veteranstoday--2020-03-04--Parasite: Hidden Grammar and Historical Ideology in Plain View

Parasite , the Korean movie which eventually got Bong Joon-ho ( its director ) an Oscar and which grossed over $ 70 million last summer , is essentially an appropriation or recycling of Hollywood ’ s perennial history of playing dice with the moral order .
But Donald Trump did not have the insight to see that Parasite is a covert attack on the moral order , apparently because he is too busy listening to the Israeli machination of the United States and creating chaos in places like Syria , where Israel has been supporting ISIS and other terrorist groups @ @ @ @ @ @ @ in order to destabilize the Syrian government .
[ 2 ] The International Business Times reported in 2014 that Israel had “ regular contact with Syrian rebels , including ISIS.
” [ 3 ] This is from the Jerusalem Post : “ Report : Israel treating al-Qaida fighters wounded in Syria.
” [ 4 ] We read : “ Israel has opened its borders with Syria in order to provide medical treatment to Nusra Front and al-Qaida fighters wounded in the ongoing civil war… ” [ 5 ] But these issues have never @ @ @ @ @ @ @ a raging bull , Trump declared : “ And the winner is … a movie from South Korea !
What the hell was that all about ?
We got enough problems with South Korea with trade .
On top of it , they give them the best movie of the year ?
” How stupid can it get ?
In any event , we are going to ignore Trump here because he is not able to string two coherent thoughts together .
Parasite is similar to Todd Phillips ’ Joker in that both @ @ @ @ @ @ @ central topics that always resonate with audiences virtually everywhere .
As the magazine GQ has put it , Parasite “ evokes the acute desperation of late capitalism , all wrapped in a layer of dark comedy.
” [ 6 ] The LA Times declared that the movie is “ rooted in class conflict.
” [ 7 ] The LA Times continued to say elsewhere that movies like Parasite have thrived because of the financial crisis which came into full bloom in 2008 , when it was discovered that companies like Goldman Sachs preyed @ @ @ @ @ @ @ s what they call their customers ) by “ ripping eyeballs out ” of them .
[ 8 ] The usurers and predators were responsible for the 2008 financial crisis , which caused the average American to lose their economic wherewithal , including their homes .
The interesting thing is that Obama bailed those grifters out .
As Ben Norton of Salon rightly put it back in 2016 , “ Obama ’ s hypocrisy : He said blame Wall Street , not food stamps — but he bailed out bankers and cut help @ @ @ @ @ @ @ In a similar vein , Paul Krugman of the New York Times wrote then , “ The failure of the Obama administration to prosecute the bankers was a tragic moral error with practical consequences.
” [ 10 ] And how much money was that ?
It has been calculated to be around 14 to 16 trillion dollars !
[ 11 ] Journalist Nomi Prins has documented that the bailout “ was never about the little guy.
” It was exclusively done for the oligarchs , the usurers , the gangsters on Wall Street @ @ @ @ @ @ @ don ’ t give a damn about whether you live or die .
[ 12 ] Prins—who used to work as a managing director for big companies like Goldman-Sachs , Bear Stearns , the Lehman Brothers , and the Chase Manhattan Bank—writes courageously and unflinchingly : “ If the thought of the government spending trillions of dollars on Wall Street ’ s screw-ups pisses you off , you ’ re not crazy.
” [ 13 ] But the central question should be this : what could the government or society do with 14 @ @ @ @ @ @ @ years of vaccines for kids in 117 countries $ 110 billion 10 years of $ 10,000 bonuses for all US public school teachers $ 318 billion Sending all 2009 US high school grads to private college $ 347 billion Doubling US spending on HIV/AIDSand cancer research for 20 years $ 493 billion 10 years of CO2 offsets for all Americans $ 559 billion Paying off 1/3 of US home mortgages And all those expenses do not even add up to 16 trillion dollars !
The average American had every right to be angry @ @ @ @ @ @ @ , which our dear friend E. Michael Jones has aptly and historically defined as “ state-sponsored usury.
” [ 15 ] It was no surprise , then , that Hollywood ’ s depiction of capitalism as a dying system or a rotten economic corpse continues to attract wide audiences .
Movies like Hustlers would have almost certainly been a failure at the box office had the swindlers at Wall Street not crashed the economy in 2008 .
In Hustlers , Ramona Vega ( Jennifer Lopez ) , a veteran stripper , told Destiny @ @ @ @ @ @ @ in the business : “ We ’ ve got to think like these Wall Street guys .
You see what they did to this country ?
Hard working people lost everything .
And not one of these douchebags went to jail .
Not one .
Is that fair ?
This game is rigged , and it does not reward people who play by the rules.
” The LA Times again agrees that movies like Parasite raise issues that are in concert with the economic malaise of our time .
As they put it @ @ @ @ @ @ @ rich and poor has grown ever wider — hitting a record in the U.S. in 2018 , according to data released last month by the Census Bureau — it should come as no surprise to see filmmakers taking it on.
” [ 16 ] Rian Johnson , writer and director of Knives Out , a movie which again is based on economic themes , said : “ Films always respond to the world that they are born out of .
It ’ s unavoidable right now that we are in a world dealing @ @ @ @ @ @ @ can feel it .
At the same time , the tub of boiling water of the public discourse has been cranked up to 11 .
It ’ s no longer something that we all are in the privileged state of being able to dip in and out of .
It ’ s very much the ocean that we ’ re all swimming in.
” [ 17 ] Joon-ho himself admitted : “ When I was in college I worked as a tutor , and it was a pretty fun and strange experience .
@ @ @ @ @ @ @ on this rich family.
” [ 18 ] Joon-ho has said elsewhere : “ The topic of the gap between rich and poor lends itself to being so universal .
Every country has its own structures and conflicts regarding class , but when you really delve deep into the cave of capitalism and explore the infinite darkness of it , you find a similar sort of mechanism flows throughout.
” [ 19 ] Bong Joon-ho has been making movies about class warfare—or capitalism , as GQ again puts it—for quite some time .
@ @ @ @ @ @ @ his 2013 Snowpiercer , as well as his 2017 Okja .
[ 20 ] But Bong Joon-ho is just a new director on the block .
Hollywood and the movie business attempted to raise these issues in the 1920s with very little success .
One can reasonably argue that the history of class warfare in movies goes all the way back to Fritz Lang ’ s 1927 hypnotic film , Metropolis , which was produced in Germany during the Weimar period .
In fact , hypnotism was widely used in movies throughout that @ @ @ @ @ @ @ ’ s The Cabinet of Dr. Caligari ( 1920 ) “ centered on a showman and hypnotist who forces a somnambulist under his hill , compelling the docile medium to commit several murders.
” [ 21 ] One scholar writes that “ instead of appealing to rational faculties , ” hypnosis in movies “ was based on surreptitiously implanting an idea in a susceptible mind , without raising contrary or inhibiting thoughts.
” [ 22 ] Around 1900 , hypnosis began to be attached “ with the newly emerging medium of cinema.
” @ @ @ @ @ @ @ this hypnotic effect in his previous movie , Dr. Mabuse , the Gambler ( 1922 ) .
In fact , movie directors and producers during that time began to observe that “ the new medium ” had a tremendously “ irresistible , hypnotic influence on its spellbound audiences.
” [ 24 ] This “ irresistible , hypnotic influence ” would later play a major role in politics and mass media during the latter part of the twentieth century .
[ 25 ] This form of mind-control was introduced to the Germans by people @ @ @ @ @ @ @ and August Forel .
[ 26 ] Moll , Magnus Hirschfel and others founded the sex program in Germany [ 27 ] that later proved to be morally devastating by the time Hitler rose to power .
But the theory of hypnosis itself was developed in the late nineteenth century by a Jewish physician named Hippolyte Bernheim , who , according to one scholar , believed that “ everybody was subject to hypnosis…As Bernheim and numerous other physicians affirmed , they hypnotized subject functioned as a sort of medium who could even be @ @ @ @ @ @ @ her own will.
” [ 28 ] Central to Lang ’ s overly long and silent film is that the ruthless elite always end up suppressing the poor , namely , the laborers .
In fact , Metropolis advances the idea that the ruling elite or the titans of this world seem to view the worker or average person as herd , and the worker himself is trapped in an economic river , which forces him to him to swim for at least ten hours .
The ruling class in Metropolis lives in @ @ @ @ @ @ @ toils with a hellish existence—a matrix from which there seems to be no exit .
Lang , a lapsed Catholic , [ 29 ] couldn ’ t expunge the idea that economic issues have a moral dimension—more specifically a Catholic dimension—from his mind .
In his February issue of Culture Wars , E. Michael Jones writes : “ Even after he abandoned the Catholic faith , Scorcese never stopped espousing the values he abandoned .
This made him incapable of directing horror movies , a fact he made clear in a conversation with @ @ @ @ @ @ @ because , unlike Cronenberg , Scorcese never lost his sense of moral causality .
“ Scorcese , according to Cronenberg , was an ex-Catholic who ‘ does deal with good and evil in very proto-Catholic terms , and I ’ m sure that what he meant was that when he saw my films.
’ Scorcese , on the other hand , told Cronenberg that he didn ’ t understand his own films .
Scorcese , according to Cronenberg , ‘ saw the struggle ’ between good and evil ‘ being played out .
@ @ @ @ @ @ @ that way because I really don ’ t see the lines drawn in those terms.
’ “ Scorcese spends his time rebelling against a moral order he can not ignore .
Cronenberg , on the other hand , does horror because he has lost his grasp on moral causality .
‘ I have difficulty thinking in terms of good and evil , ’ Cronenberg continued , ‘ I ’ m sure if I had been raised a Catholic I would have no trouble because those issues are raised at a very early age.
@ @ @ @ @ @ @ similar things in Lang ’ s Metropolis .
Lang , whose Jewish mother converted to Catholicism long before Lang was born , admitted : “ As the truth , you may laugh , but don ’ t forget I was born a Catholic—perhaps I ’ m not a good Catholic according to the Church—but Catholic education ( and probably any education which has to do with ethics ) never leaves you.
” [ 31 ] In other words , the moral law continued to hunt Lang , despite the fact that movies like @ @ @ @ @ @ @ technics like hypnotism .
