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Prodigy

The popular creepy kid genre can be traced all the way back to The Bad Seed (1956), but really took off in the years that witnessed the introduction of the birth control pill and the legalization of abortion in conjunction with overpopulation propaganda, with Rosemary’s Baby (1968), The Exorcist (1973), It’s Alive (1974), The Stranger Within (1974), Devil Times Five (1974), I Don’t Want to Be Born (1975), The Omen (1976), and The Brood (1979) being notable examples. The purpose of such movies, when it is not simply to make a quick, exploitative buck, has frequently been to instill in deracinated women associations of anxiety and disgust with their own biological imperative, and The Prodigy (2019) is an especially noteworthy development of this tradition. I found it to be genuinely scary – even as I smirked inwardly at its gross subtextual purpose.

[WARNING: SPOILERS]

4.5 out of 5 stars. Ideological Content Analysis indicates that The Prodigy is:

3./4. Anti-gun and pro-choice in one fell swoop. You have to watch out for those meddlesome old white men with their guns trying to save children from being murdered by their mothers. BELIEVE WOMEN when they determine that their sons deserve to die.

2. Antinatalist. The Prodigy might as well have been titled Abort the Alt-Right: The Movie.

1.Anti-white. New parents John (Peter Mooney) and Sarah (Taylor Schilling) – who have the surname Blume but do not appear to be Jewish – seem to have the perfect suburban life until their unhealthily pale son Miles (Jackson Robert Scott) starts to manifest precocious intelligence while lagging behind in emotional development and social skills. He also has different-colored eyes like Nazi LARPer David Bowie, who is name-dropped in the screenplay. These are the film’s first clues that what devil-child Miles really represents are Jewish and globalist anxieties about the remaining potential for a resurgence of nationalism and fascism among peskily still-reproducing white people. One of the semi-autistic child’s first demonstrations of intolerance is when as a schoolboy he becomes jealous at the sight of a Mexican-looking boy working on a project with a white girl. Miles wants to be paired with the girl instead and attacks the other boy in deplorably savage fashion with a wrench. A not-so-insignificant establishing shot shows him attending Buchanan Elementary School – because everybody knows the antisocial influence that Patrick J.’s tutelage exercises over the kids these days.

A Jewish parapsychologist, Dr. Arthur Jacobson (Colm Feore), finally determines that Miles, who speaks in Hungarian while he sleeps, is the reincarnation of a misogynistic serial killer, Edward Scarka (Paul Fauteux), whose family had relocated from Orban Land to Ohio. Scarka, as seen in The Prodigy’s prologue, disrespectfully chopped off womyn’s hands and murdered them in his supervillainous hillbilly house of horrors. He was probably a Republican, too – the viewer just senses it. Hungary, in Jewish consciousness, is inseparable from its twentieth-century history of anti-Semitism and the “Holocaust”, and Scarka personifies the threat of retro central-European bad-optics nationalism’s reincarnation in Rust Belt populism and toxic masculinity. After Dr. Jacobson tries hypnotizing Miles in order to learn more about the malevolent Hungarian soul occupying his body, Miles threatens to accuse him of sexually molesting him – because, of course, that is what incorrigible young white men are doing these days – falsely accusing Jewish men of being pedophiles. Who needs the bother, amirite, sisters? Just #RESIST pregnancy and have an abortion.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

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can you ever

Melissa McCarthy, in what must be her least repugnant role to date, plays the hard-drinking, foul-mouthed misanthrope and literary forger Lee Israel in this amusing movie for booklovers. After publishing biographies of Tallulah Bankhead, Dorothy Kilgallen, and Estée Lauder, Israel fell on hard times and, in order to make ends meet and keep her cat alive, took to forging and selling letters that purported to have been written by the likes of Dorothy Parker and Noel Coward. McCarthy, who is fatter but still way more attractive than the actual Lee Israel, manages to make an almost lovable character out of “a 51-year-old woman who likes cats better than people.” Suspenseful, involving, and often funny, Can You Ever Forgive Me? is forgivably watchable if you don’t have to pay for it.

