Archives for posts with tag: FDR

Regular readers may have noticed that output here at Ideological Content Analysis has slowed to a pitiful trickle over the past several months. Believe me, there is a perfectly wonderful reason for this, as I concentrate on bringing my long-in-the-works book, Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies, to completion, with publication tentatively projected for the early months of 2018. In the meantime, just to tide readers over, here are a couple of little politico-speculative fiction reviews I penned a few years ago but never bothered to post online. Enjoy!

[UPDATE: Protocols of the Elders of Zanuck is available to order now!]

My First Days 1

Long, Huey Pierce. My First Days in the White House. Harrisburg, PA: The Telegraph Press, 1935.

A book as silly and ambitious as the American political titan who wrote it, this novel constitutes Long’s “prophecy” detailing his plans for grandiose public works projects and massive redistribution of wealth. Long’s appointment of FDR as Secretary of the Navy is disconcerting, to say the least, but mitigated in its enormity by the selection of Smedley Butler as Secretary of War. Another of the book’s suggestions is the democratization of the mega-corporations by mandating shares for the proletariat – a proposal of potential interest to those who favor a national-socialistic solution to the conundrum posed by the Zionist media. My First Days in the White House inspired Michael Collins Piper’s work of the same title.

My First Days 2

Piper, Michael Collins. My First Days in the White House. Washington, DC: American Free Press, 2008.

In this, his only ostensible novel, Michael Collins Piper imagines a Second American Revolution, in this case directed against Zionist power, which occurs in the wake of a cataclysmic neocon blunder against Iran. Piper, relating the story in the form of a memoir, tells of how he is swept up by the tide of revolution and unexpectedly placed in the presidency, in which position he oversees a program of nationalist reforms. Following not a few fairly dull pages of exposition, My First Days in the White House picks up steam as Piper assumes the reins, selects his cabinet, brings Zionist power “to heel”, and holds informal tete-a-tetes with such figures as Bill and Hillary Clinton and, in the novel’s best and most intimate scene, deposed president George W. Bush. Aspects of the book – such as the author’s selection of Barack Obama as a “valued advisor” – are frustrating, but this is in keeping with Piper’s dogged individuality; and, to be fair, the world had yet to witness the naked wreck of the Obama presidency when My First Days in the White House was written. While Piper’s suggestions that the money supply be nationalized and that the federal income tax be abolished are perfectly practical, his treatment of America’s problems with race, drugs, and crime is rather too sunny and optimistic, with others of his implementations sounding naively socialistic. The principal weakness, however, is that the revolutionary regime is simply too kindly, polite, and inclusive; “The Day of the Rope” this is certainly not. Piper is by no means a great novelist, but the premise of his book is irresistible, and the evocations of mob violence, however brief, against the likes of John McCain, Rudy Giuliani, and Richard Perle furnish pleasant escapism, if nothing else. Also reassuring is that neoconservative war cheerleaders like Hannity, Limbaugh, Ingraham, and O’Reilly have their assets seized and are barred from working in the media. My First Days in the White House also contains a number of interesting anecdotes and digressions on little-known historical episodes.

Rainer Chlodwig von K.

 

Council on Foreign Relations creature Angelina Jolie directs Unbroken , a.k.a. (as it shalt be known for the purposes of this cinematic exegesis) The Unbroken Passion of G.I. Goy, the Judeo-Christian fable of Olympic athlete Louis Zamperini (Jack O’Connell), his war service to organized Jewry, and his long and not particularly interesting tenure as a P.O.W. Equal parts war movie, survival story, and prison film, The Unbroken Passion of G.I. Goy’s most satisfying passage is the section in which Zamperini and two other survivors of a plane crash are stranded at sea for more than a month in a lifeboat. For the remainder of the film, Zamperini stoically endures forced labor and regular torture at the hands of the Yellow Peril. One might have expected something more engaging (or at least more divertingly offbeat) from screenwriters Joel and Ethan Coen, but what the audience gets is tolerable, if judged by the standards of neocon fodder.

