Archives for posts with tag: media

public

Try as it might to seem hip and relevant, Emilio Estevez’s hero-librarians vanity project The Public never manages to shake a vague feeling of being something slightly quaint left over from the 1990s. Estevez, in a role perhaps intended to reference the actor’s iconic turn as a cool school library detainee in The Breakfast Club, appears as an idealistic but hardship-weathered employee of the Cincinnati Public Library whose personal and professional ethics are tested when a mob of crazy homeless men occupies the facility and demands to be allowed to use the library as an overnight shelter on a bitterly cold evening. Curiously, writer-director-producer Estevez appears to cling to the outmoded liberal convention of the white savior coming to the aid of downtrodden blacks and browns – in 2019. Star-power casting, with Christian Slater and Alec Baldwin also appearing, make the movie more watchable than it probably deserves to be.

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

5. Green. Annoying but well-meaning millennial chick Jena Malone rides the bus to work to reduce her carbon footprint, and the presence of a taxidermied polar bear (“Beary White”) in the library serves to remind the viewer of wildlife impacted by melting ice caps.

4. Anti-drug. One subplot involves the search for a missing opioid addict (Nik Pajic). Estevez’s character is also revealed to be a recovered alcoholic who once lived on the streets.

3. Media-critical. A self-promoting local reporter (Gabrielle Union) intentionally misrepresents the protagonist’s stance of solidarity with the homeless, leaving viewers with the impression that he is a madman holding hostages inside the library. Her cameraman (Ki Hong Lee) objects, but is ultimately complicit in the duplicity. Provocatively, the term “fake news” is applied to the mainstream media rather than to independent commentators.

2. Communist. “To each, according to his needs” is very much the moral of the film.

1.Racially confused. The Public represents a partially naïve effort at postracialism while also including distinctively anti-white elements. Against expectation, the film casts black actress Gabrielle Union as the unlikable reporter – showing that blacks can also be bad – but other blacks in the movie appear well-intentioned or victimized, with some depicted as harmlessly insane. Jeffrey Wright, however, appears as a polished and capable black library director. Christian Slater plays a slickly dressed law-and-order prosecutor and mayoral candidate who, though his political party is never mentioned, represents a heartless all-white Republicanism that must eventually give way to a more inclusive vision represented by his compassionate black political opponent.

Oddly, the movie opens with an angry black rapper shouting “Burn the books!” and ranting about tearing down monuments as various unfortunate street people appear queuing up to get into the library and out of the cold. The rap’s apocalyptic vision forecasts what is presumably the fate awaiting reactionary whites who fail to get “woke” and join the fight against inequality. European-American literary heritage in The Public is a universal legacy and an inspiration for all of “the people”, but Europe’s classical civilization is also insulted. The setting of Cincinnati invokes Cincinnatus, the exemplar of selfless public service, but the name “Athena” – evoking the Greek goddess of wisdom – is given to an eccentric old anti-Semite (Dale Hodges) who suspects those around her of belonging to “the Tribe”, while another of the vagrants (Patrick Hume) is nicknamed “Caesar”, with antiquity symbolically displaced, homeless, and reduced to pitiable madness in the context of multicultural modernity. A library book defaced with a swastika, meanwhile, reminds viewers of the persistent threat of white bigotry.

More interesting is the treatment of the preserved polar bear, “Beary White”, which – whether intentionally or otherwise – evokes “polar bear hunting” or the anti-white “knockout game” in a ghettoized urban setting in addition to bolstering the global warming messaging. The film concludes with a shot of the towering, fierce, and triumphant-looking polar bear, which is perhaps intended to symbolize the moral victory of white-liberal-savior-with-soul Emilio Estevez, who redeems himself and his race and hopefully avoids the hunt by self-sacrificingly taking up the cause of impoverished minorities. The irony of such an interpretation is that the life-like bear is merely a feat of accomplished taxidermy and that the once-majestic creature is already dead inside.

