…by Jonas E. Alexis
Rose McGowan is apparently realizing that the entertainment industry gave her some pills which morally put her to sleep for years, and now she seems to realize that being a Hollywood star cost her dearly.
McGown got involved in movies like Devil in the Flesh, and now she is apparently seeing that her path in the business industry was morally tragic. McGowan was known as “a sex symbol” when movies like Devil in the Flesh came out.
McGowan is obviously “psycho-analyzing” herself. After she was raped by a Hollywood producer—and she is pointing two fingers at Harvey Weinstein—she seemed to have had an epiphany. She suddenly realized that rape is a really bad thing, despite the fact that Hollywood has been applauding it since its inception and despite the fact that McGowan herself was implicitly making it permissible in movies like Devil in the Flesh. In fact, it was McGowan who was sexually seducing teachers and boys in that particular movie and mercilessly trying to kill them.
McGowan, like Agave in Euripides’ The Bacchae, seems realize that sexual liberation can never lead to true happiness and freedom; it can only lead to moral enslavement and sometimes death. That was indeed what Agave learned. Euripides’ The Bacchae is pertinent here because it does deal with issues that we human beings are all familiar with: lust and unbridled passion.
Pentheus, who is the king of Thebes in the play, observes that once Dionysus has unleashed sexual debauchery among women in particular, the culture is doomed and sexual destruction ensues. In an attempt to put an end to this moral decay, Pentheus plans to capture Dionysus. And he did.
When Dionysus, the god of sexual excess and debauchery, was finally captured, he told Pentheus that he got Pentheus under his wings. How can Dionysus get me under his wings, reasons Pentheus, when I got him locked up?
To make a long story short, Dionysus asks Pentheus if he would like to see the women dance naked on the mountainside. Pentheus says: “Aye, indeed! Lead on. Why should we tarry?…That would I, though it cost me all the gold of Thebes!”
In other words, what man would say no to being able to see naked women? Shocked by Pentheus’s lustful desires, Dionysus responded,
“So much? Thou art quick to fall to such great longing.”
Dionysus hinted that this would probably lead to Pentheus’s own death, but since lust makes one blind, Pentheus could not realize that he was carrying his own casket.
In the end, Dionysus led Pentheus to the mountainside. He found what he was looking for, but the naked women, being possessed by Dionysus himself, ended up tearing Pentheus apart, leading him to a tragic death. Pentheus got what he wanted, but it cost him his own life.
The moral of the story? Excluding morality in any artistic enterprise is an infallible sign that the culture is heading for destruction. Hollywood and the entire entertainment industry broke the moral code and things have never been the same. A little historical background here.
Film and cultural historian Robert Sklar writes that before 1910, “The movies were as completely in the hands of respectable, established Anglo-Saxon Protestant Americans as they were ever to be.” Although there were many Jews in Hollywood before that period, they did not have much influence in the film industry.
All of that changed, though, starting in the 1920s and ‘30s and continuing through the 1970s. Movies during that era “called into question sexual propriety, social decorum and the institutions of law and order.”
By the 1930s, a group of Catholics could no longer tolerate the increasing degeneracy Hollywood was pushing in the movies, so in 1933 they created the Catholic Legion of Decency (later renamed the National Legion of Decency). Their goal was to put pressure on filmmakers to stick with the traditional values.
Sklar writes that before the National Legion of Decency, Jews in Hollywood “had always tried to give their public as much sexual titillation as contemporary morals would allow…producers had no qualms about tossing aside the [Decency] code and hanging on to their audiences by offering more sex stories, risqué language and glimpses of nudity than they had ever dared before. One reason why the Legion of Decency campaign proved so quickly effective in mobilizing support was that the general run of movies had never before been so clearly in opposition to traditional middle-class morality.”
When Hollywood was confronted with the Legion of Decency rules, the producers quickly pointed out that “without sex and crime pictures, there wouldn’t be enough patrons to sustain a movie business.”
“Granting this, [the Legion of Decency leaders] sought to devise a formula that would keep sex and crime pictures within moral bounds. Their solution allowed for a fairly wide leeway in depicting behavior considered immoral by traditional standards—adultery and murder, for example—so long as some elements of ‘good’ in the story balanced what the code defined as evil.
“This was the formula of ‘compensating moral value’: if ‘bad’ acts are committed, they must be counteracted by punishment and retribution, or reform and regeneration, of the sinful one. ‘Evil and good are never to be confused throughout the presentation,’ the code said. The guilty must be punished; the audience must not be allowed to sympathize with crime or sin.”
The Legion of Decency proved successful—encouraging Hollywood to “direct its enormous powers of persuasion to preserving the basic moral, social and economic tenets of traditional American culture”—until the end of World War II.