But despite its deficiency , Metropolis is an important movie which seems to resonate with some of the problems in our modern age .
Freder , the son of the city ’ s ruthless master who goes by the name of Joh Fredersen , realizes the inner workings of the titans of society when he went to see the underground-dwelling workers whose existence can be compared to a piece of property .
Freder , with the help of a woman by the name of Maria , began to sympathize @ @ @ @ @ @ @ saw their children .
He then went underground to do some investigation on what one can call the deep psychology of the subterranean workers ’ city .
To make a long story short , Freder goes back to the skyscraper building to meet his father and confront him with this puzzling question : “ Where are the people , father , whose hands built your city ?
” The father responds : “ They belong in the depths.
” This horrifies the son .
He again tells his father : “ What if @ @ @ @ @ @ @ up against you ?
” During their conversation , the father again asks Freder , “ What were you doing in the machine halls , Freder ?
” To which he responds : “ I wanted to look into the faces of the people whose little children are my brothers , my sisters… ” What Metropolis tells us is that capitalism always ends up suppressing the average worker , a central point which has been historically documented by E. Michael Jones in his 1400-page tome Barren Metal : A History of Capitalism as @ @ @ @ @ @ @ [ 32 ] Rotwang , who is a mad scientist and occultist in Metropolis , attempted to bring the entire city down by preying upon both the lustful appetite of Fredersen and the ignorant workers ’ city .
That plan turned out to be a disaster because both the workers and Fredersen realized that they were being manipulated by Rotwang , who eventually got into a duel with Freder and then died .
Lang , being again a lapsed Catholic , leaves the audience with the idea that the rich and the workers @ @ @ @ @ @ @ a cosmic war that would end up destroying just about everyone in society .
Metropolis is an implicit attack on capitalism , which always ends up destroying family formation and ultimately economic progress .
Some will quickly jump to the conclusion that this writer is proposing Marxism or socialism as an alternative .
Not so .
Keep in mind that there was a period in history where Marxism or socialism or capitalism did not have any economic power over nations , particularly in places like England .
So what did people do ?
@ @ @ @ @ @ @ nation ?
This is a story for another time .
[ 33 ] As we have already pointed out , Metropolis was surprisingly made in Germany during the Weimar Republic ( 1918-1933 ) , where films during that time were in the hands of the very people whose goals and purposes were to denigrate the German culture and subvert its people .
[ 34 ] In fact , those same people were also involved in messianic politics and revolutionary ideologies .
This eventually gave rise to Nazi Germany , which eventually shut down @ @ @ @ @ @ @ Germans into a psychological abyss .
Several Jewish scholars and historians agree on this point .
Martin Bernal for example concedes that from 1920 to 1939 , “ Anti-Semitism intensified throughout Europe and North America following the perceived and actual centrality of Jews in the Russian Revolution.
” [ 35 ] Jewish scholar Gordon has said similar things .
[ 36 ] Even Lucy S. Dawidowicz , of all people , would somewhat agree .
Hitler , according to Dawidowicz , “ had discovered that Jews dominated the liberal press in Vienna and @ @ @ @ @ @ @ , that they were behind the Social Democratic movement—Marxism .
Triumphantly he had at last found an answer to the original question he had posed about the Jew : ‘ The Jew was no German.
’ ” [ 37 ] To quote Hitler , “ In my eyes the charge against Judaism became a grave one the moment I discovered the Jewish activities in the press , in art , in literature and the theatre.
” [ 38 ] He later described how the Jewish elite in the theatre were corrupting the morals @ @ @ @ @ @ @ that some of the materials produced in the theatre were of a pornographic nature .
[ 39 ] Theater in Germany began to produce films such as The Cabinet of Dr. Caligari ( 1920 ) , directed and written by Jewish producers Robert Wiene and Hans Janowitz .
This particular film was teleological in nature : it was supposed to hypnotize audiences in an expressionist and psychoanalytic form .
[ 40 ] Other films of the same genre included Carl Mayer ’ s The Last Laugh ( 1924 ) , Madchen in Uniform @ @ @ @ @ @ @ ( 1932 ) .
[ 41 ] Madchen in Uniform was an explicitly pro-lesbian film , something that was completely contrary to the Prussian education system at the time , and many of the cast in the movie were Jewish .
Film scholar Richard W. McCormick of the University of Minnesota declares that this film “ threatened the status quo ” of the Weimar Republic in the 1920s .
[ 42 ] McCormick continues , “ Madchen in Uniform is a film that is implicated within a number of progressive and emancipator discourses @ @ @ @ @ @ @ movement for homosexual rights and the flourishing of urban , queer subculture .
‘ New Objectivity ’ and other avant-garde tendencies in the arts and popular culture ; and the intersection of modernity , the movies , and the democratic egalitarianism.
” [ 43 ] Philo-Semitic historian Paul Johnson himself tells us that films like Blue Angel were so corrupt that they “ could not be shown in Paris .
Stage and night club shows in Berlin were the least inhibited of any major capital .
Plays , novels and even paintings touched @ @ @ @ @ @ @ , transvestism and incest ; and it was in Germany that Freud ’ s writings were most fully absorbed by the intelligentsia and penetrated the widest range of artistic expression.
” [ 44 ] Many of these films were labeled “ decadent ” as soon as Hitler rose to power , and many of the producers fled Germany .
Madchen in Uniform became a symbol for feminist movements in the 1970s , [ 45 ] one of the weapons used against the existing culture .
Moreover , Jewish film directors and producers , @ @ @ @ @ @ @ , knew that they were indirectly changing the social and cultural mode of Germany .
Some scholars do not want to admit this because they believe that sexual liberation is actually true freedom .
But some do admit that once morality began to decline , then “ science ” and the “ secular notions of individual rights , democracy , ” etc.
, began to rise .
Laurie Marhoefer ’ s penetrating study , Sex and the Weimar Republic : German Homosexual Emancipation and the Rise of the Nazis , which is published @ @ @ @ @ @ @ provides compelling evidence which indirectly shows that polite people of this world were surreptitiously destroying the German culture through moral corruption and degradation , tough Marhoefer herself would call that sexual freedom and democracy .
One of those polite people was none other than Magnus Hirschfeld .
Hirschfeld was introducing sexual liberation , which , according to Marhoefer , everyone should applaud , but the German traditionalists thought he was bringing disaster .
This was one reason why Hirschfeld was vehemently browbeaten , not because the traditionalists were by nature anti-Semites .
Hirschfeld @ @ @ @ @ @ @ perpetuate the idea that homosexuality is “ purely biological , not pathological , ” [ 46 ] and that again put him in conflict with the German culture , which viewed the issue as moral and not biological .
Marhoefer writes : “ Thus laws like Germany ’ s Paragraph 175 , which banned sex between men , conflicted with science .
‘ What is natural can not be immoral , ’ Hirschfeld wrote .
‘ When state and society , family and individual persist in their old prejudice against homosexual men and @ @ @ @ @ @ @ on ignorance , then an injustice is done , one that has only few parallels in human history.
” [ 47 ] Hirschfeld “ called on his allies in the new government , the Social Democrats , to quickly repeal the sodomy law .
They declined to do so.
” Hirschfeld ’ s Institute for Sexual Science “ championed the principle that science rather than religious morality ought to dictate how state and society responded to sexuality.
” [ 48 ] Cinema , then , was widely used as a form of subversion @ @ @ @ @ @ @ and mores .
Even Eric D. Weitz declares that during that period in Germany , “ Many artists , writers , directors , and composers jumped at the chance to work in the new media precisely because they signified a break with the past and provided one more way to express rejection of pre-1918 imperial Germany with its kaisers , generals , nobles , and stuffy , rigid and outmoded art academies.
” [ 49 ] Johnson writes that during the 1920s in Germany , “ The area where Jewish influence was strongest @ @ @ @ @ @ @ .
Playwrights like Carl Sternheim , Arthur Schnitzler , Ernst Toller , Erwin Piscator , Walter Hasenclever , Ferenc Molnar and Carl Zuckmayer , and influential producers like Max Reinhardt , appeared at times to dominate the stage , which tended to be modishly left-wing , pro-republican , experimental and sexually daring.
” [ 50 ] Hitler , throughout Mein Kampf , seems to have been aware of Jewish revolutionary activities , and even declared that “ the part which the Jews played in the social phenomenon of prostitution , and more especially @ @ @ @ @ @ @ be studied here better than any other West-European city , with the possible exception of certain ports of Southern France…A cold shiver ran down my spine when I first ascertained that it was the same coldblooded , thick-skinned and shameless Jew who showed his consummate skill in conducting that revolting exploitation of the dregs of the big city .
Then I became fired with wrath.
” [ 51 ] This anger began to escalate after World War I when he saw what was happening in the press and theatre in Germany , when @ @ @ @ @ @ @ denigrate the German culture .
What perhaps moved Hitler ’ s anger to a new height was that the Jews were less than three percent of the population , yet they largely controlled the theatre and were promoting what he would call “ filth ” and “ pornography.
” [ 52 ] For Hitler , these acts “ must have been definitely intentional.
” [ 53 ] Moreover , he got first-hand knowledge after World War I that pornography was almost exclusively a Jewish phenomenon .
[ 54 ] Again Hirschfeld ( 1868-1935 @ @ @ @ @ @ @ liberation movement in Germany , [ 55 ] used his medical training as a pretext to promote homosexuality and , in 1897 , built his own system of “ the Scientific-Humanitarian Committee , the first organization anywhere devoted to the protection of homosexual rights.
” Hirschfeld , himself a homosexual , was also “ the primary inventor of marriage counseling , Gay Liberation , artificial insemination , surgical gender ‘ reassignment , ’ and modern sex therapy… His goofy persona and conscientiousness transformed Sexology from an anthropological curiosity into a popular German science @ @ @ @ @ @ @ the mid-twenties , referred to Hirschfeld solicitously as ‘ the Einstein of Sex.
” [ 56 ] Hirschfeld was the Einstein of Sex because he “ embraced a doctrine known as ‘ sexual relativity.
” Hirschfeld specifically used the term “ racism ” to attack the sexual order .
One of the central forces of the sexual order is that if the next generation is to survive , men and women ought to be married and produce children .
