Yes, Oscar wears a burqa.

“O Prophet! Say
to your wives and your daughters and the women of the faithful to draw their
outer garments close around themselves; that is better that they will be
recognized and not annoyed. And God is ever Forgiving, Gentle.”
— Qur’an, Surah
33 (Al-Ahzab),
Verse 59
The Hollywood version of that Islamic winding sheet hides the true
soul of Hollywood. Nay, disguises it. Big screens and TV screens are no longer
venues of “entertainment” but places of subtle brainwashing, or subliminal auto suggestion.
Hollywood would never admit it. It wears a burqa to deter recognition and
annoyance by anyone who questions the identity of the entity it sheathes. And
what is it that Hollywood wishes to hide, lest its audiences flee from the
theater as though someone had shouted “Fire!”
This column begins with a shoot-down of the latest TV offering of Hollywood
in Sharia compliant, anti-American cinematography, featured on Fox News.
By Oriana Schwindt
Published February 27, 2017
Ben Affleck, left, and Matt Damon
attend The Project Greenlight Season 4 premiere of ‘The Leisure Class’ at The
Theatre At The Ace Hotel on Monday, August 10, 2015 in Los Angeles. (Photo by
Paul A. Hebert/Invision/AP)
Syfy won’t be ordering another season of thriller
“Incorporated,” Variety has confirmed.
The news comes a little more than a month
after “Incorporated” finished its first season on the NBCU cable network. Deadline first reported the cancelation.

“Incorporated” came from executive
producers Matt
Damon
Ben
Affleck
,

Set in a future where corporations have unlimited power,
“Incorporated” revolved around Ben Larson (Sean Teale, “Reign”), a young
executive who concealed his true identity to infiltrate a very dangerous
corporate world to save the woman he loves and quickly found he wasn’t the
only one in this world with a secret. Dennis Haysbert, who just booked a lead role in NBC’s pilot “Reverie,” also
starred, along with Julia Ormond and Eddie Ramos.
The series debuted to mostly positive reviews. “‘Incorporated‘ is
an energetic and watchable science-fiction thriller that posits that a climate
apocalypse will be followed by a swift division of survivors into haves and
have-nots — all by the year 2074,” Variety‘s Maureen Ryan wrote. “Right now, that date
feels like a somewhat optimistic estimate.”
Echoes of H.G. Wells’s The Time Machine
(1895) in which the Time Traveler journeys almost a million years into the
future to discover the Eloi (the upper crust, the “elite,” the “beautiful”
people) and the subterranean, hideous, subhuman Morlocks, who support the Eloi
and then cannibalize them.
“Same ole, same ole”:  bad
corporations take over world, in echoes of “Rollerball
and “Soylent Green” and
other science fiction apocalyptic movies, in which corporations impoverish
everyone in the world, in conjunction with the “greenhouse effect,” but whose
executives live the high life and wield power. No imagination. Hollywood is obsessed
with smearing business and even technology. This mindset dates back to Fabian Socialist
author H.G. Wells’s “When
the Sleeper Awakes
,” (
1899, revised 1910) and Fritz Lang’s film “Metropolis,“ (1927)
and “Looking Backward:
2000-1887
” (1888) by Edward Ballamy, a 19th century Progressive.

See! Socialism works when pigs fly!

Looking Backward emulates
Wells’s earlier version of When the
Sleeper Awakes
(1899), by having the “hero” fall asleep and wake up over a
hundred years later to see how either the government or corporations have transformed
a nation from a relatively free country into a regulated, “organized” one.

