Just in case you weren't certain it was the primary agenda:
J.J. Abrams is committing to fostering an anti-racism environment at his Bad Robot Productions company, and beyond. The production company released a 20-page guide on their Twitter and Instagram, titled Guide to Dismantling White Supremacy at Work.
The company stated they were, 'committed to dismantling white supremacy at work & at large' with their guide. 'We are following leading academics, activists & artists and have compiled an evolving set of resources that we are sharing with friends and colleagues. Onward!' the company said in their tweet.
The front page of the guide began, 'At Bad Robot, we are committed as storytellers and executives to dismantling white supremacy at work and at large.' They added that this was an 'ever-evolving and far-from complete guide,' but they wanted to help others, 'strive to do the delicate, raw, humbling, and enraging work of anti-racism.'
Note that you are funding and helping bring about the destruction of Western civilization when you watch an Abrams product. Because the destruction of Christianity, the European nations, and the Greco-Roman philosophical legacy is the Hollywood agenda of companies like Bad Robot and the Devil Mouse.
If Fight Club does not admit women, does that mean it is gay? The Catholic priesthood does not admit women. Does that mean it is gay? Uh-oh. There may be a point here. We can at least say that the movie plays with this question.
Fight Club is a bunch of men rolling around half naked and punching each other. Some people find that . . . suggestive. Tyler declares: “We’re a generation of men raised by women. I’m wondering if another woman is really the answer we need.” Everyman seems to be sexually jealous when Tyler hooks up with Marla. He resents Marla for intruding on his relationship with Tyler. He also clearly feels jealousy of Tyler’s affection toward Angel Face, which sends him into a psychotic rage. [Note: Chuck Palahniuk revealed that he is gay in 2004.]
But in a deeper sense, the answer is obviously no. Tyler and Everyman are both heterosexual. Beyond that there is a matter of principle: It does not make men gay to want to work or socialize with one another while excluding women. Women have a great deal of power in pre-historic and post-historic societies because they are relatively egalitarian. Women have a great deal of power over children in all societies. Thus if boys are to mature into men, at a certain point they need to separate themselves from their mothers. They need male-only spheres for that. This is much easier, of course, when they have fathers. But when fathers are absent, they can find father substitutes. One such substitute is the Männerbund. Or, in less fancy terms, the gang.
Bonded male groups are not just necessary for the healthy maturation of boys. They are what create and sustain human history and culture. Almost every important institution until quite recently was sex-segregated. Institutions probably work best that way. Feminists, of course, want to break down those barriers, and one of their techniques is to insinuate that any institution that excludes them must be somehow “gay.”
I posted a comment at Unz in response to this review, based in part on my 2008 essay that was published in You Do Not Talk About Fight Club: I Am Jack's Completely Unauthorized Essay Collection by BenBella Books.
The reviewer, Trevor Lynch, is not only flat-out wrong in declaring FIGHT CLUB not gay, he almost certainly knows very well that he is wrong.
No one who has read the book can escape the flaming homosexuality of the club that dare not speak its true name. The book begins with an gay oral sex metaphor and ends with a homosexual gang bang metaphor. In between, it provides an analogy for what it is doing to the unsuspecting reader: hiding its flaming gayness in plain sight, in the same way that it describes a theater technician slipping in a frame of a slippery red penis to tower four stories over the unsuspecting heads of a movie audience.
This subversive act serves as a markedly apt metaphor for the way in which many fans of FIGHT CLUB still remain oblivious to the fact that it is a screaming, panting, writhing ode to the custom of men having sex with other men, as well as the way that an attachment to this custom tends to supersede all other aspects of individual self-identification.
Even if we set aside all of the author’s metaphorical signaling, it requires a truly superficial viewing of the movie to fail to note the multitude of similarities between the fight clubs gathering anonymously in dark places and the shady, quasi-illegal bathhouses where gay men have gathered for decades.
“Because I’m Tyler Durden and you can kiss my ass, I register to fight every guy in the club that night. Fifty fights. One fight at a time. No shoes. No shirts”
But no shortage of “service.” By this point, it should be obvious that good ol' Tyler is not talking about “fighting” every guy in the club. In the end, the movie is little more than a gay man’s fantasy that asks the question: “how great would it be if Brad Pitt was super gay?”
J.J. Abrams is hinting that a new gay character could be introduced in ‘Star Wars: The Rise of Skywalker’, but his giddy, woke comments show exactly one of the glaring flaws with the current franchise.
Abrams, who also directed ‘The Force Awakens’, explained to Variety that he wants to make sure the ‘Star Wars’ films “[look] more the way the world looks than not.” He added that he wants the LGBTQ community to “feel that they're being represented in the [new] film.”
If that sounds like the new ‘Star Wars’ film may be introducing an LGBTQ character, then you're probably right, but in typical Abrams fashion, he played coy when pressed for a direct answer.
“I will say I'm giving away nothing about what happens in the movie — but I did just say what I just said,” he teased.