A homosexual act , by definition , is a hindrance to civilization precisely because @ @ @ @ @ @ @ social and medical problems .
While homosexuals ought to be free to practice their lifestyle in private—after all , isn ’ t a sexual act a private matter ?
—they should not seek to subvert the sexual order by trying to change the laws which are based on the natural order .
Hirschfeld indeed was a sex expert and surely he understood what was at stake .
While the natural order makes it clear that there are only two sexes—male and female—Hirschfeld postulated another doctrine , one more congruent with his revolutionary ideology @ @ @ @ @ @ @ ‘ unscientific ’ to speak of two sexes .
Between ‘ full man ’ and ‘ full woman ’ was an infinite string of sexual/gender possibilities.
” [ 57 ] Hirschfeld spent a large part of his 1200-page book The Homosexuality of Men and Women deconstructing the sexual order .
[ 58 ] Hirschfeld was the Alfred Kinsey of his day , and actually put his doctrines into practical use .
[ 59 ] This began to take place in 1919 when Hirschfeld opened the Institute of Sexology in Berlin .
Jewish scholar @ @ @ @ @ @ @ tells us that the institution “ quickly became one of the city ’ s most curious attractions .
The Institute ’ s buildings , including a former mansion , were divided into areas for lectures , consulting offices , study rooms , laboratories , medical clinics , and a museum space devoted to sexual pathology.
” [ 60 ] “ The Foxtrot and short skirts , the addiction of pleasure in ‘ the imperial sewers of Berlin , ’ the ‘ dirty pictures ’ of sexologist Magnus Hirschfeld or the typical man of @ @ @ @ @ @ @ of the average citizen a repugnance that is difficult to recall in hindsight without some historical effort .
In a number of highly celebrated provocations , the stage of the ‘ 20s dealt with topics like patricide , incest and other crimes and the deepest inclination of the times tended to self-mockery.
” [ 61 ] When Hirschfeld was spreading the gospel of sexual liberation throughout Germany , he was attacked by a number of Nazi students , “ prompting the publisher of his autobiography to remark that the ‘ Nazis had chosen @ @ @ @ @ @ @ symbol over everything they hated , and it was Hitler himself , who , after the fascist students attacked Hirschfeld in Munich in 1920 and left him badly injured , declared him in many public speeches as the very epitome of the repulsive Jew and the enemy of the German people.
’ ” [ 62 ] Six years later , Hirschfeld spread the sexual revolution in Russia under Stalin and hailed it as “ marital bolshevism.
” [ 63 ] Historian Otto Friedrich does not believe that Hirschfeld was taken seriously and therefore @ @ @ @ @ @ @ , ” but argues that his work was “ a classic of pseudo-scientific pornography.
” [ 64 ] Many popular historians , even though they discuss the Weimar Republic , seem to stay away from addressing these historical issues , [ 65 ] obviously because these issues are pregnant with meaning—even in our time .
Which finally brings us back to Parasite .
Parasite—which largely revolves around two families , one wealthy and the other impoverished—is in essence a subversive movie which uses the failure of capitalism to draw viewers to a darker @ @ @ @ @ @ @ Hollywood ’ s war on the moral order .
One can largely say that this is one reason why Bong Joon-ho ended up receiving an Oscar .
In other words , Bong Joon-ho is doing to Korea what Hollywood did to America when the business industry started producing pornography in order to subvert or destroy the moral fabric of the American society .
The war on the moral order got its start when producers and directors began to attack the Decency Code in the 1920s and 30s and all the way to the @ @ @ @ @ @ @ called into question sexual propriety , social decorum and the institutions of law and order.
” [ 66 ] By the 1930s , a group of Catholics could no longer tolerate the increasing degeneracy Hollywood was pushing in the movies , so in 1933 they created the Catholic Legion of Decency ( later renamed the National Legion of Decency ) .
Their goal was to put pressure on filmmakers to stick with the traditional values that America was built on .
Sklar writes that before the National Legion of Decency , Jews in @ @ @ @ @ @ @ their public as much sexual titillation as contemporary morals would allow…producers had no qualms about tossing aside the [ Decency ] code and hanging on to their audiences by offering more sex stories , risqué language and glimpses of nudity than they had ever dared before .
One reason why the Legion of Decency campaign proved so quickly effective in mobilizing support was that the general run of movies had never before been so clearly in opposition to traditional middle-class morality.
” [ 67 ] The Legion of Decency proved successful—encouraging Hollywood to @ @ @ @ @ @ @ to preserving the basic moral , social and economic tenets of traditional American culture ” [ 68 ] —until the end of World War II .
Then , tempted once more by the profit that could be gained by the risqué , producers began to reformulate their subtle attacks .
They turned their attention to “ settings that provided the full opportunity to raise the pitch of excitement on the screen , to amaze , frighten and even to sexually arouse…At its most basic level , sound was noise , and noise itself @ @ @ @ @ @ @ Hollywood did not tear down its boudoir sets overnight , but the possibilities of sound attracted filmmakers more and more to noisy settings.
” [ 69 ] Jewish revolutionaries like Leo Pfeffer completely opposed the Legion of Decency .
[ 70 ] When those revolutionaries won the culture wars in the 1960s , they immediately began to produce pornographic movies such as Deep Throat and The Devil and Ms .
Jones .
[ 71 ] By 2016 , basically nothing is forbidden in Hollywood anymore .
As Jewish scholar Nathan Abrams himself argued @ @ @ @ @ @ @ entertainment industry was a deliberate attack on the moral order and any culture that embraced that moral order .
[ 72 ] As Abrams himself put it : “ Jewish involvement in porn…is the result of an atavistic hatred of Christian authority : they are trying to weaken the dominant culture in America by moral subversion… “ Pornography thus becomes a way of defiling Christian culture and , as it penetrates to the very heart of the American mainstream ( and is no doubt consumed by those very same WASPs ) , its @ @ @ @ @ @ @ is no longer of the ‘ what the Butler saw ’ voyeuristic type ; instead , it is driven to new extremes of portrayal that stretch the boundaries of the porn aesthetic .
As new sexual positions are portrayed , the desire to shock ( as well as entertain ) seems clear .
“ It is a case of the traditional revolutionary/radical drive of immigrant Jews in America being channeled into sexual rather than leftist politics.
” [ 73 ] When the decency code was eventually reversed in the late 1960s , Hollywood @ @ @ @ @ @ @ .
Sexual mores were successfully challenged by Samuel Roth in the 1957 court case Roth v United States , after which Hollywood began to push past its former boundaries .
[ 74 ] In short , Hollywood has been operating under the principle that morality is a relic of the past .
Bong Joon-ho obviously knows this .
In fact , some of his favorite movies include Alfred Hitchcock ’ s Psycho ( 1960 ) , Ari Aster ’ s Midsommar ( 2019 ) , etc .
[ 75 ] The Hollywood milieu—a @ @ @ @ @ @ @ already been created for Bong Joon-ho .
He simply stepped in that world when he produced Parasite , which has flashes of pornographic insinuations .
Hustlers producer Elaine Goldsmith-Thomas said : “ The last line of the movie is , ‘ The whole country is a strip club — some people are throwing the money and some people are doing the dance.
’ It ’ s hard not to see it through the prism of the craziness of the reality we ’ re living in.
” [ 76 ] What she indirectly ends @ @ @ @ @ @ @ order is out of the equation , then the very people who reject the moral order inexorably end up living in a crazy prism where some people dance ( strippers ) and others waste money ( titans of this world ) .
The solution to this crazy world ?
A return to the moral order .
Unfortunately , Parasite does not offer a return at all .
And by repudiating the moral order , the movie finds itself in the same crazy prism which has been driving the capitalist system since Milton Friedman @ @ @ @ @ @ @ to cheat the economic system at the University of Chicago .
[ 77 ] • [ 1 ] Mona Alami , “ Syrian rebels pledge loyalty to al-Qaeda , USA Today , April 11 , 2013 ; Akbar Shahid Ahmed and Ryan Grim , “ ISIS Strikes Deal With Moderate Syrian Rebels : Reports , ” Huffington Post , September 14 , 2014 ; “ ISIS strike deal with moderate Syrian rebels to stop fighting each other as military pressure grows and its oil money starts to dry up , ” Daily Mail @ @ @ @ @ @ @ ISIS and moderate Syrian rebels strike truce… with Al Qaeda ’ s help – reports , ” Russia Today , September 13 , 2014 ; “ In complicating move , al-Qaeda backs Syrian revolt , ” USA Today , February 12 , 2012 .
• [ 2 ] See for example Bethan McKernan , “ Israel ‘ giving secret aid to Syrian rebels ’ , report says , ” Independent , June 19 , 2017 ; “ Syrian representative to the UN : Israel has directly supported ISIS , ” Jerusalem Post , @ @ @ @ @ @ @ Intel Chief : We Don ’ t Want ISIS Defeated in Syria , ” Antiwar.com , June 21 , 2016 ; Elizabeth Tsurkov , “ Inside Israel ’ s Secret Program to Back Syrian Rebels , ” Foreign Policy , September 6 , 2018 .
• [ 4 ] “ Report : Israel treating al-Qaida fighters wounded in Syria , ” Jerusalem Post , March 13 , 2015 ; see also Marcy Kreiter , “ Syrian General Accuses Israel Of Collaborating With ISIS , Al Qaeda-Linked Rebels , ” International Business Times , @ @ @ @ @ @ @ , “ Israel co-operating with Isis and al-Qaeda in Golan Heights says Syrian chief negotiator , ” International Business Times , April 19 , 2016 ; Tovah Lazaroff , “ Syrian UNHRC envoy : Israel aiding al-Qaida-linked terrorists , ” Jerusalem Post , March 20 , 2017 .
• [ 6 ] Gabriella Paiella , “ Parasite Director Bong Joon-ho on the Art of Class Warfare , ” GQ , October 8 , 2019 .
• [ 7 ] Jen Yamato , “ Why everyone is talking about Bong Joon Ho ’ s @ @ @ @ @ @ @ in class conflict , ” LA Times , October 11 , 2019 .
