Jews dominate Hollywood today: The Jewish presence in Hollywood is a historic fact, a majority of the producers and directors are Jews while the Writers Guild is practically 70% to 100% Jewish”
The Jewish Post And Opinion, December 6th , 1974
How many facts about Usama bin Laden are there in this film…?
Where’s the best place to keep Americans with regards to U.S.-Israeli policy…?
In the DARK
This film is almost three hours long, but feels like…?
F. Scott Fitzgerald once described Hollywood as “…a Jewish holiday, a Gentile tragedy” 1. and that was long before Tinseltown’s dalliance with the illegitimate state of Israel, in fact, it was long before criminal Jewry had even hatched a plan to invade and occupy Palestine. But even then, Hollywoodland, as it used to be called, was out to eliminate individualism, truth and merit, even then; it was all about exalting the Jew and damning the Gentile, or as controversial Jewish comedian Lenny Bruce put it: “So the Jew gets into show business. And he writes motion pictures, he’s making the images — he has the film industry knocked up – he controls it. And the Jew naturally writes what he thinks is pretty, what he thinks is ugly — and it’s amazing, but you never see one Jewish bad guy in the movies. Not ever a Jewish villain, man: Who’s the bad guy? Always the goyim!” 2.
Now obviously, not every single film made in Hollywood harbours some sinister ulterior motive nor does every Hollywood Jew leaf though The Talmud in a convoluted bid to get one over on the Goy. But the fact remains that there exists amidst the hills an inherently racist, well-financed cartel of Jews who are in cahoots with the Rothschild controlled U.S. regime / Military Industrial Complex to churn out pro-Israeli propaganda. Propaganda and disinformation intended to incite hatred, exacerbate ignorance and promote a grim, sociopathic worldview based around the demented, antediluvian edicts of Jewish extremism.
THE FAUSTIAN PACT
Produced by Annapurna Pictures, run by Jewish billionaire Megan Ellison—daughter of Oracle CEO Larry Ellison and distributed by Sony Pictures, run by Jew Michael Nyman, who’s also on the board of Rothschild’s pro-Israeli RAND Corporation and The Council on Foreign Relations. Director Kathryn Bigelow’s ‘Zero Dark Thirty’ dramatizes the U.S. manhunt for Usama bin Laden and is, as expected, a vile and bloated bit of Israeli propaganda. No surprises there. But what did surprise me was how the Gentile community and progressive Jews alike expect Hollywood to play by the rules: Why should they play by our rules, and why should we abide by theirs? For these Tinseltown Talmudists are the same smarmy dregs that revel in the stench of the gutters, and waft its toxic miasma over and above the hapless Goy like ba’al ha-davars whirling the Gragger on Purim. Dos Yiddische folk of the peepshow Nickel Odeons, an incestuous gang of lecherous conmen who aggressively push the homosexual agenda, pride themselves on turning fit, fame hungry shiksas into pathetic, half-shekel whores and, in the past decade, have legitimised the genre we flippantly define as ‘torture porn’, of which ‘Zero Dark Thirty’ is a prime example.
In an era where news stands in for entertainment and entertainment doubles as news for the ignorant masses, Hollywood, along with their handlers in the U.S.-Israeli regime, have attempted to seize control of the narrative by offering up heavily-stylised, quintessentially absurd interpretations of reality for the gullible goyim. The U.S.-Israeli regime’s long standing collaboration with Hollywood was explored by journalist turned filmmaker David Robb, in his seminal 2004 documentary ‘Operation Hollywood’: “Every film that the military assists always says that war is the answer”, says Robb.
The Rothschild run Pentagon assists certain film projects, ‘Zero Dark Thirty’ being the latest, by supplying the production with otherwise expensive military equipment, in return, explains Robb, the film-makers have to “…help armed forces recruiting and retention programmes and consult with the DOD in all phases of production”. This is a pretty straightforward scam; organized Jewry makes films to promote the military that are used to wage wars on Israel’s behalf, whilst the bourgeois military top brass get paid for doing next to nothing.