At this point, I wonder if anyone actually cares. They've already destroyed their fan base, this is just jumping on the chopped-up bits as a prelude to soaking them with gasoline and setting them on fire.
Great news! Hollywood is full of genuine, true blue heritage Americans defending traditional American ideals again! The Atlantic helpfully alerts us to Hollywood's Great Leap Backward:
The fate of the Hong Kong booksellers has caused an outcry around the world, with independent news outlets and free-speech advocates warning of a return to totalitarianism. “It’s an attack on the publishing industry from all aspects,” declared Yaqiu Wang of Human Rights Watch in a recent New York Times article.
This outcry is wholly justified. But as a longtime observer of a different medium that has also been losing ground to China’s censors, I have to wonder: Why isn’t there a similar outcry about China’s mounting attack on the film industry, not just in Hong Kong but also in the United States?
Over the years, the U.S. government has often praised and defended Hollywood films as a key component of American soft power—that is, as a storytelling medium that can, without engaging in blatant propaganda, convey American ideals, including free expression itself, to foreign populations around the world. But Hollywood has long since abandoned that role. Indeed, not since the end of World War II have the studios cooperated with Washington in furthering the nation’s ideals. Instead, the relationship today is purely commercial—on both sides. For example, Hollywood frequently enlists Washington’s help in fighting piracy and gaining access to foreign markets. But even while providing that help, Washington refrains from asking Hollywood to temper its more negative portrayals of American life, politics, and global intentions. (The exception is the Department of Defense, which insists on approving the script of every film produced with its assistance.)
Things are different in China. In that country, which is fast becoming the world’s largest and most important movie market, the ruling Communist Party exercises no such restraint. On the contrary, Beijing has a very clear idea of how a film industry should operate—namely, as an essential part of the effort to bring public opinion in alignment with the party’s ideological worldview.
And here we were worried about those (((Hollywood values))) relentlessly attacking America, Christianity and Western civilization. It's reassuring to be informed that, contrary to our spurious concerns, Hollywood is actually, and has always been, full of real White Anglo-Saxon Protestant Americans standing up for traditional American ideals.
So, naturally, we must rise to defend these great champions of America and the West against the Chinese incursion, because these terrible Chinese interlopers just don't respect those ideals, right? Or, you know, Americans could always just sit by and watch Hollywood burn as the People's Liberation Army marches right over it and holocausts the global propaganda machine. Whatever shall we do?
Looks like it's time to toast some marshmallows. And the jump to China is definitely off, as it looks like we're about to be informed that Xi is the New Hitler.
Washington Free Beacon senior editor Bill Gertz said on Friday that under Chinese president Xi Jinping, the communist state has become a "communist nightmare."
Gertz appeared on The Mark Levin Show to promote his new book, Deceiving the Sky: Inside Communist China's Drive for Global Supremacy, in which he describes how the "China threat" has transformed radically since the 1980s.
"It really took a turn for the worse under the regime of Xi Jinping, the current Chinese leader, who has advanced what he calls the China Dream, which is really a communist nightmare," Gertz said. "He has his eyes set on global hegemony, he wants China to be the dominant superpower in the world, and in order to do that, he has to diminish the power of the United States. Xi Jinping has become the new Mao, the new emperor."
I wonder what went on behind the scenes over the last few years? Regardless, it's evident that China has made it abundantly clear to the relevant parties that they are not at all interested in having their olam tikkened.
New reports of empty theaters for Captain Marvel’s weekend showings are the latest in the movie’s ongoing controversy. A number of Twitter users indicated there were empty seats at a number of Captain Marvel showings over the weekend.
We spoke with a movie theater manager who asked for anonymity. He told us they had “exactly 25 no shows for every showing of Captain Marvel on Thursday through Saturday.”
The manager told us this was definitely abnormal, “It’s definitely not normal. People usually show up when they pay for tickets…I’m not sure what it is, we’ve seen big groups not show up before, but they get refunds.”
I asked whether or not these tickets were purchased in bulk, but that information isn’t available, “I’m not sure if they were bought all at once because Fandango doesn’t give us that information, but exactly 25 no shows for every show is probably statistically impossible.”
The manager would add, “I would say it’s someone trying to make the ticket sales look better than they really were.”
He would also indicate he saw significant drop offs in ticket sales from Sunday at his theater, “Sunday for Captain Marvel wasn’t good and Monday and Tuesday were terrible. They were like a 75% drop off from Sunday.”
This is how the corporate cancer known as SJW metastasizes. Once it devours one aspect of the business, the need to protect the narrative requires devouring another aspect of it.
Compare the first five days of Black Panther to Captain Marvel.
Most of my readers will know by now that I spent a considerable amount of time in Hollywood, trying to work my way through the ranks, only to be stifled by the identity politics quickly taking root out there during the Obama years.
But the second I read this, I almost jumped out of my chair. I knew immediately that #DirectorAnon wasn’t LARPing, because of this post alone.
