|Who am I? I'm Hollywood!|
"O Prophet! Say to your wives and your daughters and the women of the faithful to draw their outer garments close around themselves; that is better that they will be recognized and not annoyed. And God is ever Forgiving, Gentle."
— Qur'an, Surah 33 (Al-Ahzab), Verse 59
The Hollywood version of that Islamic winding sheet hides the true soul of Hollywood. Nay, disguises it. Big screens and TV screens are no longer venues of “entertainment” but places of subtle brainwashing, or subliminal auto suggestion. Hollywood would never admit it. It wears a burqa to deter recognition and annoyance by anyone who questions the identity of the entity it sheathes. And what is it that Hollywood wishes to hide, lest its audiences flee from the theater as though someone had shouted “Fire!”
This column begins with a shoot-down of the latest TV offering of Hollywood in Sharia compliant, anti-American cinematography, featured on Fox News.
By Oriana Schwindt
Published February 27, 2017
Ben Affleck, left, and Matt Damon attend The Project Greenlight Season 4 premiere of 'The Leisure Class' at The Theatre At The Ace Hotel on Monday, August 10, 2015 in Los Angeles. (Photo by Paul A. Hebert/Invision/AP)
Syfy won’t be ordering another season of thriller “Incorporated,” Variety has confirmed.
The news comes a little more than a month after “Incorporated” finished its first season on the NBCU cable network. Deadline first reported the cancelation.
Set in a future where corporations have unlimited power, “Incorporated” revolved around Ben Larson (Sean Teale, “Reign”), a young executive who concealed his true identity to infiltrate a very dangerous corporate world to save the woman he loves and quickly found he wasn’t the only one in this world with a secret. Dennis Haysbert, who just booked a lead role in NBC’s pilot “Reverie,” also starred, along with Julia Ormond and Eddie Ramos.
The series debuted to mostly positive reviews. “‘Incorporated‘ is an energetic and watchable science-fiction thriller that posits that a climate apocalypse will be followed by a swift division of survivors into haves and have-nots — all by the year 2074,” Variety‘s Maureen Ryan wrote. “Right now, that date feels like a somewhat optimistic estimate.”
Echoes of H.G. Wells’s The Time Machine (1895) in which the Time Traveler journeys almost a million years into the future to discover the Eloi (the upper crust, the “elite,” the “beautiful” people) and the subterranean, hideous, subhuman Morlocks, who support the Eloi and then cannibalize them.
See! Socialism works when pigs fly!
Bellamy's novel tells the story of a hero figure named Julian West, a young American who, towards the end of the 19th century, falls into a deep, hypnosis-induced sleep and wakes up one hundred and thirteen years later. He finds himself in the same location (Boston, Massachusetts), but in a totally changed world: It is the year 2000 and, while he was sleeping, the United States has been transformed into a socialist utopia. The remainder of the book outlines Bellamy's thoughts about improving the future. The major themes include problems associated with capitalism, a proposed socialist solution of a nationalization of all industry, the use of an "industrial army" to organize production and distribution, as well as how to ensure free cultural production under such conditions.
The young man readily finds a guide, Doctor Leete, who shows him around and explains all the advances of this new age; including drastically reduced working hours for people performing menial jobs and almost instantaneous, Internet-like delivery of goods. Everyone retires with full benefits at age 45, and may eat in any of the public kitchens. The productive capacity of the United States is nationally owned, and the goods of society are equally distributed to its citizens. A considerable portion of the book is dialogue between Leete and West wherein West expresses his confusion about how the future society works and Leete explains the answers using various methods, such as metaphors or direct comparisons with 19th-century society.
Unlike Sleeper, Bellamy paints a rosy picture of a socialist paradise. Sleeper ends with the “sleeper” joining an uprising against the corporate “plutocracy.”
Graham, an Englishman living in London in 1897 takes drugs to cure insomnia and falls into a coma. He wakes up in 2100. He later learns that he has inherited huge wealth and that his money has been put into a trust. Over the years, the trustees, the "White Council", have used his wealth to establish a vast political and economic world order.
When he wakes Graham is disoriented. The people around him had not expected him to wake up, and are alarmed. Word spreads that the "Sleeper" has awakened. A mob gathers around the building and demands to see the fabled Sleeper. The people around Graham will not answer his questions. They place Graham under house arrest. Graham learns that he is the legal owner and master of most of the world.
A Fabulous Fabian Product
Guaranteed to put you to sleep
This genre of story became ubiquitous in Hollywood, and began to surface beginning in the 1960s. There are numerous Hollywood productions about gas shortages and environmental disasters, too numerous to even list here. The most famous to date is Blade Runner (1982), a “remake” of which is due out this year. Some of the dumbest movies are representative by Day of the Animals (1977, also due for a remake), in which the ozone later, allegedly depleted by industrial pollutants (aerosols), exposes animals to solar radiation and drive them crazy and aggressive. Another ecological bomb is Food of the Gods (1976), very loosely based on another H.G. Wells novel (1904).
