A little TOO close to the truth

 Slate is concerned that Amazon’s Utopia is letting the cat out of the bag in full view of the public:

A group of comic book fans discover an unpublished manuscript for a graphic novel that they believe holds clues about the future, shadowy forces are also looking for the same manuscript, and eventually the comic book fans uncover a global conspiracy. So far, so run-of-the-mill.

But the nature of that conspiracy plays very differently in 2020 than it did in 2013, and the results are catastrophic.As the characters discover, the reason the comic book contains clues to things that haven’t yet happened is that it was drawn by one of the architects of a plan designed to stave off planetary collapse as the population rises and fossil fuels run out. Here’s the plan:

  1. Convince the general public that there is an outbreak of a deadly new virus. To sell the story, poison or otherwise kill people, then attribute their deaths to the phony virus.
  2. Once the fake pandemic is up and running and the public is terrified, announce that there is a vaccine that can defeat the virus.
  3. With the help of global elites, NGOs, and world governments, inject everyone on the planet with this “vaccine” as quickly as possible.
  4. Surprise! The vaccine is designed to permanently sterilize all or all but a certain percentage of the people who take it. Sit back and relax as the global population drops from 7.8 billion to about 500 million in a single generation, ushering in a new era of plenty.

You can probably see the problem here, and it’s an insurmountable one. We are in the middle of an actual pandemic, a staggering number of Americans sincerely believe that that pandemic is a politically motivated hoax, and an equally staggering number believed vaccines were harmful years before COVID-19 emerged. It’s not the filmmakers’ fault we’re in this mess, it’s not their fault so much of the public is superstitious and gullible, and it won’t be their fault if Utopia gives some dumbass the confidence they need to quit wearing a mask and infect and kill you or the people you care about. Make whatever art you like—the audience isn’t your problem! But if you’ve made something about a scrappy group of kids uncovering a giant conspiracy, and it turns out that in the time since you finished shooting, that exact conspiracy theory has suddenly revealed itself to be a) believed by a significant portion of the population and b) deadly, it might not be a bad idea to push the release date.

Conspiracy Theory is just a name for the reality that the Promethean establishment doesn’t want you to know about. If the story didn’t reflect what was actually happening, they wouldn’t care if you saw it or not.


Tinkerbell is black too

To precisely no one’s surprise, blackwashing Ariel the Little Mermaid proved to be insufficient, because the SJW appetite can never be sated. At least this way, when the Devil Mouse movie inevitably flops, they will have the excuse of blaming racist audiences:

Yara Shahidi is getting her wings.

The actor is set to play Tinkerbell in Disney’s “Peter Pan and Wendy,” the studio’s latest live-action adaptation. Shahidi joins a cast that features Jude Law as Captain Hook, with Alexander Molony as Peter Pan and newcomer Ever Anderson as Wendy.

“Pete’s Dragon” director David Lowery is on board to direct and co-wrote the script with Toby Halbrooks. Jim Whitaker is producing.

Though there have been many adaptations of the Peter Pan story, Shahidi will be the first Black woman to take on the role on screen. The decision follows recent moves by Disney to diversify their casting. 

I’ll call it now. Disney is going to go bankrupt. Not today, not tomorrow, and not next year, but it is now apparent that their convergence has reached a point that the corporate cancer simply cannot be excised. It’s really rather remarkable that in the face of all the various complicated challenges that the Devil Mouse is presently facing, they have concluded the answer is moar negroes.

And they are certainly creating opportunities in the wake of their death spiral.


Spielberg’s religious fraud

The predatory evil of Steven Spielberg is beginning to become more obvious every year. But while his pedophistry has been largely hidden, his incessant Holocaustian propaganda doesn’t survive even the most cursory of examinations, let alone a reading of the fine print:

We note with considerable dismay the dissimulation employed to assert (as Steven Spielberg’s movie Schindler’s List does) that, “The Talmud teaches that to save one life is to save the entire world.”

This preposterous humanitarian gloss applied to the rabidly ethnocentric Talmud, was given credibility, both as dialogue in Spielberg’s movie and as the film’s motto, reproduced on countless posters that probably adorn school rooms to this day. The motto, dramatized in the film, is a purported to be a quote from BT Sanhedrin 37a, but the Talmud contains no such humanistic, universalist statement.

The uncensored Babylonian Talmud in Sanhedrin 37a is concerned only with the welfare of fully human beings, i.e. those described in its text as “Jews.” The actual Talmud tractate reads: “Whoever saves a single life in Israel, Scripture regards him as if he had saved the entire world”

This reflects the ruling of Maimonides in his Mishneh Torah, Sefer Nezikin, Rotzeach u’Shmirat Nefesh, 1:1: “Whenever a person kills the soul of another person from Israel, he transgresses a negative commandment, as it says, “thou shalt not murder.” With his narrow definition of who should not be killed, Maimonides nullified the Word of God in Genesis 9:6, Exodus 20:13 and Deuteronomy 5:17.