It’s almost hard for me to explain to people who haven’t lived and experienced anything out there, but film and TV are basically a two-tiered caste-system.
You have people who are “Above the Line” and people who are “Below the Line.”
Those above, are the head-honchos. The director, the actors, the writers, the producers. They’re called “above the line” because… basically, they get access to royalties and such in their contracts.
Everyone below the line – the crew, the gaffers, the technicians, etc… They’re all paid hourly. It’s real grunt-work, but it’s the kind of stuff that has to get done, in order for a production to happen. After all, someone has to build the sets, set up the lights, rig up the mics, have craft services ready for when everyone gets hungry, etc, etc, etc.
and IATSE is THE union controlling all these guys.
Every single studio production, be it film or TV, works with IATSE labor. That’s just the way it works out in Hollywood. Every studio is legally bound to use them.
And IATSE guys are like… 90-95% white.
IE: The exact demographic its okay for all these monied, soft-handed execs like Franklin Leonard to hate on so much.
What DirectorAnon is proposing here is a mass IATSE walkout.
In other words, what he’s proposing would completely shut Hollywood down.
In the meantime, a crew man, GafferAnon, explains what you can do to shut down the Pedo Palace:
Make the money dry up.
Stop going to the movie theaters.
Stop using the products they pimp.
Stop paying to be entertained.
Just stop. Stop buying tickets and then complaining about how they inserted SJW poison into your favorite franchise. Stop making snarky comments and posting negative reviews about movies you paid to see. Stop supporting those who hate you, hate your politics, hate your faith, and hate your nation. Stop funding your own destruction!
I have not been to a movie since The Return of the King came out in 2003. I will never see another Hollywood movie in the theater. Anyhow, be sure to read both linked posts in their entireties, as there is a copious amount of information in them.
Read this if you are still under the impression that Disney gives even a fraction of a quantum of a damn about preserving the intellectual properties that it has acquired:
Mark came back for three movies, and not just cameo appearances. He calls his role in Episode VII the beginning of Episode VIII. He dies in The Last Jedi, but he is in reportedly in Episode IX as a Force Ghost. Mark feels Luke’s death should have happened in the last movie of this series.
“Then the second thing was that they killed me off. I thought: oh, okay, you should push my death off to the last one. That’s what I was hoping when I came back: no cameos and a run-of-the-trilogy contract. Did I get any of those things? Because as far as I’m concerned, the end of VII is really the beginning of VIII. I got one movie! They totally hornswoggled me.”
Hamill would also discuss how Johnson directed him to ignore C-3PO and just walk right past him for one scene:
They had me walking by 3PO, not even acknowledging him. I said: “I can’t do that! He (The Last Jedi’s director, Rian Johnson) said, “Okay, go over and do whatever.” So I went over, and I did whatever. They say it in the script: “Forget the past, kill it if you have to”, and they’re doing a pretty good job!’
The statement really sticks with me the most and may be the most telling to fans. Mark seemed genuinely upset with the lack of acknowledgment to the stories that took place before.
He specifically discusses the scene where he’s instructed to ignore C-3PO. The writing is reminiscent of when Chewie and Leia ignore each other in The Force Awakens. The action seems out of character for heroes that went through so much together. Mark was able to fix his scene. However, it was the underlying tone of dismissal by the director that upset so many fans.
That "underlying tone of dismissal" says it all. The evil little men who run Disney hate Western civilization and everything about it. They hate heroes, they hate nobility, they hate self-restraint, and they hate the very philosophical mode of thinking the West inherited from the ancient Greeks. They are not only willing to destroy the cultural icons you love, they downright revel in doing so. You cannot understand what they are doing unless you grasp that. And once you understand them, you can anticipate what they are going to do next.
Which is why I expect they will not even hesitate to destroy Marvel in the same way they have destroyed Star Wars.
There were two Marvel comics universes. (For simplicity I'll say two though that is not accurate.) One was the main one and one was the ULTIMATE universe which was meant to be a more gritty version which started in the year 2000.
The character Nick Fury was always a white man but in the ultimate version they made him a black man and they specifically made him look like Samuel L. Jackson. One could assume that they did this hoping to force the hand of higher-ups to cast Samuel L. Jackson for any future movies that were made. That is what eventually happened.
Becoming the guy in charge of a 300 million dollar movie is hard. Becoming the guy in charge of a comic book is much easier. Samuel L. Jackson as Nick Fury demonstrates that becoming the guy in charge of the comic can mean you decide how the 300 million dollar movie looks.
SJWs appear to have noticed this. They made a WOKE replacement for all of the main Avengers. Little black girl Iron Man, womyn Thor, Asian Hulk, black Captain America etc.
In recent years Marvel Comics seemed to want to force a female character to be their flagship character. A big problem with this was that most of their female characters that people like were X-Men and Fox owned the movie rights to X-Men so those characters were neglected. They decided to make Captain Marvel into their Wesley Crusher.
