Tag Archives: Hollywood

How Societies Are Imprisoned: The Whole World Will One Day Be Like Hollywood? by Brandon Smith

Will the rest of us face the choice: spout woke or don’t work? From Brandon Smith at alt-market.us:

I rarely write about Hollywood or the film industry, primarily because there is a vast array of analysts and YouTubers in the alternative media that discuss the bizarre behaviors and trespasses of Tinsel Town on a daily basis. They usually have it covered. That said, every once in a while I find that events in Hollywood reflect a much more pervasive dynamic in our culture and that the bigger picture needs to be addressed.

I also want to be clear that when I talk about “Hollywood” I am not only referring to the place; I’m referring to the entire corporate empire. I’m including Netflix and other streaming companies that may not work completely out of LA. They are all funded and run by the same people anyway.

Hollywood and the corporate cabal behind it have long sought to be the center of America’s cultural universe. In other words, they are seeking to pervert the natural dynamic so that life imitates art instead of art imitating life. And, if they control all the art then they control people’s perceptions of life.

The concept of “Manufacturing Consent”, posited by people like Noam Chomsky, plays a role here, but I think it goes far beyond that. Rather, Hollywood seeks to not only manufacture consent from the public, but also to manufacture the public’s relationship to reality. They don’t just want us to keep our heads down and begrudgingly accept their ideological zealotry; they want us to believe that their way is and always was the ONLY way.

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China: The Conquest of Hollywood, by Judith Bergman

Hollywood celebrities and executives are a lot kinder to the Chinese government than they’ve been to Donald Trump. From Judith Bergman at gatestoneinstitute.com:

  • One Hollywood producer told PEN America that suggestions for projects critical of China aroused the fear that “you or your company will actively be blacklisted, and they will interfere with your current or future project. So not only will you bear the brunt [of your decision], but also your company, and future companies that you work for. And that’s absolutely in the back of our minds.”
  • “It’s not just the Hollywood issue, it’s not just the tech issue, it’s not just the basketball or the sports issue, or various other industries. … It’s all across the board. To get products and services into that market, there are certain rules you have to play… so they allow you access to the consumers. But those processes… have gotten worse and worse… and more amplified over time…. [It]has got to the point where we either need to stop it now and fight back, or we are just going to lose….” — Chris Fenton, Hollywood executive and author of Feeding the Dragon: Inside the Trillion Dollar Dilemma Facing Hollywood, the NBA, and American Business. voanews.com, October 16, 2020.
  • The problem is much larger than just the movie business.
In October, for the first time, China overtook North America as the world’s largest film market. Pictured: Wang Jianlin (second from left), chairman of China’s Wanda Group, attends the opening ceremony of the Wanda Qingdao Movie Metropolis, billed as “China’s answer to Hollywood,” in Qingdao on April 28, 2018. (Photo by Wang Zhao/AFP via Getty Images)

In October, for the first time, China overtook North America as the world’s largest film market. “Movie ticket sales in China for 2020 climbed to $1.988 billion on Sunday, surpassing North America’s total of $1.937 billion, according to data from Artisan Gateway. The gap is expected to widen considerably by year’s end,” wrote The Hollywood Reporter on October 18. “Analysts have long predicted that the world’s most populous country would one day top the global charts. But the results still represent a historic sea change”.

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Hollywood Is Dying, And The Elites Don’t Care…, by Brandon Smythe

The movie moguls now prefer political conformity over profits—go woke, go broke. From Brandon Smythe at alt-market.us:

I don’t write much about the entertainment industry because, frankly, I see it as mostly irrelevant to the bigger picture. Geopolitics and economics are the great driving force in our society, and the elitist groups that influence these elements should be our primary focus. That said, I have to admit that pop culture is a pervasive element of American public psychology, or at least it was until recently, and for decades the masters of pop culture all resided in Hollywood.

I have been a film buff for at least 20 years and I understand the business; I was even a screenwriter at one point and obtained an agent, but after dealing with the slimy behavior of some of the Hollywood ilk I was immediately disenchanted and decided to walk away. What I realized at the time was that the entertainment world is designed for a very specific purpose: To steal the energies of talented people and exploit those energies to achieve the most meaningless or manipulative endeavors.

The people that manage and own production and distribution companies are for the most part talent-less; like most narcopaths they have no capacity to be creative. So, they must feed on the intelligence and imagination of normal people in order to fuel their business. If it stopped there, then maybe the system would actually work and there could be some symbiosis. Many artistic people don’t handle business very well, so someone has to.