4 out of 5 stars. Ideological Content Analysis indicates that Can You Ever Forgive Me? is:

4. Pro-gay. Israel is a lonely lesbian and her partner in crime is a charming British homosexual, Jack Hock (Richard E. Grant), who tragically comes down with a case of the AIDS at the end of the movie after “fucking [his] way through Manhattan.” Hock appears with a bloody face in one scene as a reminder of the perils of being a fruity fop in a cold and insensitive world. Israel’s forging of letters by Noel Coward, too, furnishes a pretext for a history lesson about how, during the benighted first half of the twentieth century, gays still had to hide their orientations and carry out their forbidden amours in secret.

3. Anti-drug. Israel’s drinking is a barrier to healthy relationships. Cocaine, meanwhile, is associated with homosexual excess and irresponsibility. After going away and leaving Hock alone to look after her apartment and cat, Israel returns to find that her friend went on a coke-and-sodomy spree and that the cat has died. It is unclear, however, whether the cat has actually died because of neglect or simply succumbed to old age, considering that it was already sickly. In any case, Hock’s life of doping and diddling eventually leads to his demise.

2. Anti-family. “Maybe she didn’t die,” Hock reflects, trying to recall what became of a mutual acquaintance. “Maybe she just moved back to the suburbs. I always confuse those two. No, that’s right. She got married and had twins.” “Better to have died,” quips Israel, who has no interest in family life.

1.Philo-Semitic and anti-white. Can You Ever Forgive Me? takes place in a New York of the imagination in which plucky underdog Jews struggle to make it in a WASP-dominated world. “Did you hear,” bookseller Anna (Dolly Wells) asks, “that Tom Clancy is getting paid $3,000,000 to write more right-wing macho bullshit?” “Are you kidding me?” Israel objects. “That blowhard’s gettin’ $3,000,000? Oh, to be a white male that doesn’t even know he’s full of crap, right?” To her credit, Israel’s literary agent Marjorie (Jane Curtin) advises her to become “a nicer person” because “you can’t be such a bitch” and make it in the publishing world. Israel, however, accuses Marjorie of benefiting from (an implicitly WASPish) privilege and wealth. (Deleted scenes include a vignette in which Israel takes a job as an assistant to a rich blonde lady with the nakedly symbolic surname Whitman. The viewer, of course, is encouraged to find Israel more likable, cleverer, and more deserving of comfort and success in life than the prim and tedious Whitman.) Probably to counter the bad-optics spectacle of a slovenly character named Israel engaging in theft and fraud and generally being antisocial, screenwriters Nicole Holofcener and Jeff Whitty throw in references to Adolf Hitler and “terrible old fart the tyranny addict Joe Kennedy” to remind viewers of Jewish suffering during the Second World War. In truth, however, Can You Ever Forgive Me? is, all things considered, a celebration of balls-out chutzpah and Jewish talent at snookering the gullible goyim.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

Monsters and Men

If someone knew nothing about life on earth, and gleaned all they knew about the New York Police Department from watching Reinaldo Marcus Green’s bitch-burn-downer Monsters and Men – or, as I am dubbing it, Dindus and Dems – that viewer could hardly be blamed for believing that the NYPD exists primarily for the purpose of persecuting innocent people of color. The film is a bit reminiscent of Paul Haggis’s Crash (2004), but updated for the angrier decade of hands-up-don’t-shoot hoaxery. In a story inspired by the death of Eric Garner, a racist white police officer shoots a po innocent brotha jus tryna sell some loosies on the corner – and witness Manny (Anthony Ramos) must now decide whether to keep his head down to protect his family or release his camera phone footage to the internet and risk the repercussions. In another of its threads, Dindus and Dems traces the turmoil experienced by aspiring baseball star Zyrick (Kelvin Harrison, Jr.) who, after experiencing police harassment, finds himself attracted to a troublemaking BLM-style organization despite the expectations of his more conservative father. Thirdly, Dindus and Dems follows black police officer Dennis (John David Washington, who has inherited father Denzel’s voice), who finds himself torn between his loyalty toward the force, his firsthand knowledge of discriminatory policing, and his fellow blacks’ perception of him as a race traitor. It’s worthwhile to watch trash like this once in a while, if only to see just how far removed from reality liberals’ understandings of race relations are to the extent that they take their cues from corporate media messaging – and, as Dindus and Dems makes abundantly clear, we appear to be inhabiting entirely different planets.