For reasons they also re-tooled Captain Marvel to be more repulsive and masculine, they did this repeatedly even though the comics were failures. With this in mind it's notable that a Captain Marvel movie got made at all - no one cares about this character or could reasonably expect it to be very profitable.
Guys like Robert Downey Jr. eventually have to age out of the Marvel Cinematic Universe. It would appear that the SJWs knew that and created the WOKE replacement comics to be the source material for the 2.0 Marvel Cinematic Universe.
Which may explain why Disney is looking to eject the comics altogether, since they know that Marvel Comics (SJW edition) is not only NOT going to plant more movie seeds, but is actively attempting to control the movie products. After all, if Disney wants SJW versions of the IP it owns, it is perfectly capable of producing them on its own. Soy Wars (nee' Star Wars) is sufficient proof of that.
It would appear someone is VERY upset at Disney, as the story for the big wrapup of the current version of the Marvel Cinematic Universe has leaked, according to Bounding Into Comics. Don't read more if you don't want to know what may, or may not, be the movie.
Warner Bros. confirmed to Gamespot that Gunn will write the next installment of the Suicide Squad. They told Gamespot, “It is confirmed that James Gunn is writing the next installment of the Suicide Squad franchise.”
According to The Wrap, Annapurna Pictures has run into financial difficulties as of late, culminating in the "jettisoning of two upcoming films with marquee talent" and the exit of its film division head.... Coming in December, Annapurna will be releasing the Christian Bale star vehicle "VICE," another leftist propaganda film in which Bale plays former Vice President Dick Cheney opposite Sam Rockwell playing President Bush. The film is reported to have cost a "bloated $60 million to produce" when it should have cost only half that. Factor in marketing cost and the film hasn't got a prayer.
"There is a financial issue going on," a source told The Wrap. "Her dad has put a lot of money into the company and I don’t think he wants to support her behavior and what’s been going on. There are restraints — the money is not flowing."
Annapurna also recently dropped its slated film about Fox News founder Roger Ailes just three weeks away from starting production. It had been approved for a whopping $35 million budget.
A source close to Megan Ellison says she has been making political passion projects with zero regard for financial cost or box office potential.
"She makes bad decisions," the source said. "She wanted to chase all these expensive movies that weren’t going to make money, and she said, ‘I don’t care whether they make money.’ That’s not how you run a company."
It is if you're an SJW. From a Financial Times article in 2014:
She is Megan Ellison and, depending on who you talk to, she is either the saviour of an industry that has succumbed to brain-numbing comic-book movies and superhero sequels or a wealthy heiress who splashes the cash on films that don’t necessarily make financial sense.
It would appear we have the answer to that question.
After reading this account of the falling out between Terrence Howard and Robert Downey Jr., I very much look forward to competing with Marvel in the movie space:
Appearing on Watch What Happens Live, a caller asked Howard if he would ever appear in a future Marvel film now he is civil with Robert again.
Prompting him to reply: 'You know what's so funny? Even though I love Don Cheadle so much and I love what he's done, I still hear a lot of fans asking, "Am I going to come back and be War Machine? Am I going to come back and be War Machine? I think they could have a huge franchise off of it. But f*** 'em.'
The feud began after Howard accused Downey, 53, of abandoning him when he tried to negotiate a better fee to appear in Iron Man 2.
He previously explained: 'We did a three-picture deal, so that means that you did the deal ahead of time. It was going to be a certain amount for the first one, a certain amount for the second one, a certain amount for the third.
'They came to me with the second and said, 'Look, we will pay you one-eighth of what we contractually had for you, because we think the second one will be successful with or without you.' And I called my friend - that I helped get the first job - and he didn't call me back for three months.'
In other words, Howard didn't try "to negotiate a better fee," he tried to get paid what he was contractually obligated to be paid. Marvel tried to stiff him of 7/8ths of what he was supposed to be paid because they calculated, correctly, that his presence was not required for a successful sequel, so he walked away.
This behavior is completely consistent with what we have learned of Marvel's treatment of freelance illustrators and colorists; their behavior towards writers tends to be even worse. It's informative to learn that while Howard has forgiven Downey for not having had his back, he has neither forgiven nor forgotten Marvel's shoddy treatment of him.
As you may have noted, nearly all of Castalia's, Arkhaven's, and Dark Legion's various creators continue to work with us, and even those few who don't tend to remain on good terms with us and may well work with us in the future. And on a not-entirely-unrelated subject, Bounding Into Comics is less than entirely enthusiastic about the upcoming Disney Channel film, Marvel Rising: Secret Warriors.
Looking at the Comichron numbers for the one-shot comics under the Marvel Rising brand, they are rather poor. In June, Marvel Rising Alpha would only ship 21,290 units. It didn’t even make the top 100 comics for the month. July would see Marvel Rising: Squirrel Girl/Ms. Marvel only ship 17,995 units. And then a different Marvel Rising: Squirrel Girl/Ms. Marvel would only ship 15,558 units in August.