• [ 9 ] Ben Norton , “ Obama ’ s hypocrisy : He said blame Wall Street , not food stamps — but he bailed out bankers and cut help for the hungry , ” Salon , January 14 , 2016 .
• [ 11 ] Mike Collins , “ The Big Bank Bailout , ” Forbes , July 14 , 2015 ; see also Nomi Prins , It Takes a Pillage : Behind the Bailouts , Bonuses , @ @ @ @ @ @ @ : John Wiley & Sons , 2009 ) ; Mike Collins , “ The Big Bank Bailout , ” Forbes , July 14 , 2015 .
• [ 12 ] See for example “ 9 Wall Street Execs Who Cashed In on the Crisis , ” Mother Jones , January/February 2010 ; Andy Kroll , “ The Bankers on Obama ’ s Team , ” Mother Jones , January/February 2010 .
• [ 14 ] Marian Wang , “ 12 Better Uses for the Bailout Bucks , ” Mother Jones , January/February 2010 @ @ @ @ @ @ @ Jones , Barren Metal : A History of Capitalism as the Conflict Between Labor and Usury ( South Bend : Fidelity Press , 2014 ) .
• [ 16 ] Josh Rottenberg , “ From ‘ Knives Out ’ to ‘ Parasite ’ : Why movies are tackling income inequality and class warfare , ” LA Times , October 7 , 2019 .
• [ 18 ] Paiella , “ Parasite Director Bong Joon-ho on the Art of Class Warfare , ” GQ , October 8 , 2019 .
• [ 19 ] @ @ @ @ @ @ @ ’ to ‘ Parasite ’ : Why movies are tackling income inequality and class warfare , ” LA Times , October 7 , 2019 .
• [ 20 ] Yamato , “ Why everyone is talking about Bong Joon Ho ’ s ‘ Parasite ’ : A thriller rooted in class conflict , ” LA Times , October 11 , 2019 .
• [ 21 ] Noah Isenberg , ed.
, Weimar Cinema : An Essential Guide to Classic Films of the Era ( New York : Columbia University Press , 2009 ) @ @ @ @ @ @ @ Patrick McGilligan , Fritz Lang : The Nature of the Beast ( Minneapolis : University of Minnesota Press , 2013 ) .
• [ 31 ] Patrick McGilligan , Fritz Lang : The Nature of the Beast ( Minneapolis : University of Minnesota Press , 2013 ) , kindle edition .
• [ 32 ] E. Michael Jones , Barren Metal : A History of Capitalism as the Conflict Between Labor and Usury ( South Bend : Fidelity Press , 2014 ) .
• [ 33 ] For an introduction , see for @ @ @ @ @ @ @ the Protestant Reformation in England and Ireland ( Independently Published , 1897 ) .
E. Michael Jones also discusses these issues in Barren Metal .
• [ 34 ] I have exhaustively documented this in Christianity & Rabbinic Judaism , Vol .
2 ( Bloomington : WestBow Press , 2013 ) .
See also Albert S. Lindemann , Esau ’ s Tears : Anti-Semitism and the Rise of the Jews ( Cambridge : Cambridge University Press , 1998 ) .
• [ 37 ] Lucy S. Dawidowicz , The War Against the Jews @ @ @ @ @ @ @ ) , 7 .
• [ 40 ] Stefan Andriopoulos , “ Suggestion , Hypnosis , and Crime : Robert Wiene ’ s The Cabinet of Dr. Caligari ( 1920 ) , ” ) , ” Isenberg , ed.
, Weimar Cinema : An Essential Guide to Classic Films of the Era ( New York : Columbia University Press , 2009 ) , chapter 1 .
• [ 41 ] Richard M. McCormick , “ Coming Out of the Uniform : Political and Sexual Emancipation in Leontine Sagan ’ s Madchen in Uniform @ @ @ @ @ @ @ ed.
, Weimar Cinema : An Essential Guide to Classic Films of the Era ( New York : Columbia University Press , 2009 ) , 271 .
• [ 44 ] Paul Johnson , Modern Times : The World from the Twenties to the Nineties ( New York : HarperCollins , 1983 ) , 114 .
• [ 45 ] McCormick , “ Coming Out of the Uniform , ” Weimar Cinema , 273 .
• [ 46 ] Laurie Marhoefer , Sex and the Weimar Republic : German Homosexual Emancipation and the @ @ @ @ @ @ @ University of Toronto Press , 2015 ) , 4 .
• [ 54 ] See for example Edward Bristow , Prostitution and Prejudice : The Jewish Fight Against White Slavery ( New York : Schocken , 1983 ) .
• [ 55 ] See for example Ralf Dose , Magnus Hirschfeld : The Origins of the Gay Liberation Movement ( New York : Monthly Review Press , 2014 ) .
• [ 58 ] See Magnus Hirschfeld , The Homosexuality of Men and Women ( New York : Prometheus Books , 2000 ) @ @ @ @ @ @ @ Jones , Monsters from the ID : The Rise of Horror in Fiction and Film ( Dallas : Spence Publishing Co. , 2000 ) , 141-142 .
• [ 64 ] Otto Friedrich , Before the Deluge : A Portrait of Berlin in the 1920s ( New York : Harper Perennial , 1995 ) , 233 .
• [ 65 ] See Mary Fulbrook , A History of Germany , 1918-2008 : The Divided Nation ( Malden , MA : Blackwell , 2009 ) ; Detlev J. K. Peukert , The Weimar Republic @ @ @ @ @ @ @ , 1989 ) ; Peter Gay , The Weimar Republic : The Outsider as Insider ( New York : W. W. Norton , 2001 ) .
• [ 71 ] For a cultural history of this , see E. Michael Jones , Libido Dominandi : Sexual Liberation and Political Control ( South Bend : St. Augustine ’ s Press , 2000 ) .
• [ 72 ] Nathan Abrams , “ Triple-exthnics : Nathan Abrams on Jews in the American porn industry , ” Jewish Quarterly , Winter 2004 .
See also Nathan @ @ @ @ @ @ @ : Exploring Jewishness and Judaism in Contemporary Cinema ( New Brunswick : Rutgers University Press , 2012 ) ; By the way , Abrams ’ article is a reworking of E. Michael Jones ’ “ Rabbi Dresner ’ s Dilemma : Torah v. Ethnos , ” Culture Wars , May 2003 .
• [ 73 ] Abrams , “ Triple-exthnics : Nathan Abrams on Jews in the American porn industry , ” Jewish Quarterly , Winter 2004 .
• [ 74 ] Andrea Friedman , Prurient Interests : Gender , Democracy , and @ @ @ @ @ @ @ ( New York : Columbia University Press , 2000 ) , 193 .
• [ 75 ] https : //www.indiewire.com/gallery/bong-joon-ho-favorite-movies-watch/zodiac-2007-3/ .
For an excellent review of Ari Aster ’ s Midsommar , see E. Michael Jones , “ The Inner Logic of Neo-Paganism in Sweden Why All Porno Films Get Remade as Horror Movies , ” Culture Wars , September 3 , 2019 .
• [ 76 ] Rottenberg , “ From ‘ Knives Out ’ to ‘ Parasite ’ : Why movies are tackling income inequality and class warfare , ” LA @ @ @ @ @ @ @ • [ 77 ] See for example Naomi Klein , The Shock Doctrine : The Rise of Disaster Capitalism ( New York : Picador , 2007 ) .

Parasite, the Korean movie which eventually got Bong Joon-ho (its director) an Oscar and which grossed over $70 million last summer, is essentially an appropriation or recycling of Hollywood’s perennial history of playing dice with the moral order.
But Donald Trump did not have the insight to see that Parasite is a covert attack on the moral order, apparently because he is too busy listening to the Israeli machination of the United States and creating chaos in places like Syria, where Israel has been supporting ISIS and other terrorist groups like the Syrian rebels[1] in order to destabilize the Syrian government.[2]
The International Business Times reported in 2014 that Israel had “regular contact with Syrian rebels, including ISIS.”[3] This is from the Jerusalem Post: “Report: Israel treating al-Qaida fighters wounded in Syria.”[4] We read: “Israel has opened its borders with Syria in order to provide medical treatment to Nusra Front and al-Qaida fighters wounded in the ongoing civil war…”[5]
But these issues have never bothered politicians like Trump. Behaving like a raging bull, Trump declared: “And the winner is … a movie from South Korea! What the hell was that all about? We got enough problems with South Korea with trade. On top of it, they give them the best movie of the year?” How stupid can it get?
In any event, we are going to ignore Trump here because he is not able to string two coherent thoughts together.
Parasite is similar to Todd Phillips’ Joker in that both movies raise economic issues and class warfare—two central topics that always resonate with audiences virtually everywhere. As the magazine GQ has put it, Parasite “evokes the acute desperation of late capitalism, all wrapped in a layer of dark comedy.”[6] The LA Times declared that the movie is “rooted in class conflict.”[7]
The LA Times continued to say elsewhere that movies like Parasite have thrived because of the financial crisis which came into full bloom in 2008, when it was discovered that companies like Goldman Sachs preyed upon “muppets” (that’s what they call their customers) by “ripping eyeballs out” of them.[8] The usurers and predators were responsible for the 2008 financial crisis, which caused the average American to lose their economic wherewithal, including their homes.
