Archives for posts with tag: globalism

death

Will this animated adaptation of DC’s 1992 “death” of Superman storyline please those old enough to have read it when it first appeared? Considering that grown men still sufficiently juvenile to persist in taking an interest in comic book characters must have rather low standards for keeping themselves entertained, one assumes that it probably will. In between automobile-chucking super-brawls, personal drama involving the Man of Steel’s tense relationship with Lois Lane keeps this feature-length production from becoming overly monotonous – but, as with most superhero sagas, the ethnic subtext remains the most intriguing aspect.

3 out of 5 stars. Ideological Content Analysis indicates that The Death of Superman is:

5. Anti-Russian. Lex Luthor mentions having enjoyed a “private performance by the Bolshoi”, connecting Russia with supervillainy in audiences’ minds.

4. Anti-gun. A police officer’s passing reference to assault weapons highlights the danger to law and order posed by private firearm ownership.

3. Feminist. Strong, sarcastic, frowning women abound.

2. Black-supremacist, with blacks disproportionately represented in prestigious and powerful positions. The mayor of Metropolis is black, as are the two top scientists at S.T.A.R. Labs.

1.Judeo-globalist and anti-white. Superman, whose creation was a Jewish response to the Nazi concept of the Aryan superman and whose Justice League receives funding from the one-worldist United Nations, represents a confident Jewish self-concept, with Kal-El (interpreted by some as meaning “Voice of God” in Hebrew) being a Kryptonian (i.e., a crypto-Jew) who conceals his power behind the nerdy façade of the WASPy-sounding “Clark Kent”. Significantly, “Kent” occupies a position of influence in the media through his job at the globalism-evoking Daily Planet (although DC obfuscates Jewish control of the media which in this series is “White” via the newspaper’s editor-in-chief Perry). Kent/Superman is an effective arbiter of truth and justice as long as kryptonite is not utilized against him – i.e., as long as his enemies do not confront him with his secret Jewishness. Lex Luthor – whose name echoes history’s second-most-notorious critic of Jewry – almost seems to be explicitly criticizing Jewish influence when he decries “obsequious cretins who worship aliens, believing them to be the agents of justice. But I have seen the alien’s true face,” he explains. “I understand his threat.” Luthor’s subtextual anti-Semitism is then emphasized when he employs the German word “ubermensch”. It is moral exemplar Superman, however, who selflessly saves his archenemy when Doomsday comes.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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Rough Stuff

This enjoyable Australian outback adventure stars Gareth Rickards as Buzz, a rugged “rover” hired by a group of eco-activist weenies to get them across a difficult, mountainous terrain and to the site of a new American mining venture where they plan to film a documentary on the project’s environmental impact – and the sense of urgency to their mission gets ratcheted up a notch when Buzz realizes the group is being pursued by the relentless and enigmatic “Ranger” (Jono Cheal). The characters, though never developed too deeply, are likable enough, and the movie’s rapid pacing and wilderness setting prevent it from ever getting boring. Frizzy-haired slob Sam Glissan deserves a special mention, as well, for his supporting role as the salty and indomitable Scraps.

3.5 out of 5 stars. Ideological Content Analysis indicates that Rough Stuff is:

[WARNING: SPOILERS]

5. Abo-empowering. While whites are allowed to play the heroic roles, a bit of ethnomasochism does creep into the film at the end when Buzz, having discovered the site of a cache of gold, abstains from seizing the booty so as to let an elderly abo have it, the implication being that he is somehow more entitled to it for having a more organic and intimate connection to the earth. It is interesting to note, however, that Buzz nearly drives himself off of a cliff after virtue-signaling.

4. Green-ambivalent. Rough Stuff stops short of discrediting environmentalism altogether, but does suggest that those activist types drawn to such causes are frequently naïve, poorly informed, fanatical, or possessed of ulterior motives.

3. Anti-feminist. The comic supporting character Skye (Katie Garfield) represents feminists as obnoxious and unnecessarily combative. Not content to keep her viewpoints to herself, she more than once attempts to infect her more feminine comrade Tori (Hayley Sullivan) with her corrosive ideology, encouraging her to be more sexually assertive and insisting that the patriarchy has conditioned Tori to deny her true wants and needs. Skye’s militancy is revealed to be hollow, however, when – after stubbornly refusing to allow a man to carry her across a stream – she finds herself stuck and petulantly cries out for help. Her pampered stupidity, too, comes out when it suddenly dawns on her that there will be no ladies’ rooms available in the outback. Women can talk tough or even shoot guns, but ultimately require rescue.