“The first thing you have to do is send in a request for assistance, telling them what you want pretty specifically — ships, tanks, planes, bases, forts, submarines, troops — and when you want this material available. Then you have to send copies of the script to the Pentagon, and they give it to the affected service branches. So then you finally get the approval, after you change your script to mollify the military, put some stuff in about how great it is to be in the military. Then when you go to shoot the film, you have to have what I call a ‘military minder’ — but what they call a ‘technical advisor’ — someone from the military on the set to make sure you shoot the film the way you agreed to. As one of the technical advisors, Maj. David Georgi said to me: ‘If they don’t do what I say, I take my toys and go’. After the film is completed, you have to pre-screen the film for The Pentagon, which I think any American should find objectionable”.
In her book, ‘The CIA in Hollywood’, Tricia Jenkins confirms the long held suspicion that “…the CIA has been actively engaged in shaping the content of film and television, especially since it established an entertainment industry liaison program in the mid-1990s”. New York Republican representative; Peter King, when made aware of the CIA’s involvement in ‘Zero Dark Thirty’, wrote a strongly worded letter to the DOD about Kathryn Bigelow’s relationship with The Pentagon. He must have got a reply but the right honourable congressman isn’t any kind of maverick, and won’t pursue this matter beyond the glass ceiling his colleagues help reinforce, I mean, who wants to risk being suicided by the regime over a stupid movie? No one in congress, that’s for sure.
‘Zero Dark Thirty’ is said to have cost $40 million dollars but has many more military and CIA related scenes than a $50 million dollar, somewhat anti-CIA film, like ‘Syriana’ (2005). A film like ZDT, in real terms, costs somewhere in the region of $90-100 million given all the locations and military hardware on show, so assuming that the U.S.-Israeli regime throws in what essentially amounts to $60 million of your total budget, do you really think they’d like to be portrayed as the rapists and murderers they are, or as heroes and saviours of the ‘free world’?
FICTION BASED ON FICTION
‘Zero Dark Thirty’ (military slang for 12:30 A.M—the time the fictional raid to kill bin Laden never took place) sees CIA agent Maya (Jessica Chastain) hot on the trail of Usama or “UBL” as she refers to him. Set over the course of a decade, the film is an episodic, overlong hotchpotch of torture scenes, Yanks making small talk, racism, xenophobia, Yanks talking at monitors, stealth helicopters, torture scenes, people on the phone, more racism, Yanks talking at monitors, torture scenes, torture scenes and, for variety’s sake, torture scenes.
Now ever since Israel did 9/11 they’ve had to tell lie upon lie to cover up the lies they told us ten years ago, sometimes their new lies contradict the old ones (e.g. Jewry’s spiel about WTC7 seems to change every other day). Its reached a point where they don’t care anymore and society has, in most cases, accepted that anything the Anglo-American-Israeli crime gang tells us is a monumental falsehood. Another card in an old pack of lies, stale hotzat shem ra served up on the cold Seder plate of deceit, an embalmed, crusty bandage crudely wrapped over the stinking corpse of the pro-Israeli media.
For reports about the alleged operation in Abbottabad originated form the same sources that told you the Vietnamese had attacked off the Gulf of Tonkin. That lone gunmen assassinated Martin Luther King, Malcolm X, JFK and RFK. That Idi Amin was a cannibal. That Egypt had attacked the U.S.S. Liberty. That Nelson Mandela was a terrorist. That Iraq had WMDs. That Hitler made bars of soap from the fat of dead Jews. That Usama Bin Laden got NORAD to stand down from a cave in Afghanistan. That Col. Gaddafi had Scuds aimed at Tripoli and that a bunch of Zionist Jews made the desert bloom.
