higher resolution cameras. But the technique makes backgrounds easier to control. Kitchen has a rather twitchy acting style; I'd guess they spend a lot of time while he poses and adjusts. The action included, of course, "We must fight fascism!" from an Italian with a small eaterie, unlikely to have a clue about that particular Jewish scheme. After a declaration of war by Italy, (why not see Sleazy things regarding the invasion of Italy), a crowd of white thugs with flaming torches was shown smashing up the prop restaurant. In real life people wondered about the Italian with the pet shop who clipped the budgie's claws being carted off.) The 'Nazis' were described as "smashing and killing their way across Europe" or something like that. There was nothing on Stalin's Jews massacring—all in a day's work for Jewish hack writers. After the First World War, we're facing "the same German enemy." Dr Who was shown throwing up his (admittedly absurd) pacifism, having discovered a fighting streak; I seem to recall a reverend in a G B Shaw play doing the same. Lots said "We must join up!" I think. One of the exquisitely absurd scenes was the ex-WW1 suffragette type shooting the anti-hero baddie with his own revolver—he was made-up with not very convincing red splodges, because he arranged the murder by grenade of a tiresome kid who looked unlikely to be a convincing, or legal, witness. She was shown saying "You killed a child!!". Um, well, there was a war on, and plenty of children were starved by Jews in, for example, Ukraine. Never mind. They'll all be dead soon enough.

... Finally, I watched Series 8, Episode 1. (First shown 4th January 2015. Or so it said onscreen. But in fact the 'atom bomb' episode called 'The Eternity Ring' was first shown two years earlier, in 2013.) Maybe it was renumbered later. I can't quite resist quoting a few online 'goofs' to illustrate the pifflingness of movie buffs: The police supervisor interviewing Sergeant Shaw is smoking a cigarette which changes length inconsistently between shots and Her hair is bunched in dark curls around her ears, beneath her hat but in the rest of this scene and in all other scenes her hair is straight and pulled back behind her head and a London Routemaster bus is seen but the first prototype of these buses didn't appear until 1954.
This seems to be the opener for post-Second World War Jewish constructs. Having played a modest part helping to expose the nuclear weapons fraud and 'Cold War' Jewish world-wide lies, I watched with some interest. (An Aside: here's Miles Mathis on Gore Vidal: Do you know why there is no mention of Harpagus conquering the Phoenicians in Herodotus? Because the Phoenicians were more relatives of the Persians by marriage. ... you will find that Gore Vidal and Jorge Luis Borges both wrote about this mystery. Why would famous Jews be writing about such obscure stuff 2,500 years later? Because this is what they do: they have to continue to misdirect century after century, or someone like me might catch on.) But let's return to events 55 years ago, in that brief line between the past and the future. Anthony Horowitz, an oddly monkey-like kike (there's a video on youtube, a definite sign of Jew approval), wrote or assembled the script; judging by the video, he's a media creation rather than any sort of intellectual. Maybe he's a failed actor; maybe John le Carre is a hated rival. Kitchen, the lead Jew, can at least pose and pout and hold a posture. He's shown making judgements: so-and-so should be funded, so-and-so not exposed, so-and-so permitted to do something. Detectives aren't easy to write realistically about; most of their time is spent trying to assemble pieces of a jigsaw—or of course rigging a case. Horowitz's methodology seems to be to include oddments of observation, in a similar way that screen doctors always have medical accidents around them.
The action starts at the 'Trinity' fake nuclear test in the southern USA. It has a curious mixture of what are supposed to be facts, plus added mythology, mostly from things like Pathe News in cinemas. (TVs were not common. Radio was, and for that matter 'newspapers' such as the big-selling Daily Mirror. I have no idea why these items are never mentioned. Maybe there's an unspoken treaty between media Jews). There was a prolonged flash, when the thing was supposed to be a tiny fraction of a second. A bit like filmed lightning. This feature in faked films. (Many came from studios in Lookout Mountain in the USA; I never discovered if there was a British version, though my best guess is that US film was voiceovered by a plummy Brit, or probably Jew). There was a cloud, like cement dust—they couldn't get a flame effect to look right. However, they did try to get the shape correct, as per Internet images, with the front made to resemble an erection. (On all this you might watch my 3½ hour video, Lords of the Nukes).
I guessed at this stage the main plot background: there would be fake atom spies, who would be Jews, though nobody would say so. This is to pretend there were secrets, and that the 'Soviets' needed to get them. Also of course Stalin's Jews mass killings must not be mentioned. Nor must the bombing war on Germans be mentioned. And the 'Cold War' Jewish hoax must not be explained; God forbid! Or perhaps Jahveh forbid. This type of censorship must be a deeply unconscious part of Horowitz's shabby, vicious and disgusting mental furniture. There are of course several actors with severe accents from Europe, one who left Germany in 1933. The mechanisms by which Jews moved to Britain were not of course recorded. Nor was there any comment on Jews funding Germans in the 'Great War', and how they made money out of it.
There are some English subplots: a general election seat with a Labour Party interviewing panel; it's obvious now that 'Labour' was Jewish, with more or less British front men (and women) and this encounter with the subservient kind was shown in I suppose a church hall or something. The returning soldier was another theme: this one had been a prisoner of the Japanese, though little was made of this, or of the firebombing of most of Japan. Obviously, Horowitz of the Master Race wouldn't bother about that. The soldier was shown with potentially flaring-up jealousy of his wife; and of course this was real—I heard of a Liverpool demobbed chap who found his wife had been shagging during the war, and barred her from the house. Another was the housing problem: someone said somewhere they wish the foreigners would be moved, but again Horowitz, of the Chosen Master Race, brushes it off or puts it in the mouth of a lower-orders actor. Another was a character wondering if "we really won the war"—probably a little joke by Horowitz the Chosen.
Some social changes get a look in: women are shown wanting to work, a common theme. They'd need to, to pay off the war debt, though nobody says so. The intelligence chap (MI5? Pipesmoker) is shown as dishonest, opening the way for a battleaxe type woman, I'd guess herself set up for another plot later. However, the general idea of women as employees is a theme along similar lines now to blacks (well, half-castes usually) as competent—not an easy role to fill! It's also worth noticing live entertainment is shown fronted with a black singer; a typically Jewish misrepresentation. Oh; may as well mention a homosexual in the 'intelligence' world, I'd guess being established as blackmail material, and an attack by the decent soldier. Horowitz must have heard of 'gay bashing'. For a bit of realism here, read my review of Spycatcher, a rather mistitled book since Peter Wright clearly had no idea what he was doing.
Anyway, there was a synthesized murder plot along Ian Fleming lines. With a thermos flask apparently just right to move stuff—I wondered if there was confusion somewhere about 'hot' substances. We had scenes labelled Arnwell I think, obviously Harwell fictionalised. Much of the action seemed to have green screens for the backgrounds; perhaps some was retouched or repainted. When it comes to Jewish fakery, no expense is spared as a rule, but there are limits.
The next episode(s) include the farce at Nuremberg. All of this is sh!t, of course. However it's recommendable to intelligent media studies people, if there are any; decipher the way your past is hammered out of shape by parasitic gnomes. At least in the USA the series was dumped in the Jew-controlled 'public broadcasting' waste basket.