2. Anti-corporate. The eco-activist group’s leader, Eric (Jamie Kristian), turns out to be plotting a terror attack on the mining concern – which plot in turn is revealed to be a scheme of the mining multinational to discredit conservationists. The corporation, in addition to staging a series of eco-terror false flags around the world and lobbying the Australian government for special privileges, is also skirting government regulations by initiating the exploitation of a new region before securing public permission.

1.Populist. Rough Stuff gives audiences a masculine, self-reliant, working-class hero in Buzz, and the movie evinces a healthy distrust of both left-utopian activism and nihilistic, big-business concerns. Traditional sex roles are reinforced, as is the dignity of the rustic Australian as opposed to globalizing and cosmopolitan forces.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

Circle

Feminist diversity cheerleader and global elitist Emma Watson stars in the near-future technological cautionary tale The Circle as Mae Holland, who goes to work for a Google- or Facebook- or Microsoft-like tech giant headed by the deceptively down-to-earth Eamon Bailey (Tom Hanks) and finds it an altogether more sinister affair than the mere professional advancement she had expected. The film is more satire than suspense, its nightmare scenario of a progressive social media company assuming the de facto function of government being too close to today’s reality to do much to shock the audience. Watson is, as always, pleasantly watchable, and colorful little character parts are nicely drawn by the supporting cast, which includes Karen Gillan, Bill Paxton, Glenne Headly, and an understated Patton Oswalt.

Three out of five stars. Ideological Content Analysis indicates that The Circle is:

3. AltMedia-skeptical. After a character dies onscreen, an anonymous social media poster claims that the death was faked – a critique of the trend for alienated and insular internet-dwellers to assume the use of crisis actors in any significant event.

2. Luddite! People behave better when they are being watched, the Circle determines, and “Secrets are lies” becomes its mantra. In addition to its Orwellian scenario, the movie is critical of people’s reliance on social media for interacting with their fellow humans. In one scene, Mae suggests to her old friend Mercer (Ellar Coltrane) that he should text her later to arrange a time when they can meet. He points out that they could just do that now, while they are face to face, which puzzles her. “I’ve never been touched by someone who loves me,” an anonymous commenter confesses, illuminating the alienation and cost in terms of real-life social capital that the internet represents for some users. A social media clusterfuck later leads to one character’s demise. Qualifying the criticism, however, director James Ponsoldt claims in one of the Blu-ray features that the megacorporation at least “means well”.

1.Anti-White. Mae (of course!) finds herself drawn to a hyper-intelligent black computer genius named Ty Lafitte (John Boyega), who (of course!) is the actual inventor of the innovation that has made the Circle so powerful. Perhaps unintentionally, however, the filmmakers’ attempt to create a seamlessly multiracial milieu contributes to the movie’s sense of claustrophobia and paranoia, with annoyingly intrusive Circle zealots Smith Cho and Amir Talai being noteworthy in this regard. In addition, there appears to be a reference to much of the anti-white power elite’s antinatalism when one character observes that, “No one at the Circle has kids.”

Rainer Chlodwig von K.

Transcript here.

space

The appropriately odd-looking Asa Butterfield is cast as Gardner Elliot, the first human being born on Mars, in an ultimate emo romance fantasy that might just as well have been titled The Perks of Being a Mars Baby. The loneliest teen in the universe, Gardner, orphaned when his astronaut mother (Janet Montgomery) dies giving birth to him, is restricted to the planet of his birth because his heart and bones, having developed in the gravity of Mars, are unsuited to life on Earth. Consequently, he lives and mopes among the scientists living on Mars but strikes up a touching internet correspondence with Tulsa (Britt Robertson), an alienated high school girl living back in the States. Eventually, after surgical modifications allow Gardner to make to journey to Earth, he of course rejects being grounded by NASA and hatches a plan to escape, meet Tulsa, and track down his father, about whom he knows nothing. Robertson is too attractive to be convincing as a high school outcast, but does create a tear-jerkingly irresistible chemistry with Mr. Butterfield, who is perfect as the quintessential socially awkward Gen-Z outcast hothouse flower. Gary Oldman, too, is commendably present as the complicated elder statesman of the Mars program. A sweet film, and heartily recommended to angst-ridden teens of all ages.

