HOW CAN HOLLYWOOD DEFEND ITSELF?

Hollywood has been roiled and rocked, in these post-Gunn firing days, by a flurry of fresh revelations implicating other prominent entertainment industry figures in unsavory, pedophila-related doings. But how will the the industry likely respond to the most explosive of these allegations? Most likely by silence, argues Andy Nowicki, which in fact does much to implicate them as guilty or at least complicit in the filth, corruption, and depravity of so many of its representatives.

HOLLYWOOD'S WAR ON WHITE SOUTH AFRICA

The following is a passage from Protocols of the Elders of Zanuck by Rainer Chlodwig von K.


While audiences were being treated to depictions of whites as berserkers and cannibals in such films as The Mad Butcher (1971), Raw Meat (1973), The Texas Chain Saw Massacre (1974), Welcome to Arrow Beach (1974), Cannibal Apocalypse (1980), Eating Raoul (1982), The People Under the Stairs (1991), and Silence of the Lambs (1991), Africans and other indigenous peoples of the Third World were increasingly being portrayed as repositories of wisdom and common sense.

THE GROPING OF TERRY CREWS (NAMELESS PODCAST)

Left, alleged groper Adam Venit; right, tunfortunate grope-ee, Terry Crews

In his latest "Nameless" Podcast, Andy Nowicki examines one of the many shocking post-Weinstein allegations to come out of Tinsel-town; specifically, actor Terry Crews's claim that he was repeatedly groped by mega-agent and uber-mogul Adam Venit at a public function last year.

NAMELESS PODCAST: HOLLYWOOD IS MUCH WORSE THAN WEINSTEIN

In his latest “Nameless” Podcast, Andy Nowicki  considers the Harvey Weinstein sexual harassment case in a broader context. Sleazy and corrupt as Weinstein clearly is, there is ample evidence of entertainment industry bigwigs — as well as the power elite in general — doing much worse things with little, if any, repercussions.

JIM CARREY, ICONOCLAST

by Andy Nowicki

People are buzzing about Jim Carrey’s bizarre “red carpet” interview at some recent Hollywood “Fashion Week” shindig. In this two-minute conversation, the famously wacky comic actor seems not to be doing his standard shtick. There is, instead, a definite angry purposefulness behind his abundant jibes and jests.

JOHNNY IN "DEPP" SHIT AFTER CALLING FOR TRUMP ASSASSINATION

by Alt-Right News

Even before he called for Trump's assassination at an arts festival in England, actor Johnny Depp's career and life had been going into a tailspin.

The call for Trump's death came at the Glastonbury arts festival in England, where Depp asked "When was the last time an actor assassinated a president?" after a string of other disparaging comments about Trump in what was a clear invitation for one of the many mentally unstable wannabe young actors in the world to "make a name" for himself by "reprising" the historical role formerly played by actor John Wilkes Booth in 1865, when he assassinated President Abraham Lincoln in 1865.

Since that possibly drug-influenced comment, Depp, who seems to have an unstable manic depressive personality disorder, has abjectly apologized. 

This is the usual, insincere apology, motivated by sheer self interest, because people like Depp lack a moral compass. Quite simply his handlers are now in extreme damage control mode because things haven't been going very well for Depp at all in recent months. There has been a messy divorce, charges of domestic violence, and toxic financial problems, caused by an enormously inflated ego, absurd extravagance, and trusting his financial affairs to dodgy Hollywood lawyers.

Depp is now suing his former management for the "disappearance" of tens of millions of dollars. But, with running costs for his estate running at $2 million a month, a staff of 40, costing $3.6 million a year, and impulse buying of artworks, yachts, property, and anything else that can temporarily assuage his dark moods, it is easy to see how Depp got into this deep financial doodah. 

No doubt this mess is behind his mentally unhinged comments regarding Trump's assassination.

But then there is his fading star. Depp's most recent big-budget movie, "Alice Through the Looking Glass," lost tens and possibly hundreds of millions of dollars for Disney, gaining a mere $277 million gross at the box office but costing $170 to make. 

In order to estimate profits or loss you have to add on publicity costs, usually equal to production costs for "blockbusters" like this, and then cut the gross at least in half, meaning that "Alice Through the Looking Glass" lost at least $100 million.

So what better way to crash and burn his career by alienating at least half his fan base with childish hate comments against the President!