Mr. Spielberg’s fraud was peddled throughout American culture and educational institutions. What is instructive about this faking is the extent to which the corporate media have been sublimely complicit in circulating it, while their “fact-checking” departments failed to detect the cheat, if indeed they bothered to undertake the obligation to do so.

To be fair, it is textually possible that a literal English reading of this tractate also means that saving a single Palestinian life is saving the entire world. But I tend to doubt that is the accepted interpretation or that there will be any change of opinion concerning the morality of the BDS movement.

As for Spielberg, it appears he will soon be learning how little it profits a man to gain the Hellmouth by selling his soul.


How DID they miss that?

If you’re seeing people try to defend the movie by claiming that the poster was not representative of the film itself, understand that they are lying. The “dancing” that the little girls are doing is straight from the strip clubs. There is absolutely no defense of the film and anyone attempting to do so should be seriously scrutinized going forward. The fact that Netherflix continues to stand by it is deeply damning.


Social Justice comes for the Hellmouth

 And even the wokest of the woke actors and actresses are not at all happy about the new requirements for the Academy Awards:

To be eligible for Best Picture, films must meet any TWO of the following FOUR criteria. 

1. ON-SCREEN REPRESENTATION

This standard can be met by fulfilling any ONE of these:

  • Lead actor or significant supporting actor from an ethnic minority group
  • At least 30 per cent of smaller roles are played by women, LGBT people, disabled people or ethnic minorities 
  • The main storyline is centered on an under-represented group

2. CREATIVE LEADERSHIP

This standard can be met by fulfilling any ONE of these: 

  •  At least two senior creative posts, such as casting director, make-up artist or producer, are from an under-represented group including women
  • At least six smaller roles in the crew are filled by ethnic minorities
  • At least 30 per cent of the film’s total crew is from an under-represented group 

3. INDUSTRY ACCESS

This standard can be met by fulfilling BOTH of these: 

  • Studios and distributors must have paid interns or apprentices who are women or come from minority groups
  • Training opportunities must be offered to under-represented groups in production, distribution and financing

4. AUDIENCE DEVELOPMENT 

This standard can be met by fulfilling this ONE requirement:

  •  Multiple senior executives in publicity, marketing and distribution are women or minority groups 

I doubt they’re particularly concerned about the Best Picture requirements as such, but rather the way the diversity rules are inevitably going to filter down until even the likes of Sharknado vs Predator II are subject to them. Needless to say, Viral Films Media will be not hesitate to violate all of them with unabashed impunity. 


Tolkien hated the Devil Mouse

Considering the deep contempt in which both Tolkien and Lewis held Disney products even in the Golden Age of Disney, it should come as no surprise, then, that the Devil Mouse and its lesser kin so thoroughly hate them and everything in their Christian tradition right back:

Tolkien mostly hated Disney’s creations, and he made these feelings very clear. Snow White debuted only months after The Hobbit’s publication in 1937. As it happened, Tolkien went to see the film with literary friend and sometime rival C.S. Lewis. Neither liked it very much. In a 1939 letter, Lewis granted that “the terrifying bits were good, and the animals really most moving.” But he also called Disney a “poor boob” and lamented “What might not have come of it if this man had been educated—or even brought up in a decent society?”

Tolkien, notes Atlas Obscura, “found Snow White lovely, but otherwise wasn’t pleased with the dwarves. To both Tolkien and Lewis, it seemed, Disney’s dwarves were a gross oversimplification of a concept they held as precious”—the concept, that is, of fairy stories. Some might brush away their opinions as two Oxford dons gazing down their noses at American mass entertainment. As Tolkien scholar Trish Lambert puts it, “I think it grated on them that he [Disney] was commercializing something that they considered almost sacrosanct.”

“Indeed,” writes Steven D. Greydanus at the National Catholic Register, “it would be impossible to imagine” these two authors “being anything but appalled by Disney’s silly dwarfs, with their slapstick humor, nursery-moniker names, and singsong musical numbers.” One might counter that Tolkien’s dwarves (as he insists on pluralizing the word), also have funny names (derived, however, from Old Norse) and also break into song. But he takes pains to separate his dwarves from the common run of children’s story dwarfs.