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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“The show the Pentagon couldn’t stop!” Sure …

I have previously discussed the dubious “anti-war” credentials of countercultural figures Donald Sutherland and Jane Fonda, who played the part of rebellious hippies within the Hollywood elite. No film better encapsulates their fraud or the fabricated nature of the corporate counterculture than Francine Schoenholtz’s ridiculous 1972 documentary FTA, which stands for “Fuck the Army”. The film follows Fonda, Sutherland, and other performers as they tour Japan and the Philippines, performing unfunny comedy routines and hokey protest songs for American servicemen. Schoenholtz’s previous work included a 1966 series of one-hour plays for PBS called Jews and History – and FTA itself and the culture creation it represents comprise a singular Jewish contribution to American military and pop-cultural history.

The film is as much a promotion of subversion as it is a polemic against the war in Vietnam. The poster, boasting its image of a stoned Donald Sutherland, is an undisguised attempt to associate anti-war activism with drug culture, and much of FTA is devoted to glorifying communism, feminism, vulgarity, bad grooming, and loutish black militancy, with the U.S. characterized as a racist society perpetrating genocide against both the Vietnamese and American blacks. FTA’s pose of revolutionism notwithstanding, is the audience really expected to believe that this troupe of anti-American undesirables would have been allowed anywhere near U.S. military bases overseas unless the production had at least the tacit approval of powerful persons within the American government? Would U.S. Army and Navy personnel be permitted to participate in the production of a film if it authentically sought, as FTA pretends, to goad soldiers into turning their guns against their leaders? It was during the week of the film’s premiere in July of 1972 that Fonda, just to present the anti-war movement in the worst possible light, notoriously visited Hanoi and posed for a photo with a North Vietnamese anti-aircraft gun.

Producing and completing post-production on FTA was Igo Kantor, who tells the story of his involvement in the project in an interview he granted for the DVD release of the stupid woman vigilante movie Alley Cat (1984). He remembers that “Technicolor came to me and they said they would like to do a show on Jane Fonda going with a group of people, the FTA group, musical group, all over the Pacific Rim, all of Vietnam, all those countries, and do a show about the counter [to] the Bob Hope Christmas shows,” which were being produced by NBC, then owned by the defense contractor RCA. “The Bob Hope Christmas shows were dignifying the war movement because he was performing for the troops all over, every Christmas he’d go to one of these towns where the war took place and he would have shows – and I was the editor on the Bob Hope Christmas shows for six years. […] But then Technicolor said Jane Fonda would like to do a show to counteract that. Instead of heroining the war, let’s be pro-peace,” Kantor recounts, smiling sardonically.

That RCA would produce television programming “dignifying the war movement” is hardly surprising; but that Technicolor, a subsidiary of the defense contractor Thomson-CSF, would approach Kantor to produce a radical “pro-peace” hippie extravaganza, even hiring the same editor, is more interesting. “So she [i.e., Jane Fonda] went [to Vietnam] and the amazing thing is, here I was working in this building on Highland Avenue [in Los Angeles] and Jane Fonda, I gave her an office upstairs, and she and Don Sutherland were together at that time […] and Bob Hope had an office downstairs, and Bob Hope knew about this and he says, ‘Igo, what’s going on here, what, you’re working on my show, which is pro-war, and you’re working another show that’s anti-war?’ I said, ‘Don’t worry, I will not mix the footages. They’ll not be the same show, don’t worry about it.’ And sometimes,” Kantor remembers, bemused, “they used to go up and down the stairs and throw darts at each other. Bob Hope and Jane Fonda were, my God, crazy.” So, by Kantor’s own admission, the entertainment industry’s representative pro-war and anti-war exemplars were literally working out of the same building and frolicking on the stairs and enjoying hijinks – but that was surely just a coincidence – right?

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!

Propaganda

Andrew Joyce, in a typically excellent essay published last week at The Unz Review, dredges up the little-known but pivotal figure of visionary media manipulator Samuel H. Flowerman, who proposed in 1947 to “modify the standards of the in-group.” Affirmative Right‘s Andy Nowicki, meanwhile, meditates on the “Sovietization of the entertainment press” and the #Smilegate furor precipitated by the trailer for the forthcoming Captain Marvel movie. Last but not least, I enthusiastically recommend the consistently sharp series of propaganda-vivisecting videos being produced by Black Pilled YouTuber Devon Stack. See, for instance, How Boomers Were Taught to Hate (Themselves), Selling Divorce to the West, and Free Falling:

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!

