Foyle's War

... 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.

Written earlier! I started with the newest.
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.