If one takes into account the average sell-through percentage, Alt★Hero is already competing very effectively with the Marvel Rising brand without taking the crowdfunding aspect into account. And we're not even in the comic stores yet.
So there was very, very
disappointing news for Star Wars fans
today just a few hours ago. Variety and
some other entertainment news sources
reported that the woman who is primarily
responsible for the destruction of the
Star Wars franchise, the ongoing
destruction of the Star Wars franchise, has actually been signed to a three-year
contract with Disney and apparently is
still going to be in charge of the Star
Wars movies. Now, I personally think this
is fantastic news, I think this is
wonderful news, because it means that
there is a tremendous opportunity out
there for those of us who are creating
alternatives. If you look
at what has been done with Galaxy's Edge, if you look at what we are in the
process of doing with Faraway Wars, if
you look at a lot of the other stuff
that people are doing in a similar vein, this is an excellent opportunity for the Star Wars
fans to find better and more worthy
alternatives because it is now very, very
clear that Disney is not going to fix
what George Lucas broke.
In fact Disney
is going to continue to make it worse. Disney is going to make Star Wars even more converged than it is. You might not think it's
possible, but believe me it is. There's a
good question, "Vox, why do they ruin
everything?" They ruin everything because they don't understand
anything. You have to understand that
culture and technology and art, all of
these things, are black boxes to SJWs. They do not understand what they are, they don't understand how they work, they
don't understand the nature of their
appeal to other people. SJWs are essentially cargo cultists.
The reason why I argue that this is objectively bad, mechanically bad, and not just a plot twist that happens not to please me is this:
There are three components to any criticism of art. One is to look at the mechanics of the art form, regardless of content. That is an objective matter. The poem either has fourteen rhyming lines or does not; if it is a thirteen line poem, or blank verse, good bad or indifferent, it is not a sonnet. The next component is a judgement call: did the artist achieve the effect he was attempting? Was the audience moved as he was trying to move them? The final is subjective reaction: did I like it? And why did I?
It is often said in the modern day that beauty is in the eye of the beholder, which, in effect, says there is only one component to criticism: the subjective one. Nonsense. A fair-minded critic could, for example, be no fan of horror movies, or even dislike the whole genre, and still be able to tell John Carpenter’s HALLOWEEN is well-made horror movie and Ed Wood’s PLAN NINE FROM OUTER SPACE is not. More to the point, he could tell that MY FAIR LADY is not a horror movie at all.
In this case, in story telling of any kind, in film or print, any plot point needs set up and follow through if it is to be emotionally satisfying.
Example: The set up for a character like Rick Blaine in CASABLANCA, or Han Solo in STAR WARS, who at first wants no part of the fight is to have him show his reluctance. Hence the scene in CASABLANCA where Rick looks on indifferently as Ugarte is arrested and executed; hence the line in STAR WARS where Han will not stir a foot to rescue the princess until he is reassured that she is rich. That is the set up. The follow through is the about-face: when Rick sends away the woman he loves, despite the personal cost to him, or when Han returns unexpectedly to swoop out of the sun and blast Vader’s pursuit-ship as it is closing in on Luke for the kill.
In this case, we saw the set up for Finn’s reluctance in this last film and in this one. He attempts to steal an escape pod, and is zoinked by a zoink-dwarf with a zoink-wand. The follow-through was the about-face and the noble sacrifice to save his friends. Except that the suicide run is said over the radio to be in vain: a pointless gesture. Either Finn would have destroyed the gun by ramming it, or not. If not, it is not a real about-face. It is just a wasted character trying to waste himself to escape this wasteland of a film. But if it would have worked, preventing the sacrifice (at the sacrifice of everyone else) prevents any follow-through on the character arc: he is still, through no fault of his own, back where Rick and Han started out.
Good, bad or indifferent is another matter. Whether you personally liked it or not is another matter. On an objective level, having an event that robs all the meaning out of the set up event, and then leads nowhere to nothing, is a mechanical error in story telling. Story telling consists of telling about meaningful events, not meaningless ones. Even if you want to tell a nihilistic story, whose point is that life is pointless, the story itself must be told in a pointed way, and the events in the story must be meaningful in order to carry the message to the audience, even if that message says that meaning is illusion.
Basically, the story telling is objectively bad when the character in a drama loses all dramatic potential. There is no more story here. What is our Token Stormtrooper now? He is a hero who fails to be heroic. No chance to try again was given, not in this film. If the self-centered cynic, like Han Solo or Rick Blaine, has a certain romantic glamor to him, a cool self-possession. But a flunked suicide? What has he got? He is neither selfish nor selfless. He has no personality at all. The character becomes nothing.
The force is strong with Lucasfilm president Kathleen Kennedy — for another three years, to be precise.
The veteran producer and chief of the Disney content giant behind “Star Wars” has renewed her deal through 2021, an individual familiar with the negotiations told Variety, following a tumultuous year for the label under her control.
