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Gelatin, Arc de Triomphe, 2003

Gelatin, Arc de Triomphe, 2003. (ZOG celebrating a smash success)

As many 9/11 conspiracy buffs and researchers are already aware, one of the most bizarre and mysterious facets of the event’s surrounding mythos is the covert presence of the “Austrian” art group Gelatin (or Gelitin) in the North Tower in 2000 and the resulting conceptual art stunt known as “The B-Thing“. The team, living secretly inside the building, installed a balcony outside the 91st floor, with a few participants finally taking a bow, as it were, and being photographed from a helicopter. What is disturbing is that the prank is known to have been facilitated by the Mossad-linked Lower Manhattan Cultural Council.

A limited edition book documenting the “B-Thing” project was published in the months leading up to 9/11, and it contains what can only be characterized as suggestions of foreknowledge of the attacks. The true nature of Gelatin’s work inside the WTC remains a matter of speculation, but photographs produced in The B-Thing show thought-provoking stacks of boxes. A conspiratorially evocative preface is credited (let the reader be mindful) to “Tex” Rubinowitz, a rockabilly singer and/or cartoonist and/or TV actor – a man or men, in other words, who could hardly be expected to top a list of likely terror suspects.

"Tex" Number One

“Tex” Number One

Just who is “Tex” Rubinowitz, really? Bizarrely, there are actually two men who have used this name. A 1987 profile of “Tex” Number One by Buzz McClain in the Fairfax Journal describes him as follows:

The first time you hear his name you chuckle to yourself. Tex Rubinowitz. It is a comical-sounding name, one with built-in humor. Tex Rubinowitz. The humor stems from the contradictions. What is he, a cowboy rabbi? How many Jewish cowboys are there? But to area fans of rock and roll music, Tex Rubinowitz, who is neither Jewish (he was raised Southern Baptist) nor a cowpoke, is a legend. The singer-songwriter has had a hit record (“Hot Rod Man,” which hit even bigger in Europe) that appeared on a movie soundtrack (“Roadhouse 66”). His bands have sold out nearly every nightclub in the region. His live performances have been hailed by critics as vibrant celebrations of nitty-gritty rock and roll.

Other musicians seek his counsel and engage him to produce their records. But despite the loyal following, Rubinowitz has been frustrated in accomplishing the crossover from local notoriety to national fame. At age 43, it would seem that Rubinowitz’s biological metronome is winding down. But guess what? Rubinowitz, who says he has already had a comeback, followed by a “last-ditch effort,” is gearing up once again.

Arthur Lee Rubinowitz was born in Texas in 1944 to Stanley and Arthurea Rubinowitz. While on his way to becoming a full colonel in the Army, Stanley brought his family – which includes Tex’s younger brother Ben – to the Washington area. They settled into a comfortable house in suburban Springfield, where the four remain together today. Stanley retired from the military, taking a position with the federal government. Arthurea, who was a schoolteacher and later a school principal, began a career with the Fairfax County school system. She eventually retired as an assistant school superintendent.

In 1962, Tex, who was then a student at Lee High School, started playing the guitar. He graduated from Lee in 1963 and attended the University of Southern Mississippi in Hattiesburg for less than a year before returning home. In 1970, he began his career in music, playing small local clubs. “I didn’t know what to do, I just knew I wanted to do it,” he says. He made his first music-related dollar two years later. The Cassaloma Cowboys, Rubinowitz’s first band, performed and recorded from 1975 to 1978; in 1979 he formed Tex Rubinowitz and the Bad Boys, the band that would establish and perpetuate Rubinowitz’s foothold in the music world.

Their singles, “Hot Rod Man” and “Bad Boy”, received airplay on hundreds of progressive and college radio stations around the country. Their live shows consistently drew large audiences; the band set the house record at the defunct Wax Museum nightclub in Washington when some 1400 people (400 more than the legal limit) packed the place.