Tolkien would later express his reverence for fairy tales in a scholarly 1947 essay titled “On Fairy Stories,” in which he attempts to define the genre, parsing its differences from other types of marvelous fiction, and writing with awe, “the realm of fairy story is wide and deep and high.” These are stories to be taken seriously, not dumbed-down and infantilized as he believed they had been. “The association of children and fairy-stories,” he writes, “is an accident of our domestic history.”

olkien wrote The Hobbit for young people, but he did not write it as a “children’s book.” Nothing in the book panders, not the language, nor the complex characterization, nor the grown-up themes. Disney’s works, on the other hand, represented to Tolkien a cheapening of ancient cultural artifacts, and he seemed to think that Disney’s approach to films for children was especially condescending and cynical.

He described Disney’s work on the whole as “vulgar” and the man himself, in a 1964 letter, as “simply a cheat,” who is “hopelessly corrupted” by profit-seeking (though he admits he is “not innocent of the profit-motive” himself).

…I recognize his talent, but it has always seemed to me hopelessly corrupted. Though in most of the ‘pictures’ proceeding from his studios there are admirable or charming passages, the effect of all of them is to me disgusting. Some have given me nausea…

This explication of Tolkien’s dislike for Disney goes beyond mere gossip to an important practical upshot: Tolkien would not allow any of his works to be given the Walt Disney treatment. While his publisher approached the studios about a Lord of the Rings adaptation (they were turned down at the time), most scholars think this happened without the author’s knowledge, which seems a safe assumption to say the least.

It’s fascinating to observe how the seeds of Disney’s evil blossoming into the Devil Mouse were always apparent to the sufficiently discerning artist. And while there is nothing wrong in seeking profit, which is often necessary if one is to produce anything of value, the problem, as Tolkien correctly noted, is permitting that goal to corrupt your artistic vision.

Or, as in Walt Disney’s case, to overwhelm it entirely.


Rebel’s Run update

The first draft of the script by The Legend Chuck Dixon and me was completed a few months ago. The production company worked out that it would cost about 6x the planned budget, mostly due to The Legend’s ingenious action scenes that would make Michael Bay’s eyes light up and wish he’d thought of it first. It was also going to be 112 minutes long, which was longer than we wanted.

Nevertheless, the production company was able to the financing approved on the basis of that script, which means that casting and pre-production is expected to start this winter. The script has now been revised down to 90 minutes, and the revised action sequences now fit the budget. Sadly, we will not be destroying any bridges or having supervillains riding tornadoes into trailer parks in the first movie.

It’s all going very well, so well, in fact, that one of the funds working with the production company has already requested two more scripts, one a direct sequel and another set in the same Alt-Hero universe.


The Matrix Reconverged

The former Wachowski brothers are reconsidering their storytelling.

In conjunction with Warner Bros. Studios, the Wachowskis have released a new cut of The Matrix where Neo just takes the blue pill.

The revised cut will be approximately 30 minutes long, as Neo will take the blue pill and then just go about his pretend life blissfully unaware of humanity’s enslavement in the real world. Credits will roll as Neo wakes back up in his computer-generated existence and lives happily ever after.

“The red pill has been co-opted by the alt-right, and we just needed to set the record straight,” said Lilly Wachowski. “Now Neo will no longer take the problematic red pill and will instead support the status quo and not cause any problems. It’s much safer this way. Just think about how much happier Neo will be.”

I feel so much safer already. In other Wachowski news, Speed Racer will no longer speed, but will abide by the posted speed limits at all time. And he will wear a seat belt and drive a hybrid.

Also, the former Lana Wachowski now identifies as a prong-horned antelope.


The secret triumph of the gamma

Steven Spielberg inadvertently confessed why he hates athletes, attractive adults, and Western Civilization in Interviews with Steven Spielberg:

The height of my wimpery came when we had to run a mile for a grade in elementary school, Spielberg said. The whole class of fifty finished, except for two people left on the track—me and a mentally retarded boy. Of course he ran awkwardly, but I was just never able to run.

I was maybe 40 yards ahead of him, and I was only 100 yards away from the finish line. The whole class turned and began rooting for the young retarded boy—cheering him, saying, ‘C’mon, c’mon, beat Spielberg! Run, run! It was like he came to life for the first time, and he began to pour it on but still not fast enough to beat me. And I remember thinking, ‘OK, now how am I gonna fall and make it look like I really fell?’

And I remember actually stepping on my toe and going face hard into the red clay of the track and actually scraping my nose. Everybody cheered when I fell, and then they began to really scream for this guy: ‘C’mon, John, c’mon, run, run!’ I got up just as John came up behind me, and I began running as if to beat him but not really win, running to let him win. We were nose to nose, and suddenly laid back a step, then half step. Suddenly he was ahead, then he was a chest ahead, then a length, and then he crossed the finish line ahead of me.