Pathological liars lose the right to remain reliable sources of info, and the corrupt, pro-Israeli presses of the Western world have all but lost their right to be heard, much less taken seriously. But in case you’re one of those poor souls who’s still hopelessly ensnared in the Anglo-American-Israeli web of lies, here are a few facts about the Abbottabad debacle to chew over:
- No independently verified reports from the actual crime scene
- No filmed or photographic evidence of the alleged assassination
- Victim allegedly buried at sea, in a cringe worthy allusion to a scene involving the body of Megatron in Michael Bay’s rubbish Hollywood blockbuster ‘Transformers 2: Revenge of the Fallen’
- Media blackout and blanket denials over reported U.S. casualties at the scene
- No independent or official ballistics report
- No independent DNA reports
The media had nothing to go on other than the statement of a compulsive liar and the shrill assertions of asinine, assembly-line whack-a-moles like Anne Coulter, Jewish terror suspect Pamela Geller, Sarah Palin, Michele Bachman and Glen Beck. ‘But waitaminute’, I hear the shills and gatekeepers in our midst cry; ‘what about the fact that Usama bin Laden’s daughter, Saifa, confirmed the kill, you calling her a liar, too?’ What makes you so sure she said anything at all, what makes you so sure anyone even spoke to her, what makes you so sure she was even there to begin with?
A madman could tell you he’s just had a long conversation with Lord Lucan, but hopefully, you wouldn’t go around quoting the details as statements of fact.
After all, its’ not as if the corrupt, Zionist Jew run U.S. media hasn’t aided and abetted a crime before: Recall the case of 38-year-old American terrorist Raymond Davis, who was captured and charged with complicity in the murders of 23 year-old Muhammad Faheem, 26-year-old Faizan Haider and 19-year-old Ibad-ur-Rehman on January 27th, 2011 in Lahore, Pakistan. The U.S.-Israeli regime told the U.S. media to keep their mouths shut on the issue until further notice, unsurprisingly, they complied without question and only confessed to their readership after the story had been reported around the world:
“The New York Times had agreed to temporarily withhold information about Mr. Davis’s ties to the agency at the request of the Obama administration, which argued that disclosure of his specific job would put his life at risk. On Monday, American officials lifted their request to withhold publication”.
NY Times, February 21st, 2011
“ABC News was asked by the Obama administration to withhold publication of Davis’s affiliation with the CIA, citing fears that disclosure would jeopardize his safety. After several foreign media organizations published parts of his background, the U.S. government rescinded its request to ABC News to embargo the information.”
ABC News, February 21st, 2011
“The Associated Press learned about Davis working for the CIA last month, immediately after the shootings, but withheld publication of the information because it could endanger his life. The CIA asked the AP and several other U.S. media outlets to hold their stories as the U.S. tried to improve Davis’ security situation.”
The Washington Post, February 21st, 2011
Now obviously, there was a U.S. incursion by SEAL Team Six (i.e. Naval Special Warfare Development Group–Joint Special Operations Command) into Pakistan that night on May 1st, 2011. For according to Paul Craig Roberts, Pakistani eyewitnesses in Bilal Town, Abbottabad said that a U.S. helicopter gunship exploded as it tried to take off from the site. A second chopper still in the air, made a hard U-turn and flew back towards U.S. occupied Afghanistan. And post-incident photographs do indeed show the wreckage of a U.S. stealth helicopter at the scene as well as parts of the mangled chopper being carried off by inquisitive local residents hours later.
AP’s Kimberly Dozer, writing for the Navy Times on May 17th, 2011, claims the U.S. lost one helicopter, which crashed into the outer wall of the three-storey compound before the alleged raid. And that the mission clocked in at 15 minutes to find and kill bin Laden–in which time they expect us to believe that no one in this alleged safe house / guarded fort so much as loaded a weapon, despite the fact that half a tonne of whirling scrap metal had just landed in their front garden– and 23 minutes to clear the wreckage of the chopper which, as daylight photographs show, was still there long after the Americans had fled the scene!