It occurs to me I may as well link to my one-act play masterpiece here on the decision to invent the 'atomic bomb' hoax: Oppenheimer, Groves, Slotin, Spaatz get together in 1945.

Hetty Wainthropp investigates is set in Lancashire, an area including the stone-built houses of Darwen and parts of the cotton processing lands which formed part of the industrial revolution 150ish years ago. This is another series showing an implausible female detective, in this case Patricia Routledge, familiar to sofa potatoes from a sitcom involving 'Hyacinth Bouquet', who lent her name to quite a few flower shops in northern England. The detective series is perhaps noteworthy for featuring Dominic Monaghan, appearing a year or two later in Lord of the Rings. Under the Jewish regime, we have white thugs and innocent Pakistanis, reversing the historical truth of large-scale assaults on white girls. I expect Routledge is still alive. But perhaps she'll get what she deserves.

Peter James. One of the fascinations of the writing world is discovering some new slant, angle, or whatever. I was in the process of trying to recover the name of a French spy writer, since I think 1948, who wrote or is credited with about 80 books. He was and is entirely unknown to me; his name was inserted into a TV quiz, perhaps as a promotion. This led to another discovery; here's Wiki--
Peter James has written 35 novels, including the International best-selling crime thriller series featuring Brighton-based Detective Superintendent Roy Grace, which have sold 20 million copies worldwide and have given him fourteen consecutive UK Sunday Times number ones, as well as number ones in Germany, France, Russia and Canada, and he is also a New York Times best-seller. James's books have been translated into 37 languages... There's no Roy Grace known to me in the BBC; I've no idea why not. Peter James seems to conform to the Jewish model: born 1948, mother Cornelia Katz, Jewish-style name, no jewish crooks.
I still don't know the French author's name, though I had the feeling that stories about Algeria started him off.

Maigret is an oddity (in Britain): occasional one-offs, with Rowan Atkinson, perhaps best-known for the Blackadder series of quasi-history of Britain, with no Jewish detailing. There was a First World War episode with, of course, no serious background, including Jews Stephen Fry and Tony Robinson. Tony Robinson, of the (((Labour))) Party, once presented some rubbish on Freemasons—holding a door open. Look! Nothing visible!
Maigret is of course set in post-WW2 Paris. Educated readers will know that France was bombed more than any country in Europe, apart from Germany, then invaded by Americans and others, accompanied by rapes, and set up as another Jew-run 'republic'. Vichy France had access to the Soviet (i.e. Jewish run) embassy; naturally there is no mention here! Atkinson, trying to keep a straight face, says he had enough of Gestapo methods! So far as I watched any of these episodes, no reference whatever was made to these minor events. In France, Simenon included anti-Jew references in his books, which were immensely popular, I'm told. Don't expect any accuracy in any way. The sets are small, the cast mostly such things as prostitutes—an abiding interest of Jews. In any case, the French atmosphere can hardly be captured in third rate Anglo-American-Jewish travesties of reality. I'm amazed half the cast aren't African.

