…by Jonas E. Alexis
Eli Roth declared back in 2013 that his intended goal in his film is to “fu$k up an entire generation.” We can see the fulfillment of this statement in Roth’s most recent movies such as The Green Inferno and Knock Knock.
When Jesuit priests set sail to South America in the 1600s, they had several tasks in mind. First, they had to fight against “the reckless policy of exploitation followed by the Spaniards” there, and they had to establish a successful economy and education system to better the lives of “a primitive people” who mistrusted Europeans who previously treated them as virtually subjects or pieces of property. When the Spaniards came to places like Argentina in 1515,
“The natives, subdued by force of arms or submitting voluntarily were brought under the yoke of the Spanish encomienda system which in its more severe application made them yanaconas, or slaves, in its milder form mitayas, or serfs, to the conquistadores and the white colonists.
“The Spanish kings sought to better the lot of the natives by wise and humane decrees for their protection, but the difficulty of exercising control over them, and the unreliability, weakness, or selfishness of many of the officials permitted the abuse of this system to flourish.
“This system resulted in frequent uprisings of the subjugated race, and an implacable hatred of the foreigners on the part of the numerous tribes still retaining their freedom., accompanied even the earliest expeditions to La Plata, and churches and parishes were founded in the new steppes and forests in the interior, harassed the colonies, still in their youth, with inroads, and frequently laid them waste.”
To make a long story short, the Spaniards ended up pursuing pernicious activities, but the Jesuits brought something different. Their attitude toward labor was unparalleled. They taught the inhabitants how to work, how to enjoy the fruit of their labor in a meaningful and moral way, and how to serve their neighbors.
“Work was considered a curse carried out by slaves in the classical world so that the upper class could live a life of indolence…The Jesuits did not march off into the Chaco of what is now Brazil or Paraguay or into the boreal forests of the Gaspe peninsula in what is now Canada and Maine with economic motives in mind.
“They wanted to bring souls sunk in vice and superstition to Christ for the greater glory of God—ad maiorem Dei gloriam, the motto of the Society of Jesus—but the Jesuits concluded that it was virtually impossible to bring about the conversion of an Indian nation which retained the hunter-gatherer existence.
“In order to convert the Indians, the Jesuits had to bring the wandering tribes together in settlements, and in order to do that the Jesuits had to teach the Indians how to work and provide an economy that could provide both sustenance and dispose of the surplus product of their labor.
“The Jesuits wanted to be heralds of the Gospel which would bring salvation to the heathen nations of the Americas, but in order to be effective evangelists they had to become economists willy nilly.”
This was indeed a daunting task—and dangerous as well. Many of them ended up dying in the process. But through serious labor—which is the anti-thesis of capitalism and slavery—they ended up establishing a moral and economic oasis for the “primitive people,” which turned out to be an eternal blessing.
When “torture-porn” director and producer Eli Roth went to the Amazon in the twenty-first century, he brought neither morality nor practical reason to the people butThe Green Inferno, which the New York Times itself says “reawakens long-repudiated notions of white supremacy…” The Times says, “Is there some artistic reason for doing so? Not really.”
So, if there is no “artistic reason” for producing The Green Inferno, what is the point behind the movie? Well, The Green Inferno is just another manifestation of Roth’s continued rebellion against the moral order.
Roth has also poisoned the minds of both RZA, director of The Man with the Iran Fists, and Quentin Tarantino, director of Inglorious Basterds and most recentlyThe Hateful Hate.
It was Roth who helped RZA “to think through his imaginary world as carefully as George Lucas knows Star Wars” in order to bring about The Man with the Iron Fist.
The script was only 90 pages, but with the help of Roth, it evolved into 130 pages. It was inevitable, then, that RZA would follow the footsteps of his teacher and include obscene images in his film.
It is the same thing with Quentin Tarantino. With respect to Inglorious Basterds, Roth said of Tarantino:
“I was his Jewish sounding board. ‘Would a Jew do this, would a Jew do that?’ He kind of didn’t have an ending. But after the seder, he said, ‘I’m going home to finish…’ At the end of the seder, we talked about how the Jewish thing was to remember, that there was no absolution.”
