The Insidious Hollywood Programming to Destroy the West

Submitted by Mathijs Koenraadt on Sat, 05/26/2018 - 08:11

If you would do a review of Hollywood blockbusters of the past half century, you would find out that most films carry anti-white undertones, promoting multiculturalism, miscegenation, matriarchy, and the mockery of male impotence. For decades, Hollywood has been the world’s propaganda machine, the frontline in the fight against Western civilization.

Predator (1987)

Arnold Schwarzenegger stars in Predator, a film about an alien lifeform that hunts humans. It flops at the box office but later becomes a cult classic. The cast of American strongmen is epic. The struggle for dominance between Schwarzenegger and Carl Weathers is unforgettable. Co-stars Bill Duke, Sonny Landham, and Jesse Ventura show feminist allies what men used to be made of when men were still men: Godfearing individualists who respect hierarchy.

Yet, if you know what to look for, you will find that this film, as do so many Hollywood films produced since the 1980s, contains a most insidious programming: the doctrines of matriarchy, multiculturalism, and nonviolence. When the crew in Predator first confronts the monster, a soldier exclaims, “Holy Mother of God!” It’s a pun referring to the monster. It’s also a message placing a female Mother above God. The only woman in this film happens to be called Anna, who preaches peace. Saint Anne was the mother of the Virgin Mary.

When the monster catches up with the film’s lead, Schwarzenegger tells a soldier to drop his gun, “He didn’t kill you because you were unarmed!” This line stands in contrast with the often-ridiculed orgasm of gun violence fired at the monster halfway through the movie. The crew ‘empty their loads’ on the monster but they hit nothing. It’s a mockery of American men at the firing range. In the end, an unarmed Schwarzenegger kills the monster using only clever thinking.

Multiculturalism, matriarchy, and nonviolence—those are the key allegorical messages this film meant to convey to audiences. An allegory is an “a metaphor in which a character, place or event is used to deliver a broader message about real-world issues and occurrences,” according to Wikipedia. It’s not the same thing as subliminal programming, which operates on the unconscious. Allegories are not hidden. They are there to give new meaning to old knowledge, i.e. to consciously reprogram audiences.

Unforgiven (1992)

In Unforgiven, directed and starred by Clint Eastwood, a criminal man cuts a prostitute’s face as punishment for laughing at his short pecker. In this film, the bad guys are portrayed as uncivilized men who violate women. The good guys are portrayed as civilized men who protect women. This makes sense, of course, except that the bad guys are portrayed as homogeneously white. The good guys have Morgan Freeman. The bad guys are patriarchal, easily infuriated by the suggestion of a Queen possibly replacing the U.S. President. The good guys don’t take offense at the notion but rather “respect women”.

Like Predator, Unforgiven contains the three allegories of Western reprogramming: multiracialism is good, matriarchy is good, and nonviolence is good. Bad men are projected as merely standing up for themselves. The good guys—Clint Eastwood, Richard Harris, Morgan Freeman—are portrayed as men civilized by their wives. Good men do what women want. Bad men go their own way (and fail). The young gun who teams up with Eastwood is civilized by a prostitute. This age-old theme can be traced back to the earliest Middle-Eastern literature, e.g. the Gilgamesh Epic, a story in which a prostitute civilizes a wild man, Enkidu, by giving him free sex and feeding him drunk. In Unforgiven, the good guys receive “free ones” from the prostitutes. The film thus insinuates that all men are born uncivilized and that civilized men are to be domesticated with the help of prostitutes. Of course, prostitutes can easily drain a man’s energy and income, which is the point: poor men must beg women for love.

The film’s argument against patriarchy is a strawman argument. In reality, patriarchal men would fight to prevent their daughters from being sold into prostitution. Patriarchs would only attack prostitutes to keep them away from corrupting their sons. Of course, progressive liberals will accuse such fathers of oppressing their daughters’ sexuality and teaching their sons to hate women. It’s not so. The matriarchy in Unforgiven is represented by a ring of prostitutes. This tells us all we need to know about the progressive worldview. Conservative patriarchies evolved from responsible fathers, from men who engage in meaningful relationships with their wives. The globalist matriarchy, however, has evolved from a band of prostitutes. There is a historical connection. According to legend, Rome was founded by a female wolf who let Romulus and Remus suckle her teats. Female wolves were a metaphor for prostitutes.