2 out of 5 stars. Ideological Content Analysis indicates that Dindus and Dems is:

5. Anti-drug. After being stopped and searched by police officers, Zyrick goes home and flushes a packet of weed down the toilet, presumably because he realizes the trouble he would have been in had the police found the pretext to arrest him. Drug use is also mentioned as a potential barrier to professional athletic success.

4. Pro-AIDS. The community organizing horde that Zyrick joins focuses on black grievances but also advocates for “trans women”.

3. Pro-family. Dindus and Dems presents more than one example of caring fathers. As Zyrick’s trajectory illustrates, however, fathers do not possess ultimate moral authority and are subject to rebellion.

2. Anti-capitalistic – but only disingenuously so. “Look around. Just turn on the TV,” insists a black street corner poetess. “KKK walkin’ ‘round here free. No white sheets. White shirts and ties, all lies. Wall Street lookin’ far too familiar like the cotton fields of Virginia,” she conjures, equating the world of finance with southern plantation culture – rather than, say, kibbutzim. Wall Street would look “far too familiar” to writer-director Reinaldo Marcus Green, who, according to Filmmaker Magazine, slaved “for five years as a director of talent acquisitions in diversity on Wall Street.”

1.Woke. Dindus and Dems is set in the “tight-knit” Bedford-Stuyvesant neighborhood of Brooklyn, which also served as the setting for Spike Lee’s similarly provocative but rather more honest Do the Right Thing (1989). Ironically, this is also the neighborhood where police officers Wenjian Liu and Raphael Ramos were murdered “execution-style” in their patrol car by angry black psycho Ismaayil Brinsley in 2014. As Dindus and Dems would have it, though, it is innocent black men just trying to get home from baseball practice or cruise around listening to Al Green who are hunted by Nazi cops with impunity. “You got a hoodie on, for chrissake,” Zyrick’s father objects before his son heads downtown to participate in a protest – the implication being that this increases the chances that some white person will shoot him a la Trayvon Martin. Inspiringly, the end of the film presents sportsball as a safe and productive means through which blacks can voice their gripes.

Rainer Chlodwig von K.

Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

AltLeft.com

A couple of months ago, when an avalanche of Yang memes seemed to appear out of nowhere, Hunter Wallace pointed out (his youtube channel has been deleted so I can’t link to it) that this wasn’t organic, and that Yang was clearly getting a “boost” from somewhere. Wallace was certainly correct about that. It was clearly a coordinated, professional op, but by whom? I have some ideas about who was directing it and what the reasons were, but it doesn’t matter. It’s all speculation. It’s also hard to tell to what extent anything that originates from places like 4chan is even real anymore, or to what extent it ever was. That wasn’t Yang’s fault though. Many of his policies were good. If nothing else, $1000 a month is $1000 a month. Nothing else mattered. Yang’s candidacy was propelled in essentially a “pump and dump” scheme, similar to those…

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Aryan Skynet

Many years ago – sufficiently long ago that it was back when watching a VHS tape just happened to be the way a guy experienced video content if he hadn’t bought a DVD player yet, rather than it being an exercise in hipster consumerist nostalgia – I remember borrowing a cassette of a 1978 documentary, Blitzkrieg Bop, which profiles the “punk cult” that emerged around the Ramones and the CBGB scene in New York during the mid-to-late 70s. I’ve always remembered the corny tone of the narration and the hilarity of Village Voice journalist Robert Christgau proclaiming punk rock “very dangerous. It punk blitzkrieg bopcould lead to fascism. All of that is really true. No, you laugh,” he addresses those who would scoff. “All of that is really true. Yes, there is – there is an extraordinarily dangerous energy that these people are trying to unleash. How much of it there…

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Aryan Skynet

AryanSkynet has explained, since day one of Donald Trump’s campaign, that his purpose is to start a war against Iran for Israel. Trump’s famous Twitter account was used throughout the Obama administration to attack any attempt the administration might make to make peace with Iran. Trump immediately cancelled the anti-nuclear deal with Iran, at the behest of Israel’s Likud party and its leader Benjamin Netanyahu.