Rubinowitz’s looks are as memorable as his name. He is tall, somewhere in the 6-foot-3 region, and slender and his dark brown hair has given way to an attractive, if premature, gray. He wears his hair short, with a sweep to the left. During a performance, he sports an authentic slicked-back ducktail that funnels into a long, tubular curl dangling past his forehead. He is generally seen in sunglasses: He forsakes his real-life nerdly Wayfarers for hipper aviator frames on stage. (Behind the glasses is a pair of clear blue eyes.) With his curl and shades in place and his acoustic guitar strapped around his neck, Rubinowitz certainly looks the part of heartfelt rock ‘n’ roller. And when he sings, the judgement is verified. Rubinowitz possesses a natural, deep-bodied baritone that rolls like Appalachian thunder.

Although he does not seem weary or burned out, rock ‘n’ roll has interfered with Rubinowitz’s “normal” life. For instance, rock ‘n’ roll has kept him from getting married: “I’ve been close three or four times,” Rubinowitz says, his clear baritone softening. “I’ve always been a little obsessive about music… But my father didn’t get married until he was in his early 40s.” Then he adds: “To get married I have to get successful in music or get out of it.” What will he do if he gets out of music? “Get a job,” he says quickly and to the point. “Something blue-collar, like work at the Merchant Tire store or something like that.”

Tex is a painfully honest person,” the article goes on to quote Washington Post consultant Joe Sasfy, and ends by mentioning that Rubinowitz has become interested in acting:

The album is out, the concerts are being lined up and Tex Rubinowitz is once again waiting for the figurative fish to bite. Meanwhile he stays busy building guitars and taking acting classes. “I have no intention of ever using acting,” he says. “The classes are just another way to release myself as an artist.” And though the thought of a stable job may cross his mind once in a while, it is hard to believe Rubinowitz, or anyone who could say this, would ever give up music: “I believe what makes most people feel good about music is still there,” he says. “And that is sort of magic, a magic that happens between people and actually takes place. Pop music is one of the strongest things for pop art. When it really works it really can touch a lot of people and affect a lot of people for the good.

"Tex" Number Two

“Tex” Number Two

Another “Tex” Rubinowitz, according to a German Wikipedia profile, was born Dirk Wesenberg in 1961 in Hannover, Lower Saxony, Germany. This second “Tex”, as featured on the German Wikipedia page – which, when translated into English, makes him “SouthwesternRubinowitz – is a painter, cartoonist, actor, and musician. Confusing matters, however, is the fact that the IMDb profile for “Tex” Number Two gives his birth name as Arthur Lee Rubinowitz, the same as “Tex” Number One. The Wikipedia profile, as imperfectly rendered in English, reads in part as follows:

Southwestern Rubinowitz spent most of his childhood and schooldays in Lüneburg. After his school leaving in 1978, he worked in various jobs, including as a dairy skilled workers and the district government Lüneburg as support acts. In 1982 he made ​​the Naval Air Wing 2 in Tarp from his military service. During this time he was trained to parachute packer. In 1984, he moved to Vienna, where he study art under Professor Oswald Oberhuber began. He broke this but after a week and started for the moths to draw. Rubinowitz was in the late eighties the fanzine American Hospital newspaper out simultaneously with the more familiar to some of Berlin fanzine Me and my vacuum cleaner appeared. [. . .] By means of a recommendation by Robert Gernhardt came Rubinowitz for Haffmans Verlag in Zurich, where he has two issues of the periodical Der Rabe issued and cooperated with other numbers. [. . .] As an actor he has worked with Kurt Palm and Hermes Phettberg and played 1995 American film Before Sunrise a supporting role, which he wrote himself. With Gerhard Potuznik he founded the band mice.

Regardless of where he or they were born or whether or not one or both Rubinowitzes are Jewish or if either had any connection to 9/11, which seems far-fetched to say the least, his/their moniker serves as an interesting onomatological case for those who believe with revisionist historian Michael A. Hoffman II that the shadow government or “Cryptocracy” is “telling you what they’re doing to you” as part of what he has termed the Revelation of the Method. This is the scheme according to which a population that is informed of its manipulation and degradation, but which takes no action to oppose its oppression, has thus been further initiated into enslavement and exponentially subjugated. The question then probably ought not to be who is “Tex” Rubinowitz so much as why was the name “Tex” Rubinowitz selected for the attribution of the B-Thing introduction? What, in other words, is its onomatological significance?