Rome was founded by whores. Since prostitutes have nothing to offer men but sex, they can only trade men sex—sex became a commodity and is still the foundation of urban capitalism. The idea that women deserve to be compensated for their sex is a matriarchal idea. This, of course, is the real reason why Hollywood shuns the patriarchy. Prostituting men and women in front of global audiences is Hollywood’s business model. The powers that be do not want men to live independently as powerful patriarchs who dominate women. The 24/7 sexualization of our societies, through media and internet, serves to ‘civilize’ men, namely to debilitate men by constantly arousing them.

Terminator 2: Judgement Day (1991)

This film by director James Cameron may be the most obvious and the most easily overlooked Hollywood attempt at reprogramming Western societies. Once again, it contains the three main messages that multiracialism is good, that matriarchy is good, and that guns are bad. Here’s the catch: in the film’s finale, two actors with multicultural roots (Furlong is half Mexican, part Russian) throw two blue-eyed Europeans into the furnace. Audiences all over the world got the message: underneath that innocent white skin lives a ruthless killing machine. White men are evil. The world would be better off if white men were burned in ovens—alive.

Multiracialism is good. The Terminators are homogeneously white. The good guys involve a multicultural cast of Sarah Connor played by Linda Hamilton, her child John Connor played by Edward Furlong, the black actor Joe Morton as Miles Dyson, and a Germanic Schwarzenegger as the domesticated T800 robot. Schwarzenegger plays a mechanical dog. The only good white man obeys his owners. Both the T800 and T1000 robots are portrayed by blue-eyed Europeans, Arnold Schwarzenegger and Robert Patrick. The ‘Aryan’ appearance is used to signal danger.

Matriarchy is good. The film is narrated by Sarah who has given birth to the leader of the resistance, John Connor. In the first Terminator film, Sarah received sperm from the future. Her immaculate conception references Christianity’s New Testament in which the Virgin Mary gives birth to another resistance leader with the same initials as John Connor, “J.C.” or Jesus Christ. (Sarah is a Hebrew name, the Biblical mother who gave birth to Isaac, one of the three Israeli patriarchs.) Both men, John and Jesus, adhere to a doctrine of nonviolence: Connor teachers the Terminator not to use deadly force. A good white man allows his mind to be reprogrammed—it is the Marxist-materialist worldview that states everything is physical and minds are like computers.

The terminator robots persecute Sarah Connor and her child—just like the Romans persecuted Mary and her child. The film’s overarching theme centers on Schwarzenegger’s domestication process from killing machine to civilized man (as in the aforementioned Gilgamesh Epic) to the point of accepting his voluntary destruction. The teenage John Connor, too, first fails to be civilized by his foster mother. He is later civilized upon his reunification with his real mother. Women, clearly, have the upper hand in their dealings with men, according to Hollywood.

Throughout the film, men are represented as evil (T1000), irresponsible (foster father Todd), obedient like a dog (T800), dismissive of women (Dr. Silverman), or violent towards women (the psych ward guards). The few good men each submit to Sarah: John Connor, the T800 dog, the black scientist Miles Dyson, and Sarah’s former boyfriend from the Mexican resistance. The T1000 disguises as a friendly neighborhood cop. The message is clear: no matter how friendly they appear to be, behind those blue eyes lurks a ruthless killing machine. What message did Terminator II send to audiences worldwide? Don’t trust white men, they might kill you.

The good German actor plays a castrated dog. Halfway through the film, the T800 is literally reprogrammed by Sarah. It’s another allegory: there’s something wrong with ‘Aryan’ brains (see The Authoritarian Personality by Theodore Adorno et al). She resets the dog’s “CPU” to undo his male programming. From then on, we can watch the dog’s domestication. He learns to smile. He learns to care for women and children. In the final scene of the movie, we discover the T800 allows himself to be killed. The message is: if white men would just commit suicide, the world would be a better place. From a feminist perspective, the T800’s self-destruction is also a metaphor for a future world without men, since only Sarah and the child remain in alive the factory after defeating the robot men. Women and children are more powerful than the most powerful men. This is the doctrine of matriarchy.

Nonviolence. In Predator, guns fail to kill the monster. In Terminator 2, guns fail to kills the robots. Both films use gun violence as a metaphor for male impotence. The bad guys are killed by using clever thinking (the Predator is crushed by a block of wood; the T1000 is molten in a steel furnace). In one scene where two young boys are playing with toy guns, John Connor remarks that “humanity is doomed”. The film’s overall message is that though guns are futile, they are so dangerous they must be taken away from men. Guns, of course, are a metaphor for phalluses: “The future is female.” Terminator robots don’t have functioning penises.