Bellamy’s novel tells the story
of a hero figure named Julian West, a young American who, towards the end of
the 19th century, falls into a deep, hypnosis-induced sleep and wakes up one
hundred and thirteen years later. He finds himself in the same location (Boston, Massachusetts), but in a totally changed world:
It is the year 2000 and, while he was sleeping, the United States has been
transformed into a socialist
utopia. The remainder of the book outlines Bellamy’s thoughts about improving the
future. The major themes include problems associated with capitalism, a
proposed socialist solution of a nationalization of all industry, the use of an
“industrial army” to organize production and distribution, as well as
how to ensure free cultural production under such conditions.
The young man readily finds a
guide, Doctor Leete, who shows him around and explains all the advances of this
new age; including drastically reduced working hours for people performing
menial jobs and almost instantaneous, Internet-like delivery of goods. Everyone
retires with full benefits at age 45, and may eat in any of the public
kitchens. The productive capacity of the United States is nationally owned, and
the goods of society are equally distributed to its citizens. A considerable
portion of the book is dialogue between Leete and West wherein West expresses
his confusion about how the future society works and Leete explains the answers
using various methods, such as metaphors or direct comparisons with
19th-century society.
Unlike Sleeper, Bellamy
paints a rosy picture of a socialist paradise. Sleeper
ends with the “sleeper” joining an uprising against the corporate “plutocracy.”
Graham, an
Englishman living in London in 1897 takes drugs to cure insomnia and
falls into a coma. He wakes up in 2100. He later learns that he has inherited
huge wealth and that his money has been put into a trust. Over the years, the
trustees, the “White Council”, have used his wealth to establish a
vast political and economic world order.
When he wakes Graham
is disoriented. The people around him had not expected him to wake up, and are
alarmed. Word spreads that the “Sleeper” has awakened. A mob gathers
around the building and demands to see the fabled Sleeper. The people around
Graham will not answer his questions. They place Graham under house
arrest
. Graham learns that he is the legal owner and master of most of the
world.

A Fabulous Fabian Product
Guaranteed to put you to sleep

The novel’s hackneyed plot and narrative nearly put me to sleep,
sooner than did Looking Backward. The
only part of the story that has stuck in my mind all the years since I read it,
and which Wikipedia omits to mention in its synopsis (it would reflect badly on
socialist fellow Utopian Wells), is when Wells describes how the government calls
in an army of black soldiers (from Africa) to put down the rebellion; the government
knows that these soldiers would relish attacking whites and would be merciless
and brutal.

This genre of story became ubiquitous in Hollywood, and began to surface
beginning in the 1960s.
There are numerous Hollywood productions about gas
shortages and environmental disasters
, too numerous to even list here. The most
famous to date is Blade Runner (1982), a “remake” of which is due out
this year. Some of the dumbest movies are representative by Day of the Animals (1977,
also due for a remake), in which the ozone later, allegedly depleted by
industrial pollutants (aerosols), exposes animals to solar radiation and drive
them crazy and aggressive. Another ecological bomb is Food
of the Gods
(1976), very loosely based on another H.G. Wells
novel (1904).
Based on a portion of the book, it
reduced the tale to an ‘Ecology Strikes Back’ scenario, common in science
fiction movies at the time. The movie was not very successful.
One of the most hilarious ecological disaster movies is Frogs (1972)
starring, to his everlasting shame, Ray Milland. Giant frogs,
snapping turtles, snakes, birds, and tarantulas pick off the cast one by one
near a southern plantation whose neighboring swamp has been “polluted” by
patriarch Jason.
Later that night,
Jason [Milland], now alone in his mansion (save for his dog Colonel), witnesses
hundreds of frogs breaking into the house and staring at him. Looking around
the room at his stuffed animal trophies adds to his tension and he falls out of
his wheelchair and collapses, apparently dead, the frogs croaking as they hop
over his corpse.

A Hilarious ecological film (1972)

Did Jason have any
stuffed frog trophies? The invading frogs croak in triumph as the anti-hero “croaks.”
It was one of the funniest denouements I’d ever witnessed.  Sorry, but the pun was irresistible and
inevitable.The film was intended to be an object lesson, not funny, at all.