Ex-U.S. Navy SEAL and Hollywood screenwriter Chuck Pfarrer’s account of the incident is an action packed apocryphal to rival some of the most exciting episodes of ‘24’. Pfraarr’s version of events contradicts the U.S. regime’s story which in turn contradicts another bloody, equally absurd, version by Navy SEAL media whore; Matt Bissonnette. Needless to say, this potentially troublesome game of Chinese whispers had to come to an end. So, in true Talmudist tradition, most of the U.S. invaders who allegedly took part in the alleged raid met a sudden and convenient demise; when a U.S. Chinook helicopter was apparently blown out of the skies over Wardak province, Afghanistan on August 6th 2011, killing all 38 U.S.-NATO troops on aboard. The dead included at least 20 members of SEAL Team Six. No serving U.S. military personnel have spoken about the Abbottabad incident since.
As for Usama bin Laden himself, all anyone can say for certain about the fellow was that he served in engineering & logistics during the Afghan-Soviet war, was honourably discharged in 1988-89, officially denied any involvement in 9/11 in an October 2001 interview. And has been pronounced dead by the U.S.-Israeli regime on about half a dozen occasions since, including once on Fox News in 2002 and once by Jewish war crimes suspect and ex-Secretary of State; Madeline Albright.
Far from being a success for the Americans, the botched Abbottabad invasion may have handed the resistance some good Intel about this, apparently top-secret, U.S. stealth chopper that came down. In fact, one could even speculate that the loss of this weapon was such a humiliating blow to the U.S.-Israeli regime, that they were forced to play their bin Laden trump card in a frantic, embarrassingly unsuccessful, attempt to try and cover it up.
Still, going along with the official conspiracy does have its advantages; for at least all those Jewish crackpots and Christian Zionist crazies who promised they’d dance on bin Laden’s grave, will drown trying.
In simple terms, the Anglo-American-Israeli-NATO defeat in Afghanistan at the hands of the Taliban has eclipsed the U.S. defeat in Vietnam: 12 long, bloody years of a dirty war fought without rules or honour and all the Yanks have to show for it are freshly dug holes in Arlington, an untold number of casualties secretly dumped in landfills to hide the numbers 3. , The Patriot Act II, UAV Drone terrorism and an organised attack on the second amendment–because the last thing Jewry wants is armed, justifiably embittered, veterans running around looking for the dual national Israelis who sent them to war on a lie. Both the U.S.-Israeli regime and Hollywood Jewry are on the back foot and have made a last ditch effort to convince an increasingly hostile public that they’ve won the unwinnable war by assassinating the man they tried to frame for 9/11; that modern day Pancho Villa, the new-old Shawnee Chief Tecumseh; Usama bin Laden.
That said, I doubt that even the most self-absorbed, morbidly obese, beer sodden Israeli stooge would be stupid enough to buy into Zero Dark Thirty. After all, the debate itself ought to be cause for concern in the upper echelons of JP, since the Gentile and progressive Jewish community should have been immune to the sight of torture by now. Especially since many of us have been on a steady, drip fed diet of ‘24’ and countless other pro-Zionist spy shows over the last decade, why hasn’t it worked, why are people still questioning the image-makers and resisting their depraved dogma? I do not know and neither, it seems, do the Israelis.
HOLLYWOOD PSY-OPS 101
Bigelow’s self-proclaimed “journalistic approach” to filmmaking, is a slap in the face of serious journalists the world over, and represents the kind of journalism that even Fox News or Channel 2 may deem sickeningly propagandistic. For ZDT wants it both ways and claims to be a serious, neo-realist investigation one day and ‘just a film’ the next, it is, in fact, neither; for ZDT is a U.S.-Israeli psychological-operation, and a reasonably effective one at that:
The repetition of certain images (e.g. bound captives being tortured) and the macabre, attempted normalization of sodomy as carried out by the Americans on their victims, is standard MK-Ultra, traumatic bonding and cognitive dissonance programming theory (i.e. compartmentalized dissociation). This process is supposed to violate the viewer’s subconscious in synch with the manner in which the torture is choreographed on screen e.g. ZDT’s torture scenes, though long and drawn out, employ fast cuts and sudden, sharp bursts of violence, these shock tactics are the legal equivalent of subliminal images and can, over time, effectively desensitise an unprepared, receptive mind to even the most vile and savage practices.