So, what has gone wrong with Depp's life? Well, one possibility is that he invoked the curse of Kek by his ill-timed and badly-acted parody of Trump himself in the abysmal and extremely unfunny "mockumentary" "The Art of the Deal" released in early 2016, a film that appears to have had zero effect on the US election.

Here is a short clip so you won't waste your time watching the rest of this crap movie. Note the pedophiliac juxtaposition in this scene of "cock chomping" and a child. Also note the interesting Jewish theme.

PODCAST 52: COLD PIZZA PLANET OF THE OSCARS

Alternative Right contributor and film director Richard Wolstencroft joins Andy Nowicki and Colin Liddell to discuss the latest Oscars and look back at the classic era of 1970s cinema, including the original "Planet of the Apes" series.

THE WEAPONIZATION OF TINSEL TOWN OR SIMPLY TOO MANY DRUGS?

The weaponization of pizza by drugs?

by Colin Liddell

The recent Screen Actors Guild Awards (SAGA) was notable for the increasingly partisan nature of many of the acceptance speeches, almost as if the actors were trying to alienate the half of their audience that voted for Trump. In particular, the speech by Stranger Things actor David Harbour seemed more like a call for violent revolution against...whatever than a simple thank you to "all the people who made this possible."

MERYL STREEP CRIES CHAMPAGNE TEARS AT GOLDEN GLOBES

The tragedy of an old actress craving the limelight.

by Trad News

A bunch of pampered Hollywood poodles held one of their famous "moral signalling" rituals recently called the "Golden Globes."

Usually at these events, people with serious drug and perverse sexual habits, not excluding pedophilia, and with obscene amounts of wealth, "signal" about how much they care about the environment/ baby whales/ Red Indians/ Tibet/ etc. so that they can feel like nice, moral people the next time they snort coke off an underage rent boy's arse or force some young actress to fist them for a bit part.

#PIZZAGATE AND POPULAR CULTURE

Pizza Kate: Katy Perry models a pizza-print onesie 

by Andy Nowicki

Many have derided the current #pizzagate conspiracy craze, calling it a sham, a "trap," a hoax, a "psy-op," and other, similarly dismissive epithets.

Among the establishment press—better known these days as the “Mockingbird media” or by the colorful German handle Lugenpresse, (“lying press”)—the true scandal of #pizzagate has nothing to do with elite child sex trafficking allegations, but with the promulgation of so-called “fake news,” a new and quite obnoxious meme hypocritically pedaled by the very gaggle of well-paid phonies and flatulent frauds whose rampant dishonesty has been so savagely exposed of late.

PODCAST 45: E. MICHAEL JONES AND THE SLAUGHTER OF CITIES

Alternative Right's regular contributor Alex Fontana interviews the near legendary E. Michael Jones, an important Catholic critic of American society, well known for his book The Slaughter of Cities, which details the post-war destruction of America’s White ethnic neighbourhoods and communities as a deliberate policy by WASP and Jewish elites.

Among many subjects discussed are the rigged political system, suburbanization as social control, the Black-Jewish alliance, Hollywood, and the rise of Donald Trump.

EYE FROM THE RIGHT: 10 CLOVERFIELD LANE

Contemporary Media seen from the Right

by Richard Wolstencroft

Summary: Although his Star Wars has warmed on me slightly after initial shattering disappointment, this is another terrible exercise in cinematic excrement from JJ Abrams, this time as producer.  

I'm sure, like me, you have all been waiting your whole lives for the John Goodman rape dungeon movie. Correct? Well folks, guess what? Wait NO more! The Goodman rape dungeon pic for all the family is now here via your purveyor of high brown cinematic culture and content – Hollywood’s new "Mr. Wunderkunt" – JJ Abrams. Yes, John Goodman is in full Joseph Fritzl mode, building himself a nice little family life down in the depths of his bomb shelter somewhere in the rural Mid West.

EYE FROM THE RIGHT: "HAIL, CAESAR!" BY THE COEN BROTHERS

Contemporary Media seen from the Right

by Richard Wolstencroft

The short version: This is a hateful piece of crap from the Coen Brothers, riffing on old Hollywood.

The soulless cinematic siblings make three kinds of films: crime (which they do rather well), comedy (which they do rather poorly), and religious/metaphysical musings (which vary from so-so to poor). This, their latest effort, is a combination  of the latter two categories – a weak comedy with a bit off metaphysical nonsense thrown in. That's what you're in for with Hail, Caesar!

