…by Jonas E. Alexis
The Jewish Daily Forward reported last month that Hollywood is filled with Kabbalist actors and actresses, people who obviously are dying to make it big and get their seasonal fame in the entertainment business. It stated:
“DiCaprio would by no means be the first celebrity to wear a Kabbalah bracelet. In the early 2000s, Madonna made it trendy in Hollywood when she converted dozens of actors and actresses to the Jewish school of thought, which utilizes mysticism as a means of interpretation and relies on the spiritual.
“Among her followers were Britney Spears — although there were gossip reports at the time that Spears eventually denounced the ideology, a move that began a catfight with Madonna — David and Victoria Beckham, Demi Moore, Ashton Kutcher, Lindsay Lohan, Gwenyth Paltrow, Goldie Hawn, Paris Hilton, Mariah Carey, Mick Jagger, Reese Witherspoon. The list goes on.
“Today, even younger, more relevant stars have begun wearing the string. Harry Styles has worn it on his left wrist during concerts and Ariana Grande sported it in her music video for ‘Break Free.’”
Even James Cameron, known for blockbuster movies such as Avatar and Terminator, is ideologically a Kabbalist.
ABC News reported last June that many of these people don’t even know what Kabbalah is. Madonna, Britney Spears, Demi Moore, Paris Hilton, among others, had their own Kabbalist rabbi, Philip Berg, who passed away in 2013.
Moreover, it is hard to historically separate Kabbalah from magic. Early Kabbalists were even condemned by a group of Jews known as the Karaites for playing with magic. “Daniel Al-Kimisi, a Karaite author living in the ninth century in Jerusalem, writes, polemically of course, against ‘books of magic’ circulating among the Rabbanites.” The same author moves on to say:
“Who practices magic today in Israel? The Rabbanites, surely, who speak of pure and impure divine names, who writes amulets and perform clever tricks, and give their books such titles as Sefer ha-Yashar, Sefer ha-Razim, Sefer Adam, and Raza Rabba, and still other magic books [containing recipes] if you wish to make a man love a woman, or if you wish to excite hatred between them, and many other abominations of the same sort, may God keep us far from them.”
So, when you see the Goyim in Hollywood playing with Kabbalah, you can be sure that they are either chasing after the almighty dollar or their seasonal fame or power. But in order to get there, they aspire to look Jewish. British journalist William Cash wrote back in 1994:
“Bill Stadiem, a former Harvard educated Wall Street lawyer who is now a screenwriter in LA, told me that he recently came across an old WASP friend in an LA restaurant who had been president of the Porcellian at Harvard—the most exclusive undergraduate dining-club.
“His friend—a would-be producer—was dressed in a black nylon tracksuit and had gold chains on his wrist; dangling around his neck was a chunky Star of David. Stadiem asked: ‘Why the hell are you dressed like that?’ The WASP replied: ‘I’m trying to look Jewish.’”
If you think the poor WASP is just kidding, let us bring in Rachel Weisz. Weisz probably ruined her career when she said:
“Hollywood’s run by Jews. I was advised by an American agent when I was about 19 to change my surname. And I said ‘Why? Jews run Hollywood.’ He said ‘Exactly.’ He had a theory that all the executives think acting’s a job for shiksas.”
In other words, shiksas, or slutty non-Jewish women, have to be initiated. Initiation requires sacrifice, and one of those demands is that shiksas have to be sexually or morally humiliated. Shiksas have to abandon morality and practical reason and must be willing to embrace essentially Talmudic mores. A classic example of this is Phillip Roth’s Portnoy’s Complaint.
There are other examples in Hollywood. Producer Scott Rudin called Angelina Jolie a “minimally talented spoiled brat.” Aaron Benjamin Sorkin said of Michael Fassbender, the Hollywood actor who literally humiliated himself in movies such as Shame and A Dangerous Method:
“He makes you feel bad to have normal-sized genitalia.”
Sony Pictures Chair Amy Pascal, who also happens to be Jewish, said, “Should I ask [President Obama] if he liked Django?”
What we can glean from this statement is that people like Pascal think that movies like Django or Tarantino’s The Hateful Eight should empower Obama and obviously blacks in America to hate their fellow men, namely, white people in America.
Once again, what we are seeing here is that people like Pascal are playing with the ideological remote control. They want the Goyim to fight, and fight, and fight, until they are all dead. Once that happens, then the Dreadful Few can proclaim victory.
This is not farfetched at all. In fact, this is precisely what people like Daniel Pipes have proposed with respect to the Syrian war. Pipes said:
“The West should prevent either side in the civil war from emerging victorious by helping whichever side is losing, so as to prolong their conflict.”
Pipes even calls it “strategic.” Now, keep in mind that Pipes is a Harvard graduate, with a Ph.D. in history. He certainly did not learn this diabolical strategy from Plato or Aristotle or Thucydides or any of the great figures of the West. He got it from Rabbinic and Talmudic mores, which always see the Goyim as the enemy to be conquered and slaughtered.