Then, tempted once more by the profit that could be gained by the risqué, producers began to reformulate their subtle attacks. They turned their attention to
“settings that provided the full opportunity to raise the pitch of excitement on the screen, to amaze, frighten and even to sexually arouse…At its most basic level, sound was noise, and noise itself could be a source of thrills. Hollywood did not tear down its boudoir sets overnight, but the possibilities of sound attracted filmmakers more and more to noisy settings.”
Once the Legend of Decency was out of the equation, Hollywood began to unleash pornographic films such as Deep Throat (1972). And since pornography is an essentially Jewish business, it was no coincidence that Jewish revolutionaries attacked every single moral law in America in order to produce filth as “art.”
In short, Hollywood has been operating under the principle that morality is a relic of the past. Hollywood actors and actresses have never challenged that principle. In fact, the very same people who are currently condemning Harvey Weinstein were producing movies which put them on Weinstein’s ideological platform.
For example, Anna Paquin has recently come out supported Rose McGowan for her bravery. But Paquin cannot explain to us what she meant when she started describing her sex scenes in movies:
“Actually, it’s not really uncomfortable because we’re all like kind of cozy and friends. It’s like, ‘Oh, I’ll put my leg there, you put your hand there. It’s OK, whatever.’ I’ve had sex with several cast members on the show—obviously, on camera.”
Keep in mind that Paquin has a husband, Stephen Moyer. The stunning news is that Moyer “has even directed Paquin in sex scenes with other actors.”
If you think that Moyer and his wife are acting in a disgusting way, just hold on. Moyer had this to say about some of those sex acts:
‘In a funny way, I feel like — without revealing too much — it’s quite interesting for us as a couple because we’ve kind of gone to places where a lot of people don’t get to.
“’There are moments where I’ll be watching on a monitor [and say], ‘Oh, Joe, just move your hand up towards Anna’s breast. Good. And can you move your right thumb just a little bit …? Great.’ And then I’ll go, ‘Babe, babe, enjoy it.’ I’m certainly talking to her as ‘babe.’ ‘Darling, go for it.’”
In her zeal to promote bisexuality, Paquin declared, “I’m Anna Paquin. I’m bisexual, and I give a damn.”
Now, how can these people seriously condemn Harvey Weinstein and at the same time continue to leave in a world where they assume that morality, as Michael Ruse would have put it, is just “flimflam”?
If that’s the kind of world they want to live in, then Scholar Molly Haskell was right when she argues in her book From Revenge to Rape: The Treatment of Women in the Movies that Hollywood is “the propaganda arm of the American Dream machine.” If you think Haskell is wrong, then listen to David Cronenberg: “Every time I kill someone in my movie, I’m rehearsing my own death.”
Unfortunately, many naïve actors and actresses have locked themselves in the same “propaganda arm” and have inexorably been rehearsing their own moral death. More importantly, the Khazarian pedophile cult has used “propaganda arm” to unleash sexual debauchery in America through movies, and sometimes even through magic. This has had devastating consequences over the years. As E. Michael Jones writes at the end of Monsters from the Id: The Rise of Horror in Fiction and Film:
“By following our illicit desires to their logical endpoint in death, we have created a nightmare culture, a horror-culture, one in which we are led back again and again to the source of our mysterious fears by forces over which we have no control. It is a little like watching the Texas Chainsaw Massacre over and over again and watching the hippies drawn inexorably to their doom in the uncanny house that has become not a place of refuge, but of slaughter instead. That house is our culture.
“We are all being led into that house of horrors by a mysterious force over which we seem to have no control. That force is our conscience. The only way we can escape its clutches is by admitting that what it has to say about our guilt is true.”
No one can fight his conscience and win. And no artistic life is possible without morality. This is one reason why Hollywood actors and actresses are failing. They want to be sexually liberated, but they don’t want to give people like Weinstein the same permission. It is morally wrong at all time and place, they say, to rape someone.
Once again, here Hollywood actors and actresses are not talking about precious and naïve children, who will end up watching gratuitous and subversive movies anyway? Who is going to fight for those children? Why are Hollywood directors, producers, actors and actresses morally raping them? Listen to Bob Pittman, one of the founders of MTV:
“Our core audience is the television babies who grew up on TV and rock & roll…The strongest appeal you can make…is emotionally. If you can get their emotions going, [make them] forget their logic, you’ve got ’em…At MTV, we don’t shoot for the 14-year-olds, we own them.”
We should all strongly support McGowan for standing up against people like Weinstein. But she doesn’t really want to get to the heart of the issue because that would ruin much of her career.