Both Morse and Midsomer Murders are set in what might be idyllic surroundings. It's curious how little indirect light is shone on Oxford University by Morse: I can remember no professors disputing over Talmudic material, or deaths in the Soviet Union, or bombings in the far east. It's in fact quite disappointing: the various murders have something like a green screen backdrop, essentially removed, almost in another universe. What fun it would have been to have statistics faked, or financial investigations stopped, or threats of the removal of Jewish money, or someone like Professor Evans ensuring intelligent young would-be historians were excluded, in favour of something like Alan Bennett protegées. This, or something like it, makes Morse hollow and unfulfilling. John Thaw was exactly the right actor: his ambition was to act someone intelligent, but of course he couldn't work out for himself what that was. Midsomer Murders has two pillars to its construction: one is money shortages, an easily-understood motive force, though contrasting oddly with the prosperous scenes. The other pillar, making for an unstable structure, is odd white people: probably people like Yentob laugh loudly and splutter out their BBC champagne at the eccentric misfits, so unlike Jews. There are whole genres ridiculing whites, even including TV adverts as a genre. Some TV watchers consider that every British TV series with poorish characters ridicules them. Midsomer Murders had some sort of internal tiff (carefully leaked accounts suggest)—one of the prime movers thought it should be white, even if not English. He seems to have been overruled, so the newer parts are filled with 'ethnics', and a new unimpressive detective, Dudgeon, though I don't know if there's some connection. I've seen new new touches of what might be called 'white realism', for example wills being juggled to avoid 40% inheritance tax.

Lewis is a spin-off from Morse. A Geordie fart based in Oxford. It's amusing to see a black boss actor in these constricted plots. Here's a true story about Oxford policing. 'One girl, referred to as Girl A for legal reasons, felt brave enough to face her abusers in court, while others gave evidence from behind a curtain. She wept as she described how the gang threatened to burn her younger brother alive unless she had sex with them. She was repeatedly raped and sold for sex between 2004 and 2007 when she was aged 12 to 15.
When she went to police [in Oxford], no action was taken.'

As a touch of reality, readers might browse such sites as https://labour25.com/ looking at Labour Party paedophiles and sex criminals. Or perhaps (click the box) British Police, law, and MP crimes and scandals. They might try to find out about people traffickers, or perhaps the trade in young women for prostitution in Israel. The medical industry is a possible field for reality crime: a multiple-murdering doctor, like the Jew Harold Shipman? A science-fiction plot with poison added to water—obviously this is far-fetched... just like a plot with useless drugs foisted onto the public! Dangerous unqualified nurses 'appointed' by incompetent 'positive discrimination' staff? Gipsies? Medical staff forced to treat non-Britons who are never going to pay? Animal cruelty with alien slaughter methods kept hidden?

An inevitable aspect of the practice of using just a few writers is their lack of technical knowledge. This of course is part of the BBC's ethos, no doubt derived from public schools and Oxbridge and broadcasting history as based on state propaganda, unchallengeable, stupid, and with the uneasy arrogance of parasitic organisms. Nothing can be assumed to be accurate and there are many misconceptions—circumstantial evidence, blood tests, terrorists, blows to the head as an anaesthetic, electrical dimmings, DNA technology, effects of bombs, passwords—spread by these puppets of Jews and Mammon. There's an opposite effect, most strikingly brought out in TV quizzes, in which fake knowledge is inserted. A sample is the insertion of actors playing soldiers, off for a 'peacekeeping' mission.