The interesting thing is that Obama bailed those grifters out. As Ben Norton of Salon rightly put it back in 2016, “Obama’s hypocrisy: He said blame Wall Street, not food stamps — but he bailed out bankers and cut help for the hungry.”[9] In a similar vein, Paul Krugman of the New York Times wrote then, “The failure of the Obama administration to prosecute the bankers was a tragic moral error with practical consequences.”[10]
And how much money was that? It has been calculated to be around 14 to 16 trillion dollars![11] Journalist Nomi Prins has documented that the bailout “was never about the little guy.” It was exclusively done for the oligarchs, the usurers, the gangsters on Wall Street, and the banksters—the very people who don’t give a damn about whether you live or die.[12]
Prins—who used to work as a managing director for big companies like Goldman-Sachs, Bear Stearns, the Lehman Brothers, and the Chase Manhattan Bank—writes courageously and unflinchingly: “If the thought of the government spending trillions of dollars on Wall Street’s screw-ups pisses you off, you’re not crazy.”[13] But the central question should be this: what could the government or society do with 14 trillion dollars? Get this:
10 years of vaccines for kids in 117 countries
$110 billion
10 years of $10,000 bonuses for all US public school teachers
$318 billion
Sending all 2009 US high school grads to private college
$347 billion
Doubling US spending on HIV/AIDSand cancer research for 20 years
$493 billion
10 years of CO2 offsets for all Americans
$559 billion
Meeting UN anti-poverty goals by 2015
$757 billion
20 years of universal preschool in US
$860 billion
Buying a house for every homeless American
$878 billion
Buying the world an iPhone 3GS
$2 trillion
10 years of private health insurance for uninsured Americans
$2.2 trillion
Paying off 1/3 of US home mortgages
$3.5 trillion[14]
And all those expenses do not even add up to 16 trillion dollars! The average American had every right to be angry at the government and the capitalist system, which our dear friend E. Michael Jones has aptly and historically defined as “state-sponsored usury.”[15]
It was no surprise, then, that Hollywood’s depiction of capitalism as a dying system or a rotten economic corpse continues to attract wide audiences. Movies like Hustlers would have almost certainly been a failure at the box office had the swindlers at Wall Street not crashed the economy in 2008. In Hustlers, Ramona Vega (Jennifer Lopez), a veteran stripper, told Destiny (Constance Wu), a rookie in the business:
“We’ve got to think like these Wall Street guys. You see what they did to this country? Hard working people lost everything. And not one of these douchebags went to jail. Not one. Is that fair? This game is rigged, and it does not reward people who play by the rules.”
The LA Times again agrees that movies like Parasite raise issues that are in concert with the economic malaise of our time. As they put it, “as the gap between the rich and poor has grown ever wider — hitting a record in the U.S. in 2018, according to data released last month by the Census Bureau — it should come as no surprise to see filmmakers taking it on.”[16] Rian Johnson, writer and director of Knives Out, a movie which again is based on economic themes, said:
“Films always respond to the world that they are born out of. It’s unavoidable right now that we are in a world dealing with increased income disparity, and you can feel it. At the same time, the tub of boiling water of the public discourse has been cranked up to 11. It’s no longer something that we all are in the privileged state of being able to dip in and out of. It’s very much the ocean that we’re all swimming in.”[17]
Joon-ho himself admitted: “When I was in college I worked as a tutor, and it was a pretty fun and strange experience. I really felt like I was spying on this rich family.”[18] Joon-ho has said elsewhere:
“The topic of the gap between rich and poor lends itself to being so universal. Every country has its own structures and conflicts regarding class, but when you really delve deep into the cave of capitalism and explore the infinite darkness of it, you find a similar sort of mechanism flows throughout.”[19]
Bong Joon-ho has been making movies about class warfare—or capitalism, as GQ again puts it—for quite some time. Class warfare was the hidden grammar behind his 2013 Snowpiercer, as well as his 2017 Okja.[20] But Bong Joon-ho is just a new director on the block. Hollywood and the movie business attempted to raise these issues in the 1920s with very little success. One can reasonably argue that the history of class warfare in movies goes all the way back to Fritz Lang’s 1927 hypnotic film, Metropolis, which was produced in Germany during the Weimar period. In fact, hypnotism was widely used in movies throughout that era.
For example, Robert Wiene’s The Cabinet of Dr. Caligari (1920) “centered on a showman and hypnotist who forces a somnambulist under his hill, compelling the docile medium to commit several murders.”[21] One scholar writes that “instead of appealing to rational faculties,” hypnosis in movies “was based on surreptitiously implanting an idea in a susceptible mind, without raising contrary or inhibiting thoughts.”[22]
Around 1900, hypnosis began to be attached “with the newly emerging medium of cinema.”[23] Fritz Lang obviously used this hypnotic effect in his previous movie, Dr. Mabuse, the Gambler (1922). In fact, movie directors and producers during that time began to observe that “the new medium” had a tremendously “irresistible, hypnotic influence on its spellbound audiences.”[24] This “irresistible, hypnotic influence” would later play a major role in politics and mass media during the latter part of the twentieth century.[25] This form of mind-control was introduced to the Germans by people like Sigmund Freud, Albert Moll, and August Forel.[26] Moll, Magnus Hirschfel and others founded the sex program in Germany[27] that later proved to be morally devastating by the time Hitler rose to power.
But the theory of hypnosis itself was developed in the late nineteenth century by a Jewish physician named Hippolyte Bernheim, who, according to one scholar, believed that “everybody was subject to hypnosis…As Bernheim and numerous other physicians affirmed, they hypnotized subject functioned as a sort of medium who could even be compelled to commit crimes against his or her own will.”[28]
METROPOLIS
Central to Lang’s overly long and silent film is that the ruthless elite always end up suppressing the poor, namely, the laborers. In fact, Metropolis advances the idea that the ruling elite or the titans of this world seem to view the worker or average person as herd, and the worker himself is trapped in an economic river, which forces him to him to swim for at least ten hours.
The ruling class in Metropolis lives in luxurious places, while the average laborer toils with a hellish existence—a matrix from which there seems to be no exit. Lang, a lapsed Catholic,[29] couldn’t expunge the idea that economic issues have a moral dimension—more specifically a Catholic dimension—from his mind. In his February issue of Culture Wars, E. Michael Jones writes:
“Even after he abandoned the Catholic faith, Scorcese never stopped espousing the values he abandoned. This made him incapable of directing horror movies, a fact he made clear in a conversation with the Jewish Canadian horror-meister David Cronenberg, because, unlike Cronenberg, Scorcese never lost his sense of moral causality.
“Scorcese, according to Cronenberg, was an ex-Catholic who ‘does deal with good and evil in very proto-Catholic terms, and I’m sure that what he meant was that when he saw my films.’ Scorcese, on the other hand, told Cronenberg that he didn’t understand his own films. Scorcese, according to Cronenberg, ‘saw the struggle’ between good and evil ‘being played out. I don’t see it quite that way because I really don’t see the lines drawn in those terms.’
“Scorcese spends his time rebelling against a moral order he cannot ignore. Cronenberg, on the other hand, does horror because he has lost his grasp on moral causality. ‘I have difficulty thinking in terms of good and evil,’ Cronenberg continued, ‘I’m sure if I had been raised a Catholic I would have no trouble because those issues are raised at a very early age.’”[30]
We see similar things in Lang’s Metropolis. Lang, whose Jewish mother converted to Catholicism long before Lang was born, admitted: “As the truth, you may laugh, but don’t forget I was born a Catholic—perhaps I’m not a good Catholic according to the Church—but Catholic education (and probably any education which has to do with ethics) never leaves you.”[31] In other words, the moral law continued to hunt Lang, despite the fact that movies like Metropolis are suffused with pagan or occult technics like hypnotism.
But despite its deficiency, Metropolis is an important movie that seems to resonate with some of the problems in our modern age. Freder, the son of the city’s ruthless master who goes by the name of Joh Fredersen, realizes the inner workings of the titans of society when he went to see the underground-dwelling workers whose existence can be compared to a piece of property. Freder, with the help of a woman by the name of Maria, began to sympathize with the underground-dwelling workers when he first saw their children. He then went underground to do some investigation on what one can call the deep psychology of the subterranean workers’ city.
To make a long story short, Freder goes back to the skyscraper building to meet his father and confront him with this puzzling question: “Where are the people, father, whose hands built your city?”
The father responds: “They belong in the depths.” This horrifies the son. He again tells his father: “What if one day those in the depths rise up against you?” During their conversation, the father again asks Freder, “What were you doing in the machine halls, Freder?” To which he responds: “I wanted to look into the faces of the people whose little children are my brothers, my sisters…”
What Metropolis tells us is that capitalism always ends up suppressing the average worker, a central point which has been historically documented by E. Michael Jones in his 1400-page tome Barren Metal: A History of Capitalism as the Conflict Between Labor and Usury.[32] Rotwang, who is a mad scientist and occultist in Metropolis, attempted to bring the entire city down by preying upon both the lustful appetite of Fredersen and the ignorant workers’ city.
That plan turned out to be a disaster because both the workers and Fredersen realized that they were being manipulated by Rotwang, who eventually got into a duel with Freder and then died. Lang, being again a lapsed Catholic, leaves the audience with the idea that the rich and the workers do not have to be engaged in a cosmic war that would end up destroying just about everyone in society.