Based on a portion of the book, it reduced the tale to an 'Ecology Strikes Back' scenario, common in science fiction movies at the time. The movie was not very successful.
One of the most hilarious ecological disaster movies is Frogs (1972) starring, to his everlasting shame, Ray Milland. Giant frogs, snapping turtles, snakes, birds, and tarantulas pick off the cast one by one near a southern plantation whose neighboring swamp has been “polluted” by patriarch Jason.
Later that night, Jason [Milland], now alone in his mansion (save for his dog Colonel), witnesses hundreds of frogs breaking into the house and staring at him. Looking around the room at his stuffed animal trophies adds to his tension and he falls out of his wheelchair and collapses, apparently dead, the frogs croaking as they hop over his corpse.
A Hilarious ecological film (1972)
The Hollywood burqa is intended to dissuade audiences that nothing malign is at work in any movie production. “We just make movies. You shouldn’t take them seriously. We're not messing with your heads!” That is the subtext. Although some directors and producers have said just that. Hollywood has been in the thrall of the Left since at least the 1930’s. Novelist Ayn Rand worked in Hollywood as a screenwriter, and had a love-hate relationship with it. She wrote “The Screen Guide for Americans.” The Michigan State copy of the Screen Guide can’t be excerpted directly, but OpenCulture has. In a long May 2016 article, “Ayn Rand Issues 13 Commandments to Filmmakers for Making Good Capitalist Movies,” the author, Colin Marshall, writes:
A couple Christmases ago, we featured the story of how Ayn Rand helped the FBI “identify” It’s a Wonderful Life as a piece of communist propaganda, which does make one wonder: what kind of movie would she have America watch instead? We know exactly what kind, since, in 1947, the author of The Fountainhead and Atlas Shrugged, never one to shrink from the task of explaining her ideas, wrote the “Screen Guide for Americans,” according to Paleofuture, a pamphlet meant for distribution to Hollywood producers in order to make them aware of what she saw as a communist push to poison the movies with anti-American ideology.
“The purpose of the Communists in Hollywood,” Rand writes, “is not the production of political movies openly advocating Communism. Their purpose is to corrupt our moral premises by corrupting non-political movies — by introducing small, casual bits of propaganda into innocent stories — thus making people absorb the basic premises of Collectivism by indirection and implication.” And so, to counteract the subtly propagandistic power of It’s a Wonderful Life and its ilk, she proposes fighting fire with fire, issuing…thirteen corrective filmmaking commandments….”
The thirteen “commandments follow in Marshall’s post in detail.
Rand also testified in 1947 before HUAC (House Un-American Activities Committee) about the Communist infiltration of Hollywood, focusing specifically on “Song of Russia.” (Song of Russia )
Of late, Oscar’s burqa has become fairly transparent, almost gossamer-like, allowing us to see the malice and venom behind the tissue-thin veil. And remember that Hollywood has not produced a single movie that dramatizes the evil of Islam or jihadists. Is that coincidence, happenstance, or design?
It’s not coincidence that a Muslim actor won an Oscar this week.
Mahershala Ali became the first Muslim to win an acting Oscar, snagging the Best Supporting Actor for his role in ‘Moonlight’.
Or that “The White Helmets” won the best documentary. As Pamela Geller calls it “The White Helmets won the Oscar — could Hollywood be more predictable?” The title of her column is “The
White Helmets: Al-Qaeda Wins An Oscar.”
Part of a promo for the fraudulent documentary,
The White Helmets, seen here rehearsing a rescue mission
In their acceptance speech, they quote from the Quran, but actually the quote is a stolen verse from the Jewish Talmud: “Whoever destroys a soul, it is considered as if he destroyed an entire world. And whoever saves a life, it is considered as if he saved an entire world.” (Mishnah Sanhedrin 4:5; Yerushalmi Talmud 4:9, Babylonian Talmud Sanhedrin 37a)
The White Helmets are al-Qaeda:
Patrick Henningsen, a geopolitical analyst at 21st Century Wire.com in an earlier interview to RT late last month explained how the footage was obtained.
The “film itself is not a real documentary,” he said. “All of the footage used in the film was provided to the producers by the White Helmets themselves. This film production crew – Netflix productions – did not film any of the so-called rescue scenes.”
“What this film is essentially a PR cushion for a $100-$150 million covert op, which is basically an NGO front funded by USAID, the British Foreign Office, various EU member states, Qatar, and other various and sundry nations, and members of the public, who quite frankly in my opinion and many others, have been duped into donating their money for this rescue group, that is anything but. It essentially functions as a support group alongside Al-Nusra and al-Din al-Zenki and other known terrorist groups operating in Syria. That is a fact that has been proven by a number of eyewitness testimonies.”
In short, The White Helmets, with Western funding, is not a documentary at all, but is a fraud.
Oscar’s burqa is slipping.