White Girl

Just when you thought the movie industry had hit rock bottom, along lumbers White Girl with its Jewish jackhammer to get at the rock beneath the rock. Following on the heels of American Honey (2016), White Girl exemplifies a long tradition of cinema that seeks to shock the sensibilities with its exposure of the wild rites of the rising generation – a genre that stretches from the earliest juvenile delinquent pictures up through the likes of Over the Edge (1979), River’s Edge (1986), Kids (1995), Bully (2001), Spring Breakers (2012), and Heaven Knows What (2014).

White Girl is yet another foray into the demimonde of ugly people in ugly clothes engaging in ugly, loveless dances and lewd acts to ugly, afro-degenerated soundtracks – with the difference that this entry makes its anti-white agenda totally explicit. Purporting to tell the true-life experiences of some lowlife named Elizabeth Wood, the story follows an Oklahoma City slut (Morgan Saylor) after she moves to New York – ostensibly in order to “study” – but instead uses her parents’ money to buy drugs and get into trouble.

Gazing longingly out the window of her apartment at a group of loitering mongrels, White Girl announces, “I’m gonna go get some” and so sets out on an odyssey of debauchery that will occupy the next eighty minutes or so. White Girl falls hard for hat-backwards barrio banger Blue (Brian Marc), who tenderly screws her against a wall. After Blue gets arrested, he trusts her to get his supply of dope back into the hands of his ruthless supplier; but, being the stupid White Girl that she is, she instead hopes to raise money for his legal defense by trying to move the powdered product herself – with inevitably catastrophic results.

Not worth watching more than once, White Girl is a nihilistic film that thrives on shocks and not much else.

3.5 out of 5 stars. Ideological Content Analysis indicates that writer-director Elizabeth Wood should be institutionalized for her own protection and that White Girl is:

3. Media-skeptical. At the very least, White Girl presents a sobering picture of the species of undesirables who seek employment in the media. The idiot protagonist, the sort of lout produced by a lifetime’s ingestion of mainstream media poison, has gone off to New York to study writing and the “liberal arts”. White Girl’s sleazy magazine editor boss (Jewish actor Justin Bartha, playing a character with the distinctly goyische moniker Kelly), meanwhile, hopes to inflate the value of some worthless artwork he bought by spotlighting the artist (“Rambo”) with a special profile.

2. Pro-drug. The script halfheartedly makes a distinction between marijuana and harder drugs – “We just smoke weed every day, all day,” explains one of the mutts – but all drugs are inextricably linked with sex in the film. The title character falls in love at first sight with a street pusher, and plying women with cocaine or alcohol comes across as an expeditious means to satisfaction. Kelly gains instant access to White Girl’s orifices when he lays out some lines of cocaine and essentially rapes her with little resistance and no consequences. The movie appears to want to dissimulate about its intentions and provides a couple of scenes of morning-after horror and vomit for plausible deniability; but the association of sex with drugs is undeniable in the face of such moments as a young woman snorting a line of cocaine from a man’s penis.

1. Anti-white. Whatever claim White Girl might have to being a cautionary tale is forfeited by the flippant choice of celebratory ape music about pimping white flesh to play during the closing credits. A Jewish triumphalist proclamation of victory in the face of ubiquitous European degeneracy, White Girl is nothing if not an expression of ethnosadism. Zio-prostitute Chris Noth of Sex and the City infamy puts a gentile face on the sleazy lawyer archetype in his role of George, the unscrupulous attorney White Girl hires to represent Blue. In one telling moment, a drop of wine trickles like blood from the corner of George’s mouth – a projection to the effect that whites, not Jews, are the vampires that prey on America. “It’s a really fucked up system,” this character explains. “You could have a white kid stab someone to death and he’ll get less time than a black kid caught with a miniscule amount of drugs. This is the way it is.” One of the movie’s objectives is to get across the propaganda meme of “white privilege”, with White Girl seen to escape unharmed, suffering no repercussions after precipitating what is likely the end of Blue’s career. He goes to prison while she, unperturbed, is accepted back into the fold of the “college” life. White Girl, unsurprisingly, was produced by a rats’ nest of ethnics including Ariel Schulman, Orlee-Rose Strauss, and Gabriel Nussbaum – all of whom, one can only imagine, are deeply concerned about the plight of white girls worldwide. Another producer, Christine Vachon, made The New York Observer’s list of “The New Power Gays” – homosexuals being Jews in spirit and politics.