Now for some idle speculation and probably futile cryptographic dot-matix-connection . . .

The Texas reference, in conjunction with the fact of there being two totally different “Tex” Rubinowitzes, recalls the circumstance of the two Oswalds, one of whom is alleged to have shot JFK in Dealey Plaza. To return to the question posed by McClain in the Fairfax Journal piece, “How many Jewish cowboys are there?” A better question might be, “How many Jewish cowboys are there in Texas?” The coincidence and confluence of Texas and Jews is of course as 9/11-resonant as a reference could get, considering the event’s Bush neocon provenance. Could “Tex” Number Two’s tenure as a “dairy skilled worker” refer to Zionist exploitation of gullible goy cattle, perhaps?

“Tex” Number One, who has said that pop music hits people “in a way that they feel they have gained an insight about themselves and about reality“, recorded a rockabilly song called “Hot Rod Man“, in which he threatens he’s “gonna get you if I can“. “Hot Rod”, of course, takes on a different connotation in the context of a discussion of the controlled demolition of the WTC, possibly with its columns dissolved by nanothermite.

Charles Manson

Manson – cryptographic 9/11 lynchpin?

In the B-Thing introduction attributed to him, “Tex” Number Two compares the members of Gelatin to the Beatles, which, in combination with the name “Tex” and the musicianship of both Rubinowitzes, evokes a symbological Charles Manson connection, in light of singer-songwriter Manson’s association with Charles “Tex” Watson, who forms a part of the Manson Family murder cosmology. Whosefamily” was in on 9/11, one has to wonder – and how extended was it? (“The shared genetic elements suggest that members of any Jewish community are related to one another as closely as are fourth or fifth cousins in a large population, which is about 10 times higher than the relationship between two people chosen at random off the streets of New York City,” the Times notes of Ashkenazi Jews.)

Charles “Tex” Watson, in addition to playing an allegedly key role in the notorious Tate-LaBianca murders, is also alleged to have participated in the decapitation of Donald “Shorty” Shea in 1969 – a circumstance that draws an intriguing parallel with still another chapter of the interminable “War on Terror“. When the government-media matrix shifted into high gear with its promotion of the ISIS bogeyman as a pretext for further Middle East military intervention, this peaked with a series of silly videos purporting to show the (off-screen) beheadings of James Foley, Steven Sotloff, and others by an elite terror cell/supergroup of jihadis dubbed “the Beatles” in the media. The star executioner in these turkeys is a rapper, “Jihadi John” (as in Lennon), the plan apparently being to glorify, celebritize, and thereby incentivize jihad in order to intensify “Islamic” State recruitment.

Furthermore, in view of both the striking similarity and the various continuities between the JFK assassination cover-up and the 9/11 psychological warfare regime, Michael A. Hoffman’s remarks on the significance of the Beatles are worth revisiting:

What ought to be unambiguous to any student of mass psychology, is the almost immediate decline of the American people in the wake of this shocking, televised slaughter. There are many indicators of the transformation. Within a year Americans had largely switched from softer-toned, naturally colored cotton clothing to garish-colored artificial polyesters. Popular music became louder, faster and more cacophonous. Drugs appeared for the first time outside the Bohemian subculture ghettos, in the mainstream. Extremes of every kind came into fashion. Revolutions in cognition and behavior were on the horizon, from the Beatles to Charles Manson, from Free Love to LSD. 

The killers were not caught, the Warren Commission was a whitewash. There was a sense that the men who ordered the assassination were grinning somewhere over cocktails and out of this, a nearly-psychedelic wonder seized the American population, an awesome shiver before the realization that whoever could kill a president of the United States in broad daylight and get away with it, could get away with anything.

A hidden government behind the visible government of these United States became painfully obvious in a kind of subliminal way and lent an undercurrent of the hallucinogenic to our reality. Welcome to Oz thanks to the men behind Os-wald and Ruby.

