We have talked before about Hollywood being a gigantic psy-ops incubator that produces movies with the goal of pushing beliefs the elites like. This is not at all controversial. While it is true that Hollywood went completely overboard in roughly the last decade, the rot set in way before. When rewatching some classic movies from the 1980s and 1990s, I am often surprised by how subversive they are. As a kid or teen I probably did not care so much about this aspect as I was much more interested in big explosions and aesthetics. Yet, I can barely think of a movie I rewatched in which I did not notice leftist stances.

Even in the 1980s, black gentlemen were put front and center. A very popular approach was to pair up a hot-headed white guy with a black sidekick who brought humor and wit, and cautioned the white lead to hold his horses. Oftentimes, the black gentleman even helps out the white lead after he has made yet another boneheaded decision. Sometimes, there are even black masterminds or at the least ultra-competent black guys. Off the top of my head, I am thinking of Die Hard, Terminator 2, The Matrix, and Pulp Fiction. Heck, basically any movie of that time with Samuel L. Jackson in it has this dude as the strong, powerful guy that does what the white dudes can’t.

In the 1990s, it seems to have become more common to no longer have black/white double-leads but instead make black actors an integral part of the story, even if they only play a relatively minor role. I may be reading too much into this, but I found it quite remarkable that there is a black girl in one of the Jurassic Park movies that is referred to as a “goddess” by the male lead, played by the Jewish fake-Hollywood star Jeff Goldblum:

In my view, Jeff Goldblum is a pretty unattractive actor, so to me it is a total mystery how he ever got a lead role in any movie, let alone a Spielberg blockbuster. Oh, wait…

In Terminator 2, there is a scene that is downright comical. We meet the black genius Miles Dyson who manages to reverse engineer the technology found in the arm that the original Terminator left. This is, of course, a very accurate reflection of the predominance of black engineers in the US high-tech industry. Look at this image:

There is probably a joke in there somewhere, something along the lines of the kind of genius who struggles with figuring out why his smoke detector keeps beeping taking one look at the robotic arm of the Terminator, and solving all the mysteries that stumped hundreds of white engineers. Maybe it is just me, but the way he looks at this prop gives me the impression that he does not really know where he is or even what his name is. If you showed me this picture without context, or swapped the robot arm with any other object, I would be tempted to say that this black gentleman is completely clueless. This is pretty bad acting, no matter how you want to turn it.

Of the movies I watched in recent months, only productions by the Japanese Studio Ghibli hold up perfectly. These movies are masterpieces even for my jaded eyes. In contrast, many more Hollywood movies than I had thought make me sigh with their incessant virtue signalling and hamfisted social engineering. I am almost hesitant to rewatch the original Godfather, Heat, or The Big Lebowski. At the current rate, I may have to keep rewatching Studio Ghibli and a small handful of 1980s action movies.