"Live Rat Torture" | Where Nazi Popularity Is Soaring
WARNING: DISTURBING CONTENT
Note: I wrote a version of this before the October 7 false flag in Israel. Hollywood’s ethnic bias seems even more sinister and relevant today.
If you are a screenwriter looking to break into the movie business, you’ll want to avoid setting your story in Russia during the Bolshevik Red Terror, 1918-1923. Bolsheviks just don’t sell in Hollywood.
It’s a shame, really, because the Red Terror was so shockingly depraved, the dramatic potential is practically limitless. For example, there was the slaughter by gunfire of the entire royal household—eleven people by nine Jews and two hired professional Russian hitmen—at the same time in the same room in the basement of a farmhouse.
There were elaborate torture spectacles hosted by coked-out monsters in black leather who would invite their friends to come enjoy an afternoon watching them do stuff like slowly feed Russian officers feet first into furnaces.
There were the mass executions of groups of civilians herded into town squares and then mowed down by machine guns.
There were the labor camps where millions of middle class Christians—the bourgeoisie—perished as slave labor doing things like digging canals by hand.
There were the intentional famines in which millions starved to death.
There were the roving bands of Chinese, Korean, and Jewish thugs slaughtering, looting, torturing, and raping the civilian population with impunity.
There were dysgenic campaigns—the mass murder of intelligent gentiles specifically, along with their children.
There were the massive population displacements, the utter dispossession of the Russian people, and the vast networks of torture chambers and dungeons full of unspeakable horrors.
I mean, the screenplays practically write themselves.
But the Bolsheviks, despite their colorful perversions and sadistic personalities, are just not a popular subject matter for Hollywood film makers and you should probably not write about them if you want to make it big in the movie business.
Write about Nazis, instead. Except for white people themselves, no group of villains is more popular in Hollywood, California, than the Nazis.
If you search for the term “Bolshevik” in the plot summaries of the movies in the Internet Movie Database (IMDb), the results will show 275 titles. By comparison, if you search on the term “Nazi,” you’ll get back 7,225 titles. See what I mean? Nazis are 26 times more popular in Hollywood than Bolsheviks are. Hell, a search on “Anne Frank” produces 128 movies, TV shows, TV movies, TV specials, videos, video games, and podcasts. That’s nearly half of what all the Bolsheviks put together produce, and she was just one Jewish individual. Who died of boring old typhus. In a death camp’s hospital, that is to say, at a hospital. In a death camp.
The Bolsheviks had already murdered 20 million Russian Christians by the time Hitler even came to power in Germany. They were such bloodthirsty villains they didn’t even let WWII interrupt their mass slaughter of civilians—innocent men, women, and children. The machinery of death didn’t even slow down.
Hollywood played its role, then, too, convincing us Americans in propaganda shorts at the movies that Hitler was the new Hitler and so we allied with the Soviet murderers against German Christians while the Soviets mass murdered Russian Christians and confiscated anything valuable they owned “for the proletariat,” which meant confiscated for the proles on the Lower East Side of New York. The picture of American shame is a line of ships crisscrossing the Atlantic like a conveyor belt bearing westward the wedding rings of Russian housewives and the heirloom watches handed down for generations in families that had recently suffered extinction, while bearing eastward a cargo of fresh young Christian boys to feed the insatiable blood lust of Jehovah’s war pigs.
The Bolsheviks dwarfed the Nazis in every category of atrocity, so why does Hollywood just ignore all that great material?
The International Holocaust Remembrance Alliance (IHRA) provides the answer. According to the IHRA’s “working definition of antisemitism,” it is an act of antisemitic discrimination to accuse Jews as a people of being responsible for wrongdoing committed by a single group of Jews. In other words, it is antisemitic to say Jews were responsible for the Red Terror, even though they were and they themselves said so until the horror of the thing began leaking out.
(The argument there is that “not all Jews” participated in the Red Terror—or the genocide in Gaza, for that matter—so it’s antisemitic to say Jews were responsible for the Red Terror. The argument is bogus. Just imagine how insane it would seem if you could be thrown in prison for saying the Japanese attacked Pearl Harbor on the grounds not all Japanese were literally flying the planes that dropped the bombs.)