Vachon

Kosher Lunch

Chris Noth

Chris Noth 2

Rainer Chlodwig von K.

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Erik Bloomquist writes, directs, and stars in The Cobblestone Corridor as Allan Archer, hardworking editor of the elite Alfred Pierce Preparatory School’s newspaper, The Pierce Gazette. Archer is straight-laced and by-the-book – a young man who still believes in authority and the dignity of institutions – the sort of person one might expect to carry a picture of William F. Buckley in his wallet. He is also an amateur detective and has his inquisitiveness piqued when he learns that the circumstances of a teacher’s recent dismissal are more than a little fishy. Adding interest to the story is Lizzie Merriweather (Madeleine Dauer), whose simultaneous attraction and opposition of journalistic philosophy adds another layer of tension to the narrative.

The Cobblestone Corridor is a low-key comedy hybridizing genres from teen fare to mystery, and Mike Magilnick’s cinematography does a good job of compromising between tones, referencing noir while keeping things light enough for a chuckle. The film succeeds largely due to a cast of interesting faces, which include Bloomquist’s as well as that of Nicholas Tucci, whom viewers may remember from the outstanding slasher homage You’re Next (2011). An assortment of young women in school uniforms adds to the visuals. Finally, while something of a morsel at 25 minutes, there is a measure of substance to be detected down these halls.

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

5. Anti-drug. Archer is contemptuous toward stoners.

4. Green-ambivalent. When classmate Claire (Alex Sarrigeorgiou) says paper publishing “just wastes trees”, her professor (Tucci) replies that this is “an interesting environmental argument”; Archer, however, dismisses Claire’s opinions as “shortsighted and ignorant”.

3. Feminism-ambivalent. Archer reviles “sluts” and puts a stop to an all-girl fight club. Lizzie’s contribution to his development as a journalist suggests, however, that women can contribute as professionals, giving the lie to a threatening note she receives informing her “little girls don’t belong in the big leagues.”

2. Tobacco-ambivalent. Archer cock-blocks a quintessential film noir ritual when he stops Lizzie from smoking a cigarette in his office. She later discovers that he has lied about not being a smoker, however.

1. Media-ambivalent. The Cobblestone Corridor’s best scene – crisply written and delivered by Mr. Bloomquist – concerns the question of the continuing relevance of the print medium. Journalism instructor Mr. Brown (Tucci) asks his class, “Are newspapers still important in today’s society, or are they well on their way to fading into historical oblivion?” Claire assails print as irrelevant in the age of the instantaneous dissemination of information; but Archer, who hates “supermarket tabloid drivel” and does what he can to uphold traditional journalistic standards, holds forth as follows:

People who write for newspapers understand that a story is more than just a clickbait by-line. These message boards that Claire talks about aren’t avenues for intellectual discourse, they’re a mosh pit of pseudo-scholars trying to outsmart each other. It’s not about the news, it’s not about the facts, it’s about being the loudest [. . .] and if one day the servers crash and everything goes to Hell we’ll still have a thoughtful piece of analysis we can touch and feel. That sure as Hell beats a tweet by some self-important high school drop-out hiding behind a screen name.

At stake in this scene and for the remainder of the film is the credibility of “conspiracy theories” and the post-9/11 alternative media, the latter being personified by blogger Lizzie. Archer naively believes that the major newspapers’ reporters are as thoughtful and idealistic as he is, is impressed by the Fourth Estate’s centuries of superficial prestige, and disparages the internet. He suggests, furthermore, that the anonymity of the blogosphere is an invalidation of its credibility, failing to consider the fact that alternative journalism is not, in most cases, a living, and that these writers might be putting their employment in jeopardy by signing their real names under their controversial interpretations of events.

However, after Lizzie’s insights prove to have been valuable in solving the mystery of the dismissed teacher, Archer is moved to establish an online edition of The Pierce Gazette, the idea being that online and print news media can coexist and mutually strengthen each other, and that independent researchers’ contributions can make a difference. This, Archer effuses with idealism, heralds the “beginning of a renaissance for The Pierce Gazette” – a revolution by technology and turnover in personnel. Bloomquist, though, by setting his story in the innocuous world of a non-profit student newspaper, has avoided the fundamental corruption of commercial “news” by controlling financial interests. Archer, once he ventures into the Orwellian sphere of professional journalism, will find his masters reluctant to publish material that strays off-script.

