Archives for posts with tag: mind control

us

Jordan Peele’s follow-up to the 2017 horror hit Get Out, this surprisingly effective allegorical genre entry stars Lupita Nyong’o as a woman whose family vacation to Santa Cruz brings her into confrontation with a childhood trauma with ramifications for all of humanity. This is a difficult film to describe without giving away too much of the plot, but it revolves around the protagonist’s anxiety regarding the existence of a “shadow” or doppelganger and her experience of a series of evilly portending coincidences. Peele has a genuine knack for suspense, and the film has humorous moments, as well, thanks largely to the presence of Winston Duke, who appears as the hapless family patriarch.

[WARNING: SPOILERS]

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

Drug-ambivalent. The family bonds over a dope-referencing rap tune, even as the father warns his children not to use drugs.

Conspiracist. The movie opens with an intriguing blurb about networks of ominous tunnels running underneath the expanse of the US, and the mystery at the heart of the story is revealed to have something to do with a mind control experiment gone awry. Early on, in something of a foreshadowing, the protagonist’s daughter (Shahadi Wright Joseph) poses: “Did you know that there’s fluoride in the water that the government uses to control our minds?” Of course, all of this could also be read as a satire of online conspiracy theories; but the movie on the whole seems to discourage the viewer from being dismissive of the existence of the otherworldly and outrageous.

Feminist. “You don’t get to make the decisions anymore,” Nyong’o informs her husband. Later, she is shown literally occupying the driver’s seat of their car and taking the initiative in confronting the “shadows”.

Anti-white. Though racial tensions are not the focus or principal subtextual relevance, scenes of interracial violence carry an undeniably racial charge, with audiences probably intended to feel a special satisfaction at the sight of a sassy black girl disposing of feral white girl doppelgangers. Likewise, the moment when a feral black girl doppelganger falls upon a grouchy white guy is probably supposed to convey a sense of justice or racial revenge. In one scene, white actor Tim Heidecker wears a shirt that says “Fragile”, which presumably is intended to endorse the concept of “white fragility”.

Egalitarian and globalist. In its revelation that, living undetected in tunnels under the United States is an underclass of uneducated, underprivileged, dysfunctional, and disgruntled doubles corresponding to more prosperous counterparts on the surface, Us invites interpretation as an expression of proletarian or lumpenproletarian angst and resentment toward upper-middle-class and wealthy Americans. In making the “shadows” physically identical to their class enemies and demonstrating that a specimen of the former set is able to pass as a member of the latter, Us plays with the theme of Mark Twain’s The Prince and the Pauper. Environment, Peele suggests, is the difference between success and squalor, so that compassion for one’s less fortunate fellows is in order if cataclysmic retaliation is to be averted. The ambiguous “us” of the title lends itself to different interpretations, one of which is that it refers to blacks specifically and arguably the discomfort of the “talented tenth” with their own teeming and rather frighteningly criminal coethnics. The protagonist and her family, who enjoy an upper-middle-class lifestyle on par with that of successful whites, are horrified when they are confronted with their own “shadows” – violent, primitive versions of themselves in convict-style red jumpsuits. It is a “there, but for the grace of God, go I” moment, but also an indication of elitist disgust at the cultural gulf that the protagonists perceive between themselves and their social inferiors. The revelation that the protagonist herself, however, is actually the “shadow” and that her savage assailant is the one who was born topside indicates that this condescension is misplaced, undermining the “Us vs. Them” dichotomy implied by the title. Beyond this, Peele also mentions in one of the DVD extras that he believes the people of the United States as a whole to be the beneficiaries of a “collective privilege”, the solution presumably entailing some form of global reparations.

Rainer Chlodwig von K.

Rainer is the author of the book Drugs, Jungles, and Jingoism.

