Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
“Protocols of the Elders of Zanuck is a book about the movie industry as a means of convincing and thereby controlling the American people. It is also a book exploring the ethnic dimensions of this program of cultural parasitism” – Rainer Chlodwig von K.
Rainer Chlodwig von K. of Aryan Skynet and Ideological Content Analysis has done yeoman’s work in researching and compiling a 649 pages tome (hereafter POTEOZ) that meticulously dissects the cancerous tumor that has metastasized out of Hollywood and affiliated centers of cinematic “entertainment” and now infects the global multitude and particularly the modern man (sic) of the West. This encyclopedic work required thousands of hours of viewing films from “classics” to obscure B-movies and everything in between. While most of us surely have enjoyed movies and will admit that they have had a pronounced influence on our lives and the way we regard the world, taken in aggregate, the industry’s fluvial sludge since its inception must be considered a blight on our cultural life, tragically. While Rainer hasn’t always subscribed to this view – he was a casual viewer of films or normie for most of his life – after coming to the realization of the death spiral of White civilization, this is his verdict. So through the lens of racialism (or what simply used to be plain old American common sense about race), historical truth, and traditional Western mores – but by no means puritanical or prudish – does he present a survey of the dystopian, culture-distorting world of film and the creatures that inhabit this realm of dusk.
Numerous commentators congenial to a pro-White or pro-Western heritage position (“Alt-Right” if it must be said) have emerged in recent years to analyze cinema, whether it be in the form of podcasts or essays. Greg Johnson, Richard Spencer, Edmund Connelly, Paul Kersey and others have all reviewed films. Some of their keener insights into particular films are indeed noted in Rainer’s book – there are thousands of references and a handy annotated bibliography. What makes this work unique is the sheer comprehensiveness of it, all delivered in Rainer’s biting style that AS readers will be familiar with and that frequently evoked laughter from this reviewer. First on the text sources: Rainier has delved into old newspapers, academic treatments by cultural Marxist high priests, gossip rags, celebrity biographies, interviews and commentaries from DVDs and Blu-Rays, film criticism including those from a dissident perspective, political history, conspiracy research, bloggers, and various oddities and cultural artifacts such as anti-Jewish conspiracy researcher Eustace Mullins’ My Life in Christ, Revilo Oliver’s Christianity and the Survival of the West, Boyd Rice’s Standing In Two Circles, and Qaddafi’s The Green Book, just to name a few so as to give a flavor of what curiosities are found within. The films covered include those from the silent era, the so-called “Golden Age,” European and American products, and all popular genres including a treatment on pornography and its oft-unknown mutual appreciation society with Hollywood. If there is some justice in the world, and the availability of “free stuff” on the internet hasn’t yet completely decimated the ranks of aware White men and women that will actually purchase and support creative dissidents such as Rainer, POTEOZ should become something of a cult classic.
I say cult classic because the subject matter is admittedly too heterodox and frank to likely appeal to many Whites of a nationalist persuasion and the tiny milieu of non-White allies. The title cheekily betrays its laser-like focus on our Hebrew captivators and myth-makers by referencing the infamous “forgery,” certainly repelling many of our less truthful and chastened racially aware goys (e.g., Peter Sweden). Zanuck is a reference to the gentile Hollywood producer and consummate “Shabbos goy,” Darryl F. Zanuck, whose career spanned the silent era through the 60s. Rainer frustratingly never chooses to explain why Zanuck’s name was selected for the title so one is left to assume that it is only the coincidence of his surname beginning with the letter ‘Z’ as the stand-in for Zion in the “forgery.” The potential cult classic bonafides is certainly enhanced by the provocatively brilliant cover – a collage of various actors (a stubbly Cosby glares upwards), politicians (DJT and Reagan), sluts (one slopping spit with a canine!), and thinkers.
The book is divided into chapters which treat various subject matter; some of these include communism, the evolution of Blacks in cinema and their usurpation of Whites, Zionism and conspiracy, sexuality and deviancy, violence and desensitization, gun control, war propaganda and the State intelligence apparatus nexus, Christianity and religion, youth and teenage rebellion, drugs, miscegenation, the western (genre), sex roles and the inversion thereof, World War II and evil Nazis, the holocaust, White demographic replacement and globalism, political party machines and Hollywood, and Jewish “comedy.”