[For full disclosure of this writer’s diet of news and infotainment, he will admit to getting the vast majority of it online – from sites ranging from fluff like Yahoo! to deeper-digging content like Global Research – but also subscribing to a fortnightly print newspaper, Willis Carto’s populist American Free Press.]

Rainer Chlodwig von Kook

Joan Rivers

Joan Alexandra Molinsky, better known as Joan Rivers, was a popular tramp comedienne, writer, and actress in the tough, self-deprecating, and bitchy Phyllis Diller tradition, and familiar to Zionist propaganda box addicts as the host of The Joan Rivers Show and various vapid red carpet vanity extravaganzas. She was also an anti-white promoter of interracial depravity and a Jewish supremacist cannibal who advocated the genocide of the Palestinian people.

Zombies vs. Strippers

The Tough Titty, a strip club in a seedy Los Angeles slum, finds itself in the middle of a zombie apocalypse in this silly Full Moon outing. Spider (Circus-Szalewski), the proprietor, along with his bevy of shapely and jiggly employees, must cope with swelling numbers of undead perverts who congregate around the building while everyone also tries to come to terms with how they will spend what may be their last night on Earth. A pair of lewd customers wants nasty thrills; DJ Bernie (Tanner Horn) just wants to get high; while Spider and the strippers increasingly find that staying alive is more important than making money they might not be able to spend.

Slightly better than the tacky and unimaginative title might suggest, Zombies vs. Strippers is still an unremarkable pile of trash and risks overstaying its smelly welcome even at a meager seventy-four minutes padded with lengthy opening credits. There are, of course, curves galore, and a few witty one-liners; but the zombies, after a nice gradual tease during the exposition, offer only a modicum of suspense and pay diminishing returns as more and more of the snarlers appear onscreen. Good enough for a slow night, but hardly the movie this viewer would want at the top of his queue at the end of the world.

3 stars. Ideological Content Analysis indicates that Zombies vs. Strippers is:

13. Diversity-skeptical. Black stripper Vanilla (Brittany Gael Vaughn) dismisses “crazy fuckin’ white boys”.

12. Pro-gun. Guns are used defensively against the corpses.

11. Anti-slut. Fornicators are punished, with the zombie plague being compared to venereal disease.

10. Anti-X.  Like Creep Van, Zombies vs. Strippers holds Generation X/Y in low regard, particularly in terms of their value to employers.  DJ Bernie is a pothead, and the strippers can be foulmouthed and sassy. “I’m a professional. That used to mean something,” bouncer Marvin (J. Scott) reflects disapprovingly on the slacker mentality. “The American Dream is stuck in the mud,” children’s host Hambo the Ranch Hand (Chance A. Rearden) says before advocating the extermination of the rising generation.

9. Anti-TV.  Paralleling the zombie plague is the zombie-like vapidity and desensitization of the characters in the film from what seems to have been a lifelong diet of dumb television. “What would Hambo do?” Spider asks, the pig-nosed TV personality having apparently taken the place of Jesus in his life. Characters are more than once unable to distinguish between entertainment and imminent threat.

8. Anti-police. The LAPD, whether from cowardice or indifference, never enters the neighborhood of the Tough Titty. Bikers laugh at the threat of a call to the police.

7. Pro-choice/euthanasist. The infected must be put out of their misery for the good of humanity. Hambo, holding up two eggs, calls for the “eggstermination” of the young.

6. Anti-drug. Spider insults a zombie, calling it “crackhead”, and tells Bernie that weed will lower his sperm count. Later, offering a reefer to a zombie, Bernie is bitten.  When Bernie the zombie is killed by Vanilla, she cries, “This is your brain on drugs, motherfucker!” and pierces his head with her high-heel shoe. Drinking impairs the judgment of more than one character. One man is killed just as he is about to light a cigarette.