The end result would be to induce a kind of permanent inertia, a moral impotence, a cataract of the mind; whereby a person no longer feels shocked or outraged by a certain type of crime, and even if they do, feels unable to muster up the strength or courage required to challenge it. This is the marriage / separation of image / scenario: the viewer is supposed to identify with the torturer when they’re watching the film but feel as helpless as the victim when they encounter the practice in real life (i.e. on the news etc).
Traumatic bonding is a primitive psychological survival mechanism that works to blur the senses and cloud a person’s ability to identify and counter an immediate threat: Psychoanalysts Dutton and Painter state that the following conditions must be in place for the imposition of an effective traumatic bond:
- ‘Imbalance of power’ i.e. the imbalance of power between the director and an audience: one having created the product, the other consuming it. In terms of the image: the prolonged use of superior military power against a militarily weaker or defenceless target would cement this relationship between the state and its people.
- ‘The abusive behaviour is sporadic and coupled with positive reinforcement’ e.g. Maya’s sadism in the torture chamber is counterbalanced with her emotional vulnerably as seen by her reaction to ‘Al Qaida’™ attacks on the news and at the completion of her task.
- ‘The victim engages in denial for self- protection, one psychological protection strategy is dissociation; where the victim experiences the abuse as if it is not happening to them, but as if they are outside their body watching the scene unfold (like watching a movie). Dissociative states allow the victim to compartmentalize abuse’
- ‘Cognitive dissonance means that what is happening to the victim is so far removed from their thoughts and expectations of the world and reality. To cope with the contradicting behaviours of the abuser, and to survive the abuse, the person literally has to change how they perceive reality. Studies also show a person is more loyal and committed to a person or situation that is difficult, uncomfortable, or even humiliating, and the more the victim has invested in the relationship, the more they need to justify their position. Cognitive dissonance is a powerful “self-preservation” mechanism which can completely distort and override the truth, with the victim developing a tolerance for the abuse and “normalizing” the abusers behaviour, despite evidence to the contrary’. For example, when they show you pictures from Abu Ghraib or Guantanamo and then make sure you know the perpetrators only got a slap on the wrist whilst many of their victims are either dead or as good as. They’re essentially telling you that this is what could happen if you dare oppose the U.S.-Israeli regime, it gets so that the weakest of the weak smile mutely and even defend the most disgusting and vile actions by their political overlords. It gets so bad that some of them even act as apologists for unspeakable crimes out of fear that they could be next.
‘ ZDT’ was never intended to turn everyone into an Israeli sympathizer or torture loving psychopath, and nor would it be possible to do so. It is, however, intended to transform as many people as it can into feeble lackeys, wings clipped and immobilized, unable to move or think straight on issues that require absolute moral clarity, focused indignation and resolve.
Sigmund Freud’s nephew and Jewish master propagandist Edward L. Bernays spelt it out for us back in 1928, when he said:
“We are governed, our minds are moulded, our tastes formed, our ideas suggested, largely by men we have never heard of. This is a logical result of the way in which our democratic society is organized. We are dominated by the relatively small number of persons: It is they who pull the wires which control the public mind, who harness social forces and contrive new ways to bind and guide the world. There are invisible rulers who control the destinies of millions. It is not generally realized to what extent the words and actions of our most influential public men are dictated by shrewd persons operating behind the scenes. The mechanism by which ideas are disseminated on a large scale is propaganda, in the broad sense of an organized effort to spread a particular belief or doctrine. The invisible government tends to be concentrated in the hands of the few because of the expense of manipulating the social machinery which controls the opinions and habits of the masses: The American motion picture is the greatest unconscious carrier of propaganda in the world to-day.”
