I have never liked the character of Superman. He is not a man who has transcended humanity toward something higher. He is simply an alien, who looks like one of us, and who comes equipped with a whole array of superpowers. From a Nietzschean and Faustian standpoint, that translates to zero appeal. I am not interested in being rescued by a superior being. I am interested in becoming a superior being. Furthermore, none of the Superman movies or TV shows ever managed to make this character compelling to me (although I love the John Williams score for Richard Donner’s 1978 film).
But when I went to see Man of Steel, I was prepared to be sold, for this movie is a team-up of two of Hollywood’s leading young goy geniuses: director Zack Snyder (Watchmen) and Christopher Nolan, director of the Dark Knight Trilogy and Inception, who co-wrote the script with long-time Jewish collaborator David Goyer.
But Man of Steel is a deeply disappointing movie. Compared to Watchmen and the Dark Knight Trilogy, which are intellectually and emotionally deep, complex, and involving, Man of Steel is pretty much a brainless, soulless spectacle.
The underlying problem seems to be that Snyder and Nolan just aren’t that crazy about the character of Superman either. Hence they have delivered an uninspired, by-the-numbers, would-be “Summer Blockbuster.” (Aren’t blockbusters also a kind of bomb?) Man of Steel even stoops to the last refuge of bad scripts: the movie is swarming with cameos. (“Look, it’s Kevin Costner!” “Look, it’s Morpheus!” “Look, it’s that wog from Battlestar Galactica!”) After this film and Sucker Punch , it is time to put Zack Snyder on artistic probation. Watchmen may have been just a fluke. This whole movie reeks of cynicism and greed.
But there is also a deeper, older stench underneath. As I have argued in my reviews of Hellboy  and Hellboy II: The Golden Army , comic-book superheroes largely function as symbolic proxies for Jews, who virtually created the genre. Superheroes, like Jews, are always outsiders and “freaks.” They are, moreover, immensely powerful outsiders who must engage in crypsis to blend in, lest they incite the fear and ire of their host populations.
The superhero genre also plays an indispensible apologetic role for Jewry. For in the case of superheroes, these immensely powerful and secretive aliens are benevolently disposed to their host populations, magnanimously enduring the fears and suspicions of their narrow-minded and xenophobic inferiors whose interests they serve out of a commitment to the morality of egalitarian humanism.
Jews, of course, use their superpowers and knack for crypsis to rather different ends, ceaselessly scourging the goyim with plagues like Bolshevism, free market capitalism, feminism, multiculturalism, pornography, psychoanalysis, non-white immigration, Zionism, endless wars, and, to top it all off, the ongoing genocide of the white race.
This, of course, is supervillain behavior, but the superhero genre inoculates us from drawing that conclusion by making supervillains into perpetual Nazis, or symbolic proxies for Nazis and other nationalistic, anti-egalitarian, xenophobic, and traditional-minded whites (but never nationalistic, anti-egalitarian, xenophobic, traditional-minded Jews).
Superman is, of course, one of the most explicitly Jewish superheroes. Superman was created in 1933 by two Ashkenazic Jews, Jerry Siegel and Joe Schuster, and from the beginning he was cast as an “American” antipode to the German “supermen” who rose to power in 1933. Like Moses, Superman was set adrift in an ark and found and adopted by an alien family. Superman’s original name is Kal-El, and his father was named Jor-El, “El” being a Hebrew word for “God” and a root of such names as Israel and Elizabeth.
In Man of Steel, the supervillain is General Zod. We learn that Krypton is a planet that practices eugenics, has a caste system, and has engaged in colonization of the cosmos, creating giant machines that transform other planets into environments like Krypton, obliterating whatever creatures lived there before them.
After a 100,000 year Reich, however, Krypton is in deep decline. Its colonies have failed, and the planet itself is in danger of implosion due to mining its core for energy. Two men, Jor-El and General Zod, wish to save Krypton.
Jor-El is the far-sighted scientist who warned the Kryptonians of the folly of mining their planet’s core (how enlightened). Jor-El and his wife Lara have created a natural child, Kal-El, a child of choice and chance (how liberal). Jor-El then somehow hides in the genetic codes of other, as yet unborn Kryptonians (whatever that means) in the body of Kal-El. Then Jor-El launches the child into space in a tiny capsule. This, somehow, will save the Kryptonian race. Sounds like a plan!
General Zod, the leader of the warrior caste, attempts to restore Krypton by launching a military coup. He wishes to extinguish the bloodlines of the rulers who have brought Krypton to its sorry state. But he is captured and exiled with his followers. But when Krypton finally implodes, they are freed. They then search the universe for Jor-El’s child to recover their genetic database. They track him to Earth, which they wish to seize and “terraform” into another Krypton, so they can begin their race anew. Humanity, needless to say, will be exterminated. (Inequality + eugenics + Lebensraum + genocide = “Nazis.”)
Superman rejects Zod’s proposal in the name of egalitarian humanism. A believer in diversity and open borders, he suggests that the Kryptonians share the planet. One Kryptonian tells Superman that his morality is an evolutionary disadvantage. Kryptonians have no morality and believe only in evolution. Of course Superman’s egalitarianism is not the same as “morality” as such. The Kryptonians also have a moral code, namely a kind of social Darwinism, which means that they feel no obligation to any weaker species, particularly when the very survival of their race is in peril.
Well you can’t bargain with Nazis. Remember Munich, 1938? So rayguns and bullets are discharged, blows are traded, spaceships and airplanes and Kryptonians whoosh around, and Metropolis is pretty much reduced to rubble, all to another thundering, tuneless, dreary Hans Zimmer score. In the end, General Zod is killed and his followers are poofed into another dimension where they will be held in suspended animation until Alan Smithee’s Man of Steel II comes out next summer.
The lesson of Man of Steel is the same lesson as practically any other superhero movie: white Americans must never dream of controlling our own destiny. Instead, we must trust in the benevolent hegemony of superheroes: a tiny, hidden minority of powerful aliens and freaks. Superheroes are the only thing that can save us from supervillains and all the evils for which they stand: inequality, eugenics, hierarchy, xenophobia, etc. In short, everything practiced by Jews to preserve their race, and everything which, if practiced by whites, would secure us against Jewish subversion, domination, and ultimately genocide.