The following material is excerpted from my recently published book, Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.

front cover

Sirhan Sirhan, the man who has been characterized as both the first “Palestinian terrorist” as well as the quintessential “Manchurian Candidate”, was described after his alleged assassination of Robert F. Kennedy in 1968 as having been “motivated by Kennedy’s support for Israel.” Sirhan is supposed to have written in a notebook, “Kennedy must die by June 5th” (i.e., the anniversary of the outbreak of the Six-Day War in 1967)1. Sirhan retracted his initial admission of guilt in the crime, claiming to have been “hypno-programmed” by the assassination’s plotters. Indeed, more than one researcher has suggested that Los Angeles sex therapist and hypnosis expert William J. Bryan did the programming. “Bryan, a self-proclaimed eccentric character, once boasted to two of his favorite prostitutes that he, in fact, had hypnotized Sirhan and had worked on ‘top secret’ CIA projects,” writes Forgotten Terrorist author Mel Ayton. “Bryan’s most famous hypnotic subject was the notorious Boston Strangler, Albert DeSalvo, whose name appeared in Sirhan’s notebooks.”2

Bryan served as a technical advisor on John Frankenheimer’s film The Manchurian Candidate (1962)3, which is about a brainwashed assassin. Frankenheimer had been a successful television director in 1960 when he declined an offer to work for the John F. Kennedy presidential campaign. (According to Frankenheimer, United Artists executive Arthur Krim had aspirations to become the U.S. Ambassador to Israel, and was reluctant to green-light The Manchurian Candidate for fear it would upset Kennedy; Krim is supposed to have relented, however, after learning that JFK was a fan of Condon’s novel4.) Frankenheimer, who said he “felt guilty” after the Kennedy assassination for not having done the work for his campaign, proceeded to insinuate himself with the Robert F. Kennedy camp: “when his [i.e., JFK’s] brother declared his candidacy in ’68, I immediately called Pierre Salinger and said, ‘Pierre, I want to be part of this.’” “I never left him,” Frankenheimer recalled. “I was there with him for 102 days.”5

frankenheimer

John Frankenheimer

“Bobby became best friends with me,” the director claimed. “He was staying with me in Malibu, and I drove him to the Ambassador Hotel where he was shot.”6 Frankenheimer further related a strange circumstance of this “defining moment” of his life to interviewer Alex Simon. “You were supposed to be up on the dais with him at the Ambassador, weren’t you?” Simon asked. “Yes, then at the last moment, it was decided that having a film director up on stage with him wasn’t the image they wanted, so we had [Kennedy’s labor advisor,] a friend named Paul Schrade, who was about my size and complexion, take my place,” Frankenheimer recounted. “And he was one of the three people shot in the kitchen.”7 Schrade, who survived, has maintained ever since that day that Sirhan only served to create a distraction and that the shots that killed RFK were fired from behind the candidate’s back8.

Ed Sanders, in his biography of Sharon Tate, relates that Sirhan Sirhan, the alleged assassin of Robert F. Kennedy, was reported by the Immigration and Naturalization Service to have been “attending parties on behalf of the Satanist English cult [the Process Church], including one at Sharon Tate’s place.” Sanders points to a possible motivation for the Tate murder that had absolutely nothing to do with some Mansonian (or Bugliosian) notion of an apocalyptic “Helter Skelter” war:

INS criminal investigator Richard Smith’s report stated that an LA law enforcement agency had a female informant who averred that the English Satanist group had commissioned Manson to kill Sharon Tate. […] The reason for the contract […] was “something that she unfortunately overheard that she was not supposed to overhear either in regards to Sirhan Sirhan or about Sirhan Sirhan.”9

