Tag: movies

Netherflix promises to do a better job of hiding the pedo in the future:

Netflix apologized on Thursday for a movie poster it released depicting several pre-teen girls in sexually suggestive poses, claiming the promotion was not “representative” of the film.

The movie streaming movie platform received significant backlash on social mediaTuesday and Wednesday – after copies of the poster circulated. In it, four young girls are shown in crop tops and boy shorts. One girl is bending over, while another is squatting with her legs spread.

In a statement, Netflix said it was “deeply sorry” for the “inappropriate artwork” it used to promote the movie, a French film that premiered at the Sundance Film Festival. “It was not OK, nor was it representative of this French film,” Netflix said. “We’ve now updated the pictures and description.”

The company, on its streaming service, originally described the film as one in which the protagonist, 11-year-old Amy, “becomes fascinated with a twerking dance crew.”

Twerking is a form of highly sexualized dancing originally popularized in the 1980s.

In the revised description, Netflix states that Amy in the film “starts to rebel against her conservative family’s traditions when she becomes fascinated with a free-spirited dance crew.”

Oh, great, so the pictures and the description have been updated. That changes everything! Carry on, gentlemen….

Meanwhile, over at the Hellmouth, Devil Mouse executives expressed their fiendish amusement at the clumsiness of the new guys. “You don’t rub all that overt pedo-propaganda right in their faces,” said Maury Baalstein, Executive Vice-President of Surreptitious Sexuality. “The whole point is to slide it all right past the parents, so they don’t even realize what you’re doing or how you’re warping their children’s minds.”

“Look at Monsters Inc,” added David Belphegorian, Senior Assistant Executive Vice-President of Rituals and Programming. “Pixar put out a whole freaking movie series about abusing children and everyone thinks it’s just a cute, furry inversion of the monster-under-the-bed theme. That’s not going to fly if you show the little kids being felt up by creepy adults or chained upside-down in a pentagram being sacrificed to Our Infernal Master right on the movie poster!”

“For example, parents all think “prom” in Prom Queen means the high school prom, right? Wrong! See, it’s actually an anagram for Perennial Ritual Offering Maiden,” Belphegorian explained, before beginning to twitch, drool, and express his excitement in a wildly inappropriate manner at the idea of an annual virgin sacrifice at the local public school. “I can tell you we’ve never been faster to approve a pitch!”

If you’re subscribed to Netherflix or the Devil Mouse, you really need to stop and think about what side you’re actually on.

Or it could be the Hellmouth’s attempt to control the narrative, either way, it is a good sign that more and more people are beginning to recognize the youth-devouring evil emanating from Hollywood:

While fame and fortune are an ever-enticing dream, few things seem less appealing than being a child star, and HBO’s Showbiz Kids certainly reinforces that feeling. Awash in anecdotes about the ways in which the industry—and the attendant hunger for the spotlight that consumes both children and parents—warps, alienates and exploits kids, it’s a documentary which illustrates that, sometimes, being nobody is far healthier, and more fulfilling, than being well-known.

Sexual misconduct is the dark cloud hovering over Showbiz Kids, and it comes to the fore when former Diff’rent Strokes star Todd Bridges recalls being molested as a child—a disclosure that, according to Evan Rachel Wood, isn’t unique, as she claims, “In my experience, I know a lot of kids that grew up in the industry. And what surprised me when I got older was finding out that pretty much all of the young men were abused in some way, sexually.” She then relays that, at a recent Golden Globes gala, she watched a pedophile (whom she doesn’t name) win an award, and had to walk out because she was so disgusted by the praise being lavished upon this monster. As she departed, she thought to herself, “I don’t know if I can do this anymore. I can’t keep watching this happen. I don’t know how to handle this. This has to stop.”

Those moments are definitely the ugliest, and most eye-opening, in Showbiz Kids. Written and directed by Alex Winter, whose big breaks came in Joel Schumacher’s 1987 Brat Pack vampire thriller The Lost Boys and 1988’s Bill & Ted’s Excellent Adventure, the film knows whereof it speaks.

I tend to expect it does, given that the late Schumacher, along with Spielberg, has been repeatedly been rumored to be among the most predatory of the Hellmouth’s more influential denizens.

There will be no sequel to Birds of Prey:

Margot Robbie’s Birds of Prey was a record breaking failure at the box office. According to online publisher Giant Freakin’ Robot, the sequel to Birds of Prey has been canned.

‘Warners [Brothers] no longer believes in the concept or in the creative team behind the movie,’ the publication’s source said.

Birds of Prey failed at the box office, recording the worst opening of any DC Comics superhero movie, bringing in just US$201.9 million worldwide. This was worse than the critically panned Green Lantern film, which still brought in  US$219.9 million in 2011.

The Legend Chuck Dixon wrote the original comic. They should have hired him to write the script.

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.

Trevor Lynch rather quixotically attempts to deny the obvious nature of FIGHT CLUB in a review of the movie on Unz Review:

Is Fight Club gay?

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?”

They truly don’t care if no one goes to see their movies anymore:

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.

Disney is not only replacing canon in its ongoing brand destruction, it’s replacing the need for customers:

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{e08cad746da4649304cc119361c7d8e2ee7ced73b617f6c7db2262986ac851da} 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.

1. 75.9 61.7
2. 66.0 52.9
3. 60.1 38.8
4. 40.2 11.0
5. 20.8 14.6

Neon Revolt has a plan, courtesy of DirectorAnon:

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{e08cad746da4649304cc119361c7d8e2ee7ced73b617f6c7db2262986ac851da} 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.

To absolutely no one’s surprise, Captain Marvel isn’t very good. If only they had thought of blaming Representative Omar!