Jewish film critic Lester Friedman concurs with the aforementioned theory and adds, “…that film is inherently propagandistic; seemingly innocuous pictures carry messages that either support or attack the prevailing status quo”. Even the outwardly harmless ‘Addam’s Family Values’ (1993), produced by Scott Rudin, directed by Barry Sonnenfeld and written by Paul Rudnick (all Jews) follows the same doctrine, as lecturer and political analyst Kevin MacDonald points out: “The bad guys in that movie are virtually anyone with blond hair and the good guys include two Jewish children wearing yarmulkes”. In ZDT, every Muslim character is either a bad guy or in a weak position and dependant upon the Jew controlled white power structure for survival. Similarly, in an Israeli-U.S. TV show like ‘Homeland’, Islam is cleverly Judaized as an obscurantist and unknowable faith, Muslim prayers are portrayed as sinister rituals with exclusively Israeli-Jew fears manifested through a Gentile character played by Claire Danes, honoured by ‘Haaretz’ no less, as a “non-Jew that helped shape the 2012 Jewish story”. Short lived HBO series ‘Sleeper Cell’ tried to push the conceit of Jewish-American actor Oded Feher playing a Muslim terrorist pretending to be a Jew. I look forward to the day when Gentile filmmakers feel able to cast a Muslim actor to play a Jewish terrorist pretending to be a Christian.
Fortunately, there is light at the end of the tunnel and many people, especially those who are aware of what’s going on, can and will readily confront, engage and subvert this psychological onslaught.
Now that we’ve covered what I believe to be the film’s primary objectives, we can address the ideological conditioning process which seeks to aggressively impose Israeli dogma on an unsuspecting audience. For though its billed as a bin Laden movie, ZDT isn’t as focused on the eponymous emir as it is about trying to blame U.S.-Israeli crimes & failures on Pakistan, indeed, the heroic armed forces of The Islamic Republic of Pakistan have long been organized Jewry’s main target in the Global South and will, no doubt, play an important role in The Longest War (i.e. the war against Jewish extremism) in the near future. That said, I have to agree with Maya’s view of present day Pakistan as being “fucked up”, after all, any regime (in Pakistan’s case the U.S. appointed, corrupt-to-its-rotten-core Zardari regime) that allows Anglo-American-Israeli terrorists to scurry up and down their country like rats in a well stocked pantry, isn’t simply fucked up, but fucked up beyond all recognition.
Extremist Jewry’s deranged, Talmudist opposition to the rule of law and due process also infects every frame of the film: Muslim hostages in Guantanamo Bay, U.S. occupied Cuba, aren’t ‘represented’ but “lawyered up”, whilst the official end of torture signifies the end of all meaningful work at the CIA. ZDT also features an inherently perverse, ‘greatest Israeli terror hits’ against the Gentile world. Almost every U.S.-Israeli (i.e.‘Al Qaida’™) false flag terrorist attack carried out over the last 10-15 years, is referenced at some point in a bid to promote the idea of a clash of civilisations i.e. the clash of Gentile civilisations: The meticulously engineered, mutual destruction of the majority Christian and Islamic world, leaving a criminal minority of Jews at an advantage. From Israel’s crowning glory on 9/11 to the Mossad false flag in Madrid, the Anglo-Israeli terror attack on 7/7 to cameo appearances by the underpants bomber and Times Square fizzler, oh look, there’s the mossad truck bombing of the U.S. embassy in Kenya back in 1998. A case so corrupt, that the two innocent Arabs; Khalid Al Fawwaz and Adel Abdul Bary, that Israel framed for the attack, have spent the last 14 years in prison without trial.
“Israeli citizens came into Iraq disguised as Arab or Kurdish civilians and businessmen: Israelis disguised as Arab or Pakistani missionaries (tablighis) ran the recruitment centers. Israelis playing Muslim missionaries (tablighis) were even caught in India and Israel rushed to retrieve them. Israelis continue to fake whatever it takes to prove that the “war on terror,” has to continue. Listen to them more carefully, folks. The Zionists in our midst have been telling us the truth all along. Just replace “Arab” with “Israeli,” and replace “Al-Qaeda” with “Mossad”.