Cracker 'To Be a Somebody' (1994) My DVD says 148 mins, and 'Granada TV'—'Granada' being an odd name selected by a Jew of so-called 'Independent TV'. I'd guess broadcast as 6 episodes. I've made no attempt to identify 6 'cliffhangers', as they still seem to be called.
The DVD cover credits include only Robbie Coltrane, Ricky Tomlinson and Robert Carlyle, omitting the females, and omitting Christopher Eccleston, not yet well-known as one of the interminable Dr Whos. The plot shows Robert Carlyle as an incensed white, who, after Hillsborough—Hillsborough disaster was a fatal human crush during an FA Cup semi-final match between Liverpool and Nottingham Forest at Hillsborough Stadium in Sheffield, England, on 15 April 1989. With 96 fatalities... sets out to kill 96 people, preferably police and Sun reporters. The plot has to be spun out; 'Albie' worked in quarries and might presumably have made a big bang at the start, rather than the end. He leaves a trail: shaves himself to 'skinhead' status, leaves a spray-painted clue, pins photos of two victims to his wall—inviting an episode with an incompetent policeman. He allows a survivor to get out of the front door. Luckily he's in areas without extras, partly no doubt to save money.
'Albie' is shown as an honest worker (a welder) and a 'lifelong Labour voter'. The British Labour Party was a Jewish foundation; the presentation of 'Albie' is condescending, a simpleton and football supporter who doesn't understand Jews and paper money, just as his deceased dad fought the Germans without understanding the war. He reads the Guardian, Jewish junk of course.
'Fitz' is a bit more difficult to dramatise: he has to be perceptive and exceptionally clever as a subtle psychologist, but without any understanding of Jewish bullshit, including such things as displacement immigration and discrimination against whites. Probably the character flaws of drinking and gambling and 'inappropriate' sex were introduced to hide the impossibility of convincing characterisation.
Coltrane (real name McMillan; following Miles Mathis, I wondered about rich connections, and/or Jewish connections, as in Jews in Scotland, but did nothing to follow this up). This time had John Major as nominal Prime Minister; Scots Tony Blair, Gordon Brown, Cameron were in the future). Anyway Coltrane acts a multiple addict—cigarettes, a bottle of strong drink daily, and gambling. But not drugs—no suggestion of opium wars. The writers, mostly Jimmy McGovern, did not insert paedophilia or prostitution. Coltrane is shown as having a heart attack, as just another exciting incident, as he recovered more-or-less instantly. And his wife decided to move out, despite housing complications. All the families are shown as small—Jews don't like whites. His wife was shown, accurately enough, as seeking 'funding' for some official project or other. Both are shown as fluent, and both are shown as know nothings on small matters like Jew-promoted immigration and selective Jew-funding for immigrants.
The official Jewish memes are dished out in moderation: 'racist' occurs fairly often, following Trotsky in his white genocide policy. In 100 years, the word will have to be explained carefully. 'All white people are inherently racist' says Coltrane, putting the phrase into another's mouth. We also have the fake 'Holocaust' ('gas ovens and six million burning corpses'), and faked nukes. Coltrane's character made a comment I found disgusting, on his wife and her friends orgasming over Vietnam, which of course is another Jew censorship topic. Both main character's fathers 'fought in the war'—with of course obvious failure to comment on white deaths. At present, 25 years later, there's a controlled release of stories of WW2 atrocities; I expect McGovern's pieces now include those. Or perhaps the phasing-out of Britain from both world wars will continue, in which case McGovern will switch to false flags or black lies or something.
I was amused at the 'skinhead' scenes: one with Coltrane pissing, another with a sort of half-naked males with swastikas—and the South African emblem of the AWB. One of them was called "Einstein" by an intellectual cop. This was before the BNP's RWB festivals. The truth, which is that immigrants were far more violent than Britons, and supported by the police, is ignored by the writers, no doubt as instructed by superiors via some sort of chain of command. There's a bit of feminism, as usual not very plausible: the policewoman, and the freelance journalist, were of course near-victims of white males. No surprises here. Of course 'far right' and 'fascist' are sprinkled around in the usual low-comprehension style desired by Jews. Including "a member of the fascist party."
Coltrane is shown as something like a big Poirot without audible introspection, which at least helps the plot flow at controlled speed: Coltrane can produce his views at any moment. Carlyle is shown as working class (their word); but as intelligent. This is a problem, especially over football, which McGovern solves by giving Carlyle knowledge of Mozart. Probably books and art and history would be difficult. And by his selecting the Jewish Guardian as his 'news' source. Perhaps worth noting is that Carlyle seems to have had his ears pinned back, making close-ups look rather bat-eared; I suppose some make-up girl would do that. The police are all shown as disliking each other. And as defence-lawyer aware—there a scene where Albie (white?) wants to be photographed, as evidence, provoking Tomlinson to refuse, enraged—the traditional Jewish approach to law, of course. So are the public.
And so on. An interesting sub-theme, dear to Jews, is contempt for white workers, viewed, presumably, as more contempt-worthy than educated whites—as mass killings in Russia show. Interwoven with Jew-generated mythology, is Albie as the son of an honest working-class man, who took five years to die of an unspecified cancer. He voted Labour all his life; which would have amused the Jews who set up and controlled 'Labour', using whites as cannon fodder, or more accurately shell and bomb fodder. Though of course they had their fun, too. It occurred to me that pacing of thrillers must be approximately the same as pacing of comedies; a study of sitcoms suggested to me that one joke/ recurring theme/ 'sight gag' is needed about every ten seconds, and much the same must be true of thrillers, with menacing music substituting for canned laughter.
Anyway, then in 1948 we have Jewish-forced immigration. This Cracker video, 45 years later, displays the full hoax of the Holohoax. Very possibly 'Coltrane' thinks he's a Jew, backed up by Equity rules about prohibition of 'racism'. I recall J K Rowling saying she wanted English actors in the Potter films, including Daniel Radcliffe (thinks he's a Jew), Alan Rickman (ditto), and plenty of others. I wonder how long the fraud will last; or if it will last for the foreseeable future, in the way (((Christianity))) and its offshoots, including Islam, have done.
As regards the supposed background of Cracker, here's the Jane-Austen-Revisionist Ennos: It is interesting to look at psychiatry in general as a Jewish fraud. I think what is essentially fraudulent about it is that people who are suffering mentally are blamed for their own suffering, whereas it is usually caused by an outside element. This avoids having to examine and criticise this outside element. In particular people live in a culture of lies which cannot be healthy for their brains. I'd expect other episodes of Cracker to work to that pattern, no doubt mentioning Freud, just as Einstein was worked in here.
Postscript: An article in the New Observer Online Record Nonwhite Murder Wave Engulfs London: But UK Media Focus on "White Racists" shows how the Jewish media continue to lie. Just a single example.