Another example of antisemitic discrimination, says the IHRA, is making stereotypical allegations that Jews control the media. But Jews, themselves, boast of their control over Hollywood.
You can read through the entire “working definition of antisemitism” at the IHRA website and you will find nothing about the truth or falsity of a statement bearing on whether the statement is antisemitic discrimination. That’s because the IHRA definition, which is increasingly being implemented across the West, is blatant censorship. And only the truth is ever censored.
In other words, the statements that Jews were responsible for Bolshevism and that Jews control Hollywood are not only objectively true, they are true by tacit admission as evidenced by the extreme disparity in Hollywood’s choice of villains.
So, write about Nazis; Nazis are wildly popular in Hollywood. Maybe write a screenplay telling the story of how IDF “soldiers” abducted and tortured Greta Thunberg on her aid mission to Gaza. Just swap out Greta for a young Jewish diarist and give the IDF goons blond hair, blue eyes, and evil-sounding German accents and you may have an Oscar winner on your hands.
Under the Bolsheviks, every town of any size at all in Russia had its own CheKa secret police bureau, which wielded life-and-death power over the people. Junkers (Russians with German ancestry) weren’t just executed, they were tortured to death by official CheKa policy. Junkers were generally prosperous, and, therefore, ipso facto “enemies of the people.” Thus, Bolshevism included from the start¹ a program of brutal ethnic cleansing with mandatory torture thrown in.²
Each CheKa developed its own specialty torture and a sort of informal competition sprang up between them over who could devise the most exotic tortures—could inflict the most pain for the longest period before the victim succumbed. One torture, for example, a favorite of the Chinese CheKa in Kiev, involved strapping a metal cage with a live rat in it to a victim’s torso. Then they would heat the floor of the cage, forcing the desperate rat to gnaw through the victim to escape the heat. It could take up to 24 hours of unimaginable, nonstop agony for the victim to finally die.
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And yet, while everyone has heard of the Nazis and the Holocaust, few have heard of the much deadlier Bolsheviks despite the enormity of their crimes and the unprecedented scale of human suffering they caused.³ Much of this ignorance has to be laid at the feet of Hollywood, the sole source of the typical American’s knowledge of history. (Books? Hah!)
It is significant that a search of the IMDb database for “Holocaust” yields 2,007 titles, while a search for the much deadlier “Red Terror” produces a mere 12 titles. And of those 12, five are about a Red Terror in Ethiopia, one is about the French Revolution, one is about Italian films, one is a documentary about a dispute among historians over the causal relationship between the Russian Red Terror and German Nazism, one is an American Western from 1930 that appears to be referring to the “red terror” of warlike Native Americans, one is about the disputes Lithuanians had with Russians after WWII, one is a silent movie from 1928 about a peasant’s troubles in Tsarist Russia with snooty aristocrats, and only one, a documentary that aired in 2018, is even about the Red Terror in Russia that claimed millions of innocent lives.
One.
Hollywood produces 2,007 times as many movies about the Nazi Holocaust as it does about the much more lethal Red Terror. Hundreds of movies per year feature Nazi villains, while the few movies that even touch on the Bolsheviks present them in a sympathetic light.
It is safe to say the Jews in Hollywood know Bolshevism was a Jewish movement.
So is there any hope we will ever escape Jewish dominance and their psychopathic wilderness slaughter-god? Not until we take back control of our own history.
Founder Felix Dzerzhinsky, described by untrustworthy Wikipedia as a “member of the Polish aristocracy” (his father, a Jew, had converted to Catholicism in a successful bid for Polish nobility), had the murderous CheKa up and running before the end of 1917.
The rise of Hitler owed no small debt to the lurid accounts of the horrors being inflicted on their ethnic kin back in Russia by those Junkers who managed to escape to Germany.
This can’t be repeated enough: thanks to the propaganda of Hollywood, the New York Times, and the rest of the media under Jewish control, we allied with the Bolsheviks to destroy Germany. Of all the many great shames the United States has heaped on itself, this one, at least in my view, is the most odious. No, George W. Bush, you turd, our freedom isn’t why they hate us. It’s our Jews.
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