There was a transfer of power in the collective group mind the American masses: from the public power of the elected front-man Chief Executive, to an unelected invisible college capable of terminating him with impunity. [. . .]

Dave Marsh writing in Rolling Stone magazine (Feb. 24, 1977): “The Beatles have always had an intimate connection to the JFK assassination. He was shot the week before Thanksgiving 1963. By February 1964, the Beatles were number one in the national charts and the climactic appearance on Ed Sullivan’s TV show occurred. Even Brian Epstein (the manager of the Beatles) believed the Kennedy assassination helped their rise — the Beatles appeared to bind our wounds with their messages of joy and handholding… And the way was paved, replacing Camelot with Oz.”

Now the American people were forced to confront a scary alternative reality, the reality of a shadow government, over which they had neither control or knowledge. The shepherding process was thus accelerated with a vengeance. Avant-garde advertising, music, politics and news would hereafter depict (especially in the electronic media) — sometimes fleetingly, sometimes openly — a “shadow side” of reality, an underground amoral “funhouse” current associated with extreme sex, extreme violence and extreme speed.

The static images of the suit-and-tie talking heads of establishment religion, government, politics and business were subtly shown to be subordinate to the Shadow State, which the American people were gradually getting a bigger glimpse of out of the corner of their collective eye. The interesting function of this phenomenon is that it simultaneously produces both terror and adulation and undercuts any offensive against it among its percipients, which does not possess the same jump-cut speed and funhouse ambiance.

Welcome to the post-9/11 Funhouse.

Rainer Chlodwig von Kook

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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

 

Kick-Ass 2

2010’s Kick-Ass advertised itself as presenting audiences with “A New Kind of Superhero”. What was new was the fact that, in that film, the hero nearly drops the ethnic disguise that crypto-Jewish predecessors – Batman, Superman, and others – had worn in winning the public’s heart. In adapting John Romita, Jr.’s comic book for the screen, Kick-Ass not only exposes but almost openly celebrates the Chosenness of its protagonist by transforming Dave Lizewski from the blond, Nordic-looking character of Romita’s creation into a curly-headed, bespectacled Jewish nebbish ably portrayed by Aaron Taylor-Johnson.

Hit-Girl, too – though her name is given as Macready, and despite being portrayed by Chloe Grace Moretz, a precocious actress who claims to come from a “very Christian” background – conveys a decidedly Judaic sensibility; and the character’s Jewishness goes overt in the scene in which she watches as her father, Nic Cage, conflagrates as a one-man Holocaust.

Kick-Ass poster

Kick-Ass 2 (2013), like its forebear, is filthy, foulmouthed, ultraviolent, and full of over-the-top bloodletting, but only half as engaging as the original Kick-Ass. For one thing, the novelty of the DIY hero idea is diluted by the fact that Kick-Ass 2 populates New York City with whole armies of would-be superheroes and villains, none of whom are fully developed characters as Kick-Ass and Red Mist (Christopher Mintz-Plasse) are in the first film.

Nor are matters helped by the fact that the entertainment-evaporating Morris Chestnut receives extra screen time as Hit-Girl’s tedious foster father Marcus, a straight-laced, sterling example of Africanus cinematicus who chides his young ward for her obscene language and institutes a swear jar penalty for every offense. Meanwhile, the toilet humor factor, as if to compensate for Kick-Ass 2’s lack of human interest, is ratcheted to the nth degree, with Kick-Ass and girlfriend Night Bitch (Lindy Booth) literally having sex in a toilet stall. The only other paltry attraction of note is Jim Carrey in his supporting turn as ridiculously mugging and slugging hero Col. Stars and Stripes.

Kick-Ass Chloe

Chloe Grace Moretz as Hit-Girl in Kick-Ass (2010)

Fortunately, Chloe Moretz is a few years older this time out, which softens the borderline pedophilia of the first film’s fetishization of Hit-Girl. Kick-Ass made explicit Hit-Girl’s forbidden appeal to older males, with her leather outfit, whore wig, short skirt, sensuous, sneering lips, and penchant for blowing kisses and using language like “cunts”, “motherfuckers”, and “giant cock”. One scene of the first film frames her against an erotic billboard advertisement with Claudia Schiffer, juxtaposing Hit-Girl’s juvenile form with that of the fully developed sex siren.