Cracker (I'm unsure of the title; 2006; seems to have been a one-off). The DVD has shots of Jimmy McGovern asserting his avoidance of 'political correctness', by using Jewish catchwords—racism, homophobia, whatever. This 'feature-length' piece was in Manchester, and included 'don't mention the war' Ulster, the bomb clearance (1996) attributed to the IRA resulting in the Arndale Centre rebuild and permitting the script to describe ten years or so of 'complete change' of Manchester, 9/11 2001 ('Fitz' shown ruminating on planes flown into towers... not PC?), the Iraq War of Dubya Bush (2003, not the earlier one). Not included were Marx and Engels, those rich Jew phonies, and their Manchester haunts; and Ireland in 1914. Or Salford Quays 'Media City', started 2007; and the Manchester Arena fake explosion of 2017.
The motif in Cracker was the American mass destruction technique in wars, dating I suppose from the real start of the Second World War. The war crimes aspect was not stressed of course; rather there was emphasis on New Yorkers collecting for terrorism in Ireland, presumably Jewish. Recently, the indefatigable Miles Mathis has stated that all US Presidents, every single one, were Jews. It would need a serious psychological detective to assemble a story series from these rich elements. I wonder if the public is slowly catching up after the immense censorship of WW2 up to the chink of web light now. Clearance schemes are technically changed since late mediaeval fires. Now explosive are needed—think 9/11, the Pentagon, Arndale, though Grenfell Tower I suppose was less demolishable. 9/11 was immediately commented on as resembling controlled demolition, though arguably McGovern and his simple actors wouldn't be expected to mention that. The links of Ireland with Jews are still very hidden, and the consequent mass immigration gives some idea of the sincerity of 'IRA' funders.
There was a heroin subplot, and mention of the Taliban removing opium poppies. Purdue Pharma and the Sacklers presumably were part of the movement against that. It's very possible McGovern thinks he's a Jew: many came to Britain and hid their identities, voted 'Labour', and sometimes hid as Roman Catholics, themselves a violent Jewish outgrowth lasting many centuries. Jews also have a policy of disliking contraception, and therefore can hide as a multi-child Roman Catholic family. And of course the Jewish media industry has vast numbers of Jews, virtually every one of whom is a liar. To be frank, McGovern has a genetically-modified ferret facies resembling Noel Ignatieff. It's of some interest to see that the so-called Independent is still limping on, despite have carried out its main function. It has a large number of ex-editors, for example the amiable but ignorant Amol Rajan (see a TV 'antiques' programme). Presumably the losses are Jew funded, and it can be used as 'training'. It's still running the AIDS fraud.
The presentation of soldiers is a bit tricky. McGovern helps the issue by having his soldier suicidal, and his wife dim. Soldiers have to look as thogh ZOG takes them seriously, rather than discardable nonentities without even entitlements to housing. ZOG itself aims to use soldiers as violent killers, for anti-white use in future. But for home consumption they have to be presented as invading for 'freedom'. (Newsclips show briefly Dubya Bush saying they will soon clean up, with Blair as his ineffectual assistant). It's obvious in retrospect that Jews wanted to ruin and wreck the middle east. I've seen recent (2019) remarks that casualties in Iraq were much greater than had been announced. But of course many are white American goys, and therefore don't count.
Incidentally, the 1997 Firearms Act (following the Dunblane psyop in a remote part of Scotland) meant that firearms offences had doubled by the time this Cracker was made. No mention of this (or Cracker's supposed books, for that matter).

Poirot and other Agatha Christie thrillers have some interest in the light, or shadow, they throw on past worlds and more present media attitudes. Christie more or less spans the First World War (and Belgians) to the Second World War. We have German spies over the whole interval. However, I don't think there's ever been a Jewish spy, Jewish couple, Jewish fraudster, Jewish propagandist, Jewish murderer. Or any accurately-portrayed Jew. I like to hope that in the 22nd century, fiction in whatever the media will be will be replete with Jews in caricature, endlessly shown in their true colours. With matching factual material.
It's tempting to wonder whether Christie was some sort of agent, given widespread 'booming', to distract from the events and deaths of the First World War, and the Depression, like The Great Gatsby. With the myth of 'gallant little Belgium'. How many authors get publication and publicity for their first novels? The lightweight filler TV things with talking heads never discuss such things. How influential was The Murder of Roger Ackroyd in any objective sense? One has to wonder if Christie's disappearance was an advertising stunt; perhaps it correlated with failing sales, or a new title? The Orient Express must have had Jewish connections; archaeology must have been a cover for spying in the Middle East; Ten Little Niggers has been fussed over for years now.
Miles Mathis wrote on Agatha Christie (March 11th 2018) with a lot of interesting evidence, suppressed whenever some fawning TV thing fills space.