Sirhan Sirhan

Sirhan Sirhan

Tate’s acting coach at the time was an Israeli, Zev Lahav, who went by the name “Laurence Merrick” and had been sent to the U.S. to promote Zionist interests10. Lahav, with partner Robert Hendrickson, produced a documentary, Manson (1973), about the Family, which included interviews conducted both before and after the Tate-LaBianca murders. Members of the Manson Family had come to visit the set of Lahav’s previous film, Black Angels, in 1969 – an eerie circumstance considering the race war plotline’s resemblance to the “Helter Skelter” scenario later attributed to Manson by Los Angeles County Deputy District Attorney Vincent Bugliosi, who participated in the making of Lahav’s Manson documentary. Another of Lahav’s films of 1969, interesting in view of his Tate-Manson connections, is Guess What Happened to Count Dracula?, which is concerned with occult ritualism and mind control (and even features a minor character named Sharon) and was filmed at the Magic Castle, which, as Scott Michaels points out in the documentary Six Degrees of Helter Skelter (2009), sits a few dozen yards from the Franklin Garden Apartments where Charles Manson shot Bernard Crowe over a bad drug deal – also very near the Franklin Avenue apartments from which Manson ran a prostitution ring called 3-Star Enterprises.

Frankenheimer, over the course of his career, would direct a number of movies with explicitly Jewish and anti-Nazi themes: The Train (1964), The Fixer (1968), Black Sunday (1977), The Holcroft Covenant (1985), and Dead Bang (1989). Black Sunday, in particular, depicts the Israelis as allies against Islamic terrorism. Indeed, the assassination of RFK, as Ayton puts it, “might be the first act of the tragedy that culminated in 9/11”11.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck – the DEFINITIVE Alt-Right statement on Hollywood.

Endnotes

  1. Troy, Gil. “Understanding RFK’s Assassination as Palestinian Terror”. The Jerusalem Post (June 5, 2013): http://www.jpost.com/printarticle.aspx?id=364591
  2. Ayton, Mel. The Forgotten Terrorist: Sirhan Sirhan and the Assassination of Robert F. Kennedy. Washington, DC: Potomac Books, pp. 6-7.
  3. Vaughn, Robert. A Fortunate Life. New York, NY: Thomas Dunne Books, 2008, pp. 260-261.
  4. “Dialogue on Film: John Frankenheimer”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 96.
  5. Simon, Alex. “John Frankenheimer: Renaissance Auteur”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, pp. 149-151.
  6. Hart, Hugh. “Frankenheimer Knew Period’s Main Players”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 213.
  7. Simon, Alex. “John Frankenheimer: Renaissance Auteur”, in Armstrong, Stephen B., Ed. John Frankenheimer: Interviews, Essays, and Profiles. Lanham, MD: The Scarecrow Press, 2013, p. 151.
  8. Post, Paul. “Schrade Still Seeks Justice for RFK: Senator Was Assassinated 47 Years Ago, June 5, 1968”. Saratogian (June 5, 2015): http://www.saratogian.com/article/ST/20150605/NEWS/150609842
  9. Sanders, Ed. Sharon Tate: A Life. Boston, MA: Da Capo Press, 2015, p. 266.
  10. K., Rainer Chlodwig von. “Israel, Manson, and Vampirism: The Freaky Life of Laurence Merrick”. Ideological Content Analysis (May 4, 2017): https://icareviews.wordpress.com/2017/05/04/israel-manson-and-vampirism-the-freaky-life-of-laurence-merrick/
  11. Ayton, Mel. The Forgotten Terrorist: Sirhan Sirhan and the Assassination of Robert F. Kennedy. Washington, DC: Potomac Books, p. 11.
KMFDMAdios

Adios – the “final” piece in constructing the “Columbine Matrix”?

On Hitler’s birthday, April 20, 1999, the abrasive German electronic pop group KMFDM (depending on the source, either “Kill Mother Fucking Depeche Mode” or “Kein Mehrheit Furh Die Mitleid,” which means “No Pity for the Majority”) released what was supposed to be its final album, Adios. This would be a comparatively insignificant footnote in history if not for the fact that this was also the day of the Columbine High School massacre. Eric Harris, a fan of the band, took notice of what he seems to suggest is something more than a simple coincidence. “Heh, get this,” he wrote in his journal. “KMFDM’s new album is entitled ‘Adios’ and its release date is in April. How fuckin appropriate, a subliminal final ‘adios’ tribute to Reb and Vodka [i.e., Harris and Klebold], thanks KMFDM…”

