…by Jonas E. Alexis
Elijah Wood, like Corey Feldman back in 2012, has recently resurrected the pedophile allegation in Hollywood. According to the British newspaper the Telegraph, Wood declares that “pedophiles had been protected by powerful figures in the movie business and that abuse was probably still taking place.”
The pedophile cell in Hollywood, says Wood, is well “organized.” What are some of the characteristics of this underground movement? He says:
“There are a lot of vipers in this industry, people who only have their own interests in mind. There is a darkness in the underbelly…”
Wood isn’t finished. He moves on to assert that victims are not allowed to discuss these matters openly because they “can’t speak as loudly as people in power. That’s the tragedy of attempting to reveal what is happening to innocent people. They can be squashed but their lives have been irreparably damaged.”
Wood also suggests that he was spared from those pedophiles and vipers because his mom protected him from their evil act. In Hollywood, he goes on to say, “People with parasitic interests will see you as their prey.”
Corey Feldman, as already suggested, has made the same discovery in 2012. He said:
“I can tell you the number one problem in Hollywood was and is and always will be pedophilia. That’s the biggest problem for children in this industry…I was surrounded by them when I was fourteen years old…[They were] like vultures… It’s the big secret…There was a circle of older men that surrounded themselves around these groups of kids…
“There are people in this industry who have gotten away with it for so long that they feel they are above the law. And that’s got to change.”
Other celebrities in the entertainment industry have come to similar conclusions. DMX, as we have seen in the past, declared,
“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!”
The interesting thing is that the industry has already produced dozens of movies about Catholic priests molesting kids, but not a single movie has been released showing that Hollywood directors and producers molested kids. Why aren’t Woody Allen, Roman Polanski, and Bryan Singer in jail?
Well, because they represent the tribe, and no one can touch them.
Singer is the director of the much-anticipated movie X Men: Apocalypse, portrays mutants as “the other.” What are those movies about? Let us ask Singer himself.
Interviewer: It seems that “X-Men” and “X-Men 2” represent your identities as a Jew living in America and as a gay man respectively, because in this one there is a homosexuality/homophobia subtext…
Brian: Well, yeah. That is also a very relevant analogy because where certain races, even a Jewish boy or a Jewish girl, will be born into a Jewish family, or a Jewish community sometimes, or an African American or whatever minority in any given area, a gay kid doesn’t discover he or she is gay until around puberty.
Interviewer: So you’re exploring your own situation in these films?
Brian: Absolutely. And what better way than in a giant, action, summer event movie! I could think of no better place to spill out one’s own personal problems and foist them onto the world [laughs]. And for that, I apologize.
Interviewer: Does the fascination with evil that runs through all your films have its roots in the fact that you are Jewish?
Brian: I think so. I was very obsessed with the Holocaust as a child and man’s inhumanity to man. And, ultimately, it came from my fear of intolerance.
We have a situation here. What Singer is telling us here is that he is using his films, most specifically the X Men series, to project his own ideological weltanschauung onto society. And if there is a character that resembles Singer’s background is Erik Lehnsherr, commonly known as Magneto.
In his recent epic X-Men: Apocalypse, which has been released in Asia, Erik cannot find his place in society because he is regarded as “the other.” Society rejects him for who he is not for what he does. His parents were killed by Nazis. He tries to blend with the common people, have a wife and daughter, and live a happy life. But he realizes that he can never fit in because people always see him as “the other.” They only see the bad in him and nothing else.
Over the course of the movie, Erik realizes that his destiny is to destroy those who killed his parents and to set the entire planet ablaze. He almost embraces the nihilistic and essentially diabolical dogma which the super villain in the movie attempts to unleash everywhere: those who hate mutants will die. As the super villain puts it:
“Everything they built will fall, and from the ashes of their world, we’ll build a better one.”
What a coincidence that the movie was produced by Singer. What a coincidence that Jewish revolutionary movements have been spreading this essentially Talmudic or diabolical ideology through the centuries. A little history here.
During the medieval period, Rabbis and radicals used to refer to Christendom in some of their writings as “Esau,” or “Edom,” or even “Amalek.” These ideas seemed to have been preserved in the works of Rashi, Don Isaac Abrabanel, and R. Abraam Ha-Yarhi. For many of those writers, “God would remain restless until Esau (which for medieval Jews meant Christendom), rather than merely Amalek, was utterly defeated and destroyed.”
Misapplying the Old Testament to Christendom or Esau, Maimonides also declared,
“We are commanded to remember what Amalek did to us in attacking us unprovoked [and to hate him always]. We are to speak of this at all times, and to arouse the people to make war upon him and bid them to hate him, and that hatred of him be not weakened or lessened with the passage of time.”
The Jews of Spain, Babylon, and Southern France during the Middle Ages viewed “Edom” as Christendom, while the Ashkenazim viewed it as Rome.
This tendency is found in a prayer (the Kaddish prayer) that was usually recited in the synagogue, which reads,
“And thus we pray yitgadal ve-yitkadash, meaning: Let it be the will of He through whose word the world was created that He redeem us from among the nations and destroy the memory of Amalek and His name will be hallowed to be complete.”