Metropolis is an implicit attack on capitalism, which always ends up destroying family formation and ultimately economic progress. Some will quickly jump to the conclusion that this writer is proposing Marxism or socialism as an alternative. Not so. Keep in mind that there was a period in history where Marxism or socialism or capitalism did not have any economic power over nations, particularly in places like England. So what did people do? How did England actually become a prosperous nation? This is a story for another time.[33]
THE CULTURAL MILIEU
As we have already pointed out, Metropolis was surprisingly made in Germany during the Weimar Republic (1918-1933), where films during that time were in the hands of the very people whose goals and purposes were to denigrate the German culture and subvert its people.[34]
In fact, those same people were also involved in messianic politics and revolutionary ideologies. This eventually gave rise to Nazi Germany, which eventually shut down the sex industry that was dragging the Germans into a psychological abyss. Several Jewish scholars and historians agree on this point. Martin Bernal, for example, concedes that from 1920 to 1939, “Anti-Semitism intensified throughout Europe and North America following the perceived and actual centrality of Jews in the Russian Revolution.”[35] Jewish scholar Gordon has said similar things.[36]
Even Lucy S. Dawidowicz, of all people, would somewhat agree. Hitler, according to Dawidowicz, “had discovered that Jews dominated the liberal press in Vienna and the city’s cultural artistic life, that they were behind the Social Democratic movement—Marxism. Triumphantly he had at last found an answer to the original question he had posed about the Jew: ‘The Jew was no German.’”[37]
To quote Hitler, “In my eyes, the charge against Judaism became a grave one the moment I discovered the Jewish activities in the press, in art, in literature and the theatre.”[38]
He later described how the Jewish elite in the theatre was corrupting the morals of the culture. He also complained that some of the materials produced in the theatre were of a pornographic nature.[39] Theater in Germany began to produce films such as The Cabinet of Dr. Caligari (1920), directed and written by Jewish producers Robert Wiene and Hans Janowitz. This particular film was teleological in nature: it was supposed to hypnotize audiences in an expressionist and psychoanalytic form.[40]
Other films of the same genre included Carl Mayer’s The Last Laugh (1924), Madchen in Uniform (1931), and Kuhle Wampe (1932).[41] Madchen in Uniform was an explicitly pro-lesbian film, something that was completely contrary to the Prussian education system at the time, and many of the cast in the movie were Jewish. Film scholar Richard W. McCormick of the University of Minnesota declares that this film “threatened the status quo” of the Weimar Republic in the 1920s.[42] McCormick continues,
“Madchen in Uniform is a film that is implicated within a number of progressive and emancipator discourses of the late Weimar Republic: the movement for homosexual rights and the flourishing of urban, queer subculture. ‘New Objectivity’ and other avant-garde tendencies in the arts and popular culture; and the intersection of modernity, the movies, and the democratic egalitarianism.”[43]
Philo-Semitic historian Paul Johnson himself tells us that films like Blue Angel were so corrupt that they “could not be shown in Paris. Stage and night club shows in Berlin were the least inhibited of any major capital. Plays, novels, and even paintings touched on such themes as homosexuality, sadomasochism, transvestism, and incest; and it was in Germany that Freud’s writings were almost fully absorbed by the intelligentsia and penetrated the widest range of artistic expression.”[44]
Many of these films were labeled “decadent” as soon as Hitler rose to power, and many of the producers fled Germany. Madchen in Uniform became a symbol for feminist movements in the 1970s,[45] one of the weapons used against the existing culture. Moreover, Jewish film directors and producers, like many current Jewish directors in Hollywood, knew that they were indirectly changing the social and cultural mode of Germany. Some scholars do not want to admit this because they believe that sexual liberation is actually true freedom.
But some do admit that once morality began to decline, then “science” and the “secular notions of individual rights, democracy,” etc., began to rise. Laurie Marhoefer’s penetrating study, Sex, and the Weimar Republic: German Homosexual Emancipation and the Rise of the Nazis, which is published by the University of Toronto Press, provides compelling evidence which indirectly shows that polite people of this world were surreptitiously destroying the German culture through moral corruption and degradation, tough Marhoefer herself would call that sexual freedom and democracy. One of those polite people was none other than Magnus Hirschfeld.
Hirschfeld was introducing sexual liberation, which, according to Marhoefer, everyone should applaud, but the German traditionalists thought he was bringing disaster. This was one reason why Hirschfeld was vehemently browbeaten, not because the traditionalists were by nature anti-Semites. Hirschfeld attempted to use “science” to perpetuate the idea that homosexuality is “purely biological, not pathological,”[46] and that again put him in conflict with the German culture, which viewed the issue as moral and not biological.
Marhoefer writes: “Thus laws like Germany’s Paragraph 175, which banned sex between men, conflicted with science. ‘What is natural cannot be immoral,’ Hirschfeld wrote. ‘When state and society, family and individual persist in their old prejudice against homosexual men and women, a prejudice that is based on ignorance, then injustice is done, one that has only a few parallels in human history.”[47] Hirschfeld “called on his allies in the new government, the Social Democrats, to quickly repeal the sodomy law. They declined to do so.” Hirschfeld’s Institute for Sexual Science “championed the principle that science rather than religious morality ought to dictate how state and society responded to sexuality.”[48]
Cinema, then, was widely used as a form of subversion of the German culture, traditions, and more. Even Eric D. Weitz declares that during that period in Germany, “Many artists, writers, directors, and composers jumped at the chance to work in the new media precisely because they signified a break with the past and provided one more way to express rejection of pre-1918 imperial Germany with its kaisers, generals, nobles, and stuffy, rigid and outmoded art academies.”[49]
Johnson writes that during the 1920s in Germany, “The area where Jewish influence was strongest was the theatre, especially in Berlin. Playwrights like Carl Sternheim, Arthur Schnitzler, Ernst Toller, Erwin Piscator, Walter Hasenclever, Ferenc Molnar and Carl Zuckmayer, and influential producers like Max Reinhardt, appeared at times to dominate the stage, which tended to be modishly left-wing, pro-republican, experimental and sexually daring.”[50]
Hitler, throughout Mein Kampf, seems to have been aware of Jewish revolutionary activities, and even declared that “the part which the Jews played in the social phenomenon of prostitution, and more especially in the white slavery traffic, could be studied here better than any other West-European city, with the possible exception of certain ports of Southern France…A cold shiver ran down my spine when I first ascertained that it was the same cold-blooded, thick-skinned and shameless Jew who showed his consummate skill in conducting that revolting exploitation of the dregs of the big city. Then I became fired with wrath.”[51]
This anger began to escalate after World War I when he saw what was happening in the press and theatre in Germany when art, in general, was being used to denigrate the German culture. What perhaps moved Hitler’s anger to a new height was that the Jews were less than three percent of the population, yet they largely controlled the theatre and were promoting what he would call “filth” and “pornography.”[52]
For Hitler, these acts “must have been definitely intentional.”[53] Moreover, he got first-hand knowledge after World War I that pornography was almost exclusively a Jewish phenomenon.[54]
MAGNUS HIRSCHFELD
Again Hirschfeld (1868-1935), the father of the Gay liberation movement in Germany,[55] used his medical training as a pretext to promote homosexuality and, in 1897, built his own system of “the Scientific-Humanitarian Committee, the first organization anywhere devoted to the protection of homosexual rights.”
Hirschfeld, himself a homosexual, was also “the primary inventor of marriage counseling, Gay Liberation, artificial insemination, surgical gender ‘reassignment,’ and modern sex therapy… His goofy persona and conscientiousness transformed Sexology from an anthropological curiosity into popular German science. The Berlin monthlies, starting in the mid-twenties, referred to Hirschfeld solicitously as ‘the Einstein of Sex.”[56]
Hirschfeld was the Einstein of Sex because he “embraced a doctrine known as ‘sexual relativity.” Hirschfeld specifically used the term “racism” to attack the sexual order. One of the central forces of the sexual order is that if the next generation is to survive, men and women ought to be married and produce children. A homosexual act, by definition, is a hindrance to civilization precisely because it inexorably leads to all sorts of social and medical problems. While homosexuals ought to be free to practice their lifestyle in private—after all, isn’t a sexual act a private matter?—they should not seek to subvert the sexual order by trying to change the laws which are based on the natural order.
Hirschfeld indeed was a sex expert and surely he understood what was at stake. While the natural order makes it clear that there are only two sexes—male and female—Hirschfeld postulated another doctrine, one more congruent with his revolutionary ideology. Hirschfeld “wrote that it was ‘unscientific’ to speak of two sexes. Between ‘full man’ and ‘full woman’ was an infinite string of sexual/gender possibilities.”[57] Hirschfeld spent a large part of his 1200-page book The Homosexuality of Men and Women deconstructing the sexual order.[58]
Hirschfeld was the Alfred Kinsey of his day and actually put his doctrines into practical use.[59] This began to take place in 1919 when Hirschfeld opened the Institute of Sexology in Berlin. Jewish scholar Mel Gordon of the University of California tells us that the institution “quickly became one of the city’s most curious attractions. The Institute’s buildings, including a former mansion, were divided into areas for lectures, consulting offices, study rooms, laboratories, medical clinics, and a museum space devoted to sexual pathology.”[60]
Paul Johnson commented,
“The Foxtrot and short skirts, the addiction of pleasure in ‘the imperial sewers of Berlin,’ the ‘dirty pictures’ of sexologist Magnus Hirschfeld or the typical man of the times took on in the minds of the average citizen a repugnance that is difficult to recall in hindsight without some historical effort. In a number of highly celebrated provocations, the stage of the ‘20s dealt with topics like patricide, incest, and other crimes and the deepest inclination of the times tended to self-mockery.”[61]
When Hirschfeld was spreading the gospel of sexual liberation throughout Germany, he was attacked by a number of Nazi students, “prompting the publisher of his autobiography to remark that the ‘Nazis had chosen him from the very beginning as a symbol over everything they hated, and it was Hitler himself, who, after the fascist students attacked Hirschfeld in Munich in 1920 and left him badly injured, declared him in many public speeches as the very epitome of the repulsive Jew and the enemy of the German people.’”[62]
Six years later, Hirschfeld spread the sexual revolution in Russia under Stalin and hailed it as “marital bolshevism.”[63] Historian Otto Friedrich does not believe that Hirschfeld was taken seriously and therefore achieved next to no “notable goal,” but argues that his work was “a classic of pseudo-scientific pornography.”[64]
Many popular historians, even though they discuss the Weimar Republic, seem to stay away from addressing these historical issues,[65] obviously because these issues are pregnant with meaning—even in our time. Which finally brings us back to Parasite.
PROBLEMS WITH PARASITE
Parasite—which largely revolves around two families, one wealthy and the other impoverished—is, in essence, a subversive movie that uses the failure of capitalism to draw viewers to a darker ideology, one which is consistent with Hollywood’s war on the moral order. One can largely say that this is one reason why Bong Joon-ho ended up receiving an Oscar. In other words, Bong Joon-ho is doing to Korea what Hollywood did to America when the business industry started producing pornography in order to subvert or destroy the moral fabric of American society. The war on the moral order got its start when producers and directors began to attack the Decency Code in the 1920s and 30s and all the way to the 1960s.
Movies during that era “called into question sexual propriety, social decorum and the institutions of law and order.”[66] By the 1930s, a group of Catholics could no longer tolerate the increasing degeneracy Hollywood was pushing in the movies, so in 1933 they created the Catholic Legion of Decency (later renamed the National Legion of Decency). Their goal was to put pressure on filmmakers to stick with the traditional values that America was built on.