“The Jefferson County Sheriff’s Office, amid pressure over the long delay in publishing their investigation’s findings, released a report in May 2000 including over eleven thousand pages of lead sheets, ballistics and eyewitness reports and other attack-related media,” Evan Long states in the introduction to his essential documentary challenge The Columbine Cause. “The length of these reports did not lend them to rapid digestion, and the 9/11 attacks and overall shift in the American political climate of 2001 obscured many of the pressing domestic troubles facing America,” Long continues. “Perhaps the dust of the Twin Towers has settled enough by now for the people of the world to take a fresh look at the attack launched on Columbine.”

Was the “Trench Coat Mafia” something other than what mainstream media outlets reported it to be in 1999? Was the Columbine massacre something other than what it appeared to be? “Now, as far as the involvement of the Central Intelligence Agency or some type of brainwashing network, we have to be careful here in terms of avoiding that which our convictions may prejudice us to believe,” Michael A. Hoffman II cautions in “The Columbine Matrix”, a lecture he recorded shortly after the event.

In other words, a good researcher doesn’t act a priori. He doesn’t establish what he wants to see in a story and then look for those things. But rather, he goes to a story with an open mind, even if that report, even if the news details, contradicts his own convictions about something; and, therefore, to the very best of my knowledge, I have not yet seen evidence of an organizational brainwash going on against these two boys. In fact, I think we need to understand what happened in Littleton at a higher level of mind control than what has been previously put forth.

Trench Coat Mafia

Note the KMFDM hat.

Notwithstanding the absence of concrete and credible evidence of intelligence agency involvement, Long, using material released after Hoffman delivered his lecture, presents a compelling case for a cover-up of testimonies concerning disturbing aspects of the Columbine event. The details are beyond the scope of the present essay, which the reader should supplement with a viewing of The Columbine Cause. A further quotation may, however, whet the appetite:

According to an unnamed individual in the JCSO report, the attack had been “the big rumor for two years.”

And Martin Middleton, who had been in the Jefferson County area in the mid-90’s, at that time encountered an individual talking about the attempted bombing that would take place on Hitler’s 110th birthday who also told him that the Trench Coat Mafia which would be attempting it was not just a bunch of lonely depressed kids, but something much larger.

Indeed, we were told after the attack that the Columbine attackers had planned to not just shoot and maim a few dozen students, but to kill 500 people, level the school with bombs, hijack a plane from Denver’s New World Airport and, despite their total inexperience with aviation, fly it over 2000 miles where they would perhaps lodge it into skyscrapers in New York City, a plan which may have sounded foreign to audiences of 1999 but which today seems all too familiar.

KMFDMAdios2

Natural selection, a concept that interested Harris in the social Darwinist context, is also referenced in “Rubicon”, a song by KMFDM, one of the boy’s favorite music groups.

KMFDMParty

Original artwork for the Coup’s album Party Music. A few promotional copies of the CD were sent out with this cover before the official release.

Those acquainted with 9/11 conspiracy lore will be aware of the theories of eerily prescient content in the entertainment media during the years leading up to that event. Such films as The Siege (1998) and Fight Club (1999), in addition to the notorious pilot episode of the short-lived Fox TV series The Lone Gunmen, furnish examples of these alleged indications of foreknowledge of the World Trade Center attack, as does the scrapped artwork for rap group the Coup’s 2001 release Party Music, which depicts the Twin Towers being remotely detonated. Similarly, with Columbine, conspiracy-oriented researchers like Hoffman and Long have pointed to the proliferation of a violent trench coat goth image and sensibility in Hollywood productions like The Crow (1994), The Basketball Diaries (1995), Blade (1998), and The Matrix (1999), which was released a mere three weeks before the shootings in Littleton, Colorado.