5 stars. Ideological Content Analysis indicates that The Space Between Us is:

5. Class-conscious. Blue-collar Tulsa steals a BMW, confident that the presumably wealthy owner can afford the loss.

4. Family-ambivalent. The horror of Sarah Elliot’s childbirth scene is arguably antinatalist; but the film is largely concerned with the hole left in young people’s lives by the absence of conventional family structures.

3. Green. The exposition suggests that the likelihood ecological catastrophe on Earth could serve as a motivator for colonization of other planets. Wind turbines, meanwhile, illustrate the availability of alternative energy sources.

2. Capital-ambivalent. Sam’s Club, Tulsa explains, is like shopping a million stores at once with a trillion dollars to spend. In other words, she appreciates the cheap goods that neoliberalism has made available to the consumer. Gardner becomes ill during a visit to Las Vegas, however, when he is confronted with the dark side of globalization. Gaudy imitations of world cities thrown together in one neon hodge-podge disorient him and prompt him to observe that these things are not supposed to exist side-by-side. During this same sequence, Gardner appears to be horrified at the sight of a mulatto child.

1. Sexist! The Space Between Us seems at first glance to be promoting feminism with its depiction of a valiant female astronaut leading a trailblazing Mars expedition. It quickly undermines this deception, however, by having her turn out to be secretly pregnant, demonstrating that men and women bring different liabilities to the workplace.

Rainer Chlodwig von K.

arrival

Arrival is a more intimate alien visitation story than most owing to its sensitive lead performance from Amy Adams (Man of Steel’s Lois Lane playing another lover of extraterrestrials) as a distinguished linguist drafted by the U.S. government to communicate with the occupants of one of twelve alien spaceships that land around the world. Kill the Messenger’s Jeremy Renner appears as the physicist who assists her. Arrival features some highly stressful and fascinating sequences, but loses a little steam as its bankrupt moralism becomes evident.

[WARNING: POTENTIAL SPOILERS]

4 out of 5 stars. Ideological Content Analysis indicates that Arrival is:

5. Green. The extraterrestrials’ craft demonstrates that highly sophisticated technology can be developed to travel at high speeds without producing an ecological footprint.

4. Feminist. It is women with brains and feelings, not men with guns, who will win peace for the world, the film suggests. The protagonist’s daughter plays at being a sheriff, her mother having empowered her to believe that girls can fill traditionally masculine roles.

3. Neoconservative. Russia and China, not the U.S., threaten global security with their idiosyncratic saber-rattling. Mention is also made of the Amy Adams character having helped the military translate a recording of Farsi-speaking “insurgents”, connecting Iran with terrorism in audiences’ minds.

2. Pro-immigration. Arrival functions partly as an allegory about western anxieties of demographic displacement. This subtext is made explicit when the viewer is treated to an excerpt of a blowhard conservative talk show host complaining about the alien presence. Lucky for Earth, the undocumented ones come bearing the gift of advanced parapsychological technology.

1. Globalist. Renner’s physicist feels – correctly, as it turns out – that the earth’s safety depends on his work with Adams rather than anything the military can do. It is sensitive, scholarly anti-racist academics to whom the world must look in order to understand immigrants’ needs and desires and the ways in which all beings’ interests are intertwined. The appropriately octopus-like Heptapods – reminiscent of the Twelve Tribes of Israel – visit the planet in twelve massive ships in order to gift humanity with their nonlinear, brain-reconfiguring language, a sort of intergalactic Esperanto through which a one-world order will be brought about. Something vague is said about how the Heptapods will collect on the debt in 3,000 years, at which point something akin to a horrible plague will develop. Screenwriter Eric Heisserer thereby seems to acknowledge that the “gift” of globalism will ultimately result in decay and death of the host, but seems to expect the viewer to feel that the joy of experiencing nation-erasing Jew World Order parasitism will somehow be worth the price.

Rainer Chlodwig von K.

Prick Cadillac

Oozing down the street, indeed. Make no mistake, fellow social justice warriors: Bruce Springsteen is pure, unadulterated pink slime.

[Ideological Content Analysis is both pleased and privileged to bring readers this thought-provoking and patriarchy-challenging guest post by Rokuro “Rocky” Roth-Hideyoshi, roving pop correspondent for Beat/Down: A Journal of Queer Quriticism and Aural Experience.]