5. Capital-ambivalent. Zombies vs. Strippers presents a warts-and-all but basically sympathetic portrait of the American small businessman in Spider, who despite his efforts has failed to make the Tough Titty profitable.  Spider is not above trying to cheat a customer out of his money, but his chosen victim, musician Spike (Adam Brooks), is dishonest and an admitted thief. Adding to Spider’s woes are disrespectful and lazy employees like Bernie, whose poor turntable efforts prompt Spider to threaten to replace him with an mp3 player.

4. Anti-Christian. Christians are represented by biker Red Wings (Brad Potts), who spouts biblical claptrap but makes little secret of his nasty-mindedness. Spike gets tired of listening to his “religious crap”. One of the strippers irreverently dons a nun costume.

3. Pro-miscegenation. Black stripper Vanilla, announced as two scoops of chocolate ice cream that will make a man’s banana split, is desired by the white men around her and engages in flirtation with Red Wings.

2. Feminist.  The name of the strip club, the Tough Titty, says it all. Strong women stand the best chance of surviving. The representative male chauvinist pig (Patrick Lazzara) who uses abusive language against the strippers is certain to meet with an unpleasant end.

1. Relativist/nihilist.  “We’re all a bunch of criminals. A whole world of ‘em.”

 

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antisocial poster

A future film historian compiling a list of the most representative and sociologically reflective horror films of the present decade could do worse than to include Cody Calahan’s feature debut, Antisocial. Redolent of the contemporary fears of intrusive surveillance, vile conspiratorial plots, drones, martial law, cyber-bullying, terrorism, flash mobs, viral epidemics, internet addiction, and civilizational collapse, Antisocial is more than a mere splatter film.

A gaggle of vapid college coeds gather to throw a New Year’s Eve party, unaware that the sudden outbreak of a 28 Days Later-reminiscent rage plague will soon have them barricading themselves inside and suspecting themselves and each other of infection. And what role does ubiquitous website the Social Redroom play in the chaos? “If you’re not on Facebook,” some have suggested, “you’re probably a sociopath.” Antisocial, thankfully, begs to differ with this assessment.

The story wastes little time in getting to the action and suspense, which is fresh while also respectful of genre conventions and traditions, with the themes, scenario, and spare, electronic moments suggesting influences from George Romero, David Cronenberg, and John Carpenter. A guaranteed good time; recommended to horror fans.

4 out of 5 stars.

[WARNING: POTENTIAL SPOILERS]

Ideological Content Analysis indicates that Antisocial is:

6. Anti-Christian. Some respond to the epidemic by holding exorcisms, but the explanation for the plague turns out to be decidedly more sublunary. A newscaster’s wish of “Happy New Year, and may God be with you,” rings hollow given the situation on the ground.

5. Gun-ambivalent. The partiers are frightened by shots from outside, but it is unclear whether these are from the police or private citizens.

4. Pro-slut, pro-miscegenation, and anti-racist. Heroine Sam (Michelle Mylett) is pregnant with some guy’s bastard. Cheap tramp Kaitlin (Ana Alic) is an item with black dude Steve (Romaine Waite). As the two are making a sex video, one of the afflicted bursts in on their fun through a window. The fact that the attacker appears to have a skinhead haircut may be intended subtextually to suggest lingering racism and resentment among whites toward those who choose to mate outside the species.

3. Feminist. “Final girl” Sam, once forced to fend for herself at the end, has little difficulty adjusting to the role of the badass. A bandage she ties around her head gives her the martial appearance of an Apache warrior.

2. Media-critical and anti-corporate. Social Redroom executives have secretly implemented a subliminal pattern designed to induce addictive behavior in visitors. Characters are unsure whether to trust material coming out of the mainstream media and look, rather, to grassroots sources of information available online.

1. Luddite. The title, Antisocial, serves a dual purpose, referring both to the nasty behavior of the afflicted and to the film’s critical stance toward social media. The script is full of apprehensions about a world in which “private life is public knowledge”, cruelty is as easy as clicking a key, and lovers break up remotely, by way of handheld devices.

Appropriately, social media darling Kaitlin and her boyfriend are among the first to develop symptoms. Sam and Jed (Adam Christie), who have deleted their Social Redroom accounts, retain their sanity longer than others. “How do you keep in touch with people?” Kaitlin asks. “I see them in person,” Sam deadpans. Significantly, Sam later repurposes a laptop as a murder weapon.