The studio had no immediate comment on the new deal.
The re-up comes as the division gets back on solid footing following “Solo: A Star Wars Story,” the Alden Ehrenreich Han Solo spinoff that suffered disappointing box office returns and behind-the-scenes drama after the studio dismissed directors Phil Lord and Chris Miller well into production. They were replaced by Ron Howard, who was tasked with bringing home the pricey standalone (which cost at least $250 million).
Why? Because doubling down is what SJWs do. After all, they can't possibly admit they were wrong and those evil NaziHaterWhiteSupremacists who said the movies sucked were right, can they?
This is great news, as far as I am concerned. Opportunity beckons....
Lo and behold, we have discovered why
Disney acted with such alacrity in
firing James Gunn, the director of Guardians of the Galaxy, Guardians of the Galaxy 2, and he was supposed to be the
director for Guardians of the Galaxy 3. He'd already written the script, apparently, and then, after the
weaponized autists of the chans and
Mike Cernovich let everybody know what
was going on with James Gunn's historic
tweets, Disney suddenly acted very very
quickly, very very uncharacteristically, and they fired the guy.
Now this is was
very unusual because Disney, in the past, has actually brought in people who who
were convicted child molesters. There's a
guy named Victor Salvia who had been
convicted of molesting a young man and
they actually hired him to make a film
called Powder and this was a big
controversy back, I don't know, fifteen
years ago or something like that. Now we'd like
to think that Disney learned something
from this, but the reality is they haven't learned anything, but they have apparently learned to stop digging the hole deeper. So
that's what I think a lot of people both
in Hollywood and in the media didn't
understand there.
You have cuckservatives like David French, you have the
always ludicrous
Benny Shapiro, you have these people
saying, "oh well you know he shouldn't
have been fired for, you know, some
jokes." And you saw that all over the the
left-wing internet media, "no, it's just jokes, some old jokes, you know, the evil people, the Alt-Right
dug up old jokes." The thing is, the
telling thing is, they didn't actually
link to any of them. They didn't quote
any of them, and the reason that they
couldn't was because most of them were so bad. Most of them were simply beyond
the pale, and not only that, the frequency
of them indicated what can only be
described as an unhealthy level of an
interest.
Now, I personally think that
it's absolutely fine, in fact, I think
it's an absolute imperative, to go ahead
and get guys like these deplatformed under any means necessary. You know
if you make a joke about Africans, if you
make a joke about the Holocaust, if you
make a joke about any of a
dozen or more different identity groups
or historical events, they will attempt to fire you on that
basis. If you joke about it, if you joke about something
they consider racist, then that proves
that you are a racist, a white
supremacist, a bigot, and a hater for all eternity, and therefore, in the words of Ben
Shapiro, you must be hunted down and and
destroyed and fired. Suddenly, when
someone is joking repeatedly about
molesting children, about harming and
raping children, they claim, "oh that's funny, oh that's great, you know, we're all
just having fun here."
The cast of Guardians of the Galaxy follows orders from Hollywood PR and throws themselves on the funeral pyre in a vain attempt to change the rules again.
The Guardians of the Galaxy cast has called for James Gunn to be reinstated as director of the movie after he was sacked this month over old tweets.
Chris Pratt, Bradley Cooper, Zoe Saldana and Vin Diesel signed an open letter in support of Gunn.
The stars said they were shocked by his removal 10 days ago.
The Walt Disney Co fired him from the third movie in the series after tweets from 2008-11 resurfaced in which he joked about rape and paedophilia.
Left-leaning Gunn has been an outspoken critic of President Donald Trump, and the director's old tweets were identified by conservative critics.
Many of the posts, which include jokes about the Holocaust and Aids, are too offensive to be reprinted by the BBC.
A host of fake conservatives have hastened to follow suit, including David Cole, who manages to project like an award-winning SJW in his fear of a future inability to joke about molesting children.
Kooks like Cernovich are contributing to the cycle of reciprocal accusations and firings. Leftists are not going to respond to the Gunn firing by saying, “Dang, these witch hunts have gotta stop.” Rather, everyone will respond by saying, “Shit, now I really have to watch my words.” So go ahead, cheer James Gunn’s destruction. You want Europe? That’s how you’ll get Europe. People scared to speak freely, people frightened to crack a joke. If that’s what you want, I don’t care if you’re on “my side.” Fuck off.
Yes, because no American is at all afraid to speak freely about women, blacks, gays, Jews, transexuals, or certain historical events that absolutely happened exactly as whatever is supposed to be the current version presently has it. The thing these idiots never grasp is that gamers instinctively understand what it means when you're taking enemy fire. It means you're going in the right direction.