Does any circumstance better illustrate the unrepentant heteronormative and intra-racial supremacy of corporate radio than the fact that “Pink Cadillac”, Bruce Springsteen’s hate-saturated 1984 B-side to the disturbing “Dancing in the Dark”, continues to receive occasional airplay on nominally non-Aryanist networks and to be hosted on YouTube and other popular websites without censorship or content disclaimers? As Kevin Ransom writes, it is one of those “songs that have practically been pounded into cliché by super-heavy radio rotation.” Springsteen’s ersatz protestations of anti-racist commitment are never convincing – a case, one suspects, in which, as Hamlet would put it, “the hater doth protest too much” – and even assuming the “Boss” has the best and most progressive of intentions, his social justice eruption insurance premium is always going to be on the high side in view of the unforgettable wreck that constitutes his “Pink Cadillac”.

An unabashed paean to European-American sexual exclusivity as well as a puerile celebration of priapic chauvinism, “Pink Cadillac” concerns the leering interest of its self-aggrandizingly amorous protagonist in the “back”, i.e., posterior, of a womban’s “Cadillac”, or objectified, dehumanized, commercialized, and customized “crushed velvet” body – conceptualized in this instance as an empty vehicle-vessel requiring a licensed (i.e., privileged) driver – which is, of course, to say an owner. “But my love is bigger than a Honda, it’s bigger than a Subaru,” he insists, betraying his insecurity while at the same time perpetuating the adolescent cruelty of the miniature Asian male sexual organ stereotype. Springsteen is one of those white men who only feels adequate when he has succeeded in making the other – in this case, the “yellow man” he fantasizes about killing in “Born in the U.S.A.” – feel small and marginalized.

The economic context, one must also remember, found the American worker and music consumer – Springsteen’s primary audience – uncertain about the future of their country’s industrial base in the face of Japanese electronics and automotive competition after nativist propagandists had largely succeeded in riling white Americans into a paranoid frenzy about global trade and the opportunities this presented for economic development in an increasingly interconnected and justice-seeking planetary order. The butt-wiggling braggadocio of the “Boss”, then, must have provided a powerful salve to the chafed egos and bruised sexualities of a generation of self-absorbed and privileged white males in desperate need of perpetual reassurance. Losing at one game, he plays another: reproductive protectionism.

Bruce Springsteen

In 2016? Really?

“Honey, I just wonder what you do there in the back of your Pink Cadillac,” he declares, hovering hairily over the listener, who feels herself almost compelled to detect the beer that is undoubtedly on his breath. He positively belches a pushy, intrusive curiosity about the sexual history of an unnamed female-gendered person, and one is left to glean from the rapist protagonist’s later reference to Eve that Springsteen is addressing a womban. Invading her mental and physical space, he commands her to “come on over here and hug me” in an attempt at projected volition so as to facilitate his intention of sexual assault and simultaneously implicate the victim as an accomplice in his own act of non-consensual violation. His invocation of Eve, too, serves to shame the target of his transgression into complicity by establishing a useful correlative with the temptress of myth.

The song, which Springsteen wrote in its first version under the rapey title “Love Is a Dangerous Thing” in 1981, took on anti-Semitic and white supremacist overtones as it devolved into what would become the honky-tonk clunker “Pink Cadillac”. In an erratic aside, the “Boss” – knowing he has the undivided attention of his impressionable audience – actually interrupts the assault to address his male listeners specifically, wishing to issue a warning to them about an imagined Jewish peril. “Well, they tempt you, man, with silver, and they tempt you, sir, with gold,” he rants, going on to espouse the canard about how the Joooooooz also “tempt you with the pleasures the flesh does surely hold.” Honestly, Mr. Springsteen? In 1984? The “Boss” confirmed for the world the depth and grossness of his anti-Semitism and sexism when he forbade peerless diva Bette Midler to include a cover of “Pink Cadillac” on her 1983 album No Frills.

