Category Archives: Movies

Exactly Which Dystopian Novel Are We Living In? By Tyler Durden

What’s your favorite dystopian novel or movie? Welcome to its real-life incarnation. From Tyler Durden at zerohedge.com:

There’s a debate going on among the disaffected/terrified over which dystopian novel we’re now living in.

As John Rubino remarks, some point to social media addiction and designer drugs to suggest Brave New World.

Others see mass surveillance and pandemic lockdowns as putting us squarely in 1984.

Still others cite online censorship and cancel culture as favoring Fahrenheit 451.

Each of these opinions seems valid, which is confusing.

A prisoner should know the shape of their cell. So it’s a relief to find out that someone (not sure who) has settled the argument by creating the following Venn diagram (Tweeted by our friend David Morgan).

Turns out we’re not in a single dystopian novel. We’re in all of them simultaneously.

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Finding Strength Along a Post-COVID Fury Road, by Tom Luongo

The money sentence: “This fear of living is what drives people to become cheerleaders for tyranny.” From Tom Luongo at tomluongo.me:

The COVID-9/11 pandemic is over. With the failure of Omicron to capture the imaginations of only the most unimaginative midwits, the question now is how do we move forward from here.

While we can rejoice that the threat to life and limb from COVID-9/11 may be effectively over, there is still the threat in its name to our liberty and sanity from those who profit most from the fear of the virus.

The aftershocks from COVID-9/11 will be with us for the foreseeable future. An entire generation has been scarred by this manufactured apocalypse and there will be no going back to the way things were.

We’d been warned by so many for so long. From investigative journalists, to the rare honest politician to the film-makers and artists who crafted stories for us to contemplate the lurking dangers in our deteriorating society.

Conditions were ripe for those in power to take maximal advantage of the fear from COVID-9/11. And they did so, enthusiastically.

The warnings were clear. There are toxic people out there who would rather destroy the world to hold onto their power rather than admit defeat.

Looking at where we are now reminds me, funnily enough, of 2015’s Mad Max: Fury Road. A brilliant fever dream of a movie that portrayed a world in a post-rational, post-civilizational state.

At it’s core Fury Road’s conflict is asking the question, “Who broke the world?” History had been erased to the point where the people living in this hell couldn’t even form the question into an indictment beyond the most base and reductionist caricature of gender roles.

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A CIA and Pentagon Production, by Ted Snider

Most people don’t realize that Hollywood is in the intelligence agencies’ and the military’s pockets. From Ted Snider at antiwar.com:

I haven’t seen the movie Top Gun, and I won’t bother seeing the much anticipated sequel, Top Gun: Maverick. Why should I? If I wanted to see a movie produced by the Pentagon or the CIA, I would just watch Animal Farm.

Seriously. In perhaps the most ironic moment in the history of literature, the CIA actually made an animated movie version of Animal Farm. Of course, they rewrote Orwell’s ending to fit the message. CIA operative Howard Hunt, of Watergate fame, would recall in his memoir that they “tweaked [it] to heighten the anti-Communist message, and distribute it throughout the world in the hope that it would be seen by parents and children alike.”

Other key contributors to the movie included Hollywood producer and agent Carleton Alsop and scriptwriter Finis Farr, who were both actually with the CIA. The CIA followed this project up by acquiring the rights to 1984. You got it: Big Brother owns Big Brother.

Through information acquired through a Freedom of Information Act request to the Office of the Secretary of Defense, Joseph Trevithick has reported that the Department of Defense was “closely involved” in the production of Top Gun: Maverick. The Department of Defense provided assets, equipment and locations to the producers. They had a constant presence on the set whenever the US military was being portrayed in the movie. The Department of Defense approved parts of the script and reserved the right to sign off on any changes.

