Kneecap: A Commercialised, Tropey, Hypocritical Mess

We all knew it was going to be bad, but this is bad

The Kneecap movie is finally here. After much anticipation by the general public and super sincere struggle against the establishment, a Belfast based Irish language hip hop group have beaten all the odds and gotten their film released and stuck two fingers up to the Brits. Fucking absolute rebels they are. Right? No? Pfft, don’t make me laugh. First of all, this hop-hop group is barely on the scene and they already have a biopic featuring Michael Fassbender?! I say barely on the scene because they have released one Album before this Film/Album run and that was back in 2018. Not one song from that album made it into hearts and minds of the Irish or British public and I can guarantee you could stop a hundred people at random and ask them to sing or hum one of their tunes and they would be lost. The new Album, Fine Art, was released at the end of June and made it to the lofty heights of 43rd on the UK Official charts, for a single week, and then disappeared completely. Evidence still that this trio are an overhyped gimmick that are being pushed far too hard by the powers that be. Nothing proves this more that the fact that they boasted about having the second highest album sales, beaten only by Tailor Swift. Do you know who doesn’t purchase music? The working class.

The “success” that you are told to believe already exists, which it doesn’t, and the oversaturation of these boys in every facet of the press, is so fucking manufactured and false that it is putting people off before they have chance to even engage with the subject matter. They have been promoted and platformed by absolutely every mainstream outlet and broadcaster relentlessly, all the while creating fake drama around funding that they were denied by the British establishment for their “art”. This drama surrounding 15k’s worth of funding, would lead you to believe that the boys are building all of this from scratch on a shoestring budget when in reality, they are already signed up to Wildcard who secured 350,000 pounds of funding from the Irish Government in the south and £1.6 million pounds from the UK taxpayer through the National lottery. This Phoenix article unwittingly exposes the sheer scale of the marketing machine behind these guys. They have been in endless photo-ops and rubbing shoulders with all sorts of elites and high rollers, selling themselves as this authentic, post-troubles street urchin triple act. They rely heavily on the ignorance of their target audience to maintain this charade and as I pointed out above, their audience is not working class Irish. This film is poverty porn for the sheltered middle class, a concept the group have openly admitted to being aware of in the past.

The opening scene of the film immediately breaks the fourth wall in terms of the current Belfast riots, even though it was recorded months ago. The films opening sentiments, stemming from the core tenant of their dissident image, are an immediate contradiction to their recent comments mirroring all of the outrage and rhetoric this week surrounding the attendance of Coolock Says No protestors at a loyalist anti-immigration protest. For context, Tri-colours flew alongside Loyalist flags, something which I personally have condemned for obvious reasons, as two warring tribes stood shoulder to shoulder against mass immigration ( the organisers of this and their intentions remain to be established). Even though I was angered and worried by the stunt, it still created some of the most hypocritical commentary from the establishment ever to be produced and received widespread approval over seas. This paradoxical collapse of the narrative has captured the entire Globalist Sinn Fein hydra with its pants down, including these Kneecap lads.

In the opening scene of the film, Mo Chara ( Liam Óg Ó Hannaidh) states the following:

It didn’t matter what community in the north of Ireland ya came from, we could always find common ground, in our love for throwing shit at the peelers.

Literally the day before this film is due to air, that same philosopher came out with these words when speaking about actual riots, as taken from Belfast live

Mo Chara mirrored the sentiment of his band members, saying rioters need to 'take a look at their behaviour.'

He said: "The businesses they're running are contributing more to society than these people and they all need to take a good look at themselves - they are all in their 20s, 30s and 40s.

The blatant hypocrisy from these clowns is so thick you could cut it with a knife. Their entire image is built off the back the troubles and the regular riots that the north is famous for post Good Friday agreement. That is what they glamorise in their music, professional photo shoots and now this film. Violence, racism drugs and terrorism are all spoken about fondly as the film is narrated scene by scene. The part that really gets me is that these lads are set to become millionaires for saying the same shit that people are getting labelled as fascists and nazis for. They are saying the same shit that is currently getting regular people locked up. Their role now as agitators against the working class is commissioned by the Sinn Fein administered British state, remember that as you watch it.

This film is weird and hard to process. It involves “versions” of events so there is no telling what is real and what isn’t, you just know that nearly none of it is. For instance, their glorifying of drug taking involves them coming under the scrutiny of R.A.A.D (Republican Action Against Drugs). In a scene where this group is commemorating Fassbender’s character and Noise’s father, Arlo Ó Cairealláin, they are portrayed to be idiots. The following scene shows the group playing a gig, mocking the fact that the leaflet campaign by R.A.A.D to ward people away from their gigs, actually sent more people there in pursuit of drugs. These particular scenes show that the people behind this film are nothing more than subversives. Any Sinn Fein involved film made against dissidents, irregardless of their faults, is clearly an attempt to isolate and weaken them in the eyes of todays youth. The film ends with a scene involving the literal shooting of RAAD members, representing the metaphorical death of dissidents, or “dissies” as a whole. The last real ultra-nationalists on this island have just been told through the use of three stooges and the medium of film, that their services are no longer required. This degenerate film is a piece of propaganda straight from the British establishment, aimed at turning Irelands fragile woke entitled youth away from National liberation and into the cult of globalism as Gaeilge. In this sense, it is essential viewing as it needs to be seen to be believed.