Springsteen also revealed his frightening adherence to the white supremacist beliefs of the Christian Identity cult when he prefaced a live 1984 performance of “Pink Cadillac” with these contextualizing remarks: “Now, this is a song about the conflict… between worldly things and spiritual health… between desires of the flesh… and spiritual ecstasy… now, where did this conflict begin?… well, it began in the beginning in a place called the Garden of Eden… now, the Garden of Eden was originally believed to have been located in Mesopotamia… but the latest theological studies have found that its actual location was ten miles south of Jersey City, off the New Jersey Turnpike… now, understand, in the Garden of Eden, there were none of the accouterments of modern living… I mean they didn’t have no Laundromats, they didn’t have no like, like little toasters you could put your Pop-Tarts in and then watch Johnny Carson on TV…”

Relocating the Garden of Eden from the geographical Middle East to some presumably pristine white enclave of the American imaginary when it was still free of the tacky consumerist dreck and mass media “brainwashing” peddled by the stereotypical Jewish merchant caricature of anti-Semitic propaganda, Springsteen casts Adam as the progenitor of the Aryans, whom he believes to be the living embodiment of Israel. BDS activists have attacked Springsteen for the singer’s apparent willingness to tour the Zionist state this summer; but these misguided crypto-racist neckbeards miss the point entirely. Springsteen, if the dark history of “Pink Cadillac” is any indication, is venturing to Israel not to entertain the evil Joooooooz, but to conquer and occupy what he, in the fever of his sweaty, race-crazed delusions, regards as the rightful lebensraum of the Aryan Nations of Jersey.

No wonder a 2012 study found that listening to Bruce Springsteen music for seven minutes can turn normal people into racists!

Rokuro “Rocky” Roth-Hideyoshi

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1Xyv1Hw

gunman

Sean Penn, who co-scripted, plays an ex-mercenary haunted by his assassination of a Congolese mining minister. Eight years later, now a damaged man in more ways than one, Penn discovers that someone with knowledge of his past has put out a contract on his life. Penn spends as much of the movie as possible shirtless so as to show off his impressive physique, and in one scene even taps into his inner Spicoli and catches a few African waves.

Less incendiary than one might expect for a Joel Silver production, The Gunman is an action movie that wants desperately to be an art film, aiming for poetic moments like that in which a battered and dying assassin is juxtaposed with a matador’s speared bull. The action, once the movie gets around to it, however, should be brutal enough to compensate for the more pretentious material. There is also a love triangle to keep the women interested.

4 out of 5 stars. Ideological Content Analysis indicates that The Gunman is:

6. Anti-tobacco. “That’s really healthy,” Ray Winstone says sarcastically on seeing Penn light a cigarette.

5. Anti-marriage. Penn’s love interest (Jasmine Trinca) regards her creepy husband (Javier Bardem) as a creditor, her loveless wifely duties the repayment of an obligation.

4. Multiculturalist and pro-immigration. European-accented non-white professionals put in a good word for immigrants’ ability to assimilate into western societies. London and Barcelona appear as peaceful and orderly multi-ethnic metropolises. Penn atones for his sins by working to improve the lives of Africans.

3. Ostensibly anti-war. Rape and machete attacks are noted as weapons of war in the Congo. Penn’s combat experience has left him with brain damage.

2. Anti-capitalistic. Corporatocracy is behind the world’s evils, with the “growing demand of the western world” to blame for the Congo’s sufferings.

1. Globalist, giving the false impression that NGOs (non-governmental organizations) are strictly humanitarian and apolitical entities. In reality, NGOs are frequently the unconventional tools of Zio-American foreign policy and therefore have been dubbed “missionaries of empire”. Brit-accented television reporters – still more tools of Zio-American globe-grasping – are presented as reliable sources of information. That the poster has the chutzpah to say both “armed with the truth” and “from the director of Taken” probably says all that prospective viewers need to know.

Rainer Chlodwig von Kook

Have shopping to do and want to support icareviews? The author receives a modest commission on Amazon purchases made through this link: http://amzn.to/1R9zWPB

The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY TWENTY-FOUR

Pussy Riot

Daryl Hannah ought to be tarred and feathered for agreeing to narrate this piece of shit, positively one of the worst, most hideously ugly and unappealing documentaries of the decade. Perhaps best viewed as an inadvertent comedy, complete with Jewish handwringing about corruption and the need to uphold the Russian constitution, its robust aroma is made the more pungent by slapdash subtitles, bad acting, and tiresome samples of Pussy Riot’s monotonous, wailing “music”. During the course of this particolored cavalcade of tedium, the saints of Pussy Riot are likened to Elvis Presley, Joan Baez, John Lennon, Joan of Arc, and even Michelangelo – and without the slightest indication of irony.