In any event, even fighting people like Weinstein is a hard thing to do in Hollywood. McGowan has been extremely vocal in dethroning Weinstein, his company, and actors who remained silent when she was actually raped. Ben Affleck got his start in Hollywood because of Weinstein, who produced the movie Good Will Hunting.
McGowan, who appeared in the movie Going All the Way with Affleck, said that she told him that Weinstein had behaved inappropriately, but Affleck remained silent throughout the years. According to McGowan, Affleck knew very well that Weinstein was abusing women. In fact, she quoted Affleck saying, “GODDAMNIT! I TOLD HIM [Weinstein] TO STOP DOING THAT.”
Now Affleck is giving the impression that he knew nothing about Weinstein’s history. He said he was “saddened and angry” about the Weinstein debacle, which “made me sick.” McGowan responded by saying, “You lie.”
Quentin Tarantino has also come out and declared that “For the last week I’ve been stunned and heartbroken about the revelations that have come to light about my friend for 25 years Harvey Weinstein. I need a few more days to process my pain, emotions, anger and memory and then I will speak publicly about it.”
This is complete nonsense. These people really want us to believe that Weinstein’s long history of abusing women, as the Daily Beast itself puts it, happened “in a vacuum”! Newsweek has even reported that Weinstein “was known in Cannes for his wild parties featuring orgies and cocaine.” Newsweek quoted le Parisien saying: “Each year, he hosted parties with orgies and cocaine. Harvey even had a widely talked about nickname: the Pig.” If that were so, then why did Seth MacFarlane have to make a joke about Harvey Weinstein on this very issue way back in 2013? Why did Seth Rogen have to tell The Hollywood Reporter that virtually everyone knew about Weinstein?
McGowan has been attacking a powerful force in Hollywood. For that reason, Twitter has suspended her account. It was right after she posted something about Ben Affleck.
Obviously Hollywood has good reasons to be concerned about bad reports on Ben Affleck because Justice League is scheduled to be released next month. If Affleck is viewed as a morally wicked person, that may hurt the movie.
In fact, “Some Twitter users demand Ben Affleck step down as Batman one month before ‘Justice League’ debut.” Makeup artist Annamarie Tendler, who is married to comedian John Mulaney, declared that Affleck groped her. She said:
“I would also love to get an apology from Ben Affleck who grabbed my ass at a Golden Globes party in 2014. He walked by me, cupped my butt and pressed his finger into my crack. Like most women in these situations I didn’t say anything but I have thought a lot about what I’d say if I ever saw him again.”
Affleck has now been named “buttman.”
Here is our message to actors and actresses who have been “saddened” by Harvey Weinstein’s behavior. Will you help crack down the porn industry in Hollywood? Will you stop producing filth as “art”? Will you stop dismissing morality as the basis for true art? Will you tell Netflix owners to stop corrupting the young and restless with “innocent” shows like Jessica Jones and more recently Gerald’s Game? Will you tell women to dress modestly? How about movies such as Focus, A History of Violence, Basic Instinct, M.F.A.? Will they ever talk about The Wolf of Wall Street, which essentially shows that capitalism, the Rothschild, and pornography are concentric circles?
If these people do not have enough balls to tell the truth, if they continue to sell themselves for money, power and fame, then we are not impressed with their reactions to Harvey Weinstein because we all know by now that Weinstein is just the tip of the iceberg. Actors and actresses also need to formulate a serious response to fashion designer Donna Karan, who killed the Hollywood casting when she said:
“You look at everything all over the world today and how women are dressing and what they are asking by just presenting themselves the way they do. What are they asking for? Trouble.”
McGowan responded to Karan by saying: “Donna Karan you are a DEPLORABLE Aiding and abetting is a moral crime. You are scum in a fancy dress.” Do you see how she subtly used morality to dismiss Karan’s point?
And why doesn’t McGowan address the real issue? Why couldn’t she give her readers a reasonable explanation for her 1998 MTV VMAs dress, when she was obviously titillating rapists? Can she explain that to us? Keep also in mind that McGowan’s dress was labeled “the most iconic dress to ever grace MTV’s red carpet.” McGowan herself described the dress as “funny. It made me laugh.”
It’s “freedom” for McGowan to titillate rapists, but it’s not “freedom” for rapists to accept and act upon the titillation? She seduces rapists, and at the same time she expects them to keep their pants up? Who is that woman fooling? It gets even more laughable when “Since City: A Dame to Kill For” star Eva Green Weinstein made “an inappropriate advance.” Green has said quite bluntly that she has no problem with exposing herself in films. So, should she start refunding millions upon millions of fans who saw Sin City and indeed 300: Rise of an Empire?
These people obviously need to get at least an ounce of common sense.
In any event, McGowan and others need to wake up to the fact that they cannot exclude morality from the political dynamic in Hollywood at all. To do so will lead to intellectual death or insanity. It is the same thing with the pornographic industry.