But, production creatures want more than money, they also want to micromanage the message of every film, TV show, video game and product that is released. They want to inject their own ideologies into every property. They do this because, as narcopaths, they desperately want to feel creative power even if it means hijacking the projects of others. They also do it because they have an agenda to influence society to accept or reject certain ideas; they want to mold the politics and values of the public.

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Netflix’s ‘Cuties’: It’s Not The First Attempt By Hollywood To Normalize Pedophilia, by Brandon Smith

Pedophiles are sick and always will be, regardless of elite attempts to “normalize” pedophilia. From Brandon Smith at alt-market.com:

After studying and exposing the agendas of establishment elites for the past 14 years, I can say with some authority that by watching these people you quickly begin to understand the reality of evil. Anyone who dismisses the concept of evil as nothing more than a “social construct” or a matter of “perception” is suffering from either naivety or bias.

They have either been lucky enough to have avoided a run-in with the resident psychopaths in their town, or, they have certain secret tendencies they will not reveal.  One thing that I have found most disturbing is the habit of evil people to quickly come to the defense of other evil people they don’t even know.  That is to say, I was initially shocked to discover the extreme level of fraternity predatory people feel and display when other predatory people are being exposed.  It is as if they are an unspoken brotherhood, and they don’t like it when their kinsmen are being punished for their crimes.

Yes, there are such things as ignorance, greed, jealousy, unhealthy desire, etc., and all of these frailties can lead to evil deeds. That said, in the majority of cases you will find that MOST people feel guilt, regret, empathy and remorse that prevent them from following through with their basest instincts. This is what we commonly call “conscience”, and a greater number of people have it. Without it, our species would have self-destructed and gone extinct thousands of years ago.

With psychopaths, however, it’s not only about a complete lack of empathy and conscience; they also often take JOY in the destruction, debasement and exploitation of others. Standard sociopaths harm people in the process of getting what they want because they do not have the capacity to care. Psychopaths harm people because THAT IS THEIR GOAL. Think of it as a kind of kink; they lust after control over others, they get high from it. And, their most sought after drug of choice is the violation of innocence.

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Once upon a time in Hollywood. . . by Simon Black

Once upon a time Hollywood was a free-wheeling, almost laissez faire place, not a golden goose to be impaled by California’s state and local governments. Now Hollywood is fleeing Hollywood. From Simon Black at sovereignman.com:

When Charlie Chaplin first arrived to Los Angeles in December 1913, the city was still a fairly small oil town… just a fraction of the size of San Francisco.

LA was so underdeveloped that, as Chaplin wrote in his autobiography, wild coyotes frequently roamed around Hollywood and Beverly Hills.

But within a few years the city was booming, and Chaplin had become one of the most famous people in the world.

This is obviously in large part due to the development of the motion picture industry– the most revolutionary technology of its era.

But what’s interesting is that the motion picture industry didn’t actually start in LA. The technology was originally developed in the late 1800s in part by Thomas Edison, who was based in New Jersey.

Edison’s east coast film studio produced over 1,000 movies (including a bizarre snuff film called Electrocuting an Elephant). And he notoriously threatened to sue anyone who attempted to make movies.

In 1902, a US Appeals Court ruled that Edison did NOT invent the motion picture camera… but his lawsuits continued regardless.

This constant threat of legal action was a huge disincentive to entrepreneurs. And so, in the early 1900s, several young studio executives packed up and left the east coast for Southern California where they were much better protected from Edison’s frivolous lawsuits.

This is the primary reason why the motion picture industry grew up in LA; sure, the region’s ample sunshine was a nice benefit, allowing for year-round outdoor production.

But the chief benefit was the city’s free-wheeling, pro-business culture. It was like Hong Kong in its heyday– anything goes– which attracted talented artists and entrepreneurs from all over the world who were free to build their dreams.

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“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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Nation’s Wealthy, Privileged Gather To Lecture Nation On Evils Of Wealth, Privilege, from The Babylon Bee

HOLLYWOOD, CA—According to sources at the 91st annual Academy Awards ceremony this evening, the nation’s wealthy, privileged elite gathered to lecture the nation on the horrendous evils of wealth and privilege.

The wealthiest 0.00001% of the nation arrived at the exclusive, walled-off, high-security event in limos and luxury cars driven by servants in order to spend a few hours telling the nation’s poor and middle-class citizens how they need to throw off the yoke of oppression put on them by the wealthy elite.