Kick-Ass Claudia

Hit-Girl inappropriately framed with Claudia Schiffer

Jane Goldman

Kick-Ass (2010) writer and devourer of innocents Jane Goldman

Kick-Ass screenwriter Jane Goldman, in the A New Kind of Superhero documentary included on the Kick-Ass blu-ray, refers cryptically to the “odd domesticity” between Hit-Girl and her father, a wording which casts a disconcertingly serious light on Hit-Girl’s meaning when she says, “I’m just fuckin’ with you, Daddy.” Kick-Ass 2 only reinforces this impression when Hit-Girl tells Marcus, “I know you see me as this little girl, but I’m not, and I never was. You’re right, Daddy did take my childhood away, but I’m not so sure that was a bad thing.”

Jeff Wadlow

Kick-Ass 2 (2013) writer-director-cryptographer Jeff Wadlow

2.5 of 5 possible stars. Ideological Content Analysis indicates that Kick-Ass 2 is:

10. Anti-Arab. Hit-Girl threatens to “go Saudi Arabia on your ass” before chopping a man’s hand off. A typically hypocritical Zionist warmonger, she engages in precisely the crimes of which she accuses the enemy. The Motherfucker’s henchmen commit an Islamic terrorist-style decapitation – which, like those supposedly performed by ISIS on Foley and Sotloff, never actually appears onscreen. (cf. no. 1)

9. Crypto-antichrist. Kick-Ass/Dave Lizewsky, though substantively Jewish, affects a veneer of Christian belief for gullible audiences, attending a Christian funeral ceremony for his father (Garrett M. Brown). Lizewsky’s irreverence toward his putative faith reveals itself, however, when he affects a comical pimp disguise with gaudy crucifix bling. On his bedroom wall, furthermore, is a poster advertising Kick-Ass creator Mark Millar’s comic book American Jesus, book one of which is titled “Chosen”. Military-minded Col. Stars and Stripes, meanwhile, is a born-again Christian who shows his faith and patriotism by dishing out beatings with his trusty baseball bat and barking orders like, “Yo, don’t take the Lord’s name in vain!” “I’ll be immortal, like an evil Jesus,” says the Motherfucker (Christopher Mintz-Plasse).

8. Egalitarian/class-conscious. The wealthy Motherfucker and his minions are the “one percent”, with heroes coming from what remains of the middle class. “A family livin’ in the street deserves a hot meal,” opines Col. Stars and Stripes in his role of embodiment of the schizophrenic mental retardation that is Barack Obama’s America.

7. Multiculturalist, pro-miscegenation, and pro-wigger. Hit-Girl, an orphan, is raised by an Africanus cinematicus. Katie (Lyndsy Fonseca), Kick-Ass’s girlfriend from the first film, breaks up with him and informs him that an African rival has a larger “baton”. Girls are encouraged to twerk and jerk to congoid booty-shaking beats.

6. Drug-ambivalent. Hit-Girl cut her teeth on the drug dealers she and her father targeted, but wins in the end of Kick-Ass 2 with the help of hypo full of adrenaline. Mr. Lizewsky is concerned that his son may be using drugs, but “an inebriated college girl deserves to make it home safe at night,” proclaims Col. Stars and Stripes.

5. Pro-gay. The Kick-Ass queer super-friends and allies include a token sodomite. Homophobic talk, the audience learns, “makes you sound super-gay.”

4. Misandrist and pro-castration. Hit-Girl beats up and mutilates a number of men. “In a weird way, I kinda liked it,” says Kick-Ass of being on the receiving end of Hit-Girl’s abuse. More than one male groin gets brutalized. Night Bitch devotes her career as a superheroine to stopping sexually predatory men.

