Alexa Davalos epitomizes the persistence of Jews in their attempts to pass off their malformed progeny as something worthy of the screen. Her jawline happens to be a study in what might happen if the Bride of Frankenstein where to carry Jay Leno's baby to term. One side juts forward with the defiance of a crumbling cliffside, while the other recedes as if in shame, creating a grotesque imbalance that suggests the architect of her face lost interest before finishing their work. Yet, there is always an illusion about this deformed hag's appearance. Every red carpet photograph, every glossy promotional still, is a testament to the desperation of digital "artists" who labor to carve symmetry from the chaos of her fucked up face. The unretouched truth? She is a drunken Etch A Sketch scribble given flesh. No amount of digital necromancy can fully disguise that she wears her face like Quasimodo’s forgotten sister, a living monument to the structural integrity of Jewish genetics.

In FBI: Most Wanted, Davalos portrays yet another stoic Fed as if carved from balsa wood, just as a thousand others before her, delivering lines with all the passion of an incredibly bored retail employee scanning your groceries and contemplating blowing their own brains out. Her "toughness", as usual, is as convincing as any typical Jew rat baring it's teeth at basically anything that clearly knows it can overpower them. Then there was The Man in the High Castle where she portrays Juliana Crain with a degenerate moral compass in a world of purity. She drifts through the narrative wearing false righteousness as thin as the veneer of her performance. The show itself, in its misguided attempt to slander National Socialists, dresses actors portraying them in sleek uniforms and crisp cinematography, while Juliana stands there blank-eyed and slack-jawed the majority of the time. One cannot help but find the Reich’s scenes more engaging, not only because they, at least, commit to their convictions - but holy shit, how did this entire "supposed to be a hit piece" televised series fuck up "make living in a National Socialist world look awful"? They make it appear amazing instead. A world of paradise that I guess only served it's intent to scare Radical Leftists and extreme Marxists because Caucasians are practically living in a perfect Utopia.

In the Punisher as Maria Castle, she briefly portrays Maria Castle in a glorified flashback role where she exists solely to die and give Frank Castle his tragic backstory. Davalos does her usual whispery, fragile victim routine because that’s her only range. In Mob City, she portrays Jasmine as a femme fatale who couldn’t seduce a brick wall. Davalos lacks all the femininity necessary. Instead, she looks perpetually confused, like she soiled her pants unaware and wonders where the smell is coming from. In Defiance, she is Irisa, the red-headed relic of a species of retards, all sinew and scowls. She swings her fists with the conviction of a child play-acting, her "strength" a narrative contrivance as flimsy as her arms. The story desperate to convince of her Mary Sue powers in order to be able to beat up people twice her size for no good reason. In The Chronicles of Riddick, she was Kyra, the hardened survivor who flinched at shadows as a completely forgettable nothing character whom only exists as a plot device while she's constantly afraid of damn near everything. But hey, her natural Jew paranoid eye-shifting personality fit the role perfectly. 

In Angel the TV series that was a spinoff of Buffy the Vampire Slayer, Alex portrays Gwen Raiden to rip off the Mortal Kombat icon of the same name. Unlike that Eternal god of Thunder and protector of Earth Realm, this one was so one-off and easily defeated, you might wonder why electricity was supposed to be a threat to immortal, immune to death vampires. In essence, Alexa Davalos is the epitome of Hollywood’s fascination with bland, emotionally vacant actresses who keep getting cast in not so secret woke politics for each lame form of Jew entertainment they can muster.