Ripper Street was introduced (the BBC advertises its own stuff) as 'part of our continued fascination with Jack the Ripper', or similar words. I saw bits of their promotional short videos: London, which at the time was one of the world's greatest cities, was shown as a squalid muddy place. At that time, the East End was being flooded with Jews—this was before passports, and the influx was assisted by Churchill, filibustering Parliament. I'm not sure there's even an English word for 'filibustering'. In fact it is known Jack the Ripper was a Jew. But who cares about a few poor murdered dismembered women, after all? Certainly not the BBC. There's a well-established view that Jews like to celebrate successes in two parts: one is an announcement, inevitably covert, such as prefigurings of 9/11; followed by repeated celebrations. Probably 'our continued fascination' is a Jewish code.

An odd side-issue of BBC crime is the Jewish interest in perversions and sex: I vaguely remember an attempt at a life of Conan Doyle and influences leading to Sherlock Holmes, showing a huge brothel right in the middle of 19th century Edinburgh! And a 'Father Brown' story by Chesterton, updated with a village prostitute. And an episode of Endeavour with a neon sign 'girls, girls, girls'—in 1950s Oxford. (I misremembered this; it was attributed to Soho, I think). Another theme is white women trying it on with young black males. Another theme is anachronisms, such as women police; yet another is Jewish movements from the past, such as 'anti-racialism', immigrant rights but not for whites, Second World War, and so on. Colin Dexter, one of the authors supposedly part of the Thaw/ Whateley/ Evans series, seems to have some doubts about all this; but who knows. The sooner Jews are removed from all influence, except as awful warnings and cautions, the better.

I watched some of the final episode with the moustached 'Endeavour'. I'm told it has a happy ending, at least in the Jewish sense. Baddies shooting each other, police shown as honest and ethical, at least mostly. Interesting Freemasonry topic, which seemed falsely to suggest the problem had been removed, without of course mentioning the Jewish link. And personal issues settled as they go into the sunset. The main plot was based on the Ronan Point flats collapse. Based, here, on saving a bit of money on sand. It was amusing to see a town planning chairman as a crook. As always Jewish paper money, and its associated corruption, is not present.
The moustachioed 'Endeavour' is a remarkably dull actor; I wonder if the casting people have regrets. Incidentally, despite being young and inexperienced, there's no discernable attempt to show any learning processes in Morse. Maybe it's just too difficult to arrange much cross-episode influence on top of the career stuff. The TV colour and contrast palette, computer processed, is always dull and dim. No doubt there's an identifying name for it. Maybe it's to suggest tobacco smoke. Maybe it's to suggest dim whites.
This final episode had the usual Jewish joke subplots—a Jewish fake physicist, Jews dying in camps. And the usual few blacks: I happened to watch a 2002 Big Brother, including Jade with her apparently African albino face, and a miscellany of half-breeds. Richard Ayoade, a sort of all-purpose half-breed, with the F1 cross oddities in the future, appeared in an early episode of Endeavour (I think). I must have been cued into this by ads: learn 'life skills' with a black; TV shit on a 'serial killer' exposed as a fake; "on your feet can give a feeling of foot fatigue".
Inserted Feb 2020: Another Endeavour, reportedly new. If I remember correctly, directed or produces or written by Jews. Fascinatingly unwatchable: the 'British Movement' is shown, with an actor I presume as Tyndall. And of course immigrants, I think Pakistanis, with a fight starting up. I wonder if any English people watch this stuff, aware that the Jewish press does not report violence by blacks, Asians, or Jews. And does not report education for whites, ruined by Jews. Or profitable rented housing, for immigrants. "Oy, Shaun, your new series is doing well, yes, very well. Um about the next, we'll let you know boy."
Musing on Oxford, thinking of the King James Bible—the biggest propaganda coup in history, in the English-speaking world—I wondered how Oxford notables view their long-term TV notoriety. I'd expect negotiations as to which colleges and institutions would be allowed to appear, and for how much. I'd expect those not engrossed in their work, or distraction, to find it trivialising or mildly irritating. But I'd expect many of them to worry that secrets might be exposed, that the top-down pressure from Masters and money-processors and Professors might start to crack and fail.
Let me make use of a sadly-neglected oratorical device: the ritual curse! My apologies if the wording isn't quite right.

Lime of exorcism. I banish the snake; I banish the spirit of the 'Jews'; I banish the slimy fluid; I banish the creeping plant; I banish the Jew producer, the Jew director, the Jew scriptwriter, the Jew actor. I have sunk them deep in the sea. Vapour shall rise to hold them afar. I summon the Wakanda witchdoctor to treat, enfeeble, curse, and kill them all.