After reading the screenplay, Jewish producer Lawrence Bender told Tarantino:
“As your producing partner, I thank you, and as a member of the Jewish tribe, I thank you, mother fu$ker, because this movie is a fu$king Jewish wet dream.”
In another article, Bender said,
“Quentin, you are about to make your Bar Mitzvah movie; you are going to be officially let into the tribe’”
Bender declared that he and others like him are “getting to live out a fantasy of revenge, getting to do what every Jew probably dreamed of.”
Jeffrey Goldberg himself reported that
“Harvey and Bob Weinstein, the film’s executive producers, also reportedly enjoyed the film’s theme of Jewish revenge. Tarantino told me he has received only positive reactions from his Jewish friends. ‘The Jewish males that I’ve known since I’ve been writing the fi lm and telling them about it, they’ve just been, ‘Man, I can’t [expletive] wait for this [expletive] movie!’ he told me.
“‘And they tell their dads, and they’re like, ‘I want to see that movie!’…Neal Gabler told me that Jewish revenge fantasies aren’t entirely alien to the movie industry, but they’ve always been exercises in sublimation, Superman being only the most obvious.”
Abraham Foxman writes that Inglorious Basterds is not only “thought-provoking” and “entertaining,” but that it “should be recognized with an Academy Award” alongside other Holocaust films like Schindler’s List. Not only that, he encourages viewers to join him in wishing that the story were true.
If Tarantino got great accolades from Bender for Inglorious Basterds, then The Hateful Eight—which to one critic bludgeons “viewers for three hours with indefensibly gratuitous race baiting and blood”—will give Tarantino the opportunity to receive a sort of Nobel Prize from Bender.
The Hateful Eight, which the New York Times itself says “mutates from an exploration of racial animus into an orgy of elaborately justified misogyny,” is very similar to Tarantino’s Django Unchained in terms of humiliating and degrading the Goyim.
Of course, it was released by the Weinstein Company. Keep in mind that it was Harvey Weinstein who propounded a few months ago that Jews like himself have to “get as organized as the mafia” in order to defeat what they perceived to be “anti-Semites.”
So, Tarantino has obviously internalized the commands of the oppressors and has poisoned the minds of his viewers. In other words, he is a pawn in this cosmic war. His real bosses are the people who allowed him to publish his filth.
“You joined the war to keep Negroes in chains,” Major Marquis Warren (Samuel L. Jackson) told Chris Mannix (Walton Goggins) in The Hateful Hate.
“I joined the war to kill white southern crackers. That means killing them anyway I can: shoot them, stab them, drown them, burn them, drop a big old rock on their head, whatever it takes to put white southern crackers on the ground, that’s what I joined the war to do—and that’s what I did.”
Actually, we don’t have to imagine whether this is taken place. Pick up your local newspapers and see how “white southern crackers” are being literally bludgeoned to death. Jessica Chambers was literally set on fire by seventeen gang members and thugs. Other gruesome cases are rampant.
Then you have other “with southern crackers” walking around with a huge guilt on their shoulders and nodding their heads by saying that they are guilty of so-called racism. After years of beating “white southern crackers” over the head with issues such as slavery and guilt, the Dreadful Few and the culture of death progressively got the upper hand. This is why Steven Spielberg can direct movies such as Amistad but can never tell his viewers the true story behind slavery, which we have exposed in several articles.
Tarantino’s The Hateful Eight is basically another way of inciting the Goyim to kill each other. Once they get distracted or fail to understand the motives of the people who are playing with the political remote control, then they will end up locking themselves in a matrix where the only escape is to embrace the cultural suicide which the Dreadful Few have already imposed on America. This is obviously one of the unspoken assumptions of Tarantino’s The Hateful Eight.
Major Warren declares:
“You’ve got no idea of what it is like being a black man facing down America. The only time black folks are safe is when white folks are disarmed.”
Is that true? Or is this basically social engineering? Does Major Warren mean to tell us that “white southern crackers” are walking around, seeking to obliterate black men in America? Or should we look at the statistics and follow the evidence where it leads? Who’s killing who?