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It took me a long time to face what I knew to be true about 9/11, by William Hurt

William Hurt thinks the official story on 9/11 just doesn’t wash. Click the link back to the original story and the YouTube movie The Unspeakable, from Architects and Engineers for 9/11 Truth. Hurt was the executive producer. From Hurt at ae9/11truth.org:

I was born in 1950. Mom moved back to New York City with my two brothers and me in 1955, and we became New Yorkers.

I watched the South Tower “top off” in ’71. Mom had worked close to the Empire State Building during the War and would mention when we were growing up how, on a foggy July day in 1945, a B-25 had flown right into it. In ’78, I was watching the antenna being attached to the North Tower and remarked to my first-grade buddy that somebody “sure could run into those big things.”

Many veteran New Yorkers were rubbed the wrong way by their design. Manhattan is actually a small piece of real estate. Interwoven neighborhoods. People walk there. Shoulder to shoulder. I tended to stay far away from them even though I worked in a little theatre only 15 or so blocks away for 12 years.

At age 51, I permanently moved away with my younger sons two weeks before September 11, 2001. The towers were indelible reference points to me by then. To all of us.

On the day of the attack, I was in Boston with my eldest in a café having breakfast, with the pickup parked and packed, ready to go to Montreal for a gig. There was a little TV hung to the molding of a wall. Someone said, “Look.”

Being a general aviation pilot, my first thought was, “That’s no small plane. And no accident.” My next thought was of family and close friends. We called and, thank goodness, they were all okay. My third thought was about the borders. I assumed the borders would be closed immediately. I had a contract in Montreal to get to that day. I prayed that they would stay closed so that my contract wouldn’t force me to go to Canada only for the borders to be closed again, leaving me stranded from my kids.

Then the second plane hit. I started thinking about those lost. The massiveness. A completely new kind of shock entered my life. I hoped with all my heart that the first responders would be okay. Then the towers fell. And the world changed.

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A Global Fiat Currency: “One Ring to Rule Them All”, by Thorsten Polleit

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One for the Dark Lord on his dark throne

In the Land of Mordor where the Shadows lie.

One Ring to rule them all, One Ring to find them,

One Ring to bring them all, and in the darkness bind them.

In the Land of Mordor where the Shadows lie.

J.R.R. Tolkien, The Lord of the Rings

We’re fighting Sauron. From Thorsten Polleit at mises.org:

1.

Human history can be viewed from many angles. One of them is to see it as a struggle for power and domination, as a struggle for freedom and against oppression, as a struggle of good against evil.

That is how Karl Marx (1818–83) saw it, and Ludwig von Mises (1881–1973) judged similarly. Mises wrote:

The history of the West, from the age of the Greek Polis down to the present-day resistance to socialism, is essentially the history of the fight for liberty against the encroachments of the officeholders.1

But unlike Marx, Mises recognized that human history does not follow predetermined laws of societal development but ultimately depends on ideas that drive human action.

From Mises’s point of view, human history can be understood as a battle of good ideas against bad ideas.

Ideas are good if the actions they recommend bring results that are beneficial for everyone and lead the actors to their desired goals;

At the same time, good ideas are ethically justifiable, they apply to everyone, anytime and anywhere, and ensure that people who act upon them can survive.

On the other hand, bad ideas lead to actions that do not benefit everyone, that do not cause all actors to achieve their goals and/or are unethical.

Good ideas are, for example, people accepting “mine and yours”; or entering into exchange relationships with one another voluntarily. Bad ideas are coercion, deception, embezzlement, theft.

Evil ideas are very bad ideas, ideas through which whoever puts them into practice is consciously harming others. Evil ideas are, for example, physical attacks, murder, tyranny.

2.

With Lord of the Rings, J. J. R. Tolkien (1892–1973) wrote a literary monument about the epic battle between good and evil. His fantasy novel, published in 1954, was a worldwide success, not least because of the movie trilogy, released from 2001 to 2003.

What is Lord of the Rings about? In the First Age, the deeply evil Sauron—the demon, the hideous horror, the necromancer—had rings of power made by the elven forges.