The “evil man” Putin, on the other hand, is compared to Joseph Stalin, Tsar Nicholas I, and Francisco Franco, and repeatedly depicted as a “fascist”. “This is a country where people die from dissent,” charges Masha Gessen. Performance artist Oleg Kulik has the most sidesplitting lines of this circus, funnier for being delivered with the utmost earnestness: “We are in the heart of a Satan and the heart is beating. Black blood is pumping like oil. The girls have poked the devil’s eye and the devil screamed ‘I am God!’ And the girls say, ‘No, you’re not God. You’re the devil,’ so it’s an argument between them. Is he a devil, or is he a God? It is an existential argument.”

Another chuckle comes from the sight of young women in rainbow-colored terrorist ski masks accompanied by the assertion that a rising generation of young Russians has a “desire to live in a normal country.” “Thank you, Madonna! Thank you, Red Hot Chili Peppers!” the girls exclaim for the solidarity shown them by the American entertainment establishment. The group needs all the help it can get when faced with a dictator like Comrade Putin. One of the silliest statements in the film is the weepy telling of how the members of Pussy Riot “were arrested in a dark street in Moscow.” Imagine the shame of the thing! Arresting these world-famous artistes in a street that was not even properly lighted!

Pussy Riot: The Movement earns a star and a half for its unintentional humor. Ideological Content Analysis, meanwhile, indicates that this pile of Jew dookie is:

4. Pro-AIDS. Jewish faggot Masha Gessen, who has admitted that her advocacy of “gay marriage” has the purpose of destroying the institution of matrimony, is one of the wholesome voices of anti-authoritarian courage featured in the documentary. The Pussy Riot girls are also shown cavorting and howling about homosexual “rights”.

3. Anti-Christian. “Sexism, persecution, and torture” follow from church involvement in state affairs. The Russian Orthodox hierarchy is portrayed as corrupt, oppressive, and avaricious. The entire film celebrates the Pussy Riot sluts for their desecration of Christ the Savior Cathedral, which, one of the interviewees suggests, may come to be known to history as Pussy Riot Cathedral. Francis Carr Begbie of The Occidental Observer adds:

Pussy Riot is also supported — in a circuitous route — by the Soros-funded National Endowment for Democracy. Could it also be that support of groups like Pussy Riot is part of a parallel Jewish strategy of debasement and corruption of Christian morality? As Professor Nathan Abrams wrote, the very prominent Jewish involvement in porn was a result of the “atavistic hatred of Christian authority” and a desire to “weaken the dominant Christian culture.”  Is it so much of a stretch to view Jewish support of these groups as part of the same agenda?

2. Feminist/pro-slut, with Russia depicted as some sort of hell hole of sharia-style patriarchal totalitarianism where women are obligated to cover their heads in shame. “It’s an act of love among dead nature to show that there is at least something living in this country,” Kulik says of a public orgy in which one of the Pussy Rioters participated.

1. Zionist, smearing Putin and Russia in accordance with neoconservative aims. Pro-Israel Jew Senator Benjamin Cardin is spotlighted for his work in raising awareness about the gentile evil being perpetrated in Russia. The narration even tosses in a jab at Iran for alleged corruption. Interviewees, in addition to the disease-exuding Gessen, include Pussy Riot’s Jewish lawyer, Mark Feygin, and gallery owner Marat Guelman, who whimpers piteously: “Because now what we have, Stalin come back.” There is, too, an echo of “Holocaust” propaganda in Pussy Riot: The Movement’s characterization of Russian prisons as concentration camps where women are (so the story goes) fed stale bread and rotten potatoes, made to stand naked outside in the cold, and prevented from using a toilet. Jewish billionaire oligarch Mikhail Khodorkovsky is presented as a rival of Putin – perhaps the only politician who could lead Russia to freedom! – but those susceptible to such rubbish are advised to read what Ronald L. Ray of American Free Press has written about this parasite:

It is Russia’s President Vladimir Vladimirovich Putin, a former communist, who stands in the breach, while bankers and internationalists promote the likes of Mikhail Borisovich Khodorkovsky, a Russian Jewish oligarch with billions of dollars to use for the re-enslavement of the former Soviet Union. […]

Although convicted of tax evasion and moneylaundering—a conviction upheld by the European Court of Human Rights—Khodorkovsky has been portrayed by Western media and politicians as a “political prisoner” because he opposed Putin. He is the poster boy for the plutocratic fight against Russian nationalism and economic independence.