As with Warner’s Party Music, the cover of TVT Records’ suspiciously synchronized KMFDM release displays a startling parallelism with the events of that day. Mimicking comic book artwork, the Adios imagery created by Aidan “BRUTE!” Hughes shows two gunmen being rammed and run over by a scowling driver. The content of at least one of the songs is strangely relevant to the Columbine massacre, as well. The lyrics of one track, “Full Worm Garden”, go in part as follows:

Tincture of lead be said with no remorse full of confusion
Wish to enjoy this weightlessness lay me out full worm garden

A noose-knit put on sweater tie it up around the arm
Looks to grip along the trigger down the barrel of a gun

KMFDM

KMFDM’s Sascha Konietzko models the trench coat look.

Another song on Adios, titled “R.U.OK?”, concludes with these interesting lines:

For a moment you might question what you see
For a second your whole world will disappear

This is mind control and you know it
This will shut you up and you know it

Mind control

This is mind control
Mind control
This is mind control
Mind control
This is mind control

That’s all you get
It’s all you need

“That’s All”, meanwhile, features the enigmatic phrases “Get defamed in isolation two plus one negate divine”; “News-print news-peak nevermind”; and “Free the hostage situation taken as a simulation”. “Rubicon”, another of the tracks on Adios, has this to say:

Violence for inner-peace
Bombing for therapy
Terror is everything you need

Cross the dotted line
Fake your destiny […]

Natural selection is based on deception
The ignorant elder empowers the youth

KMFDMAdios3

KMFDM fans

Both boys were known admirers of the group and were photographed wearing KMFDM apparel. Eric Harris made multiple references to the group’s body of work in his writings, and it is difficult, in retrospect, to listen to KMFDM’s output in the years leading up to the Columbine massacre without psychologically hyperlinking much of the band’s imagery back into the Trench Coat Mafia’s “Columbine Matrix”, as Hoffman terms it.

KMFDMNihilMore than one of the songs included on KMFDM’s 1995 album Nihil conveys an angry anxiety coupled with a lack of agency. “Flesh” declares “I am the thing that I can’t control”, while “Beast”, the following song in the album’s sequence, screams “I got no choice / I’m out of control / And the kids just love it”. The listener can only expect to “get respect / When you’re kickin’ ass,” the singer explains. “Some people call them terrorists,” says the sample of an unknown man’s foreign-accented voice that opens the track “Terror”; but “these boys have simply been misguided.” Repeated lines in the song describe a fragile mental state: “I’m close enough to trip the wire / I cannot keep my hate inside.” “Our societies are saturated with bloodlust, sensationalism and violence as a result of alienation from oneself’s reality,” explains another of the sampled voices in “Terror”. Nihil’s next song, “Search & Destroy”, asks, “Are we victims or winners / Believers or sinners? / Do we sit in the saddle / Or are we just cattle?” Here again, as would be the case with much of the public discourse that followed the Columbine massacre, the lines separating automaton and deliberate actor, victim and brutalizer, are blurred.

KMFDMXtortKMFDM’s 1996 effort Xtort declares itself the “Industrial soundtrack to the holy wars” and, in its opening number “Power”, prescribes the use of “Excessive force”: “The children of fear / Are not alone / Rivers of tears / Flesh and blood / An eye for an eye / That’s all we’ve got”. “Craze”, a particularly evil-sounding song on this same album, is especially interesting in consideration of Hoffman’s advancement of his theory of “Revelation of the Method”, or “Must Be”, as James Shelby Downard termed it, according to which a shadow establishment openly mocks its intended audience, both confirming and strengthening its control over a population by “telling you what they are doing to you”. “There’s nothing like giving the game away / All the people are feeling the same today,” asserts a demonically processed voice in “Craze” that goes on to command, “Take a hammer and break a bone for me / There’s nothing like giving the game away”. Whether intentionally or not, the song expresses the wicked delight an elite manipulator would presumably feel in dropping such cryptic hints as to his doings and intentions. Also notable on Xtort is “Son of a Gun”, which describes a “Massive attack” by a “Son of a gun” who has been “Born to kill”. “All are equal” to this “Superhero #1”, who exercises “No discrimination” in his murders – a characterization that prefigures Salon writer Dave Cullen’s description of Harris and Klebold: “They were equal-opportunity haters, railing against minorities and whites, praising Hitler’s ‘final solution’ – and then ranting against racism.” Harris said “Son of a Gun” was one of his favorite songs.