Three Rings for the Elven-kings under the sky,

Seven for the Dwarf-lords in their halls of stone,

Nine for Mortal Men doomed to die,

One for the Dark Lord on his dark throne

In the Land of Mordor where the Shadows lie.

One Ring to rule them all, One Ring to find them,

One Ring to bring them all, and in the darkness bind them.

In the Land of Mordor where the Shadows lie.

But Sauron secretly forges an additional ring into which he pours all his darkness and cruelty, and this one ring, the master ring, rules all the other rings.

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Hunter Biden and the Art of Corruption, by Peter Schweizer

The Bidens have raised corruption to an art form. From Peter Schweizer at gatestoneinstitute.org:

  • It is the latest in a string of scams Hunter Biden has undertaken. First, it was his being named, with no expertise whatsoever in either Ukraine or the oil and gas business, to the board of directors of Burisma, a Ukrainian oil and gas company under investigation for fraud. Then it was the deluxe payday in 2012 for his Rosemont-Seneca real estate investment partnership, which was bankrolled to the tune of more than $1.5 billion by Chinese investors with close ties to the Chinese Communist Party.
  • It is genius-level corruption, an ethical nightmare for the White House, and a masterpiece of congressional and media dereliction of duty.
  • Bergès himself has said he is eager to expand his business into the Chinese market. Who will know if China’s art-loving billionaires, all connected deeply to the Communist Party and in some cases to the Chinese military, are Hunter’s benefactors?
  • Are we really supposed to believe that the anonymity of the buyers will remain a tight secret, and that Chinese government-connected buyers will not somehow let the Bidens know they are Hunter’s newest and biggest fans?
  • Money-laundering in the art market is nothing new. A Senate Homeland Security and Government Oversight committee report last year identified the art market as the “largest legal, unregulated market in the United States” and a significant weakness in the nation’s sanctions and anti-money laundering regimes. Simply put, art transactions are not covered under what’s known as the Bank Secrecy Act, which require financial institutions to maintain anti-money laundering and anti-terrorism financing controls.
  • Is there any reason to doubt that the proceeds from Hunter’s artistic payday will somehow once again find their way into the Biden family estate?
  • Why are they failing to scrutinize what is so obviously a back-door scheme to funnel money to the president’s son from foreign sources? Every American who cares about transparency in government should be outraged.
President Joe Biden’s son, Hunter, has now plunged into the world of international art. Apparently, Hunter’s paintings might sell for as much as $500,000 to various anonymous aficionados, according to Hunter’s new art dealer, Georges Bergès. It is the latest in a string of scams Hunter Biden (pictured) has undertaken. (Photo by DNCC via Getty Images)

They say the beauty of art is in the eye of the beholder, but does that apply to corruption as well?

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Oliver Stone, America Firster, by Bill Kauffman

Oliver Stone is an interesting character and he’s made some controversial movies. From Bill Kauffman at theamericanconservative.com:

At root, Oliver Stone is a patriot who despises the American Empire for corrupting his country, and a far cry from your run-of-the-mill Hollywood liberal.

I first became aware of Oliver Stone when in 1986 I was watching his film Salvador with an audience of left-wing Santa Barbarians. They were enjoying this madcap cinematic indictment of Uncle Sam’s imperialist crimes in Central America—until a scene in which the rebel forces, riding to town like a Marxist cavalry in the righteous cause of The People, began executing the unenlightened. Then the boos rang down.

Who is this guy, I wondered. My curiosity was whetted further when the P.C. reviewer in the Los Angeles Herald denounced Stone’s screenplays for earlier films: “Movies like Midnight Express, Scarface, and Year of the Dragon are such grand-scale xenophobic fever-dreams that they almost demand to be remade into operas, complete with belching smoke and lurid lighting and crimson-suited devils scurrying out of the wings to pitchfork lily-white Mother America.”

Ah, a left-wing America Firster!