In the aftermath of the Leo Frank trial, Tom Watson said that “the nation’s wealthy Jews had blown the breath of life into the Monster of Race Hatred.” “As a result of the Frank case,” Writes E. Michael Jones,
“the Jews declared war on the South. The same influential Jews who had taken up the banner of Leo Frank went on to create the Anti-Defamation League. But more importantly for our purposes, they infected the Negro with the virus of revolution.”
We are seeing this virus in countless movies. It began in the 1970s with films such as Shaft (1971) and Superfly (1972). Samuel L. Jackson, like his predecessor Gordon Parks, is just a pawn in this ideological process.
Jackson—like his contemporaries Eddie Murphy, Kevin Hart, Jamie Foxx, Will Smith, Jada Smith, Wesley Snipes, Cuba Gooding, Jr., Spike Lee, Halle Berry, Tyler Perry, Chris Tucker, Laurence Fishburne, etc.—is just a pimp who is actually pimping the Hollywood system, which is exactly what the oppressors want him and others to do.
Fishburne’s film, Standoff, is being distributed by Saban Films. Haim Saban, “a staunch supporter of Israel,” has been called “a force of nature” by his friend Barry Meyer, “the chairman and C.E.O. of Warner Brothers.” Saban is a “political power broker,” which means that he can move the “force of nature” to get political things done. His primary job is “to protect Israel.” Saban has a three-part formula to get things done:
“Make donations to political parties, establish think tanks, and control media outlets. In 2002, he contributed seven million dollars toward the cost of a new building for the Democratic National Committee—one of the largest known donations ever made to an American political party.
“That year, he also founded the Saban Center for Middle East Policy at the Brookings Institution, in Washington, D.C. He considered buying The New Republic, but decided it wasn’t for him.
“He also tried to buy Time and Newsweek, but neither was available. He and his private-equity partners acquired Univision in 2007, and he has made repeated bids for the Los Angeles Times.”
What we are seeing here is that Fishburne and others have sold their souls to Saban’s essentially Talmudic ideology. But there are enough pimps out there who are more than willing to do the exact same thing. Nicole Scherzinger is once again a classic example. She told the British newspaper the Independent back in 2013:
“To be honest with you, I sometimes wish I were more slutty. I’d probably be a lot more successful if I were… This is such a tough industry, you know. To make it, you really have to sell your soul to the devil.”
In short, Hollywood is a place where dumb Goyim such as Angelina Jolie have been called “minimally talented spoiled brat” with a “rampaging spoiled ego” from “Crazyland” by Jewish producer Scott Rudin. It is a place where Kevin Hart has been called a “greedy whore” and Leonardo DiCaprio “despicable.” It is a place where Megan Ellison has been called a “bipolar lunatic,” and where Jewish executive producers Amy Pascal and Scott Rudin joke about President Obama enjoying movies such as Django Unchained, The Butler, and Ride Along.
Hollywood is also a place where the Goyim are juiced and then literally left for dead. This has happened to people like David Carradine, Philip Seymour Hoffman, Heath Ledger, Robin Williams, Lucy Gordon, Marilyn Monroe, Megan Leigh, Clara Blandick, Charles Boyer, Dana Plato, John Bower, Germaine Lefebvre, Peg Entwistle, Carole Landis, Freddie Prinze, etc. One person who actually realized that people are being placed in a lab experiment in the entertainment industry is rapper DMX. He said explicitly:
“The industry doesn’t have to do with talent; it’s about playing the game…The industry—money, bitches, hate…
“The industry, if you ain’t got a strong mind, will break you down—it’s a matter of time. The industry vultures with nothing to feast on…The industry plays in the dirt, stays in the dirt—test the wrong one in the industry and you will get hurt.
“The industry wanted, dead or alive, new artists to sell their souls…to survive. The industry don’t give a fu$k about you! But the industry couldn’t make a dime without you! I’m sick of this industry shit.”
