Jews and Hollywood

Jews and the Shiksa II: Dustin Hoffman

 

From its origins, Hollywood has been stamped with a Jewish identity, but nobody else was supposed to know about it.  But somehow, no matter how thorough the attempt to suppress or disguise it, Jewishness is going to bob to the surface anyway.
Stephen J. Whitfield

In what I hope to be a short series of essays on Jewish Hollywood, I wish to focus primarily on the topic of the shiksa, as I did recently in Harvey Weinstein: On Jews and the Shiksa. A larger issue, however, will be to show why it matters that Jews control Hollywood. That is the reason I have used the valuable Moment Magazine cover photo (above) time and again in my blogging, for it is an admission of something critical to American (and world) history: “Jews Run Hollywood.”

Of course that is no secret to the vast majority of TOO readers, so it is the subtitle that really interests me: “So What?” I confess I am put on the defensive about this question. It has always been clear to me why it matters, at least once you realize that Jews do in fact run Hollywood. Yet, as incredible as it seems, the heavy majority of those I get to agree that Jews do indeed run Hollywood respond with that maddening phrase “So What?” In my view, this is mental self-policing at its worst. So, as has been the case in all my Hollywood writing, my aim is to explain (to the normie, perhaps) why it matters who controls a medium as powerful as Hollywood has been for a century.

In the Harvey Weinstein blog, I argued that aggressive hostility is a large component of the Jewish male domination of Gentile females (shiksas). Right on cue, TOO editor Kevin MacDonald followed up with a powerful exegesis of the phenomenon in his essay Harvey Weinstein: Revenge and Domination as Jewish Motives. Here he wrote that “The hatred is real and is intimately tied in with sexual competition” and also quoted from his review of Yuri Slezkine’s book The Jewish Century:

The amorous advances of the Jewish protagonist of Eduard Bagritsky’s poem “February” are rebuffed by a Russian girl, but their positions are changed after the Revolution when he becomes a deputy commissar. Seeing the girl in a brothel, he has sex with her without taking off his boots, his gun, or his trench coat—an act of aggression and revenge:

I am taking you because so timid
Have I always been, and to take vengeance
For the shame of my exiled forefathers
And the twitter of an unknown fledgling!
I am taking you to wreak my vengeance
On the world I could not get away from!

The passage is stunning, yet my experience has shown that almost no non-Jew I’ve talked to has any idea about this hostility, let alone how it appears in Hollywood fare. Why is that? Read more

Review of Money Monster

money-monster

Actors George Clooney and Julia Roberts have now joined an illustrious group of starring actors in an ongoing disinformation campaign. Look at the company they join: Leonardo DiCaprio, John Travolta, Brad Pitt, Richard Gere, Susan Sarandon, Tim Roth, Jeremy Irons, Kevin Spacey, Danny DeVito, Gregory Peck, Ryan Gosling, Christian Bale and Steve Carell.

Their role: To conceal the facts about massive Jewish involvement in Wall Street finance — including immense malfeasance and endless instances of shady practices. Not only does Hollywood conceal these facts, it also projects them onto innocent actual Whites. Consistently.

In Money Monster (2016), Clooney plays Lee Gates, the slick and jaded host of a TV financial advice show of the same name. Gates plugs a company which mysteriously loses $800 million, and many investors are ruined — including one who arrives at the studio and takes Gates hostage with an explosive vest.

And talk about delicious serendipity! Though written long before Trump emerged as a serious challenger to the corrupt status quo in American politics, the film has the hostage taker voicing outrage over financial and media corruption that almost perfectly parallels what Trump has often thundered, including recently at a West Palm Beach campaign rally. Read more

Woody Allen’s Café Society

cafe_society

“I have never been so upset by a poll in my life. Only 22% of Americans now believe “the movie and television industries are pretty much run by Jews,” down from nearly 50% in 1964. The Anti-Defamation League, which released the poll results last month, sees in these numbers a victory against stereotyping. Actually, it just shows how dumb America has gotten. Jews totally run Hollywood.” [i] — Joel Stein

Woody Allen’s crepuscular film Café Society (2016) is as boring as it is instrumentally instructive as a testament to Jewish cosmopolitanism, domination and reshaping of American values and culture. Set in the 1930s the film centers on Bobby Dorfman (Jesse Eisenberg), the youngest son of a New York Jewish family, who leaves his father’s jewelry business for Hollywood. If Fellini used Mastroianni, as an idealized surrogate-self, Eisenberg is used rather as Allen’s mirror image, neurotic, shlumpy, physically weak, lascivious, overtly sentimental but quick-witted, clever with high verbal acuity – a certain Jewish je ne sais quoi.

Jesse Eisenbert, Kristen Stewart, and Woody Allen in Cafe Society

Jesse Eisenberg, Kristen Stewart, and Woody Allen, on the set of Café Society

The conflation of Dorfman and Allen is made even more obvious with Allen’s voiceover narration throughout. The Dorfman family trio functions as a trio of Jewish stereotypes, his elder brother a gangster, his sister married to a Marxist intellectual, and both he and his uncle settled in the entertainment industry. Radical intellectualism and entertainment are a microcosm of the Jewish cultural enterprise, and the explicitly crude expression of usurious tendencies in the gangster are a stand-in for a still-common Jewish phenomenon of exploitative business practices (see Andrew Joyce’s “Jews and Money Lending: A Contemporary Case File”).  Each of these enterprises supports and affirms the other.