Not quite, as his subsequent work and his entertaining new memoir, Chasing the Light, illumine, but Oliver Stone, our most political major filmmaker, evinces a rowdily heterodox vision shaped by the unusual quartet of Jim Morrison, Sam Peckinpah, Frank Capra, and Jean-Luc Godard.

What do you call a man who joins the Merchant Marine on a whim, runs up big pro football gambling debts, and takes the Old Right view of FDR’s foreknowledge of the Japanese attack on Pearl Harbor?

I’d call him an American.

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Academy Strips ‘Schindler’s List’ Of Best Picture Award Due To Lack Of Diversity

From the Babylon Bee:

BEVERLY HILLS, CA—The Academy of Motion Picture Arts and Sciences has stripped Schindler’s List of its Best Motion Picture award for not having enough LGBTQ+ characters, people of color, and other oppressed groups.

“White Flight Is Real” – Hollywood’s Apocalypse Triggers Mass Exodus, by Tyler Durden

Many of the movers and shakers of the movie industry are leaving Hollywood. From Tyler Durden at zerohedge.com:

White flight is real. The elites and middle classes are leaving. People are taking losses on the sales of their homes to get out,” veteran publicist Ed Lozzi told the Daily Mail while referring to the socio-economic implosion of Los Angeles.

Lozzi said the Los Angeles Metropolitan Area was already “changing before coronavirus brought us to our knees. The homeless problem has been escalating for years, exacerbated by weak politicians making bad decisions.”

“Hollywood has always been the wokest of the woke, so politicians have done nothing to stop people sleeping on the streets. It’s not illegal and the weather’s nice, so they keep coming,” he said, adding that, “there is insufficient housing, inadequate mental health care. Add in Covid and it’s a perfect storm.”

Lozzi remembers the days when Los Angeles “smelled of orange blossoms.” He said today’s scent is urine and feces with once beautiful parks now filled with homeless encampments and carpeted with drug needles.

The metro’s socio-economic implosion is forcing many homeowners in the downtown district to pack their bags and liquidate their homes at whatever the price to flee for suburbia. A combination of the virus pandemic and collapsing society has made the area unlivable for families.

Danny O’Brien, the owner of Watford Moving & Storage, said a mass exodus of folks from Hollywood is underway:

“And a lot of it is to do with politics.” 

“August has already set records and we are only halfway through the month.”

“People are getting out in droves. Last week I moved a prominent person in the music industry from a $6.5 million mansion above Sunset Boulevard to Nashville.” 

“Liberal politics has destroyed this city,” he said. “The homeless encampments are legal and there’s nothing the police can do. White, affluent middle-class folk are getting out. People don’t feel safe any more.”

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“V For Vendetta”: Was V’s 2005 “Sermon” Warning Us of COVID-19(84) Tyranny? by John C. A. Manley

One of the launching pads for the totalitarian government in “V For Vendetta” was a pandemic. From John C. A. Manley at globalresearch.ca:

The movie V for Vendetta  is set in an alternative reality where a neo-fascist totalitarian regime has subjugated the United Kingdom under the guise of protecting the people from war, terror and disease. Yes, disease. Indeed, the following clip from this 15-year-old dystopian film looks awfully like the world we now live in today, does it not?

At the film’s catalyst, a freedom fighter (codenamed “V”) hijacks the feed for a major TV network in London and broadcasts a “sermon” to the nation wearing a Guy Fawkes mask. See how his words apply to the governments’ reaction to COVID-19:

“And the truth is, there is something terribly wrong with this country, isn’t there? Cruelty and injustice, intolerance and oppression,” says V as his masked face appears across television sets around the nation.

“And where once you had the freedom to object, to think and speak as you saw fit, you now have censors and systems of surveillance coercing your conformity and soliciting your submission.

“How did this happen? Who’s to blame? Well, certainly, there are those who are more responsible than others, and they will be held accountable. But again, truth be told, if you’re looking for the guilty, you need only look into a mirror.”

“I know why you did it. I know you were afraid. Who wouldn’t be? War, terror, disease.”

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