So, gone is “the late, great American WASP.” As Yuri Slezkine tells us, we are living in “The Jewish Century,” in which “everyone” is “becoming Jewish.” The old WASP is gone, and Slezkine says that “the new establishment” has already ascended to the throne.
This century, Slezkine moves on to say, “is about pursuing wealth for the sake of learning, learning for the sake of wealth, and both wealth and learning for their own sake.”
People who get jammed in this circular enterprise have no higher purpose which allows them to see things the way they really are. People learn to get wealth, and they accumulate knowledge for its own sake. It’s a vicious cycle.
Hegel would have certainly been insulted by this mumbo jumbo, which always promises prosperity and a great future but delivers an existentially unlivable philosophy. Many Hollywood actors and actresses and entertainers have realized that this essentially Talmudic cycle leads to misery and sometimes death.
Actress Pier Angeli said before she committed suicide in 1971: “I can’t go on anymore.” The same thing could be said of people like Janis Joplin, Jimi Hendrix, Brian Jones, Jim Morrison, Kurt Cobain. They all died at the early age of twenty-seven. Cobain himself wrote in his journal:
“Isn’t there somebody out there? Somebody, anybody, please help me. I want to be accepted. I have to be accepted. I’ll wear any kind of clothes you want! I’m so tired of crying and dreaming, I’m so alone. Isn’t there anyone out there? Please help me. HELP ME!”
Cobain probably would not have said things like that if the music and entertainment industry was not, as actress Kirsten Dunst has put it, “suffocated by money.” When morality is no longer the prime engine for innovative art and movie, actresses like Dunst always end up being consumed by fear and insecurity. What’s a “legitimate” escape?
This was the essential message in Metallica’s “Fade to Black”:
Life it seems to fade away
Drifting further everyday
Getting lost within myself
Nothing matters no one else
I have lost the will to live
Simply nothing more to give
There is nothing more for me
Need the end to set me free
Things not what they used to be
Missing one inside of me
Deathly loss this can’t be real
Cannot stand this hell I feel
Emptiness is filling me
To the point of agony
Growing darkness taking dawn
I was me but now, he’s gone
Drummer Lars Ulrich, who is Jewish, “recalls how he and vocalist/rhythm guitarist James Hetfield were ‘obsessed with death’ at the time the album and song were produced.” Ulrich admitted that “It’s a suicide song…”
This brings us to an essential point here. The universe, from our perspective, was created by what British astronomer and mathematician Sir Fred Hoyle would have called “a super-intellect.” This “super-intellect” created the world with mathematical precision and harmony and order.
We can deduce that there is an order or logos in music, art, literature, the stars, etc. Moreover, you and I did not invent that order. It was already there and it seems that it was waiting for us even before we were born. As the Hungarian mathematician and physicist Eugene Wigner himself put it in 1960:
“The miracle of the appropriateness of the language of mathematics for the formulation of the laws of physics is a wonderful gift which we neither understand nor deserve. We should be grateful for it and hope that it will remain valid in future research.”
Both Plato and Aristotle made reference to this “super-intellect.” With great force and elegance, Aristotle called this “super-intellect” the unmoved mover, or “that which moves without being moved.” To Aristotle, this unmoved mover is ultimately responsible for the order in this sensible world.
So, unlike Carl Sagan who hastily and erroneously posited that “The Cosmos is all that is or ever was or ever will be,” Aristotle would say that logic dictates that the Cosmos is not and can never be an accident, which is to say that the universe is not all there is.
If that is the case, then it logically leads to the conclusion that human beings have a higher telos in the universe. But that higher telos has been suppressed by lust and greed and hatred. And the job of the Dreadful Few in Hollywood and much of the entertainment industry is to prey on people’s weaknesses, or, to put it in Eli Roth’s term, to “fu$k an entire generation” with moral corruption.
The Dreadful Few learn pretty quickly that the best way to corrupt the Goyim is through sexual lust and debauchery. They did exactly that during the Weimar Republic in Germany, from 1918-1933. In fact, Berlin was properly called “the whore of Babylon.” Jewish scholar Mel Gordon tells us that during the Weimar Republic, Berlin was a place for “voluptuous panic.” It seems that the same thing was happening in France from the 1920s until the 1940s.
The Dreadful Few attempted to do the same thing in America during the 1960s, and they are working very hard to complete the mission even today. As Jewish scholar Nathan Abrams himself puts it,
“Older generation of Jewish filmmakers and actors, here [Woody] Allen, [Stanley] Kubrick and [Ron] Jeremy, arguably not only increased the Jewishness of their work, but updated it to match the new post-1990 sensibility by defining it in increasingly sexualized (and pornographic) terms.”