Continuing with the Jewish stereotypes, Allen intersperses scenes with Jews who fleetingly pass off stock tips, whispering in an ear at a party – implicitly showcasing ethnic networking. Read more

The Big Short: Film and Book

I’ve never worked a day of my life on Wall Street and, in fact, have never knowingly spoken with someone who has. Still, it is child’s play to uncover the vast roles Jews play in New York’s financial district. For that matter, it is not that hard to show how Hollywood consistently covers up those roles, particularly when it comes to gross misbehavior.

This is sort of the case when it comes to Michael Lewis’s 2010 book The Big Short: Inside the Doomsday Machine, as well as the film version in 2015. I say “sort of” because, first, in both stories, it is unclear whether the unfathomable sums of money lost on Wall Street was a result of fraud, stupidity, or simply not understanding immensely complex financial instruments.

Second, this time Hollywood cannot be faulted for seriously downplaying Jewish identity. Lewis has already done that for them, although it’s quite likely that he understands the Jewish nexus of the whole thing.  He describes himself as a “toy goy” — he has had close connections with Jews and Jewish institutions throughout his life, beginning in grade school and continuing throughout his professional life: “Some of my earliest memories are of playing dreidels, singing Jewish folk songs and defending myself against anti-Semitism.” This is a guy who knows how the world works and what he can and cannot say to defend himself against charges of anti-Semitism.

Author Michael Lewis

Author Michael Lewis

Plot summary: the story is about four men who came to believe that the subprime mortgage industry was slated for a big fall, so they devised ways to place bets on such a fall. To them, there was a serious housing bubble and they meant to collect when the collapse of the bubble came. Read more

Jeff Gates Revisited: Deception at the Oscars

It was like meeting an old friend after a long absence. I’ve been listening to this top-notch radio interview show for about a year now, going back further and further into their archives for new interviews. Lo and behold, I found one from Feb. 2015 that featured the author of one of my favorite books!

First, I was elated that the author is still focusing on the same topic. Second, I learned that a new book on this topic is in the offing. Trust me, this is reason for celebration for the Occidental Observer crowd.

GuiltIn early 2009, I ran across the book Guilt by Association: How Deception and Self-Deceit Took America to War. The author of this 2008 book is Jeff Gates, and he’s a fascinating  — and very rare — Washington insider, because he is heavily on page with respect to Jewish issues.

I wrote a review of the book seven years ago here and followed it up with a shorter blog here.  Today, I’ll draw from both of those reviews, as well as last year’s Internet radio interview. Without a doubt, Gates is a man worth listening to.

For starters, he’s a highly accomplished man, having served as a convoy commander in Vietnam, followed by law school. Later, he spent seven years as counsel to the U.S. Senate Committee on Finance, and in that capacity he was responsible for much of the federal law on pensions and on employee stock ownership plans, which are now in place in roughly ten thousand U.S. corporations, covering approximately 10 percent of the U.S. workforce. He later practiced law with Senator Russell Long of Louisiana and Senator Paul Laxalt of Nevada, who chaired Ronald Reagan’s three presidential campaigns. In addition, he has been an investment banker, advising the governments of thirty-five countries on financial matters. Read more

How They (Continue to) Lie to Us — The Richard Gere Film “Arbitrage”

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In a fairer world, I’d have won accolades for my analysis of Hollywood movies, including my current series that shows how consistently Hollywood conceals the facts about massive Jewish involvement in Wall Street finance — including immense malfeasance and endless instances of shady practices. Not only does Hollywood conceal these facts, it then projects them onto innocent, often Nordic looking Whites. Consistently.

Let me explain further by making a very bold claim: Leonardo DiCaprio, John Travolta, Brad Pitt, Richard Gere, Susan Sarandon, Tim Roth, Jeremy Irons, Kevin Spacey, Danny DeVito and Gregory Peck are all involved in a tight-knit conspiracy to utterly whitewash an ongoing theft of wealth, one transferring mind-boggling amounts of money to Jews.

Of course, this should be no surprise, really. Anyone paying even the slightest bit of attention to Jews and money over the last, oh, thousand years would actually expect this sort of thing. And why be shocked that Jews have tried to hide this conduct? Read more

Merry Christmas Movies . . . NOT! Part 2 — Anti-Christmas Movies

In Part One of this column about the War on Christmas, I wrote that “the Jewish dominance of Hollywood is so obvious and undeniable that Los Angeles Times’ columnist Joel Stein recently made it official. What else can you say when all eight major film studios are run by Jews.” I’ve written on this theme extensively in The Occidental Quarterly (here, here, and TOQ Spring 2008). Or you could read Jewtopia: The Chosen Book for the Chosen People, based on the surprise hit play by Bryan Fogel and Sam Wolfson. Or you could listen to  David Mamet: “For those who have not been paying attention, this group [Ashkenazi Jews] constitutes, and has constituted since its earliest days, the bulk of America’s movie directors and studio heads.”

In The Culture-Wise Family: Upholding Christian Values in a Mass Media World, Theodore Baehr and Pat Boone argued that “whoever controls the media controls the culture.” And a lynchpin of that media is Hollywood and its associated TV studios and networks.

Why does it matter that Jews control Hollywood? In essence, it matters because it represents the loss of power of one group—majority white Christians—to a group with a long history of hostility toward the people and culture of the West. Jewish control of Hollywood has been a crucial means for dispossessing majority whites from their place in the country they built. As some have argued, the twentieth century was “a Jewish century,” and much of this was because Jews controlled the image factory known as Hollywood. Read more