Everybody grabbed this guy, and threw him on their shoulders and carried him into the locker room,  and into the showers, and I stood there on the track field and cried my eyes out for five minutes. I’d never felt better and I’d never felt worse in my life.

And that’s why he’s subjected the world to thinly disguised pederasty and Holocaustianity sermons ever since. But at least the Secret King secretly won. The joke was on them. He wanted to come in last, you see….

Gamma, confirmed:

Is E.T. your imaginary revenge – turning the Nowhere Man into a hero?

Oh yeah, absolutely. When I began making E.T., I thought that maybe the thing to do was to go back and make life the way it should have been. How many kids, in their Walter Mitty imaginations, would love to save the frogs or kiss the prettiest girl in class? That’s every boy’s childhood fantasy.

Pedo, confirmed (allegedly):

Then I thought, what if I were ten years old again – where I’ve sort of been for thirty-four years anyway – and what if he needed me as much as I needed him. Wouldn’t that be a great love story?

No, Spielberg, THAT’S NOT WHAT A FUCKING LOVE STORY IS!


The decentralization of Hollywood

An interesting analysis of some of the changes coming to Hollywood and the entertainment industry:

In the 1980’s super agent Michael Ovitz positioned his talent agency CAA as one of the most important chess pieces on the board controlling actors, scripts, producers, how studios were bought and sold, music rights, all the way through to sports contracts. Agents held the power. But today the world of agenting is very different and a major power shift is underway.

First, most of the big agencies have sold out to major hedge funds where their first responsibility is to revenue and profits which means yearly growth at all costs. This need to feed the engine has forced agencies to dig their tentacles deeper and deeper into the entertainment community, eking out every possible penny. Spreading tentacles isn’t new. Just read ‘When Hollywood Had a King’ to see how Lew Wasserman came up against the U.S. government in 1962 as he tightened his powerful grip over all things entertainment. In Lew’s case the U.S. government stepped in forcing him to choose between being an agent or running what is now Comcast NBCUniversal — he chose Universal. Today, it’s not one single thing that is cutting off agencies’ far reaching tentacles but a storm on many fronts that is leaving most agencies with very little space to move. The result: massive damage that will likely take years to rebuild, leaving space for others to fill the void.

For one, the Writers Guild of America’s has been standing firm that agents not be able to produce/finance movies. This is essentially exactly what Lew came up against in 1962. This strange practice of your agency, who negotiates your deal, also being your employer has been going on behind closed doors for a long time. But in recent years the agenting world got more brazen about including it in their business model to look more attractive to their new Wall Street owners. This backfired with the Writer’s Guild, seizing the opportunity to win back a little more power into the hands of the writers and their membership, agreed to strike in April 2019. Top Hollywood writers fired their agents and in doing so a key piece of Hollywood power was taken from the agents: 360 packaging (the process whereby agents package their writer, director, producer, and acting clients together so that a studio buys a package and the agency can charge a premium packaging fee which some argue incentivized them to keeps clients’ fees lower so they can make room for their own fees).

If this were all the agencies faced, they could overcome this hurdle and still reign supreme. Historically, agents were masters of their craft in coming up with complex structures for their top clients’ ownership, profit participation, merchandise, box office bonuses, etc. Needless to say, studios were also masters in creative accounting, working to keep as much money in their accounts and away from the talents’ bank accounts as possible. But the game was there. A game of give and take, all pinned to public data around international sales and box office. Playing this game helped agents look powerful and valuable to their clients so they remain signed to a ten percenter.

But then came Netflix and the likes.

Global distribution, hidden streaming numbers, and clear data driven decisions vs booking talent based on industry ‘heat’. Now agents have many of their bargaining chips taken off the table and their creative dealmaking tools are a shadow of what they once were. How much extra value do agents now offer compared to lawyers and managers?

At the same time agencies have pushed hard into new entertainment revenue streams. The biggest: live events for their music artists — the last remaining cash cows for a music industry decimated by streaming technology in the late 1990’s and early 2000’s. But with the global pandemic many of these agencies have gotten caught without a chair to sit on as the music stopped playing in global arenas and stay-at-home orders swept the globe. With COVID-19 nobody is going to concerts — and they won’t be for a good time yet. Similarly agencies were hit with cancelled sporting events where big margins were also made by the agents not only representing athletes but integrating brands and driving marketing strategies.

Through these multiple one-two punches, the biggest players in Hollywood are on wobbly knees and the bell isn’t going to save them anytime soon.

Needless to say, the less power that can be wielded by Jesus-hating, devil-worshipping agents, the better. Also, while we can’t say anything about it yet, things are proceeding well on the Rebel’s Run front. And by “well” I mean very well indeed.