Jewish scholar Josh Lambert came to similar conclusion, saying that people like Larry David and Sarah Silverman “are challenging America’s powerful religious, family-friendly culture and asserting their Jewishness by glorifying obscenity.” Lambert moves on to say that “Some Jews use obscenity to fight anti-Semitism, while others use it to rewrite traditional Jewish stories in a contemporary idiom.”
Lambert has just mentioned something that is really profound here. Surely his statement is pregnant with meaning. When you see Goyim like Quentin Tarantino using obscenity and perversion in Hollywood and dancing like puppets, then you can be sure that they have internalized the commands of people like Eli Roth, David Cronenberg, Stanley Kubrick, Darren Aronofsky, etc.
 Britta Lokting, “Leonardo DiCaprio Is Embracing Kabbalah (Maybe),” Forward, December 29, 2015.
 Alan B. Goldberg and Katie Thomson, “What’s Behind Hollywood’s Fascination with Kabbalah?,” ABC News, June 17, 2015.
 “Hollywood’s Kabbalah guru Philip Berg dies,” Jerusalem Post, September 17, 2013.
 Elizabeth Clare Prophet, Kabbalah: Key to Your inner Power (Gardiner, MT: Summit Publications, 1997).
 See Gershom Scholem, Sabbatai Sevi: The Mystical Messiah (Princeton: Princeton University Press, 1973), chapters 3-5.
 Gershom Scholem, Origins of the Kabbalah (Princeton: Princeton University Press, 1990), 106.
 Quoted in E. Michael Jones, The Jewish Revolutionary Spirit and Its Impact on World History (South Bend: Fidelity Press, 2008), 1035.
 Quoted in Danielle Berrin, “Rachel Weisz on why Hollywood Jews prefer blondes,” Jewish Journal, October 22, 2009.
 See Jones, Jewish Revolutionary Spirit, 971-986.
 Quoted in Chris Spargo and Joel Christie, “If looks could KILL! Cringeworthy moment Sony co-chairman tried to embrace Angelina Jolie at Hollywood movie screening – just days after humiliating ‘spoiled brat’ emails were leaked,” Daily Mail, December 12, 2014.
 Daniel Pipes, “Support the Syrian Rebels?,” National Review, May 12, 2013.
 For historical studies on this, see Israel Jacob Yuval, Two Nations in Your Womb: Perceptions of Jews and Christians in Late Antiquity and the Middle Ages (Berkeley and Los Angeles: University of California Press, 2006); Elliot Horowitz, Reckless Rites: Purim and the Legacy of Jewish Violence (Princeton: Princeton University Press, 2006).
 Joseph Epstein, “The Late, Great American WASP,” Wall Street Journal, December 23, 2013.
 Yuri Slezkine, The Jewish Century (Princeton: Princeton University Press, 2004), 1.
 Ibid., 368.
 Ibid., 1.
 Quoted in 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), 290.
 Quoted in Charles R. Cross, Heavier than Heaven: A Biography of Kurt Cobain (New York: Hyperion, 2001), 284.
 Elizabeth Day, “Kirsten Dunst: ‘The movie industry is in a weird place – creatives blossom on TV,’” Guardian, October 4, 2015.
 Fred Hoyle, “The Universe: Past and Present Reflections.” Engineering and Science, November, 1981: 8–12.
 Eugene Wigner, “The Unreasonable Effectiveness of Mathematics in the Natural Sciences,” Communication on Pure and Applied Mathematics 13, no. 1, February 1960: 1-14.
 Carl Sagan, Cosmos (New York: Ballantine Books, 1980), 1.
 Astronomer Robert Jastrow seemed to have understood that principle. Robert Jastrow, God and the Astronomers (New York: W. W. Norton, 1992).
 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.
 For a historical study on this, see for example Jay A. Gertzman, Bookleggers and Smuthounds: The Trade in Erotica, 1920-1940 (Philadelphia: University of Pennsylvania Press, 2002).
 Even scholars who do not like the term indirectly end up agreeing with it. See for example Jill Suzanne Smith, Berlin Coquette: Prostitution and the New German Woman, 1890-1933 (Ithaca: Cornell University Press, 2013).
 Mel Gordon, Voluptuous Panic: The Erotic World of Weimar Berlin (Port Townsend, WA: Feral House, 2008).
 Mel Gordon, Horizontal Collaboration: The Erotic World of Paris, 1920-1946 (Port Townsend, WA: Feral House, 2015).
 Nathan Abrams, The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema (New Brunswick: Rutgers University Press, 2012), 72.
 Josh Lambert, “’Dirty Jews’ and the Christian Right,” Haaretz, February 3, 2014.
 Ibid. Lambert has expanded on this issue in his book Unclean Lips: Obscenity, Jews, and American Culture (New York and London: New York University Press, 2014).
 Tarantino has already received great accolades for The Hateful Eight. “’The Hateful Eight’ Sweeps Capri-Hollywood Film Fest Awards,” Hollywood Reporter, January 2, 2016.