In fact, just last week some alt-right anti-Jewish conspiracy ninny named “Vox Day” accused me of being an accessory after the fact to the satanic Hollywood pedo ring, because according to him I know the names of those involved but choose to remain silent, because Jew. (“Vox” was butthurt over last week’s column, in which I argued that “edgy” comedians who make kiddie jokes are not necessarily pedophiles.) I looked “Vox” up, and apparently he’s a failed garage-band musician and “elves and ogres” fantasy author (amazingly, this guy couldn’t hack it in two of the least demanding professions known to man), and now he’s supposedly some kind of alt-right honcho. Big deal. Being a VIP on the Pizzagate fringe is like being the most handsome muselmann in the terminal ward. In just two years, the alt-right has gone from “Can we admit that there’s nothing wrong with being white?” to “Our prime directive is to hunt down the secret cabal of satanic ritual abusers that only we can see.”
Welcome to #GamerGate, everyone. All we wanted to do was play video games. But then we learned that monsters are real. The ride never ends.
I note that David Cole is not only defending the pro-pedos, he is also lying about what I wrote just last week. His response is amusingly akin to the inept murderer who, when accused of knowing who robbed the bank, angrily declares, "I didn't rob that bank and I didn't bury that body in my front garden either."
A guy who works in the industry sheds a little light on the corruption of the Hollywood cabal in the chans:
The A list community is broken down like this:
Somewhere around 30% are abusers (and that ranges from pedophile/trafficker /sacrificer down to having a casting couch).
Somewhere around 30% are genuine victims (there are literal slaves who believe they are living the high life, down to people who are raped and pressured into silence).
Somewhere around 30% willingly trade sexual favors for opportunities (ranges from begrudgingly, but they know how the system works to being a little cabal darling who loves or even gets off to whoring around).
The remaining 10% who are not applicable to the above is made up of:
People who are self-made and chose never to associate with the cabal. We know them from their own efforts, and they happened to get lucky or strike gold.
People who are insanely popular and make enough money for THEM that they have the clout to refuse to participate. They are usually blackmailed by credible threats of violence or ruining their careers into being quiet. Perhaps you could consider these people complicit.
People who are extremely diligent in not allowing themselves to be courted by THEM. This means either not going to or leaving early from Hollywood events and parties, and treating every time another person tests their waters like a joke or over reacting to the small stuff.
People THEY simply don’t want. Their standards may seem low, but there are hosts of people that the public likes and that came them money, but for one reason or another THEY don't want them in the group. They'll allow these people to remain on the outskirts of the group but will never even attempt to invite them to the inner circles.
This board has become known, and some people keep eyes on it. Some people get briefings on it. They are nervous that people are dedicated enough to dig, draw connections, lay them out plainly, then organize/coordinate to put them in front of a wide audience. These kinds of these used to be relegated to conspiracy boards and easily dispelled by mocking.
Current climate knows to fear drawing the attention of the masses. They also know once the hoard has their eye on you, everything they do is closely monitored, which is incredibly claustrophobic for people who thrive on symbolism and covert communication out in the open.
Immense push back on James Gunn's firing as witch hunt in specific is an effort to shame the masses out of shaming people out of jobs and not let this set precedent.
Many still think and expect they'll be able to sacrifice a few of the guilty publicly to preserve the rest. Many believe there will be a few more Weinsteins and Kevin Spaceys, but they'll be okay. Some are freezing everything until this blows over. Some see the writing on the wall and oppose publicly to try and stop.
I'm not even remotely surprised to hear that the pushback on the Gunn firing is coming straight out of the Hellmouth. It had the stink of coordination to it. This is confirmation that we should be highly suspicious of the mockers, condemn the defenders and enablers, and press on with even more investigations into uncovering the truth, whatever it may be. The more pressure that they feel, the more some will feel the need to come clean while others desperately try to cover things up. And if history is a reliable guide, it is through the attempted coverups that the whole thing will come crashing down.
Weaponized autists may not be the heroes that we wanted, but they are the heroes that we need.
You may recall when David Chappelle inexplicably went off to Africa. I mean here is a guy who was top of his game, making incredible sums of money, who was offered everything in the world, and he turns it all down and just disappears into Africa for no reason that anyone can understand. And he never really addressed it directly, it was portrayed as him having some sort of breakdown or something, but he wasn’t having a breakdown, and he explained it in an interview on Inside the Acting show – I can’t remember what it’s called – but he’s talking to a bunch of acting students and he talked about how important it was to have your price, to know what your price was before you went out to pursue a career in Hollywood. And so it was interesting because he said it’s very important to know what your price is, to know what lines you’re not going to cross, and then he said “hence Africa.” What he was very clearly saying was that he was asked to pay a price that he was not willing to pay for his career.
This is something that is relevant to me personally at the moment because now we have a successful line of comics, now that people are becoming aware of the quality of our books and the potential that they have in various mediums and various media, whether it’s film, whether it’s cable, whether it’s streaming, or whether it’s games, so there are people that are interested and that are talking to us, and one of the things I make very clear is that if they’re interested in trying to offer us success in exchange for compromising our principles, our faith, or our souls, they can just stop the conversation right now. We will do it ourselves, then maybe we won’t be successful – so the fuck what?