The song “Stray Bullet” from KMFDM’s 1997 album Symbols is known to have been of interest to Eric Harris, who made reference to it on at least one occasion. A “Stray bullet / From the barrel of love” is both an eroticized explosion of violence and an apotheosis: “Stray bullet / From the heavens above […] I’m the illegitimate son of God”. “Megalomaniac”, another track from Symbols, declares “Terrorism our trade” and “Chaos our mental state”. “Anarchy”, a song from Symbols mentioned in Harris’s entry in classmate Nathan Dykeman’s yearbook, evokes a character motivated by revenge who has “made a God out of blood”. Had Harris and Klebold, as Hoffman suggests with reference to the desensitizing content of The Matrix, taken their “MKULTRA marching orders” from KMFDM?

Konietzko

Konietzko

KMFDM snarler-songwriter Sascha Konietzko has complained that “a giant shitstorm came down on KMFDM” after the Columbine horror, and it is entirely possible that Konietzko is justified in his outrage at the band’s being falsely implicated. It is not this essay’s intention to charge that the personnel of KMFDM or Rammstein or any other group are Mossad or Central Intelligence Agency contractors bent on programming America’s youth for commission of acts of mass murder. Easy answers may never be forthcoming where the Columbine massacre is concerned, with more mystery and convolution emerging the more one examines the case. This essay is purely exploratory.

A lack of conclusive information does nothing to dispel the number of anomalies and bizarre circumstances surrounding the event, the release of Adios being one of many of these. Evan Long cites “an unnamed individual in the reports [who] called up accounts of a Denver-area culture well outside the bounds of humanity.” He continues:

This individual, who attended another high school in the area, related that he had been to parties attended by goths and Trench Coat Mafia individuals in their 20’s across the area, and that most of the Trench Coat Mafia individuals were out of school and that there were not very many who were still in school. He stated that they were into bloodletting, cutting and violence.

He also was questioned on sexually explicit photographs found in his backpack which were homosexual in nature, and stated that he had been to the house of an individual known to some in this circuit as “Pedophile Bill”, a homosexual man who was, quote, “not nice sexually” and had given him these pictures and also showed him photo albums which made him sick to his stomach. The albums, he said, contained sexually explicit photographs of small children up to the age of fourteen.

Who was “Pedophile Bill” and what was his connection, if any, to the events at Columbine High School? How extensive was the Trench Coat Mafia, and what was its organizational structure – if indeed it had any to speak of? If Long’s film The Columbine Cause demonstrates anything, it is that the public does not know what happened April 20th, 1999, in Littleton, Colorado, and that further research, much of it on the ground, must be conducted before the case can be closed to any critically conscious observer’s satisfaction. As Sheriff Ted Mink’s reported destruction not only of weapons and shell casings from the crime scene but also the infamous “Basement Tapes” of Harris and Klebold indicates, the authorities are determined that no independent investigator will ever be able to challenge establishment narratives with the aid of this key forensic and psychological evidence.

Rainer Chlodwig von K.

Family poster

Robert De Niro stars in this gory, mean-spirited “comedy” as a glorified serial killer and sadist who, with his sad pyromaniac spouse (Michelle Pfeiffer) and two chip-off-the-old-block teenagers (John D’Leo and Dianna Agron), has moved to Normandy at the behest of the Witness Protection Program. Posing unconvincingly as an academic, De Niro and his ultraviolent spawn lay waste to the French in a nihilistic bid for the affections of the Freedom Fry aficionados in the American audience. Tommy Lee Jones, looking as wrinkly and battered as the Constitution, appears as De Niro’s long-suffering Witness Protection case worker. The veteran leads are fun to watch, but their characters live too far beyond the possibility of redemption to deserve two hours of viewers’ time. Recommended to neoconservatives only.