Seymour Hersh, ‘The Myth of Al Qaida’
Bigelow has no qualms about trotting out the Israeli attack on 9/11 like an ‘Infernal Galop’ chorus-line at the Moulin Rouge. She borrows Michael Moore’s ‘screams over black’ technique from ‘Fahrenheit 9/11’ as her opening salvo and proceeds to use September 11th in an expectedly shameless and ruthlessly exploitative manner. Bigelow’s snuff movie sensibilities don’t end there, as more real atrocities are cynically woven into the fictional narrative; for our heroine is on the scene at the Marriott Hotel bombing in Islamabad on September 20th 2008: A heinous and cowardly attack committed by the U.S.-Israeli created, RAW armed TPP and U.S. Blackwater terrorists, which claimed the lives of 54 people and injured over 200.
The acting in ‘ZDT’ is secondary to the plot dynamics and the film’s ulterior motives / political intentions but Jessica Chastain appears to be going through a process that many a Hollywood rookie before her has had to endure. She’s being paraded from film to film for the sole purpose of regurgitating Zionist propaganda: Chastain’s already played a Mossad agent in ‘The Debt’, is practically a mouth piece for JINSA (Jewish Institute for National Security Affairs) here and will, no doubt, become Jewry’s go-to Shiksa for more of the same. Still, its early days for Jessica Chastain and I’m not going to write her off just yet, for others have traversed this dark path before, some managed to escape unscathed and became wiser for it.
The play ‘A Flag Is Born’ was essentially a piece of political propaganda advocating the creation of the state of Israel. Everyone in A Flag Is Born was Jewish except me. I did not know then that Jewish terrorists were indiscriminately killing Palestinian Arabs and making refugees out of them in order to take their land.
“The play, as well as my friendship with the Adlers, helped make me a zealous advocate for Israel and later a kind of traveling salesman for it: Now I understand much more about the complexity of the situation than I did then: I sided with Jewish terrorists without acknowledging that they were killing innocent Palestinians in their effort to create the state of Israel.” 4.
CONTROLLED-OP TANGO: LIBERAL HAND-WRINGING, PROTESTS AND BOYCOTTS
Leftist political author, the witty and insightful, Naomi Wolf; was more or less forced into a controlled opposition Tango with the director; shadow-boxing her way through a few rounds, by comparing Bigelows’ film to that of National Socialist German auteur Leni Riefenstahl. Wolf’s comparison is, of course, absurd, and unconsciously plays into the Teutonophobia that’s been fostered and implanted in the West by extremist Jews since the early 1900s. For Riefenstahl was a technically proficient and creative filmmaker who accurately captured the zeitgeist of German society in the thirties. Bigelow on the other hand is a robotic, money grubbing dirt merchant who eschews the painful realities of post-9/11 America and all but dances the Hora on the graves of every man, woman and child martyred in Israel’s global proxy-war against the civilized world.
Wolf calls Bigelow’s Oscar winning, Iraq war propaganda piece ‘The Hurt Locker’ (2011) a “brave and beautiful film”. No it wasn’t. It was just as misleading and badly researched as ‘ZDT’, I will however, give Wolf credit for her accurate description of Bigelow as “torture’s handmaiden” for KB is a well known stooge of the extremist, pro-Israeli cabal in Hollywood. And despite some liberal hand wringing, a commendable inter-Academy boycott campaign led by legendary director Martin Scorcese and some well meaning protests at the premiere; Bigelow has no incentive to bite the hand that feeds her and will likely ignore all pleas and letters to change her ways, as would I were I in her position. After all, hacks like her siphoned off all moral and artistic integrity long ago and have no reason to repent.
Kathryn Bigelow’s career was going nowhere fast, her most successful film; ‘Point Break’ (1991) is still regarded by many as a guilty pleasure, an entertaining B-movie, but KB was all washed up by the late 90s and couldn’t even get some of her films distributed much less seen. ‘K:19 The Widowmaker’ (2002) was a critical and commercial disaster and Bigelow was quietly relegated to commercials and TV movies until Hollywood sent ‘The Hurt Locker’ her way. An ideal candidate for propaganda filmmaking and a willing recruit for the system within the system. The promotion of Kathryn Bigelow reminds me of how Jewry selected another talented but distributor-bound, financially compromised filmmaker in 1917 to direct a ‘neo-realist’ piece of work to show Americans the ‘reality’ of Germany and drum up support for Rothschild’s war (i.e. World War I). The director was D.W. Griffith and the film was ‘Hearts of the World’. Silent movie heroine and one of the film’s stars, Lillian Gish, remarked: “The film inflamed audiences. Its depiction of German brutality bordered on the absurd. I don’t believe that Mr. Griffith ever forgave himself for making ‘Hearts of the World’”.