Jesus Christ turned down the entire world, what price a TV show? Why would you sell your soul for a TV show, for a movie, for a career as a second-rate movie star? I mean seriously, who has a better career in Hollywood than Tom Cruise, is there anyone you can think of? He’s in all the blockbusters, everybody knows his name, he’s about as famous as you can be, he’s been in a number of hit franchises, he’s been in movies that are part of our cultural language, several of his characters are iconic figures, and how many of you would trade places to live in that guy’s freakish life? Why would you ever why would you ever want to live like that? And that’s the best that they can offer! That is the Heaven on Earth that they can offer you. What an utter nightmare!
Are there any other celebrities you believe will be exposed?
Yes I think that lots of people will be exposed. If you go to Neon Revolt, if you go to 8Chan, if you go to Crazy Days and Nights they are all naming names. Now, I’m not going to name any of those names because I have no direct information about any of them. It’s not my world. I’m glad it’s not my world. You know if you want to talk about game designers, I was talking to Derek Smart today. I talk to people in the games industry on a regular basis, and I can guarantee you that we don’t do any casting couch bullshit, we don’t make anybody engage in bizarre rituals so that they can work on games with us. I mean, that sort of stuff would be totally insane.
Do you believe Hollywood’s destructive influence on dismantling Christian culture was intentional or a side-effect of encouraging their own depravity?
It was absolutely intentional: these people hate Christianity, they hate Christians, they hate Western civilization, and they even hate Christmas. It’s really astonishing when you learn to see it, and once you see it, you can’t un-see it.
On a not-unrelated note, Ben Shapiro being a Hollywood Jew with Hollywood values is not news to me. I knew the background of the Littlest Chickenhawk - now there is an unexpectedly dual-barreled nickname - from the start. But Ben Shapiro's background never seemed relevant to my criticism of him until the "conservative" talking head inexplicably leaped to the defense of James Gunn:
Late Thursday night, Mike Cernovich, a centrist social writer-activist and childrens advocate who has aligned himself with right-wing political movements over the past two years, began sharing Gunn’s insidious tweets. Less than 12 hours after Cernovich, who was amplified by One America News’ Jack Posobiec and the film, An Open Secret, which documents the systemic sexual child abuse found throughout Hollywood, began sharing this evidence with the public Disney fired Gunn from the upcoming sequel.
Gunn tweeted these comments in his forties. He is reportedly worth $100 million and the writer-director of a teen film series. These aren’t tweets from a college kid trying to get attention, or a rising standup comedian trying to bombast their way into the public spotlight. This wasn’t a careless retweet, or a foolishly shared comic. These comments should be damning to anyone, like Shapiro, who strategically positions themselves on the most archaic of social conservatism.
Strange, isn’t it? Maybe not. Shapiro grew up, and still lives, in Hollywood. His mother is a power-player within the industry and his cousins are actors Mara Wilson and Daniel Ben Wilson....
Was Ben Shapiro defending of James Gunn on his Twitter, the Daily Wire blog, and podcast because Gunn had defended him?
Is this tribal Hollywood protecting Hollywood?
Was Mike Cernovich’s takedown of James Gunn the reason why Shapiro opposed it?
Are there any disclosures Shapiro would like to make about himself or his family’s relationship with Gunn, his associates, or Disney or its subsidiaries?
These are questions Shapiro won’t host a debate on. Why not?
Because Shapiro is an evil little fraud. He's terrified of debate with anyone who isn't a left-wing halfwit. He's a midwit, a gatekeeper, and a media construct who has been relentlessly pushed on American conservatives since he was in junior high. Any Christian or conservative who considers himself a Shapiro fan is a naive fool who has been taken in by the propaganda program. The same thing goes for Jordan Peterson.
These heavily promoted wormtongues do not speak the truth, they do not believe what their fans think they believe, and their objectives are to protect evil by distracting and confusing those who would otherwise stand against it. William F. Buckley. Glenn Beck. Ben Shapiro. Jordan Peterson.... when are conservatives going to stop falling for these obvious frauds?
In the Kings Service, Katherine Kurtz Childe Morgan, Katherine Kurtz Starswarm, Jerry Pournelle Vampire Forensics, Mark Collins Jenkins The Brothers Karamazov, Fyodor Dostoevsky The Book of the Damned, Tanith Lee The Book of the Beast, Tanith Lee The Book of the Dead, Tanith Lee The Book of the Mad, Tanith Lee Night's Master, Tanith Lee Death's Master, Tanith Lee Delusion's Master, Tanith Lee Numero Zero, Umberto Eco Red as Blood, Tanith Lee Red Dragon, Jerry Pournelle Red Heroin, Jerry Pournelle 1Q84, Haruki Murakami Tokyo Decadence, Ryu Murakami Popular Hits of the Showa Era, Ryu Murakami Audition, Ryu Murakami Kafka on the Shore, Haruki Murakami In the Miso Soup, Ryu Murakami