But according to a January 3 report in Germany’s National-Zeitung, even defenders of the 50-year-old multi-billionaire are forced to admit that his wealth is ill-gotten. In just 15 years, the young communist son of modest engineer parents amassed many billions of dollars under the aegis of former Russian President Boris Nikolayevich Yeltsin. He was one of a handful of Jews who were given free rein by Yeltsin to enrich themselves by gaining control of much of Russia’s wealth and politics […]

As Yeltsin’s energy minister, Khodorkovsky used his now-bankrupt privately-owned Bank Menatep, for shady real estate dealings and to purchase a controlling interest in the defunct Yukos Oil Company at a fraction of its value. The Yukos production division in Russia sold the oil at minimal profit to the distribution division, located in a foreign tax haven, which then sold the oil to American and Jewish interests at market rates. Khodorkovsky and his partners profited immensely and paid little or no taxes. When a local Russian mayor spoke out about Yukos’s refusal to pay taxes, a Khodorkovsky partner was implicated in the contract murder of the official.

Khodorkovsky was accused of stealing 200 million metric tons of oil from Russia—half the Yukos production—via his business practices. Thus, it was natural that, under Putin’s efforts to break the international bankster grip on Russia and regain control of natural resources, Khodorkovsky would be investigated for selling those resources out of the country.

Not surprisingly, Pussy Riot: The Movement executive producer Marianna Yarovskaya – clearly a principled crusader for truth – is a former employee of Zio-globalist operations Greenpeace and Voice of America. She was also the head researcher for global warming scare film An Inconvenient Truth. Unsurprisingly, too, given the group’s Jewish and globalist NGO connections, Pussy Riot has most recently thrown the weight of its tawdry celebrity wholly behind the “refugee” invasion of Europe.

Rainer Chlodwig von Kook

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The Ideological Content Analysis 30 Days Putsch:

30 Reviews in 30 Days

DAY SEVENTEEN

Maleficent

After decades of speculation about her actual physical form, Angelina Jolie appears without makeup or airbrushing software in Oy Gevalt Disney’s Maleficent. For years her horns and razor-sharp cheekbones have remained hidden, digitally erased through the wonders of CGI; but now the moviegoing public can finally see for themselves what a witch Brad Pitt pledged to fuck on a regular basis in exchange for worldly celebrity in a Luciferian pact with the Globalist Nazi Illuminati Council on Foreign Relations.

[WARNING: SPOILERS]

4 out of 5 stars. Ideological Content Analysis indicates that Maleficent is:

5. Globalist. Rival realms are united after the death of a king (Sharlto Copley). War will be obviated by the erasure of national borders.

4. Multiculturalist. Disney managed to dig up a few medieval European blacks for extras.

3. Pro-gay. Only “true love’s kiss” can awaken Aurora (Elle Fanning) from her slumber. Of course, Maleficent’s creepy lip-squish does the trick. “I’m going to live here in the moors with you,” Aurora has said earlier. “Then we can look after each other.” Maleficent teaches little girls that men, and especially white men, are not to be trusted unless weak and dim-witted. “Fairies” are the good characters, whereas men are evil.

2. Misandrist. The only positively depicted males are an apparently lobotomized prince (Brenton Thwaites) and a shapeshifting furry omega (Sam Riley). In a kid-safe evocation of “rape culture”, Maleficent is drugged on a date of sorts and has her wings clipped while she sleeps. Armies of senselessly violent (and mostly white) males rampage over the countryside, hell-bent on oppressing women and diverse magical creature populations.

1. Cultural-Marxist. Up is down and down is up. A hideous monster in the fantasy world of this movie is “classically handsome”. Maleficent, described as “both hero and villain”, purports to be “strongest of the fairies”, but anybody with a preschool education knows a being with horns growing out of its head is called a devil. This is one of myriad movies in which the traditional symbols of evil, as in Little Nicky and Dracula Untold, have been transformed into sympathetic characters – a process discussed at greater length here.

Rainer Chlodwig von Kook

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Fear of Blogging

"With enough courage, you can do without a reputation."

Alt of Center

Life. Liberty. And the Pursuit of Beauty

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