The Fifth Element (1997)

Matriarchy is good. The religion of the globalists could not be made more obvious than in The Fifth Element, a film by Luc Besson starring Bruce Willis as Korben Dallas. In the film, Milla Jovovich plays the ‘perfect being’. We must all come and worship this Mother Goddess. The religious messaging throughout the film tells men to submit to the divine woman. Note that Mila Jovovich as Leeloo plays a virgin. She was a clone from a test tube and does not have sex until after she saves mankind. She’s the Holy Virgin Mary.

Multiracialism is good. In this multiracial universe full of racial stereotypes, the angry, shape-shifting space Germans, the Mangalores, are a homogeneous species. The Mangalores are brown-skinned because they are really ‘brown-shirts’—Nazi’s working for the Space Hitler, Mr. Zorg, played by Gary Oldman, who persecutes the Chosen One.

The police officers that initially chase Leeloo right after her escape from the incubation pod are almost homogeneously white and all of them are male. The good guys, on the other hand, have a transgender Ruby Rhod played by Chris Tucker. They have a blue-skinned alien named Ms. Plavalaguna, and a black President played by Timmy Lister. The bad guys have a white Space Hitler with his hair cut in Adolf’s style. Not coincidentally, the two main characters are called Korben (Willis) and Leeloo (Jovovich). Korben comes from Corbinian, a German name meaning ‘black raven’. Leeloo comes from Liliane, a Roman name which means ‘white lily’. The fusion between the white lily and the black raven saves the world. The message is: the barbarian men (Korben) must miscegenate with the civilized women (Leeloo) in order to pacify the former.

Guns are futile/bad. When the black President orders to nuke/attack the evil planet that threatens Earth, his weapons prove ineffective. “Evil begets evil, Mr. President. Shooting it will only make it stronger,” one actor says. That’s what they say in the real world, too, “If we put our guns away, the criminals won’t shoot us.” As in Predator and T2, weapons serve to portray men’s impotence. There are several scenes expressing the impotence of guns. For example, when Korben Dallas faces a home robber with an unloaded gun, it fails. “That is a very dangerous gun,” Dallas says as he takes the gun away from the robber. Message: we must disarm men. When the ethnically homogeneous bad guys, the Mangalores, purchase crates of guns from Space Hitler, the guns blow up in their faces. Homogeneous people are dumb people. Diversity is strength.

In this film, all three messages are blatantly obvious: matriarchy is good, multiracialism is good, nonviolence is good. At this point, we may begin to suspect that the repetitive messaging interwoven in many of Hollywood’s blockbuster films serves to brainwash Western audiences into accepting their disarmament, their racial miscegenation, as well as their submission to some alien Mother Goddess.

Who Are the Authors of Western Decline?

I went looking for the earliest references to the holy trinity of ‘matriarchy + multiracialism + nonviolence’ and I believe I found them in The Matter of Aratta a triplet of texts from ancient Sumer. These texts were written in Mesopotamia (present-day Iraq) around 2,000 years B.C. They deal with a hero called Lugalbanda who must settle a score between the cities of Uruq and Aratta. Uruq still exists today and is known as Wraq. Whatever Aratta was, it’s been erased from the archaeological record.

Matriarchy. Settling The Matter of Aratta in favor of Uruq, the Mother Goddess Inanna takes her seat there. The ruler of Uruq receives access to her loins. Uruq, therefore, was founded by a whore. As I’ve explained, this is the foundation of matriarchy: cities founded by whores.

Multiracialism. In one of the three poems detailing the events it is written:

“Yea, the whole world of well-ruled people, Will be able to speak to Enlil in one language, […] Change the tongues in their mouth, as many as he once placed there, And the speech of mankind shall be truly one!”

Clearly, this expresses a globalist theme, the desire to unite all of the world’s peoples under one universal tongue, which requires the miscegenation of all with all. In fact, this is the oldest reference to the concept of globalism in human literature. Apparently, a globalist cabal has been working to subjugate mankind for at least 4,000 years!

Nonviolence. In all three poems, the matter of Aratta is settled without using (overt) violence, supporting claims of Uruq’s moral supremacy, just as progressives do today. Weak men are smart, strong men are dumb.

Well, there you have it. The first globalists were members of the ruling elites who built cities in ancient Mesopotamia, present-day Iraq. They promoted monotheism and matriarchy, multiracialism, miscegenation, and multiculturalism, and reprogramming of people’s “tongues” (their beliefs) to turn them into a single people.