3.5 out of 5 possible stars. Ideological Content Analysis indicates that The Unbroken Passion of G.I. Goy is:

4. Sodomy-ambivalent. Showing their solidarity with the globalist gay agenda, P.O.W.s put on a drag show. A pox on progressive internationalist Angelina Jolie, however, for resorting to the cookie-cutter homosexual villain type in the characterization of Commander Watanabe (Takamasa Ishihara). Shame on her and the Coen brothers for their clearly unreconstructed Hollywood hetero-fascism!

3. Pro-immigration. Zamperini serves as the poster boy immigrant son whose mother still speaks Italian. Bigoted Anglo-Saxon boys pick on him and call him a “wop”, unaware that he will go on to become a war hero and suffer his Unbroken Passion for all of their sins of WASP privilege. Even his underwhelming eighth-place finish in the 5,000 meter race at the Berlin Olympics is treated as an immaculate triumph for America, democracy, and equality, a companion feat to that of fellow diversifier Jesse Owens (Bangalie Keita), and the film actually attempts to give the impression that the crowd in Olympic Stadium is cheering for Zamperini.

2. Ostensibly Christian. Zamperini, initially an agnostic or atheist, is eventually moved by the Spirit to become the personal Jesus of his fellow P.O.W.s. In the triumphant moment of his Unbroken Passion, Zamperini is made to lift a cumbersome beam, the framing unsubtly calling to mind Christ’s bearing of the cross, after which he must stand crucifixion-like with it or be shot by the sadistic Jap-Romans.

1. Pro-war. The opening shot of The Unbroken Passion of G.I. Goy is a dreamscape of clouds accompanied by the singing of a chorus as of angels. Soon the angels materialize as American bombers doing the righteous bidding of FDR’s Yahweh-state. In The Unbroken Passion of G.I. Goy’s most laughable scene, a P.O.W. falls to his knees and weeps on hearing the news that FDR has died. Oh, no! God is dead! Yes, seventy years later, the Jew World Order is still cranking out stupid WW2 propaganda movies – in other words, hardcore porn for folks like the annoyingly coughing old Tea Party type who sat behind this reviewer and commented with a reverent and wistful air during the trailer for Selma that “if they hadn’t killed him, things’d be different today.”

Make no mistake: the tableaux of ruined Jap buildings and bodies is included not to evoke sympathy for the victims of Allied war crimes, but as a warning of what can be expected to befall any Eastern powers attempting to resist the will of ZOG. (Malaysian jet pilots, are you reading this?) The detail that the Japanese have beheaded some prisoners is no doubt intended to engender a subconscious psychological continuity between the viewer’s experience of the still highly marketable “good war” against nationalist Europe and Japan and the current money pit conflict against “ISIS” (Israeli Secret Intelligence Service?).

Rainer Chlodwig von Kook

2007’s Superbad marked a very welcome return to form for the raunchy teen sex comedy, a genre fallen on seemingly incurable black days after its 1980s heyday.  Superbad‘s call to arms, unfortunately, seems to have gone unnoticed by any filmmakers of notable talent, with Fun Size, Nickelodeon’s foray into lightweight (PG-13) teen sex comedy territory, landing instead like something of a soggy firecracker.

Gorgeous high school students April (tv tart Jane Levy) and Wren (tv tart Victoria Justice) – a nod to Stimpy’s Nickelodeon guyfriend? – are, we are expected to believe, socially insecure and not cool enough to feel that they have a chance with the likes of studly musician classmate Aaron (tv tart Thomas McDonell, “the next Johnny Depp”, as one IMDb user salivates), whose Halloween party promises to be the social event of the season.  Unfortunately, after being invited, Wren gets saddled by her slutty single mother (Chelsea Handler) with babysitting her tubby little brother (Jackson Nicoll), who delights in torturing her with his toilet humor and pranks.  Meanwhile, nice nerdy guy Roosevelt (Thomas Mann – the actor, not the author) pines for Wren’s affection and intellectual companionship, while his token minority buddy Peng (Osric Chau) lusts after kitty-costumed April.  Will Wren’s social life survive the night?  And, more to the point, will anyone in the audience care?