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

5. Anti-Christian. Pfeiffer lost her virginity in a church. A judgmental priest (Christopher Craig) becomes irate and commands her to leave his cathedral after hearing her confession.

4. Ultra-green, with De Niro’s brown tap water driving him to an act of eco-terror.

3. Feminist/pro-castration. De Niro’s daughter – surprise, surprise! – is tough as nails and delivers a savage thrashing and genital-beating in reply to a come-on.

2. Zionist, perpetuating the myth that America “liberated” France. The Family, with its story of smug, self-important Americans storming overseas and asserting themselves by destroying things, serves as a frightening allegorical normalization of Jewish-American foreign policy. Gullible audiences, The Family hopes, will internalize as good, old-fashioned Americanism and “family values” the license to commit genocide that Rush Limbaugh chooses to pretty up as “American exceptionalism”. Pfeiffer, for instance, blows up a grocery store after overhearing a perfectly justified complaint about American (i.e., Jewish) media brainwashing. Jews appear in The Family as the victims rather than as the perpetrators of organized crime.

1. Pro-torture/anti-human. Men having their bones broken, testicles crushed, being dipped head-first into a barrel of acid – how hilarious! From murder to thievery to drug dealing in a school, The Family’s attitude is that crime is cute. De Niro, furthermore, attempts to validate his admittedly “sadistic urges” by arguing that he mutilates people for a “good reason”. “You’re the best dad anybody could ever ask for,” his daughter informs him moments before he drifts into a daydream about barbecuing a neighbor’s head. “Writing is intense,” he says in another reflective moment. “I feel like I been lookin’ at myself in a mirror all day.” One wonders what hideous creatures The Family’s screenwriters, Michael Caleo and Luc Besson, glimpse as in a mirror while they ply their appalling trade.

Hercules poster

Rush Hour franchise director, Zionist zealot, member of the Board of Trustees of the Simon Wiesenthal Center and Museum of Tolerance, and “lecherous lothario” Brett Ratner strikes again with a pedestrian sword-and-CGI epic in Hercules, starring Dwayne “The Rock” Johnson in the title role. Johnson’s part-negroid Polynesian features might seem at first glance to be an odd choice for the hero of Greek antiquity; but if any actor today has the combined physique and charisma to play Hercules, it is probably “The Rock”. The script and execution, unfortunately, are unconvincing, and opt for mindless, underachieving spectacle and bloodshed rather than the elemental masculine archetype creation of, for instance, Conan the Barbarian (1982). As for ancient neoconservative bloodbaths, 300 (2006) is a more entertaining example of this subgenre.

3.5 stars. Ideological Content Analysis indicates that Hercules is:

9. Pro-family. “I only want to be a husband and a father.”

8. Pro-drug. Amphiaraus (Ian McShane) makes use of psychedelic “herbs” for oracular purposes.

7. Talmudic, attempting to milk inappropriate cutesy humor from a young boy’s naïve use of the word “bondage”.

6. Pro-immigration, drumming up sympathy for the plight of “refugees”.

5. Feminist, promoting women in the military in the person of accomplished archer Atalanta (Ingrid Bolso Berdal).

4. Neoconservative. An enemy army of brainwashed savages wields crescent-shaped weapons that may be intended as an allusion to Islam.

3. Anti-white. The blond King Eurystheus (Joseph Fiennes) betrays Hercules. His throne appears to be decorated with a Greek meander motif like that used by Golden Dawn.

2. Pro-war. Despite revealing war to be motivated by mendacious behind-the-scenes machinations, Hercules delights in nothing more than the sight of barbarians mutilating each other like cattle. The hero even travels with his own personal propagandist, Iolaus (Reece Ritchie), who, like America’s Psywar Division during World War 2, spins glorious falsehoods in celebration of his mass-murdering master. “Are you only the legend, or are you the truth behind the legend?” asks Amphiaraus. A tension is maintained throughout the film as to where the truth begins and the propaganda ends. Ultimately, of course, Hercules demonstrates that he is the vaunted figure of myth. Tydeus (Aksel Hennie) represents the perfect soldier: a feral, unthinkingly loyal brute and killing machine.