“America First”

While Trump won votes by promising to “build a wall” and end the massive immigration, Trump instead increased legal immigration and has done nothing to stop illegal immigration and abuse of the “refugee” system. Meanwhile, Trump has gone above and beyond for Israel, squandering American good-will and soft power to cater to the narrow interests of the Israeli Likud party. Trump did everything for Israel previous Presidents, Republican or Democrat, refused to do: move the embassy to Jerusalem, station US troops in occupied…

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Aryan Skynet

Howard Dean’s Semi-Clandestine Fundraising Network

Pete Buttigieg’s rise and fall was so fast and brief that he’s no longer topical. Last month he was the Democratic party flavor of the month, appearing on TV constantly and written about in all the important online properties. Now, he is back to obscurity.

Buttigieg’s rise and fall is interesting when you compare and contrast him with another Democratic politician with a flash-in-the-pan run for President: former Vermont Governor Howard Dean.

In 2004, Howard Dean emerged as a serious contender to take on incumbent Republican George W. Bush. Unlike the rest of the Democratic candidates, Howard Dean was willing to “go there” in the “9/11 era.” Not only was Dean taking Bush head on over the increasingly unpopular Iraq war and openly calling out the Bush administration for their lies about “Saddam’s weapons of mass destruction,” Dean even occasionally made dark hints about Bush…

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Aryan Skynet

Lightnin Hopkins Who’s afraid of Lightnin’ Hopkins?

Ever since Richard Spencer popularized the concept of the ethnostate within the Alt-Right, corporate media outlets have used the not-so-novel term as a scare word to associate white nationalism with “ethnic cleansing” and visions of an America plunged into chaos and terrorist violence. The reality, however, is that the ethnostate is a specter as old as civilization itself – and one that has always haunted the United States, regardless of whether it ever fully manifested itself as a formal reality. Discussions of the partition of the United States into ethnic zones have a long history in America, and perhaps the greatest tragedy of the American experience is that the can has been kicked down the road for so many years – centuries even – with talk of partition increasingly being relegated to the sphere of marginal neo-Confederate militia kookiness, the prospects seemingly less and less…

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Aryan Skynet

Senator Edward “Ted” Kennedy (1932-2009) was, depending upon whom you might ask, either “The Lion of the Senate”, champion of the common man and an inspirational symbol of perseverance in the face of familial tragedy, or one of the most reviled politicians in the history of the United States. For run-of-the-mill conservatives, Kennedy was just an inveterate big-government liberal and a drunkard whose principal claims to noteworthiness were his last name and the fact that he had fled the scene of the drunk driving accident that killed Mary Jo Kopechne at Chappaquiddick in 1969. “But the Kennedy that the right both demonized for being a liberal icon and praised [after his death] for his willingness to ‘reach across the aisle’ was one and the same,” writes Lance Selfa. “And the media punditocracy’s assessment of him – a doctrinaire liberal turned bipartisan dealmaker – says a lot about what they consider…

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Aryan Skynet

A week after the 2016 elections the CEOs of Google gave a remarkable speech to their employees where they admitted they had used their platform to literally “cognitively infiltrate” Americans in order to get them to vote for Hillary Clinton and acknowledged how disappointed they were that their efforts failed and began plotting how they could “hack” the next elections in order to ensure a win for the Democratic party.

During the Obama administration, Google.com worked directly with the government in order to stage coups and riots in Egypt, Syria, and other Arab countries to foment “regime change.” This “merger of state and corporate power” was celebrated and discussed quite openly in the American mass media, despite the fact that these were all people who identified as “progressives” opposed to “fascism” which they define as the “merger of state and corporate power.”

Like liberal Zionists, the double standard is a…

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