The Irish singer Sinead O’Connor came to the same conclusion in 2013. When Miley Cyrus was (and still is) pimping the system, O’Connor did not hesitate to write an open letter to Cyrus saying:
“The music business doesn’t give a shit about you, or any of us. They will prostitute you for all you are worth, and cleverly make you think its [sic] what YOU wanted … and when you end up in rehab as a result of being prostituted, ‘they’ will be sunning themselves on their yachts in Antigua, which they bought by selling your body and you will find yourself very alone…
“ALL of them want you because they’re making money off your youth and your beauty … which they could not do except for the fact your youth makes you blind to the evils of show business…
“I repeat, you have enough talent that you don’t need to let the music business make a prostitute of you. You shouldn’t let them make a fool of you either. Don’t think for a moment that any of them give a flying fu$k about you.
“They’re there for the money… we’re there for the music. It has always been that way and it will always be that way. The sooner a young lady gets to know that, the sooner she can be REALLY in control.”
If you think O’Connor is joking here, then consider this. 34-year-old Ricardo Cornelius just lost his life during the filming of Resident Evil: The Final Chapter, and stuntwoman Olivia Jackson will have her arm amputated “after she ran into moving camera equipment while performing a motorbike stunt for the movie in October.” Do you think Hollywood moguls are going to stop the project and reflect on the incident?
The answer is no. They have already paid Cornelius’ wife, and they will move on to finish the project because it is based on the love of money. You died in the process while serving them? Oh, well. They’ve got other pimps and suckers on the line waiting to be juiced.
After the FBI “was called in to destroy the Black Panthers,” Jones writes, “Hollywood was called in to ratchet the revolution back to its Lumpenproletariat [‘a group of people who are good for nothing but making trouble’] origins and promote the pimp as the ideal Negro.”
One of the people who was paid quite well to promote blacks as pimps was none other than Gordon Parks. “The real change came in 1971 when Parks launched the film genre known as Blaxpoitation. Parks was a photographer with Life Magazine, who had worked for the OWI during the war. After the war, Time/Life became a CIA front.”
Pay people like Parks well, and they will do virtually anything, including dropping their morals and embracing essentially Talmudic discourse on the art. Parks’ third wife, Gene Young, admitted, “He did what people paid him to do.” Parks meant it when he said that Shaft
“was a film that could give black youth their first cinematic hero comparable to James Cagney or Humphrey Bogart, but not the least of the persuasion was the salary I was to receive.”
There was no way for Parks to portray a “cinematic hero” without embracing moral decadence, which again was part of the plan from the beginning:
“Parks leaves unmentioned the type of behavior which Shaft and Superfly were to inspire as the new role models for ‘black youth.’ He also never mentions the disruption this behavior was to cause in the black community by further weakening the already weak black family.
“He also never mentions the effect that emulation of these cinematic heroes is going to have on the black women, who were on the receiving end of the pimp culture he was paid to promote.”
When Shaft turned out to be a lucrative success, Hollywood moguls were quite happy. One Hollywood producer, Parks admitted, “came to my office” and was happy about the result. In other words, Shaft actually energized the pimp culture which became a model for many. Parks again said: “Now Hollywood had the green light for black suspense films…”
“Before Shaft and Superfly, the ideal Negro was a revolutionary, of the sort symbolized best by the Black Panthers. After Blaxploitation, the ideal Negro was a pimp.” Jones maintains that
“Blaxploitation was Jewish revenge against the anti-Jewish resentment which had spread throughout the civil rights movement during the late ‘60s and found its culmination when Stokely Carmichael expelled the Jews from SNCC…
“The success of Blaxploitation films meant that Hollywood had reasserted its control over the black mind after the anti-Jewish uprising at the end of the civil rights movement.
“Blaxploitation meant the end of whatever black solidarity the civil rights and black power movements created. It also took everyone’s mind off the fact that up until Blaxploitation, pimping, like pornography, was largely a Jewish business.
“By glamorizing the pimp, Hollywood created an internal front in the black community that has perdured until the present. The valorization of the pimp meant that it was perfectly acceptable for black men to exploit the weaker elements of their community in a way congruent with Capitalism, but at the same time, it prohibited criticism of the Jewish financial exploitation of the Black community that had been a staple of black nationalist critique from Marcus Garvey up to Minister Farrakhan.
“Blaxploitation allowed Hollywood to exact revenge on uppity niggas like Stokely Carmichael and make money in the process. No wonder Joel was ‘all happiness.’ That paradigm shift would also have serious implications for black women.”