1. Jewish supremacist. Hercules is the Jews as they like to imagine themselves, Zionist power symbolically flexing its muscles for the camera to entertain and indoctrinate the gullible goyim. The bastard son of Zeus, he wields power inherited from the Divine and so can be said to be one of the Chosen. Among his labors and feats of chutzpah is the slaughter of a mighty lion – Britain – whose pelt he wears as a trophy signifying the Rothschild imperium’s subversion of the British Empire. Haunted by Bergen-Belsen-ish visions of piled corpses, Hercules is also the subject of a blood libel and is accused as a “child killer”. Just as Jews have succeeded in blaming the Nazis for their own crimes, however, Hercules pins the blame on evil wolves for the child murders in question. In other reversals of tradition, Jewish Hercules is said to have slain rather than established a hydra, and is actually shown saving a prophet from being pierced by a spear rather than being the traitorous cause of this torture. Finally, Hercules pulls a Samson, bringing a temple down on the heads of his enemies.

28 weeks laterLong-range predictive programming in play?

The New York Times, from wholly neglecting to report the Holodomor to its readers during the 1930s to touting Saddam Hussein’s alleged stockpile of Weapons of Mass Destruction, does have a history of playing fast and loose and creative with the facts. Now Free Radio Revolution alleges that America’s “Newspaper of Record” is actually staging Ebola victim footage to brainwash the public into accepting what some commentators allege is a wholesale hoax. Red Pill Revolution is of the same mind, and both channels point to what they claim is a comprehensive multimedia campaign to condition the public to accept eventual vaccination. The number of movies with plague and zombie outbreak themes has certainly skyrocketed in recent years, with the likes of Contagion, World War Z, Dawn of the Planet of the Apes, and others ratcheting fears of biological catastrophe. Jew’s Analysis, making specific reference to I Am Legend, has also cried “predictive programming”.

Free Radio Revolution, this writer will concede, does point to some strange and suspicious features of the New York Times video; but it is rather a gigantic leap next to assume on the basis of this and some green t-shirts that the whole outbreak is nothing but an elaborately orchestrated hoax. It may only be that reporters, fearful of venturing into proximity with the disease, but still wanting to score some sensational footage, simply opted to cook it up and pay some African locals to look sick for their cameras. Whatever the case, the theory is interesting and warrants consideration. Is the whole Ebola scare only that – a ruse to make a quick buck for pharmaceuticals manufacturers? International Business Timesfor whatever it may be worth, reports a surge in stock prices for companies working on an Ebola vaccine.

Hat tip, Murder by Media.

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?

assassin2

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.

IRRUSSIANALITY

Russia, the West, and the world

Muunyayo

Farawaysick for a High Trust Society...

Fear of Blogging

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

Alt of Center

Life. Liberty. And the Pursuit of Beauty

The Alternative Right

Giving My Alt-Right perspective

Logos

| literature |

The Espresso Stalinist

Wake Up to the Smell of Class Struggle ☭

parallelplace

Just another WordPress.com site

NotPoliticallyCorrect

Human Biodiversity, IQ, Evolutionary Psychology, Epigenetics and Evolution

Christopher Othen

Bad People, Strange Times, Good Books

Historical Tribune

The Factual Review

Economic & Multicultural Terrorism

Delves into the socioeconomic & political forces destroying our Country: White & Christian Genocide.

Ashraf Ezzat

Author and Filmmaker

ProphetPX on WordPress

Jesus-believing U.S. Constitutionalist EXPOSING Satanic globalist SCAMS & TRAITORS in Kansas, America, and the World at-large. Jesus and BIBLE Truth SHALL PREVAIL!