Not one to be left out of all the theatrics, former ‘Playboy’ magazine journalist and ‘ZDT’ screenwriter Mark Boal feigns concern over some congressional hearing about whether someone in the regime said too much to the filmmakers about the fictional raid to kill bin Laden. All nonsense, of course, but you’ve got to hand it to him for trying to make it out to be something more than it is: “You know, it’s fine for some senators to say they think I’m wrong about some of the scenes depicted in the movie. It’s an entirely different matter for them to launch an investigation over it,” said Boal, “When the Senate intelligence committee launches a secret investigation I certainly feel a chill.”
Sure you do Mark, tell us another one. I mean, we all know your boss; Rothschild, pulls their strings just as we’re all too aware of the fact that “Jews award Jews for Jewish themed movies: Reds glorified the Soviet Revolution, Chariots of Fire instilled a guilt feeling in Gentiles for discrimination against Jews. ‘Genocide’ was (voted) best documentary on the German Holocaust of Jews.” 5.
AND THE WINNER IS…
Asking Israeli loyalists like Boal and Bigelow to make films about policies drawn up to empower the regime they shill for; is like asking Jeff Epstein to run a children’s home and then expressing your disgust at the manner in which he’s gone about his duties. By empowering these people at any level, you’re just asking for trouble, you’re almost demanding the facts be mutilated and misrepresented and your complaints ex post-facto will fall on deaf ears.
Seriously, if we Muslims are so upset over how we’re portrayed by Hollywood Jews (and we have every right to be) then we ought to pony up the cash and make some films of our own: The Turks are ahead of the game in this respect with the excellent ‘Valley of the Wolves’ series, a sort of Turkish ‘24’ meets ‘Jack Reacher’ that’s tackled the U.S. occupation of Iraq, Freemasonry, Gladio and Jewish terrorism in Palestine. Independent cinema in The Islamic Republic of Pakistan in the late 1980s was more vibrant than it is today, with Sajid Gul & Jan Muhammed’s Salman Rushdie revenge flick ‘International Guerrillas’ (a movie which irks the anti-Islamic author to this day and clearly struck a nerve more painful than a thousand high brow critiques). Even the Arabs made their long awaited debut with some interesting films like ‘Miral’ and ‘Black Gold’ whilst The Islamic Republic of Iran has long been the cinematic standard bearer and consistently worked to redress the balance on screen.
As it stands, ZDT is a U.S.-Israeli psy-op and nothing more than an extremist Jew fantasy based on a crime they committed. As a psychological-operation, ZDT creatively adheres to the propaganda handbook and diligently applies many of the Anglo-American-Israeli techniques found in U.S.-Israeli regime torture manuals and doctrines. As a film, ZDT is all over the place: poorly researched, badly executed piffle with absolutely no redeeming aesthetic, emotional or intellectual value to speak of. I expect it to win something at the Oscars, if not, there’s always ‘Argo’…
‘Zero Dark Thirty’ has been nominated in five categories at the 85th Academy Awards, February 24th, 2013: Best Film, Actress, Original Screenplay, Film and Sound Editing.
1. ‘An Empire of Their Own: How the Jews Invented Hollywood’. Neal Gabler, Crown Publishers, New York, 1988.
2. ‘The Essential Lenny Bruce’, John Cohen, Douglass Books, NY
3. ‘Air Force dumped ashes of more troops’ remains in Va. landfill than acknowledged’, Washington Post, Craig Whitlock and Mary Pat Flaherty, Published: December 8, 2011
4. ‘Songs My Mother Taught Me’, Marlon Brando, Robert Lindsey, New York, Random House
5. Herbert Luft on the 1982 Oscars, ‘Our Film Folk’