3. Anti-racist (i.e., pro-yawn). Would-be supervillain the Motherfucker is loose with the racially insensitive stereotypes, which he defends rather as “archetypes”. (cf. no. 10)

2. Anti-family. Chris D’Amico (Mintz-Plasse) accidentally murders his mother in a fit of rage. Then, after discovering her S&M gear, he repurposes the items as a bad guy costume and dubs himself the Motherfucker. Hit-Girl’s high school rival, a catty and unprogressive blonde bitch (Claudia Lee), only aspires to be a wife and mother. (also see above remarks on incest and pedophilia)

Join Fight

1. Zionist. “We were in the ultimate clique. It didn’t matter that no one else knew. We knew,” gloats a self-satisfied Kick-Ass. Supervillain and would-be “evil Jesus” the Motherfucker knows that Kick-Ass and Hit-Girl – which is to say, Zionist Jews – assassinated his father (Mark Strong) in the first film. The ‘Fucker’s mother (Yancy Butler), however, dismisses her son’s claims and insists that Mr. D’Amico simply “died in a fire.” The Motherfucker, then, stands in Kick-Ass 2 as an insulting caricature of all the disgruntled “conspiracy theorists”, a representative of the Gentile Spring and the ascendant minority of the angry and awakened gentiles who know that the Jews did 9/11.

Kick-Ass 2 contains what may be a cryptic admission of Jewish guilt for the 9/11 attacks, if considered together with the conclusion of the first Kick-Ass, which ends with gangster Frank D’Amico exploding into an orange fireball high outside a New York City skyscraper. In the sequel, the hero teams up with a new vigilante (Donald Faison) who goes by the name Dr. Gravity – a handle suggestive of the force dictating that what goes up must come down. Significantly, the scene in which “ultimate clique” member Kick-Ass and artificial force of nature Dr. Gravity beat down two street thugs with skinhead haircuts takes place outside a restaurant with a sign clearly visible at the top of the frame. “Since 1911,” it reads – a reference to 9/11/01?

China and Russia, both inconvenient geopolitical counterbalances to the implementation of a Jewish World Imperium, appear personified as antagonists Genghis Carnage (Tom Wu) and Mother Russia (Olga Kurkulina), best described as a female version of Dolph Lundgren in Rocky IV. In another show of Jewish storytelling chutzpah, Col. Stars and Stripes’s German shepherd is suggestively named Eisenhower and wears a tacky American flag mask. The American president and Supreme Allied Commander of World War 2 is thus revealed as the Zionists’ pet, a faux-patriot Shabbos goy attack dog to be unleashed on the enemies of organized Jewry.

Lastly, the much-abused phrase “peace in the Middle East” occurs in the script as a reference point for something incredibly complicated, in the sense in which the proverbial “rocket science” is typically used. This, of course, obscures the fact that Americans, instead of subsidizing the Israelis’ genocide against the Palestinian people, would do better to further the aim of peace by cutting off Israel’s 3.5 billion-a-year in welfare checks.

Kick-Ass American Jesus

“Chosen”

Interesting speculation at Jay’s Analysis on possible predictive programming of the ISIS fraud as featured in Iron Man 3. Jay is an incisive commentator whose writings are, however, hampered by his reluctance to talk about Jews.

Jay's Analysis

By: Jay

Downey, Jr kidnapped by ISIS Downey, Jr kidnapped by ISIS

As our friend, the talented writer Peter Parker pointed out back in May of 2013, the intelligence scripting for the news events surrounding radical Islamic terrorists seem to find their curious parallel in certain Hollywood blockbusters.  Parker explained with precision how the plot of Iron Man 3 in particular demonstrated this obvious correlation with Ben Kingsley’s character, The Mandarin, playing the laughable role of the British actor cum terrorist.  In the plot, the terrorists were fake, kidnapping Iron Man and holding him ransom.  Sound familiar?

As is usual around Jay’s Analysis, this Hollywood meme is again relevant, with a new ISIS “beaheading” today calling to mind the same scene from Iron Man 3, following last week’s theater showing.  In May 2013, Parker wrote:

“Sometime ago this writer made a discovery that was featured here on Jay’s Analysis concerning an episode of…

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