What could have been a happy, human, nocturnal teen comedy after the model of Sixteen Candles or Adventures in Babysitting ends up as a plastic, calculated exercise in nasty teensploitation.  Thomas Middleditch provides some amiable amusement as wimpy convenience store clerk Fuzzy, who befriends Wren’s mischievous little brother, and there are a few moments of mild hilarity, such as a knob broken off a car radio during a particularly annoying song, and the randy giant chicken sight gag featured in the trailer.  Overall, however, Fun Size is too miserly in heart to redeem itself as it depicts a sadistic, casually tawdry, filthy suburban America full of liberal intellectuals and growling barbarians, directionless women hungry for sex, overweight slobs, Obama voters and future serfs – and finds very little amiss.  This is a rotting world where women openly chat about their mammograms without shame and as if anyone could possibly care; a self-loathing civilization in which a little black boy in a Spider-Man outfit gives audiences a chuckle by calling a white girl “bitch”.

Ultimately, though, what’s worst about Fun Size is that it simply isn’t terribly funny.  It gets a grudging 2.5 of 5 possible stars, I suppose.

Ideological Content Analysis indicates that Fun Size is:

11. Antiwar.  Sarcastic reference is made to “Afghan citizenship” – a reminder of neoconservative failure in the Middle East.

10. Multiculturalist.  Races mingle freely and in friendship.  Hip-hop is an educational tool.  Spider-Man “looks like a Mexican wrestler”.  And, last but not least, bow down before Ruth Bader Ginsburg, bitches!

9. Drug-ambivalent.  Fuzzy warns about the danger of smoking around children after earlier jokingly offering chewing tobacco to Wren’s little brother.  Sexy young people do shots at a club before getting hot and heavy on the dancefloor.  A thug abuses Pepto Bismol.

8. Obesity-ambivalent.  Junk food is the key to the little brother’s heart.  He’s insulted for being fat, but nobody even tries to change his sugary, greasy eating habits.  Fuzzy indulgently gives him packets of sugar.  Overweight Polynesians also provide visual comic relief.

7. Anti-gun.  As part of his Aaron Burr costume, Peng sports an antique pistol – the representative gun is thus an anachronism clashing with enlightened modernity.  He fires the weapon at one point and, though it intimidates a bully, Peng himself clearly finds the experience more frightening than fun.

6. Pro-gay.  Roosevelt was raised by caring and cultured lesbian mothers.  When Aaron, at his party, asks who would like to kiss him, one boy raises his hand along with all the girls.

5. Anti-white male/pro-castration.  Manly men are antagonistic and primitive savages and constantly raising hell whether by stealing, theatening violence, or abducting and holding a child for ransom.  Kicked testicles are an occasion for humor.  Positive portrayals of men in Fun Size are limited to sissy, skinny, sensitive types like Roosevelt and Fuzzy and nerds like Peng.

4. Statist/pro-serfdom.  Roosevelt’s new age lesbian mothers, who presumably named him after crippled American dictator and welfare state Santa Claus FDR, “evolve” spiritually and as artists as they weave a tapestry of a smiling Barack Hussein Obama.  Roosevelt, like Wren, is a “fan of the Supreme Court”.  Wren does her part to inflate the college debt bubble by applying to NYU.

3. Pro-slut/anti-family/dysfunction-tolerant.  The mother whines about how hard it is being a single mother but also seems to find unaccountable bragging rights in this.  Kids are a hassle and Trojan condoms get the appropriate product placement.

2. Pro-miscegenation.  April inadvertently catches a steamy case of yellow fever after letting Peng feel her breast at a party and goes to bed (couch, actually) with him the same night.

1. Feminist.  For Halloween, Wren considers dressing as “feminist icon” Ruth Bader Ginsburg, who gets name-dropped an obscene number of times for a dumb teen comedy.  Katie Couric, meanwhile, is praised for being “so brave”.  April experiences painful burning after applying Nair to her ass – and thus is punished for wrongheadedly catering to men’s sexually domineering expectations of female hairlessness.  Wren’s mom bares her teeth and intimidates Roosevelt by boasting that she’s a single mother (and therefore a force to be reckoned with) before handily wrestling him to the ground like a pro.

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