“It’s the white, privileged, wealth hoarders that are ruining America,” said one white, privileged man whose net worth is estimated at $160 million. “All you people in the cheap seats at home: you need to do better.”

“America is just a terrible nation with no opportunity,” said one woman who made $100 million wearing costumes and reading words someone else wrote off a page. “We must stop the 1% from hoarding all the wealth.” Upon being informed she was well within the 1%, she clarified that it was actually the 0.000001% who are the problem.

Unfortunately, it looks like the event will proceed as planned next year as well.

https://babylonbee.com/news/nations-wealthy-privileged-lecture-nation-on-evils-of-wealth-privilege

The American Old West: How Hollywood Made It “Wild” to Make Money & Advance Gun Control, by Sam Jacobs

The real Old West, as opposed the fake one dished out by Hollywood and history books, was actually a strong argument for little or no formal government. From Sam Jacobs at theburningplatform.com:

Hollywood has a clever way of distorting our perspective on history, and a great example of this is Western film – a movie genre we’ve all come to love. Cattle rustlers, guns blazing, outlaws running loose, and vigilantes dishing out vengeance indiscriminately. These scenes have become more synonymous with the American Frontier than Winchester and their “Cartridge That Won the West.” But these fictional tales have produced more than entertainment for over a century; they’ve also contributed to an ongoing, subtle push for gun control, all while making Hollywood millions.

Revisionist history books tell us that the “Wild West” was an anarchic period of time that was not conducive to human prosperity. Images of a Hobbesian nightmare – a life that is brutish and short – are ingrained in our consciousness thanks to decades of public schooling and violent images on the silver screen which are light on actual history and heavy on creative license.

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New Netflix movie fantasizes about time-traveling liberals carrying out the “pre-crime” murder of patriots to prevent an American uprising against globalism, by Mike Adams

Hollywood quits pretending it tolerates different points of view. They are to be eliminated, not tolerated. From Mike Adams at naturalnews.com:

Image: New Netflix movie fantasizes about time-traveling liberals carrying out the “pre-crime” murder of patriots to prevent an American uprising against globalism

(Natural News) As the delusional, insane cult of liberalism continues to infect every institution across America, Hollywood has been transformed into the place where left-wing fantasies are played out on the big screen to satisfy the delusions of the brainwashed masses. The latest example of these left-wing fantasies is found in a new Netflix feature movie called, “In the Shadow of the Moon.”

This new film imagines time-traveling liberals who wear Antifa hoodies murdering patriots across America, following a pre-crime kill list that includes a concert pianist, a grill cook, a bus driver and other people who have done nothing wrong. The pre-crime murder is intended to execute these people before they start an uprising against globalism, which of course seeks to overrun America and destroy our national sovereignty. The entire point of the film is to make sure all these people who defend America are killed, ensuring globalism succeeds in overrunning this nation and enslaving humanity. (The film’s writers are clearly in the pro-enslavement camp and believe that the ends justify the means.)

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Hollywood reboots Russophobia for the New Cold War, by Max Parry

Washington and Hollywood have been in bed together for a long time. From Max  Parry at off-guardian.org:

​It is an age-old question as to the extent art reflects the world we live in. Bertolt Brecht allegedly said to the contrary that art was “not a mirror held up to reality but a hammer with which to shape it.”

The Marxist German playwright devised theatrical methods designed to distance the audience from the staged drama while drawing self-reflexive attention to the contrived nature of the spectacle itself.

The idea was that by estranging the spectator and encouraging critical examination, they would come to view society’s manmade injustices as similarly unnatural and be given agency to transform them in the real world. One of the implications of Brecht’s notion was that art in its more conventional forms often functions as a tool of mass persuasion for those in power to reinforce those inequities.

Marx and Engels themselves professed to have learned more about the contradictions of French society from the novels of Honoré de Balzac, which upheld the monarchy and the Church, than any historians or philosophers of their day. At its very worst, artistic mediums can be used by governments to manipulate a nation’s attitude towards other countries in order to justify war.

Brecht’s life and work coincided with the development of the film industry. However, most productions influenced by his ‘epic theatre’ were art-house and foreign films while commercial, mass-market Hollywood movies placed greater emphasis on appealing to the emotions over intellect.

However, there were some exceptions such as Charlie Chaplin who not coincidentally was persecuted for his politics by the House of Un-American Activities Committee (HUAC) during the Red Scare.

In the Cold War, Tinseltown played an important role in the cultural battlefield against the USSR and anti-Soviet paranoia was an ever-present theme in American cinema for decades, from the McCarthy era until the Berlin Wall fell.

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