Rashi’s students picked up where he left off and announced that God “swore by His right hand and by His throne that His name would not be complete…until He avenged Himself against Amalek.” Noted Jewish scholar Elliott Horowitz of Bar-Illan University, Israel, made the case that this teaching “made its way southwest to the Jewish communities of Provence and Christian Spain, who also saw themselves living among the descendants of Esau.” Horowitz continues,
“In the fourteenth century two influential Spanish authors, R. David Abudarham and R. Jacob b. Asher, included similar interpretations of the Kaddish in their works…By stressing Amalek’s ancestry, Abudarham, like R. Abraham ha-Yarhi before him, evidently sought to signal to his co-religionists that the Kaddish should be seen (and experienced) as part of the cosmic struggle between their God and the evil empire of Esau/Edom.
“After the ‘Amalek-oriented’ interpretation of the Kaddish spread from Franco-Germany to the Hispano-Provencal world, there were thousands of Jews across late medieval Europe who prayed several times daily for God to avenge Himself against the archenemy whose continued existence kept His name sundered—and thus painfully postponed their own redemption.”
Israel Jacob Yuval, another Jewish scholar, provides similar historical accounts for the heated tensions between Christendom and the implications of Rabbinic literature in the Middle Ages in his study Two Nations in Your Womb.
After sifting through many historical and Rabbinic accounts, Yuval finds that “The desire for vengeance may also be found in Eleazar Ha-Kallir’s lamentations for Tish b’Av. He asks that the evil of the Gentiles be revealed, so that God may take vengeance on Edom. In a recently published siluq for Tisha b’Av by Ha-Kallir, the editor noted ‘a veritable outburst of curse and hatred’ against the Christians.”
As a supplement to this vengeance, a unique ritual of cursing non-Jews was quite “widespread in Ashkenaz during the Middle Ages,” most specifically against Christians. As Yuval writes,
“Birkat ha-Minim (Malediction Against the Heretics) was well-known, and its origin may perhaps be traced back to the curses of the Judaean Sect against those who did not abide by the laws of the sect.”
The prayer says in part that “the community will gather and curse all those ‘who veer right or left from the Torah.’” Jewish scholar Ruth Langer declares the same thing. She goes so far as to say that “every single European Jewish community” in the Middle Ages “adopts the basic form” of the “birkat haminim,” which is “fully a curse of Christians.” In many countries this was done explicitly, where in many cases it became a cultural phenomenon among the Jews. Other curses
“are attributed to Rabbi Kalonymus the Elder and include sharp condemnations of and curses against the Gentiles and a plea to God to bring destruction upon them. Surprisingly, historical scholarship, which openly discusses all aspects of anti-Jewish hatred, has passed over these poems [which specifically discuss the curses against Christians and Gentiles] in almost total silence.
“These are texts that demonstrate the abyss of hostility and hatred felt by medieval Jews toward Christians. And we have here not only hatred, but an appeal to God to kill indiscriminately and ruthlessly, alongside a vivid description of the anticipated horrors to be brought down upon the Gentiles.
“These pleas are formulated in a series of verbs—‘swallow them, shoot them, lop them off, make them bleed, crush them, strike them, curse them, and ban them…destroy them, kill them, smite them…abandon them, parch them.”
For Daniel Goldschmidt and others, all of this is a reaction to Jewish persecution! Yuval, in response, argues that these curses not only predate anti-Jewish reactions, but were widespread among rabbis, going all the way back to the tenth century.
“These and similar liturgical poems were used by those who sought vengeance as having active messianic significance and should not be seen solely as a spontaneous emotional response. We are dealing here with a comprehensive religious ideology that sees vengeance as a central component in its messianic doctrine.”
This hostility toward Christians and Gentiles is indeed “part of an entire messianic teaching,” spread from many rabbis in the Middle Ages.
So, it is not coincidence that Bryan Singer is now resurrecting the old conflict in his films in an indirect way. In fact, when his Usual Suspects film came out in 1995, Singer admitted to Charlie Rose that he does use films “to manipulate people, not only textually but emotionally.”
Singer can fool some people, but he cannot fool us all. We are not ignorant of his devices.
What’s more, if Dante, Hegel, Solzhenitsyn and others are right, then no one will get away with their evil deeds. Reason will triumph, and the end of all things will not be pretty for those who are still toe-dancing around the golden cow in Hollywood.
 Henry Bodkin, “Elijah Wood: ‘Hollywood in the grip of child abuse scandal similar to Jimmy Savile,’” Telegraph, May 22, 2016.
 Stephen Applebaum, “Interview: Brian Singer,” BBC, July 2006.
 Elliott Horowitz, Reckless Rites: Purim and the Legacy of Jewish Violence (Princeton: Princeton University Press, 2006), 125-126.
 Ibid., 126.
 Ibid., 132.
 Jacob Yuval, Two Nations in Your Womb: Perceptions of Jews and Christians in Late Antiquity and the Middle Ages (Berkley and Los Angeles: University of California Press, 2006), 114.
 Horowitz, Reckless Rites, 128.
 Ibid., 128-129.
 Ibid., 129.
 Yuval, Two Nations in your Womb, 101.
 Ibid., 115.
 Ibid., 115-116.
 Ibid., 116.
 Ruth Langer, Cursing the Christians?: A History of the Birkat HaMinim (New York: Oxford University Press, 2012), 66.
 Yuval, Two Nations in your Womb, 120.
 Ibid., 121.
 Ibid., 122-123.
 Ibid., 123.
 Ibid., 102, 103-109.