Sklar writes that before the National Legion of Decency, Jews in Hollywood “had always tried to give their public as much sexual titillation as contemporary morals would allow…producers have no qualms about tossing aside the [Decency] code and hanging on to their audiences by offering more sex stories, risqué language and glimpses of nudity than they had ever dared before. One reason why the Legion of Decency campaign proved so quickly effective in mobilizing support was that the general run of movies had never before been so clearly in opposition to traditional middle-class morality.”[67]
The Legion of Decency proved successful—encouraging Hollywood to “direct its enormous powers of persuasion to preserve the basic moral, social and economic tenets of traditional American culture”[68]—until the end of World War II. Then, tempted once more by the profit that could be gained by the risqué, producers began to reformulate their subtle attacks. They turned their attention to “settings that provided the full opportunity to raise the pitch of excitement on the screen, to amaze, frighten and even to sexually arouse…At its most basic level, the sound was a noise, and noise itself could be a source of thrills. Hollywood did not tear down its boudoir sets overnight, but the possibilities of sound attracted filmmakers more and more to noisy settings.”[69]
Jewish revolutionaries like Leo Pfeffer completely opposed the Legion of Decency.[70] When those revolutionaries won the culture wars in the 1960s, they immediately began to produce pornographic movies such as Deep Throat and The Devil and Ms. Jones.[71]
By 2016, basically nothing is forbidden in Hollywood anymore. As Jewish scholar Nathan Abrams himself argued back in 2004, pornography in the entertainment industry was a deliberate attack on the moral order and any culture that embraced that moral order.[72] As Abrams himself put it:
“Jewish involvement in porn…is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion…
“Pornography thus becomes a way of defiling Christian culture and, as it penetrates to the very heart of the American mainstream (and is no doubt consumed by those very same WASPs), its subversive character becomes more charged. Porn is no longer of the ‘what the Butler saw’ voyeuristic type; instead, it is driven to new extremes of portrayal that stretch the boundaries of the porn aesthetic. As new sexual positions are portrayed, the desire to shock (as well as entertain) seems clear.
“It is a case of the traditional revolutionary/radical drive of immigrant Jews in America being channeled into sexual rather than leftist politics.”[73]
When the decency code was eventually reversed in the late 1960s, Hollywood crossed the Rubicon, never to return. Sexual mores were successfully challenged by Samuel Roth in the 1957 court case Roth v United States, after which Hollywood began to push past its former boundaries.[74]
In short, Hollywood has been operating under the principle that morality is a relic of the past. Bong Joon-ho obviously knows this. In fact, some of his favorite movies include Alfred Hitchcock’s Psycho (1960), Ari Aster’s Midsommar (2019), etc.[75] The Hollywood milieu—a world in which morality plays no role—has already been created for Bong Joon-ho. He simply stepped in that world when he produced Parasite, which has flashes of pornographic insinuations.
Hustlers producer Elaine Goldsmith-Thomas said: “The last line of the movie is, ‘The whole country is a strip club — some people are throwing the money and some people are doing the dance.’ It’s hard not to see it through the prism of the craziness of the reality we’re living in.”[76]
What she indirectly ends up saying is that once the moral order is out of the equation, then the very people who reject the moral order inexorably end up living in a crazy prism where some people dance (strippers) and others waste money (titans of this world).
The solution to this crazy world? A return to the moral order. Unfortunately, Parasite does not offer a return at all. And by repudiating the moral order, the movie finds itself in the same crazy prism which has been driving the capitalist system since Milton Friedman began to teach the Chicago Boys how to cheat the economic system at the University of Chicago.[77]


veteranstoday--2020-03-04--Russian Expert: COVID 19 a Secret Coup Against China

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Nikolay Vavilov, a famous Russian expert on China and a specialist in Chinese domestic politics.
TV Host: Nikolay, these days the entire global mass media is literally intently covering the
coronavirus epidemic, which began spreading in the Chinese city of Wuhan. You were in
Wuhan, you know the authorities in Wuhan, you are also one of the biggest experts on China in Russia, could you talk about what is really happening in China?
Nikolay Vavilov: I’ll start first by touching on the recent, unexpected political events in Russia.
In Russia, the most important news is the resignation of the government of the former president of Russia, Russian Prime Minister Dmitry Medvedev, who had close relations with the U.S.
Democratic Party and in particular with President Barack Obama.
I’m starting from these events because nobody has looked at the virus problem from this
perspective. Today in China, the political situation is extremely aggravated. In March this year, a special session of the Chinese parliament, which consists of regional leaders of China, will be held. Now there is a rotation of all regional authorities in China – all mayors, governors, all party leaders of the Communist Party, and in March there will be a session of the entire Chinese parliament after all the changes have been finalized.
1.23
And in this light, the virus and the epidemic are of a completely different nature. The epidemic and actions of the authorities receive different political tint. There are no conspiracy theories here, it’s simply an open policy.
I am a professional Sinologist. I have been working in China for 20 years, of which 10 years from 2006 to 2016 I lived in the epicenter of epidemics – Hong Kong and Guangdong, and even got sick: sneezed, coughed, wore a mask, took Chinese pills, but as you can see, I am alive and well.
2.23
However, what is happening in China now – the city of Wuhan is closed, which is a river, air,
road, and rail hub. As a result, transportation in the whole country is down. Winter transportation fell by 40%. Wuhan is China’s largest transportation hub, comparable to Moscow in Russia.
What would happen now if we closed Moscow just because 100 people were sneezing? We see what a setback it is to the country's transport system. The authorities' measures are not proportional to the scale of the threat.
Indeed, the virus is spreading faster than during ordinary flu. However, the number of deaths in China is comparable to the number of people who have recovered, but the press mainly disseminates data on fatalities, which causes a panic.
We see Wuhan is closed, Huanggang is closed, Hubei province is almost completely closed, and the cities of Suzhou and Wenzhou are closing and prolonging their holidays.
The Beijing Transport Committee actually closes road transport, the head of the central
government – the Ministry of Culture and Tourism, prohibits tourists from traveling abroad.
The series of measures taken by a number of local and central authorities looks insane, panicky and disproportional to the scale of the threats. Although there is an epidemic itself, it’s a regular occurrence for China.
We must understand that epidemics occur in China annually. Right now it’s the New Year
holiday period according to the Chinese lunar new year. People are leaving home in large
numbers for the holidays, gathering at train stations. We must not forget that China is a country of labor migrants. In Wuhan alone, 5 million out of a total of 11 million people are labor migrants from neighboring provinces and from Hubei province itself, whose population is 59 million people.
People just get sick. Winter epidemics are an ordinary situation for China, and it is highly
inefficient to close cities and the rationale for such behavior from regional authorities is unclear.
Today, for China, the main problem is that people, including 200 million migrants, will not go to work, schoolchildren will not go to school, students will not go to university, and normal life will be interrupted.
As we begin to study the problem, it begs the question of who are the officials who made such inappropriate decisions? The mayor of Wuhan, the mayor of Huanggang, the mayor and party boss of Suzhou, the Deputy Minister of Culture in charge of tourism, the head of the Beijing Transport Committee are all products of the Komsomol organization, the Russian word is KOMSOMOL. The China Communist Youth Union, an alternative socialist organization of China, more liberal, and has always had close ties with the Democratic parties in the United States, and in Russia always had close ties with Trotsky and Trotskyism.


veteranstoday--2020-03-04--Russian MOD: White Helmets attempt Chemical Attack while US delegation brought in as patsies-to be m

Russian MOD: White Helmets attempt Chemical Attack while US delegation brought in as patsies-to be murdered?

An American delegation sponsored by Turkey ’ s president and head of Al Qaeda in the Anatolian Peninsula , or EAQ ( Erdogan ’ s Al Qaeda ) was intended to be present as witnesses for a staged chemical attack by the White Helmets .
Their leader , former MI 6 “ false flag ” specialist , James Le Mesurier , committed suicide by being thrown out of a window in Istanbul by Turkish intelligence operatives after a feud with Erdogan .
Le Mesurier didn ’ t agree to killing Americans in Idlib .
Erdogan now personally runs the White @ @ @ @ @ @ @ Sputnik/Moscow : Earlier in the day , the Russian Centre for Syria reconciliation stated that the White Helmets had finished filming a staged provocation implicating the Syrian army in the use of chemical agents .
The Russian Reconciliation Centre for Syria stated on Wednesday that a group of up to 15 terrorists had attempted to carry out a chemical attack in Syria ’ s Idlib province .
“ On 2 March , a group of up to 15 terrorists attempted to detonate explosive ammunition together with containers full of a poisonous chemical agent @ @ @ @ @ @ @ advance of Syrian government forces in the western part of Saraqib city and then accuse the Syrian government of using chemical weapons ” , the statement reads .
The terrorists accidentally unsealed one of the containers , which resulted in a leak .
Terrorists received “ significant chemical poisoning ” and failed to carry out the attack , the centre said .
The Russian military said they would soon publish the evidence on the failed chemical attack .
Earlier in the day , the Reconciliation Centre stated that the White Helmets had finished @ @ @ @ @ @ @ litres of a chemical agent to the site .
The reports come days after units of the Russian military police were deployed to the Idlib ’ s city of Saraqib to ensure security amid escalated tensions in the region .
Back in 2018 , the European Union and the US blamed Damascus for an alleged chemical attack in eastern Ghouta ’ s city of Douma .
The Syrian government rejected the accusation and joined Moscow in saying that the attack was staged by local militants and the White Helmets non-governmental organisation .
Following @ @ @ @ @ @ @ United Kingdom and France hit out at what they called Damascus ’ chemical weapons facilities with over 100 missiles .
In late-May 2019 , US Department of State spokesperson Morgan Ortagus said that Washington was collecting information regarding an alleged chemical weapons attack that reportedly took place in Idlib , warning the Syrian government that it would quickly respond if Damascus ’ use of chemical weapons is confirmed .
The Russian Defence Ministry denied reports at that time , saying that “ this cynical lie is not even confirmed by the White Helmets @ @

An American delegation sponsored by Turkey’s president and head of Al Qaeda in the Anatolian Peninsula, or EAQ (Erdogan’s Al Qaeda) was intended to be present as witnesses for a staged chemical attack by the White Helmets.
Their leader, former MI 6 “false flag” specialist, James Le Mesurier, committed suicide by being thrown out of a window in Istanbul by Turkish intelligence operatives after a feud with Erdogan. Le Mesurier didn’t agree to kill Americans in Idlib.
Erdogan now personally runs the White Helmets, according to our sources.