The internet itself is not necessarily to blame, and an online video actually provides the means of overcoming the crisis. What worries Antisocial, however, is the addictive potential and hive mind pull of ubiquitous sites like Facebook. Fear of mass loss of privacy also looms large, and in one of Antisocial‘s more outrageous moments, Social Redroom users’ bodies function as organic surveillance devices.

 

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Assassin

An intriguing feature of Assassin (1986), an enjoyable TV movie written and directed by Amityville Horror screenwriter Sandor Stern, is that it may, in some aspects, serve as a metaphor for Zionist-controlled news and entertainment media, whether this is the film’s intention or not.

Stern, who in recent years has written unimaginative liberal diatribes (“Dear Republican Friends . . .”) at SuicideGirlsBlog, is no friend of gentiles and not likely to have designed his film as a cautionary allegory about Zionist disinformation for the benefit of his audience of action fans; but is it not possible that, perhaps from some sense of arrogant mischief, veteran television writer Stern has facetiously encrypted his film with insights into his medium’s motives?

Sandor Stern

Sandor Stern

Assassin‘s Terminator-inspired plot has CIA operative Henry Stanton (Konrad Robert Falkowski, alias Robert Conrad) coming out of retirement and teaming up with a feminist cybernetics specialist, Mary Casallas (Night Court alumnus Karen Brammer, alias Karen Austin) to stop a renegade government android, Robert Golem (Richard Young), from living up to the title by assassinating all of the figures on its secret hit list.

“The ‘Robert’ I can understand; it’s close to ‘robot’,” Stanton observes. “But who dug up the ‘Golem’?” “Folklore,” Casallas explains. “There was a zealot rabbi in sixteenth century Prague. He created a clay creature, called it ‘Golem’. Brought it to life to protect the Jews from persecution. Ironically, it turned on its creators.” Is Assassin a model of entertainment-media-as-Golem, and has it, too, playfully turned against its masters by giving away something of their game?

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Robert Golem’s creator is Philip Dewberry, described as an impersonal cipher of a man. “He had no sense of humor,” Casallas recounts, and lived only for experimentation. “How can you work with a man six or seven years and not know him any better than the inside of a television set?” Stanton asks her. “It was three years and he was the inside of a television set,” Casallas answers enigmatically.

Robert Golem, like a walking, talking, CIA-approved television set, is programmed with an agenda and even has a plug that it can stick into a socket to power itself. Though a soulless, inhuman murderer, Golem is charming, seductive, and furtive – silently invading an apartment as a lonely, oblivious woman (Nancy Lenehan) drinks herself into a stupor and watches a romance-oriented game show. As to how something as seemingly harmless as television plays at assassination, just consider the mainstream media’s treatment of “tinfoil hat” (i.e., antiwar) candidate Ron Paul. Robert Golem’s targets, like those of the Zionist news media, are opponents of the military-industrial complex.

The android-Golem, despite being monstrously powerful and virtually impervious, does, fortunately for Agent Stanton, have one physical weakness – its belly. And fortunately for those who abhor what the Zionist-controlled television networks have done and are doing to western civilization on a nightly and unrelenting basis, TV, too, also has a weakness at the center of its nourishment – in that it can be switched off.

snowflake

Realized through a mixture of live action and computer-generated animation, this Spanish-produced film follows the fortunes of Snowflake, the world’s only albino gorilla, who as a child is taken by force from her parents in Spain’s colony of Equatorial Guinea and sold to a zoologist, who gives Snowflake to his daughter Wendy (Claudia Abate) as a pet. Wendy and Snowflake become bosom companions, but Snowflake’s life is again upturned when Wendy’s father deems her too old and troublesome to be kept as a pet and sends her to live instead in a zoo with other gorillas.

Unfortunately for Snowflake, the papa gorilla is prejudiced, takes an immediate disliking to her, and would rather his two children, Petunia and Elvis, had no association with her. Snowflake is understandably ashamed at being different, and sets out with friendly red panda Jenga to find the Witch of the North (Elsa Pataky), who can turn Snowflake into a normal, black gorilla so she can fit in with her peers. Meanwhile, the evil and superstitious Dr. Archibald Pepper (Pere Ponce) has designs on Snowflake’s heart, not in the emotional sense, but as an ingredient in a potion he hopes will give him eternal life.