An (apparently) genuine example of the use of curses was in the Anglo-Scots border before unification by Royalty. 'Reivers' were loyal to their clan, which seems to have meant their surname in practice. 'Reivers' were not the same as 'rogues'. One of reivers' functions seems to have been to rustle cattle to eat. However, Gavin Dunbar, the Archbishop of Glasgow, composed his own curse, made up of lists of body parts, descriptions of hell and satan, and so on; this was read out from pulpits, though I doubt whether reivers were present. Dunbar was not the only such curser. Maybe these acts were part of the atmosphere of witchcraft.
Frost (or it may be called Inspector Frost) is by now quite old—you can tell by car registration plates. Interesting to see the way Jewish attitudes are inserted, and reactions to them. An episode dealing with 'paedophiles' naturally shows whites, not the usual Jews and Muslims. Naturally the episode has the traditional murders. And there are fake stats inserted: a female 'social worker'—note the 'worker'!—claims there are a few hundred thousand 'paedophiles' in Britain or England. The implication is that there must be a few hundred thousand murders of children every year—in fact, I heard an amateur Internet radio chap being told that millions of children disappear each year, where of course part of the propaganda process is to unfix normal procedures of counting and assessment. Insertion of desired reactions is another part of the Jewish 'PC' process: when the child murderer is found, the miniature inspector Frost lashes out once with a fist. This is presented as an appalling, career-imperilling, deed. It's easy to imagine an 'accidental' murder, and entirely natural. However, this, although natural to Jews, is forbidden to the gentile. On the same topic, Frost is shown agonising over death penalties: should there be death penalties, or should there be civilisation?
It's interesting to see the treatment of immigrants/ invaders. Frost belongs to the period of compulsory belief that Britain is 'institutionally racist', and that other races can't possibly be racist.

I just saw parts of a final Endeavour; it's striking how themes for films and TV recur. We have no (or one?) bullets left in a revolver reprised from Clint Eastwood of many years ago. The shooting-a-cop when youngster (mature criminals don't) obviously taken from a famous case, used by the Jews anxious to prevent the justice of 'capital punishment'. The actor who looks very like Kingsley Amis actually mentioned Cable Street and the slogan from the Jewish failure in Spain, 'No pasaran'. In another episode he called a 'bulldog' "Tovarisch"—perhaps Thursday is a hint at Jewish name-changing crypsis, or, more likely, goy gullibility. The mantelpiece note suggests 'She's Leaving Home' (should have been in the teapot). There's some Second World War material (Churchill's phrase) which surely must be wearing thin by now, despite forming a staple of media promotees, of the Patrick Moore type: the shrapnel fragment and suggestion of comradeship, in, say, North Africa; the suggestion of danger and 'fighting' when bombing women and children, or killing Koreans; the acceptance of poverty as a natural consequence of wartime uprightness; the thorough censorship of truth about the war and money; changed names based on the Mitfords, including poor old Thursday enraged at having lost 6 years of his life—how Jews must laugh; war considered purely as expensive equipment, the Jewish paper backing being omitted, and the 'heroes' ridiculed. And at a scene with a CP old woman regretting nothing; in fact of course WW2 was based on support for Stalin and his butchers. It's amusing to see inflation in firearms numbers: no piece is complete without several people simultaneously pointing guns at each other. And the absence of information which would be commonplace in chat between CID officers, for example how much paper money banks actually keep on their premises, in view of the obvious dangers. Naturally we have intrusion of blacks, which the Jewish owners and promoters of TV insist upon; I suppose the assemblers of the scripts work with a checklist. A part (not exactly an 'episode') had a mock-debate with an anachronistic comment ('There were Nubians at Hadrian's Wall - after you' by the wog actor) and with a faked protest, of course a Jew speciality. Needless to say, Jew-controlled panics, BBC fantasies and lies, the Oxford Mail as part of the Jew lie machine, Jew control of paper money, repayments to Jews for bombing civilians, Jew measures for nonwhite immigration, and Jew crimes are suppressed completely.
Some other issues (I'll jot these down; no immense significance) are presentation of demarcation issues, notably secret, government, civil service, military, security issues. I think I noticed a bit of Michael Caine creeping in. And the old woman thing—is this part of the pretence that the Queen is intelligent? And a bit of child murder, assuming that a minister would resign—despite the fact that the era of Edward Heath was looming up. There were a few references to Jews in schools, part of the process which has choked up education (including Oxford) with third-rate ideologues of the A J Ayer, G R Elton, A J P Taylor and many other Professor Demeritus types. 'Endeavour' as a stand-in teacher says "we'll having nothing like that here" on Jewish identification. Another point is on the Empire, of which virtually nothing is said on the carving up into parts, starvations, dead British soldiers in Palestine, and so on; obviously, Jews are interested in having obtained it, and in carrying out assorted related activities such as forcing coloured immigration and subsidising it from the locals.
Something hard to pin down in such batch-produced 'product' is the sterilised or vacuum-packed feeling, with anything serious removed, leaving a feeling of spotlights arranged to light only a portion of reality, or of a stench removed by sprayed powerful chemicals. It has to be said that, in my not very reliable judgment, the actors are better than the material they are given. I wonder if they feel high-souled frustrations, as with a Michelangelo forced to do adverts? For some reason, 'Endeavour' the actor is shown as charisma-free; bystanders need to keep saying he's clever, in case the viewers don't notice. I think the idea is to contrast the supposed manner of the upper classes, as for example when he says the police are entitled to do something or other. Let's hope in (say) fifty years these things will be studied to show the astonishing persistence of Jew lies.