If it is “morally” imperative to make pornography widely available, if it is part of “democracy” and “freedom” to accept smut—no matter how bestial or misogynistic—then why is Weinstein wrong? Do these people mean to tell us that pornography is harmless? As scholar Gail Dimes puts it:
“Extensive scientific research reveals that exposure to and consumption of porn threaten the social, emotional and physical health of individuals, families and communities, and highlights the degree to which porn is a public health crisis rather than a private matter.”
 The women perform their sexual rites on the mountainside, usually on Mount Parnassos above Delphi. See for example E. R. Dodds, The Greeks and the Irrational (Berkley and Los Angeles: University of California Press, 1951), 270-278.
 For a cultural interpretation of this tragedy, see for example E. Michael Jones, Dionysos Rising: The Birth of the Cultural Revolution Out of the Spirit of Music (San Francisco: Ignatius Press, 1994).
 Robert Sklar, Movie-Made America: A Cultural History of American Movies (New York: Vantage Books, 1994), 33.
 Ibid, 175.
 Ibid., 174.
 Ibid., 175.
 Ibid., 176.
 See for example Nathan Abrams, “Triple-exthnics,” Jewish Quarterly, Winter 2004; E. Michael Jones, “Rabbi Dresner’s Dilemma: Torah v. Ethnos,” Culture Wars, May 2003.
 See Josh Lambert, Unclean Lips: Obscenity, Jews, and American Culture (New York: New York University Press, 2014); Nathan Abrams, The New Jew in Film: Exploring Jewishness and Judaism in Contemporary Cinema (Piscataway: Rutgers University Press, 2012).
 Molly Haskell, From Revenge to Rape: The Treatment of Women in the Movies (Chicago: University of Chicago Press, 1987), 2.
 Quoted in Stanley Wiater, Dark Visions: Conversations with the Masters of the Horror Film (New York: Avon Books, 1992), 62.
 See for example Hugh B. Urban, Magia Sexualis: Sex, Magic, and liberation in Modern Western Esotericism (Berkeley: University of California Press, 2006); Sissela Bok, Mayhem: Violence as Public Entertainment (Reading, MA: Addison-Wesley Publishing Company, 1998); Dorothy G. Singer and Jerome L. Singer, Imagination and Play in the Electronic Age (Cambridge: Harvard University Press, 2005); Joy D. Osofsky, ed., Children in a Violent Society (New York: The Guildford Press, 1997); Dave Grossman, On Killing: The Psychological Cost of Learning to Kill in War and Society(New York: Back Bay Books, 1996).
 E. Michael Jones, Monsters from the Id: The Rise of Horror in Fiction and Film (Dallas: Spence Publishing, 2000), 279.
 Quoted in Quentin J. Schultze, Roy M. Anker, et al, Dancing in the Dark: Youth, Popular Culture and the Electronic Media (Grand Rapids: Wm. B. Eerdmans, 1991), 192.
 Cara Buckley and Melena Ryzik, “Rose McGowan Attacks Ben Affleck Over Harvey Weinstein: ‘You Lie,’” NY Times, October 10, 2017.
 Nick Schager, “Hollywood’s Heinous ‘Casting Couch’ Culture That Enabled Harvey Weinstein,” Daily Beast, October 14, 2017.
 “Rose McGowan suspended by Twitter after posting about Ben Affleck,” NY Times, October 12, 2017; Abby Ohlheiser, “Rose McGowan blocked from Twitter after tweeting about Harvey Weinstein and Ben Affleck,” Washington Post, October 12, 2017; Anna Livsey, “Rose McGowan suspended from Twitter after Ben Affleck tweets,” Guardian, October 12, 2017.
 Cavan Sieczkowski, “Makeup Artist Annamarie Tendler Claims Ben Affleck Groped Her At 2014 Party,” Huffington Post, October 13, 2017.
 “Ben Affleck dubbed ‘Buttman’ as more groping allegations emerge,” Telegraph, October 13, 2017.
 Bonnie Malkin, “Donna Karan defends Harvey Weinstein: ‘Are women asking for it?’,” Guardian, October 10, 2017.
 Gail Dines, “Is porn immoral? That doesn’t matter: It’s a public health crisis,” Washington Post, April 8, 2016.
Jonas E. Alexis has degrees in mathematics and philosophy. He studied education at the graduate level. His main interests include U.S. foreign policy, the history of the Israel/Palestine conflict, and the history of ideas. He is the author of the new book, Kevin MacDonald’s Metaphysical Failure: A Philosophical, Historical, and Moral Critique of Evolutionary Psychology, Sociobiology, and Identity Politics. He teaches mathematics in South Korea.