When “blaxploitation” eventually became the norm, crime rates also skyrocketed:
“In 2014 there were 432 homicides in the city of Chicago. During the week beginning October 18, 2015, four people were shot and killed in the city of Chicago and 34 people were shot and wounded. During the month of October 2015, as of October 24, 21 people have been shot and killed and 136 people have been shot and wounded.
“In 1974, two years after blacks on the south side of Chicago lined up around the block to see Superfly, Hollywood’s glorification of the black pimp, there were 970 homicides in the city of Chicago, an all-time record. Eighty percent of those victims were black. If ‘black lives matter,’ why aren’t we talking about these murders?
“The answer to that question is very simple. It’s because George Soros isn’t paying anyone to talk about them, and even if some other rich Jew were to come up with the money, the Jewish controlled media wouldn’t run the story because they would prefer that we remain in ignorance of the Black/Jewish alliance.”
Perhaps it is high time that people like Samuel L. Jackson and Laurence Fishburne reject the moral corruption which pernicious people in Hollywood have imposed upon them and embrace Logos in all its manifestation. Perhaps it is high time for them to produce something that is “noble, lovely, and true.” This would certainly make a tremendous change in places like the South Side of Chicago.
 Quoted in Stuart Dredge, “Netflix series Hemlock Grove: ‘People want their horror horrific,’ says Eli Roth,” Guardian, April 10, 2013; Patrick Smith, “‘Torture-porn’ director Eli Roth says his new series will mess up an entire generation,” Telegraph, April 10, 2013.
 Quoted in E. Michael Jones, Barren Metal: A History of Capitalism as the Conflict Between Labor and Usury (South Bend: Fidelity Press, 2014), 623.
 Quoted in ibid., 623-624.
 Ibid., 624-625.
 Marshall Heyman, “Hackwork,” New Yorker, August 31, 2009; Patrick Smith, “’Torture-porn’ director Eli Roth says his new series will mess up an entire generation,” Telegraph, April 10, 2013.
 Neil Genzlinger, “Review: In ‘The Green Inferno,’ Eli Roth Turns Collegians Into Prey,” NY Times, September 24, 2015.
 Dave Itzkoff, “For RZA, Hip-Hop Was Just a Prelude to Kung Fu,” NY Times, October 17, 2012.
 Jeffrey Goldberg, “Hollywood’s Jewish Avenger,” Atlantic, September 2009 Issue.
 Ami Eden, “‘Inglourious Basterds’ at JTS,” Jewish Telegraphic Agency, Dec. 18, 2009.
 Abraham H. Foxman, “‘Inglourious Basterds’ Should be Recognized with an Academy Award,” Huffington Post, February 18, 2010.
 Steve Persall, “Review: Tarantino’s ‘The Hateful Eight’ a needless, gory ego trip,” Tampa Bay, December 24, 2915.
 A. O. Scott, “Review: Quentin Tarantino’s ‘The Hateful Eight’ Blends Verbiage and Violence,” NY Times, December 24, 2015. To say that the movie is an “elaborately justified misogyny” is an oxymoron.
 See for example Frank Joyce, “White men must be stopped: The very future of mankind depends on it,” Salon, December 22, 2015.
 Quoted in E. Michael Jones, “Soros or Cyrus?: The Violent Legacy of the Black/Jewish Alliance,” Culture Wars, December 2015.
 Shaft was remade in 2000, starring Samuel L. Jackson and Christian Bale.
 Connie Bruck, “The Influencer: An Entertainment Mogul Sets His Sights on Foreign Policy,” New Yorker, May 10, 2010.
 “What’s new Pussycat? Nicole Sherzinger on being a global pop star and conquering an eating disorder,” The Independent, March 10, 2013.
 See for example James Robert Parish, The Hollywood Book of Death: The Bizarre, Often Sordid, Passing of More Than 125 American Movie and TV Idols (New York: Contemporary Books, 2002).
 Sinead O’Connor, “Sinéad O’Connor’s open letter to Miley Cyrus,” Guardian, October 3, 2013.
 Jones, “Soros or Cyrus?: The Violent Legacy of the Black/Jewish Alliance,” Culture Wars, December 2015.