EYE FROM THE RIGHT: DEADPOOL

Contemporary Media seen from the Right

by Richard Wolstencroft

This movie was total bullshit. First off – it's a spin-off of a spin-off of the awful, stupid X-Men movies. If I had known that I would NEVER have bothered to see it. So now you know.

And, yes, it’s another f**king comic book – they are a curse on modern cinema. GROW the hell up, people, and read some literature. I detest most comic books – outside a few adult orientated ones with high intelligence. I much prefer books because books make great films.

STAR WARS: THE DIVERSITY AWAKENS

Empowered woman: don't question what she can do.

by Colin Liddell

Much has been said about the latest Star Wars movie, The Force Awakens. In Alt-Right circles this has tended to focus on a kind of unholy trinity of:

1. The malevolent Jewishness of J.J. Abrams
2. The malevolent casting of a Black actor in one of the two lead roles
3. The malevolent casting of a "kick-ass," "empowered" woman in the other lead

It is not difficult to "prove" any one of these points. Abrams is on record making negative comments about Whiteness and his desire to diversify the cast, and it is not difficult to spin these comments as maliciously anti-White or his casting as “anti-White” and “anti-male.”

JEWISH RACIALISM AND JEWISH CAPITALISM: "BARTON FINK"

by Andy Nowicki

The Coen brothers, a directing/producing brotherly duo, are perhaps the boldest and most creative auteurs of modern-day American cinema. Their work varies wildly; it is “all over the map,” thematically-speaking, yet always distinctively itself. Some Coen brothers’ films are bizarre and phantasmagorical; others are zanily comedic, and still others can best be described as brutally horrifying. Barton Fink is a unique combination of all three of these types, and something else besides: it is a savage satire of a Jewish-run film industry, as well as being an unflinching examination of brazen hypocrisies often seen in Jewish-led political radicalism. Joel and Ethan Coen are, of course, Jews themselves, which is perhaps why they were able to get away with such a jarringly “Semitically-incorrect” depiction in the first place. (See also Kevin MacDonald’s review of their A Serious Man.)

ANATOMY OF A CONTEMPORARY HOLLYWOOD "CHRISTIAN" FILM

by Alex Hawk

Theme: Diverse racial friends (including one gay Asian male) of female surgeon married to unemployed, fat, drunk white beta loser cuck want her to "liberate herself" with the handsome, brilliant, muscular, black head of surgery, but she holds on to her marriage despite physical and emotional abuse because she thinks that's what God wants.

Character arc: after an episode of racism/homophobia displayed by the priest, the doctor leaves her boring, oppressive, white-majority traditional Church in the suburbs for a hip, progressive inner-city one where – GASP! – the hot black doctor is also the minister, doing outreach toward strangely angelic inner-city diverse children.

THE BLACKEST WHITE OSCARS EVER

by Guy Somerset

If one desires equality, one cannot have individuality. The two cancel each other out. Either basic pigment is celebrated or else talent. If you want the former, just watch the NAACP Image Accolades (you’ll be about the only person who does), while if you want the latter (theoretically, at least) watch the Academy Awards.

Yet, given that we now live in a “post-racial society,” the apprehension that too many Oscar nominees were Caucasian saw the recent gathering hailed as a virtual Klan rally of our entertainment industry.

UNBROKEN: A WHITE CHRISTMAS ARRIVES

by Andy Nowicki

When I first saw the preview for Unbroken a few months ago, I was intrigued and a bit mystified, as I reported in an earlier piece. Having now seen the movie, I am still intrigued, and remain mystified. With the Christmas day release of this film, I am convinced that something must be afoot; I just can’t quite figure out what.

ORPHAN “ANNIE” AND THE CULTURAL WELFARISM OF BLACK AMERICA

Tomorrow...more White roles will be given to Blacks.

by Colin Liddell

It’s a familiar narrative by now in the multicultural West – the Blackification of former White characters and cultural icons in movies.

Often it is just floated as a possibility – as it was with James Bond a couple of years back – in order to raise the media profile of a coming release and save money on advertising. But sometimes it actually happens, as with Annie, a recent release from the troubled Sony Pictures, which casts Black “actresslette” Quvenzhané Wallis in the role of the red-haired feisty orphan girl (the red hair had to go and the freckles became a whole lot bigger!).