The Hollywood burqa
is intended to dissuade audiences that nothing malign is at work in any movie
production. “We just make movies. You shouldn’t take them seriously. We’re not
messing with your heads!” That is the subtext. Although some
directors
and producers have
said just that
. Hollywood has been in the thrall of the Left since at least
the 1930’s. Novelist Ayn Rand worked in Hollywood
as a screenwriter
, and had a love-hate relationship with it. She wrote “The Screen
Guide for Americans
.” The Michigan State copy of the Screen Guide can’t be
excerpted directly, but OpenCulture
has. In a long May 2016 article, “Ayn Rand Issues 13
Commandments to Filmmakers for Making Good Capitalist Movies
,”
 the author, Colin Marshall, writes:
A couple Christmases
ago, we featured the story of how
Ayn Rand helped the FBI “identify” It’s a Wonderful Life as a
piece of communist propaganda
, which does make one wonder: what
kind of movie would she have America watch instead? We know exactly what
kind, since, in 1947, the author of The
Fountainhead
 
and Atlas
Shrugged
, never one to shrink from the task of explaining her ideas,
wrote the “Screen
Guide for Americans,”
 according to Paleofuture,
a pamphlet meant for distribution to Hollywood producers in order to make them
aware of what she saw as a communist push to poison the movies with
anti-American ideology.

Vegetables are green. Eat some.
Every Wednesday!

Marshall then
quotes from The Screen Guide:

“The purpose of the
Communists in Hollywood,” Rand writes, “is not the production of political
movies openly advocating Communism. Their purpose is to corrupt our moral
premises by corrupting non-political movies — by introducing small, casual
bits of propaganda into innocent stories — thus making people absorb the basic
premises of Collectivism by indirection and implication.” And so, to counteract
the subtly propagandistic power of It’s
a Wonderful Life
and its ilk, she proposes fighting fire with fire,
issuing…thirteen corrective filmmaking commandments….”
The thirteen “commandments follow in Marshall’s post in detail.
Rand also testified in 1947 before HUAC
(House Un-American Activities Committee) about the Communist infiltration
of Hollywood, focusing specifically on “Song
of Russia
.” (Song of Russia [1944])
Of late, Oscar’s burqa has become fairly transparent, almost gossamer-like,
allowing us to see the malice and venom behind the tissue-thin veil. And remember
that Hollywood has not produced a single movie that dramatizes the evil of Islam
or jihadists. Is that coincidence, happenstance, or design?
It’s not coincidence that a Muslim actor won an Oscar this week.
Mahershala Ali became the
first Muslim to win an acting Oscar, snagging the Best Supporting Actor for his role in ‘Moonlight.
Or that “The White Helmets
won the best documentary. As Pamela Geller calls it “The White Helmets won the
Oscar — could Hollywood be more predictable?
” The title of her column is “The

Part of a promo for
the fraudulent documentary,
The
White Helmets
, seen here rehearsing a rescue mission


White Helmets: Al-Qaeda Wins An Oscar.”

In their
acceptance speech, they quote from the Quran, but actually the quote is a
stolen verse from the Jewish Talmud: “Whoever destroys a soul, it is considered
as if he destroyed an entire world. And whoever saves a life, it is considered
as if he saved an entire world.” (Mishnah Sanhedrin 4:5; Yerushalmi Talmud 4:9,
Babylonian Talmud Sanhedrin 37a)
The White Helmets are al-Qaeda:
Patrick Henningsen,
a geopolitical analyst at 21st Century
Wire.com
in an earlier interview to RT late last month explained how the
footage was obtained.
The “film itself
is not a real documentary,”
he said. “All of the footage used in the
film was provided to the producers by the White Helmets themselves. This film
production crew – Netflix productions – did not film any of the so-called
rescue scenes.”
“What this film
is essentially a PR cushion for a $100-$150 million covert op, which is
basically an NGO front funded by USAID, the British Foreign Office, various EU
member states, Qatar, and other various and sundry nations, and members of the
public, who quite frankly in my opinion and many others, have been duped into
donating their money for this rescue group, that is anything but. It
essentially functions as a support group alongside Al-Nusra and al-Din al-Zenki
and other known terrorist groups operating in Syria. That is a fact that has
been proven by a number of eyewitness testimonies.”
In short, The White Helmets,
with Western funding, is not a documentary at all, but is a fraud.
Oscar’s burqa is slipping.