I saw parts of episodes of Vera (early 2018), another nod to Jewish pervasion of the media. This is supposed to be set in north-east England, in or near Newcastle. It's comical to see blacks shown as quasi-professionals, whilst being omitted from the perpetrators. The whites are shown usually as scuzzy (US expression), grubby, and so on. I noted the use of the Jew phrase 'sex worker', pronounced something like 'sexwukka', though this is unlikely to be part of the natural local vocabulary. But maybe she's an aged 'shiksa' and doesn't mind being called a whore by her Jewish employers.

I may as well add a crit of Jonathan Creek, which also appears to be produced by the BBC; for some reason I thought it wasn't. This started in 1997. Each episode as far as I know is long, which means of course subplots have to be inserted. TV detectives have to have some sort of home life; here we have a windmill. I seem to remember the sails moved in one episode. The overview is entirely end-of-20th-century. Looking behind the scenes a bit we have a 'British' Jew, a girlfriend or two, presumably a token stupid goy or shiksa, and of course a brash American for international sales. There's of course 'blonking', insertion of blacks and others, though of course not Jews, as peripheral parts, and of course not in the money or 'creative' side. There is a curious lack of interest in the backgrounds of such characters: A Vietnamese acting a Filipino miracle surgeon illustrates. Whites are generally shown as credulous, or old, or suicidal, or whatever. Many of the subplots involve stage magic, which in fact works well as a foil, allowing the intrusion of what might be clues. When I watch things like this, my interest mainly is in how the plots wouldn't work in actuality. We have for example: bloke bricking himself up in a tiny enclosure. If he did this, the mortar would poke out into the room, making an obvious patch in the brickwork. What about a handy-sized 'alien' made of solidified mercury? Wouldn't it start to melt? Or the woman shackled up in a closed cell, who however is revealed to have access to a hole in a wall through which...; but never mind. What about the odds of a huge lottery win? Or mirrors; at least two plots involved symmetrical buildings with reflections. But lighting varies; painters use mirrors to compare the lighting of different parts of scenes, which appear similar, after the brain does its perceptual work. Anyway, to be fair, these things are difficult, even with computer graphics. At least there's a nod to truth.

Serial Killers is a typically emotionally-charged series (or maybe a one-off) by Jews, aimed to influence social behaviour, while incidentally being entirely untrue. Thanks to the work of Miles Mathis, it's clear that the media-fostered material over Sharon Tate and Charles Manson and others was entirely faked. The question of course is the motive: the hot favourite must be blackwashing 1960s activists, and victims in Vietnam. Obviously war crimes, and scum such as L B Johnson and Kissinger, have to be evaded. In addition, black multiple murderers, and Jews such as Shipman, remain unmentioned, in the long Jewish media tradition.

Manhunt (3 parts, ITV, supposed to be truth-based, on a 2004 murder case, and several other unsolved ones, in London). With a now quite elderly Martin Clunes, as a rather ineffectual detective. By coincidence, 2004 was the year of the murder of Kriss Donald, by Jew-imported Moslems. Just one racially-motivated killing. 2004. I'd guess the murdered girls were blonde; I'd guess the real or supposed murderer, Levi Bellfield, has Jewish supremacist genes; and I'd guess Clunes's script mentioned nothing. I suppose I might be wrong.
NB 2005 is the publication date of a film called Mrs Henderson Presents, with (ooh, wait for it) Judi Dench. Wow. A 'true story' of a London theatre, understandably doing poor business in WW2. True or not, the theme is a Moulin Rouge style, so far as the pettifogging Lord Chamberlain will permit. We see Dench saying how unfair it is that young men may never see a naked woman in their lives, before being killed by Jews. Well, nearly that. And she says "we" will win the war. Well, half true. Oh, and that American serviceman are good and polite, before bombing Europe and helping Jews in the USSR promote rape and destruction. Bob Hoskins as a wartime Jew is her foil, with low-budget warime accessories: sirens, threats, US 'doughboys', songs of Noel Coward and Vera Lynn types 'when the war is won' style. Nothing of course on Stalin and Jews. Sickening trash.
... the last bit of Benedict Cumberbatch in a 'Brexit' thing on Channel 4, or ITV4. Obviously there's a case for European discussion and detailed negotiation. As for the USA, when it was new. And the world. And the unification of Britain. And Italy. And Germany. But the case for Jewish control is a lot more doubtful. In view of its results so far, such as the U.S.S.R., perhaps something to be avoided. The bits I saw showed Cumberbatch looking older, and saying nothing of any use. He didn't even mention Soros and his promotion of buggery of small boys, and financing shipments of useless wogs. Oh, well. Actors getting old can't expect much. Look at poor old ?sp Tom Hodgkinson.

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