Sputnik/Moscow: Earlier in the day, the Russian Centre for Syria reconciliation stated that the White Helmets had finished filming a staged provocation implicating the Syrian army in the use of chemical agents. The Russian Reconciliation Centre for Syria stated on Wednesday that a group of up to 15 terrorists had attempted to carry out a chemical attack in Syria’s Idlib province. “On 2 March, a group of up to 15 terrorists attempted to detonate explosive ammunition together with containers full of a poisonous chemical agent. The terrorists aimed to impede the advance of Syrian government forces in the western part of Saraqib city and then accuse the Syrian government of using chemical weapons”, the statement reads. The terrorists accidentally unsealed one of the containers, which resulted in a leak. Terrorists received “significant chemical poisoning” and failed to carry out the attack, the centre said. The Russian military said they would soon publish the evidence on the failed chemical attack. Earlier in the day, the Reconciliation Centre stated that the White Helmets had finished filming a staged provocation after delivering 400 litres of a chemical agent to the site. The reports come days after units of the Russian military police were deployed to the Idlib’s city of Saraqib to ensure security amid escalated tensions in the region. “Chemical Attack” in Douma Back in 2018, the European Union and the US blamed Damascus for an alleged chemical attack in eastern Ghouta’s city of Douma. The Syrian government rejected the accusation and joined Moscow in saying that the attack was staged by local militants and the White Helmets non-governmental organisation. Following the accusations, the US, the United Kingdom and France hit out at what they called Damascus’ chemical weapons facilities with over 100 missiles. Alleged Chemical Attack in Idlib In late-May 2019, US Department of State spokesperson Morgan Ortagus said that Washington was collecting information regarding an alleged chemical weapons attack that reportedly took place in Idlib, warning the Syrian government that it would quickly respond if Damascus’ use of chemical weapons is confirmed. The Russian Defence Ministry denied reports at that time, saying that “this cynical lie is not even confirmed by the White Helmets”.
Headquartered in Moscow Russia, Sputnik is a news agency with offices around the world. Sputnik covers global political and economic news for an international audience. Launched in November 2014 by the Russian media group Rossiya Segodnya, Sputnik works in more than 30 languages including English, Spanish, French, German, Arabic, Chinese, and more. *All posts on behalf of Sputnik News are made by Gordon Duff and Jim W. Dean


veteranstoday--2020-03-05--Russian Commentary on the Putin Erdogan Summit

The only thing that Vladimir Putin can say to Recep Erdogan on March 5 in Moscow is : “ If you are not a fool , then stop everything you do in Idlib , ” said expert Vladimir Anokhin .
These agreements provided for the disengagement and ousting of terrorists from the external borders of the de-escalation zone to a depth of 15-20 kilometers and the withdrawal of heavy artillery weapons there .
“ Instead , the result of the agreement was the crowding out of the officially recognized UN terrorist groups ” Khayyat Tahrir al-Sham , * the Islamic @ @ @ @ @ @ @ ad-Din * all militants of the “ moderate opposition ” to the north , to the Turkish border , ” stated Konashenkov .
He added that shelling of the Khmeimim base became daily , Turkey , in violation of international law , transferred its units to Idlib , and in the West , no one notices this .
As the vice-president of the Russian Academy of Geopolitical Problems , Vladimir Anokhin , told Pravda.Ru , “ Everyone does not like Turkey , ” since Erdogan is pursuing an “ absolutely crazy policy.
” @ @ @ @ @ @ @ terrorist organizations is an undermining of international relations per se , Sochi and other agreements with the aim of creating a Turkish caliphate , which should spread to the Middle East , ” said Vladimir Anokhin .
He added that such actions lead to the loss of Turkish authority in the Western world .
“ They perfectly understand that Erdogan is more afraid of his Turkish army than all other armies , especially after a possible coup that was foiled , ” the expert noted .
According to him , Europe “ can @ @ @ @ @ @ @ is blackmailing her with migrants and sending bandits to Libya .
Russia , according to the expert , fell into a “ rather stupid ” situation with the Turkish Stream , because it was “ tied with a pipe to Turkey.
” “ Therefore , we must portray a good face in a bad game , ” said Vladimir Anokhin .
Putin should not believe Erdogan The expert believes that after the meeting between Putin and Erdogan , “ the war will continue , one way or another.
” “ If you evaluate @ @ @ @ @ @ @ Libya , then the only thing Putin can say to Erdogan : “ Listen , if you are not a fool , then stop everything that you do here , ” he said .
The Turkish side , according to Vladimir Anokhin , should react to this with statements about a possible change in its attitude and position .
“ As a result , in my opinion , they ( Turks ) will tighten their tail , there will be political statements , but there is no faith for them , ” summed @ @ @ @

The only thing that Vladimir Putin can say to Recep Erdogan on March 5 in Moscow is: “If you are not a fool, then stop everything you do in Idlib,” said expert Vladimir Anokhin.
Defense Ministry makes a harsh statement on Idlib
These agreements provided for the disengagement and ousting of terrorists from the external borders of the de-escalation zone to a depth of 15-20 kilometers and the withdrawal of heavy artillery weapons there.
“Instead, the result of the agreement was the crowding out of the officially recognized UN terrorist groups” Khayyat Tahrir al-Sham, * the Islamic Party of Turkestan *, and Khoras ad-Din * all militants of the “moderate opposition” to the north, to the Turkish border, ” stated Konashenkov.
He added that shelling of the Khmeimim base became daily, Turkey, in violation of international law, transferred its units to Idlib, and in the West, no one notices this.
Everybody dislikes Turkey
As the vice-president of the Russian Academy of Geopolitical Problems, Vladimir Anokhin, told Pravda.Ru, “Everyone does not like Turkey, ” since Erdogan is pursuing an “absolutely crazy policy.”
“The coalescence of Turkish forces with terrorist organizations is an undermining of international relations per se, Sochi and other agreements with the aim of creating a Turkish caliphate, which should spread to the Middle East,” said Vladimir Anokhin.
He added that such actions lead to the loss of Turkish authority in the Western world.
“They perfectly understand that Erdogan is more afraid of his Turkish army than all other armies, especially after a possible coup that was foiled,” the expert noted.
According to him, Europe “can not stand” Erdogan, because he is blackmailing her with migrants and sending bandits to Libya.
Russia, according to the expert, fell into a “rather stupid” situation with the Turkish Stream, because it was “tied with a pipe to Turkey.”
“Therefore, we must portray a good face in a bad game,” said Vladimir Anokhin.
Putin should not believe Erdogan
The expert believes that after the meeting between Putin and Erdogan, “the war will continue, one way or another.”
“If you evaluate the behavior of Turkey in Syria and Libya, then the only thing Putin can say to Erdogan:“ Listen, if you are not a fool, then stop everything that you do here, ”he said.
The Turkish side, according to Vladimir Anokhin, should react to this with statements about a possible change in its attitude and position.
“As a result, in my opinion, they (Turks) will tighten their tail, there will be political statements, but there is no faith for them,” summed up Vladimir Anokhin.
* A banned terrorist organization in Russia.
Source: Pravda.ru


veteranstoday--2020-03-05--Victim: “Trump ejaculated on my dress during rape,” asks court for pervert’s DNA in lawsuit

President Donald Trump ’ s lawyers urged a judge Wednesday to halt a lawsuit from a woman seeking Trump ’ s DNA to help prove her claim that he raped her in the 1990s , though her lawyer offered to hold off the DNA request for a time .
Former advice columnist E. Jean Carroll is suing Trump for calling her a liar when she went public with her rape allegation last year .
Trump ’ s lawyers argue her case — including the DNA request — needs to wait until New York ’ s highest court rules in a @ @ @ @ @ @ @ could take several months or longer .
Judge Verna Saunders gave no indication Wednesday how or when she might rule on whether to pause Carroll ’ s case .
Carroll , who watched from the courtroom audience , said afterward she ’ s pursuing the suit “ not just for myself but for every woman in America who ’ s been grabbed , groped , harassed , sexually assaulted , and has spoken out and still has been disgraced , shamed or fired.
” Carroll says Trump assaulted her in a luxury department @ @ @ @ @ @ @ after they bumped into each other and bantered about trying on a bodysuit .
Trump said Carroll was “ totally lying ” to sell a memoir that was published last year , adding in one interview that “ she ’ s not my type.
” He said he ’ d never met Carroll , shrugging off a 1987 photo of them and their then-spouses at a social event as simply a snapshot of a moment when he was standing in a line .
Carroll is seeking a DNA sample from Trump to see @ @ @ @ @ @ @ found on a dress that she says she was wearing during the alleged attack .
Carroll says she hasn ’ t laundered the dress and donned it only once since , for a photoshoot last year .

President Donald Trump’s lawyers urged a judge Wednesday to halt a lawsuit from a woman seeking Trump’s DNA to help prove her claim that he raped her in the 1990s, though her lawyer offered to hold off the DNA request for a time.
Former advice columnist E. Jean Carroll is suing Trump for calling her a liar when she went public with her rape allegation last year. Trump’s lawyers argue her case — including the DNA request — needs to wait until New York’s highest court rules in a separate case against him. That ruling could take several months or longer.
Judge Verna Saunders gave no indication Wednesday how or when she might rule on whether to pause Carroll’s case.
Carroll, who watched from the courtroom audience, said afterward she’s pursuing the suit “not just for myself but for every woman in America who’s been grabbed, groped, harassed, sexually assaulted, and has spoken out and still has been disgraced, shamed or fired.” Carroll says Trump assaulted her in a luxury department store dressing room in the mid-1990s, after they bumped into each other and bantered about trying on a bodysuit. Trump said Carroll was “totally lying” to sell a memoir that was published last year, adding in one interview that “she’s not my type.” He said he’d never met Carroll, shrugging off a 1987 photo of them and their then-spouses at a social event as simply a snapshot of a moment when he was standing in a line. Carroll is seeking a DNA sample from Trump to see whether it matches as-yet-unidentified male genetic material found on a dress that she says she was wearing during the alleged attack. Carroll says she hasn’t laundered the dress and donned it only once since, for a photoshoot last year. Read Full Article on ABCNews.go.com