Children will enjoy this simple story, the innocent Snowflake being an impossible heroine to dislike. The animation ranges from tolerable to excellent, and the jokes, of the “monkeying around” variety of wordplay, are hit-and-miss; but the film is sufficiently fast-paced to keep both young and old from falling asleep. Voice-over actors in the English-dubbed version include Christopher Lloyd as the goofy Dr. Pepper, David Spade as zen-aspiring red panda Jenga, and Keith David as the father gorilla. Surprisingly, the English version even includes an allusion to David’s role in John Carpenter’s alien invasion classic They Live, when, aping (no pun intended) Roddy Piper’s character in that film, he says, “I do two things: eat bananas and kick butt. Looks like we’re almost out of bananas.”

Jenga sums up the movie’s lesson when he says, “At the end of the day, being yourself always means being a little different.” In addition to the prevailing messages of tolerance and self-esteem, young audiences are also reminded of stranger danger and of the value of family. Mildly gross humor includes nose-picking, with cartoonish violence fairly frequent. Potentially objectionable moments include Dr. Pepper chasing Snowflake with an axe and brandishing a machete as he threatens the beautiful Witch of the North, “You won’t be pretty when I’m done with you.” Mothers may also want to be aware of one borderline raunchy scene in which Jenga, understandably eyeing the Witch’s shapely rump, observes, “Ooh, you know I might be missing out on some stuff with all this purification.”

3 of 5 possible stars. Ideological Content Analysis indicates that Snowflake the White Gorilla is:

11. Class-conscious. Dr. Pepper, though wealthy, is a miserly tipper.

10. Media-critical. Media reliability is implicitly questioned when a news broadcast about Snowflake erroneously uses footage of Petunia instead.

9. Pro-police. Cops, after catching Pepper, flash peace signs.

8. Secularist/skeptical. Reason is more valuable than superstition or new age spiritual notions of karma and meditation, Jenga’s jargon stock-in-trade.

7. Animal rights militant. Hunters, ivory collectors, and other victimizers of animals are depicted negatively.

6. Anti-colonial. Just as progressivist wisdom dictates that the Third World must liberate itself from its western masters (even when, as in the case of Equatorial Guinea, this invariably results in terror, tyranny, and a degraded standard of living), it is part of Snowflake’s coming of age that she separates from her adoptive family of humans and self-actualizes among her own kind. (To the extent that the representative of the colonized country is an animal, the film is perhaps unintentionally racist.)

5. Multiculturalist/pro-wigger. Jenga, making the racial subtext of the film explicit, says, “She wants to be black, you moron. It’s actually not uncommon in teenagers.” Snowflake and friends, during the end festivities, do a negroid dance to kiddie hip-hop. Jenga sassily calls Snowflake “girlfriend”.

4. Mildly feminist. Snowflake is tough and adventurous. Wendy’s mother, though the typical homemaker of Franco’s traditionalist Spain, perhaps hints at the advantages of sexual equality and women in the workplace when she observes, “It’s not easy living off of one income.”

3. Arguably irreligious, specifically constituting a coded attack on Catholicism. Dr. Pepper derives his outmoded superstitions from an ancient Latin text full of arcane lore and prescriptions, and his devotions include the lighting of candles on an altar. His beliefs and his yearning for eternal life are psychologically unhealthy “childhood hangups”, the viewer is told. Jenga mocks him and possibly alludes to Jehovah’s Witnesses when he says, “Shouldn’t you be going door to door telling people about your weird obsession?” The Witch of the North, looking into Dr. Pepper’s favorite book and seeing what it has to say on the subject of white gorillas, objects, “Oh, my God, that must be a mistake.” Religion, Snowflake the White Gorilla teaches, must be bent to accord with social progress. Subversively, the Witch is the more likable character.

2. Pro-family. Families, though not perfect, are generally useful and loving units. Wendy, thinking she might die, reflects, “I should have been nicer to my parents.”

1. Pro-miscegenation and anti-racist (i.e., pro-yawn). The film ends with a white gorilla/black gorilla kiss. A red panda may also have the hots for a human.

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