All the categories of ideological content are ably analyzed and peppered with anecdotes from films, reference works, and supplementary materials. The chapters that I found the most intriguing were the ones on sexuality, deviancy, and pornography; and Zionism and conspiracy. Rainer takes you behind the cameras in these chapters to explore the dissolute lifestyles of so many of Hollywood’s leading golem. From the sadomasochistic orgies purportedly engaged in by actors of the Golden Age such as Montgomery Clift to high-level arms-smuggling and political maneuvering by supporters of the “Jewish state” to pedophile producers and their grooming, the material is collected and presented in such a manner that it becomes much more than mere gossip about scandals, but rather an exploration and indictment of these psychological wrecks’ and parasitic mattoids’ personal lives and super-personal agendas and exposes how this surfaces in an anti-spiritual residue and explicit program of indoctrination in their rotten filmic ejaculations. Aside from the characteristic degeneracy that is widely known within Hollywood circles and has been enumerated for many years by such insiders as Kenneth Anger with his Hollywood Babylon (whom Rainer discusses) and naturally sprouts like a weed in their content, political alliances and historical backgrounds of movie moguls are detailed. Specifically, in the chapter on Zionism and conspiracy, Jewish allegiances are examined and their resultant propagandistic actions detailed. This chapter gets into some highly speculative areas regarding 9/11 and terrorism but is methodically and compellingly presented so that even those who have little to no time for espousing maligned “conspiracy theories” will certainly be fascinated by a straightforward telling of the motivations for framing the narratives of subsequent events in world history by planting the seeds, as it were, in film. The political and intelligence affiliations and prerogatives of Hollywood movers and shakers are demonstrated in several chapters, most notably in the context of World War II, the Cold War, and the “war on terror”.
Many chapters are filled with fascinating digressions; that coupled with the voluminous length have ensured that an astonishing panoply of pop culture partisans and political pimps are on the receiving end of Rainer’s slashing sword-keyboard. These digressions, in fact, are instrumental in developing a certain charm to the book and establishing it as a sort of definitive account of the entire film world from a racialist perspective – all with a scabrous humor. Nothing can be left behind; hence, it’s almost 700 pages! There are several occasions when quotations should have been edited rather than left to extend for multiple pages though. The most glaring of these is a rambling passage from author David McGowan on the Nixon administration, the Apollo missions, and the Vietnam war. Just to provide a sample of the breadth of content included in POTEOZ, Rainer touches on the Clintons and their relationship with Israel, the Oklahoma City bombing, the election of Trump, Fidel Castro, paganism versus Christianity, the New Age predilections of Elvis Presley, John Frankenheimer’s mysterious connection to Robert F. Kennedy, the ultra-Zionist toadying of Frank Sinatra, the JFK assassination, etcetera.
In addition to the insights shoveled forth by Rainer, a multitude of dissident commentators are marshalled to buttress arguments and provide color to what is, to my knowledge, the most thorough exegesis of film history and ideology with a non-pozzed, nationalist perspective. Some of the worthies include: Jim Goad, Andrew Anglin, Michael Collins Piper, Mark Glenn, Blackbird9, John Friend, Libertarian Realist, Michael A. Hoffman II, Sam Francis, Francis Parker Yockey, Alain de Benoist, Germanicus Fink, Richard Spencer, Andy Nowicki, Ann Sterzinger, David Irving, Bret Easton Ellis, Matthew Raphael Johnson, Mark Glenn, Mick Farren, Jan Irvin, James Howard Kunstler, Goy Orbison, Styxhexenhammer666, David Cole, Myron Fagan, Victor Thorn, Hipster Racist, Cesar Tort, Willis Carto, Jay Dyer, Tim Kelly, Bill White, Jonathan Azaziah, Ken O’Keefe, Greg Johnson, Christopher Bollyn, Steve Sailer, and yours truly.
Political, historical, and social context are all detailed, coupled with, most importantly, an incisive critique of the overwhelmingly sick ideological underbelly of cinema. Numerous references to films are made throughout and POTEOZ will certainly become a handy reference to “movie buffs,” or, more appropriately, movie masochists. This book was undoubtedly the culmination of an enormous amount of research and countless hours viewing the products of subhumanity. He did it so you don’t have to. And to the AS and ICA reader, let it be known that somewhere on the order of 90% or more of the content is all brand new and has not appeared anywhere online.