If greed is good, as Michael Douglas infamously stated in the movie Wall Street, then Disney CEO Michael Eisner must be a saint. Last year, the Disney executive received compensation of more than $575 million. On top of his $750,000 salary, Eisner claimed a $9.9 million bonus and cashed in on $565 million in stock options.

A couple of months ago I wrote a review of the made-for-tv movie ‘White Lies’ which was last aired by the Canadian Broadcasting Corporation (CBC) in August of 1999 (the premier was in March of 1998 and is now available in video stores). Shortly after, I viewed the film American History X, with no intention of writing yet another detailed description and analysis, but I could not resist. I was prompted to write by the similarities that I noticed between the two films. Both contained: “the twisting of reality in the service of a “progressive” cause.

An Incitement to Kill White Southerners and their Culture
Produced by Arnon Milchan. Directed by Joel Schumacher.
Based on the book by John Grisham.
Reviewed by Michael A. Hoffman II
Not a great deal needs to be said about this despicable hate propaganda film among those who know a scintilla of American history. Yet something must be said for the benefit of the vast herd that knows next to nothing.

We’ve spoken about the Jewish control of the news and entertainment media before, but it’s a matter of such urgency that we need to talk about it again and again. It is absolutely essential for us to understand who controls our mass media and how they use their control to undermine America.Very recently a major rearrangement in the media world took place when the Walt Disney company paid $19 billion to take control of Capital Cities/ABC, the company that owns the ABC television network.

A Nationalist Classic.
This masterpiece of Stanley Kubrick was produced in 1963 and is a nationalist classic. Now you should find it strange to hear me argue that this “leftist movie” is a nationalist classic, but it clearly is. For beneath the superficial layer of supposed leftist pacifism is a very extensive and accurate portrayal of an ethnic stereotype that most reading this web site will not instantly recognize. That is because it is the stereotype of us, as seen by the inner party. And this is what makes Strangelove so important.

By Dr. William Pierce | Last week I gave an interview to an English-language radio station in Teheran. The program was “The Islamic Voice of Iran.” We talked about a number of things, including Ariel Sharon’s visit to the White House, which was taking place at the time, and about President Bush’s popularity ratings. The Iranian interviewer asked me whether Bush would take a more sensible, pro-American policy in the Middle East or would continue taking orders from Israel, to the detriment of American interests, the way the Clinton administration had.

Norman Jewison’s movie “The Hurricane” is a screenful of factual inaccuracies that give a completely false impression of how the real events went down — from a grossly misleading depiction of the killers’ getaway to a completely fictitious and hideous portrayal of the key detective. As propaganda for the deification of Rubin “Hurricane” Carter, the movie succeeds brilliantly, but as an honest portrayal of the events surrounding the murders, it is a miserable failure.

Columbia Pictures presents a film directed by Seth Kearsley. Written by Brooks Arthur, Allen Covert and Sandler. Running time: 71 minutes. Rated PG-13 (for frequent crude and sexual humor, drinking and brief drug references). Opening today at local theaters. Heaven help the unsuspecting families who wander into “Adam Sandler’s Eight Crazy Nights” expecting a jolly animated holiday funfest. The holidays aren’t very cheerful in Sandlerville, which is why the PG-13 rating mentions “frequent and crude sexual humor.” The MPAA doesn’t mention it, but there’s also a lot of scatological humor in the film, in keeping with Sandler’s inexplicable fascination with defecation, flatulence and bodily fluids.

THE FRENCH ECCLESIASTICS delegated by the occupying English power to the thankless chore of determining whether Joan of Arc was an imposter or a heretic guided by Satan would love The Messenger. Luc Besson attempts to prove what even the best prosecuting clerics of her day could not: that Joan was a demented, misled, hysterical, confused, and guilt-ridden phony. But even with the power and money of Sony and Gaumont behind him, he is no more convincing than the inquisitors of Rouen.

The biggest threat to our people — the biggest obstacle to our survival and progress — is the Jewish control of the mass media of news and entertainment. I’ve said that to you many times. Today I want to talk about some very specific examples of the way in which this threat works. Last month a special television documentary program began airing on the History Channel, which is a subsidiary of A&E Television Networks. The “A&E” stands for “Arts and Entertainment.” The name of the program is “Nazi America: A Secret History.” It purports to be a serious history of the growth of the Nazi movement in America, starting with the German-American Bund and its precursor organizations in the 1930s and taking us right up to the present

Hollywood’s remake of the 1932 horror classic, “The Mummy” is a racist masterpiece. How is it possible that Hollywood, whose bosom buddy is neo-Bolshevik Bill Clinton and whose mania is political correctness, could make a blockbuster film that is a consummate example of bigotry?

Critics of the International Military Tribunal, and its trial of Third Reich leaders held in Nuremberg after the Second World War, believe it was illegitimate because of its application of ex post facto laws, use of questionable evidence and false testimonies, mistreatment of defendants and witnesses, and hindrances to defense attorneys. (See Mark Weber. “The Nuremberg Trials and the Holocaust,” Journal of Historical Review, Summer 1992), Despite these serious failings, the judgments rendered at the IMT, and at numerous follow-up German war crimes trials, largely shape the modern view of the war.

The subject I’ve discussed most often is the dominant Jewish influence in the mass media of news and entertainment. I’ve spoken most often about this because it is the most important problem with which we must deal. It’s also a subject on which I receive a lot of flak. One of the most common forms of flak is the objection that it doesn’t matter. Sure, the Jews control the media, but it doesn’t make any difference, critics tell me. They’re just good businessmen, and they know how to run the media profitably. That’s why they’ve gained control, and it’s no worse than it would be if a bunch of Irishmen or Mormons were in their place.

“Saving Private Ryan,” Steven Spielberg’s latest cinematic entry in the canon of Hollywood “history,” is not a “holocaust” film. It’s about World War II combat on the Western front and the alleged honor and compassion of the U.S. government. Mr. Spielberg would have us believe that after 54 years, the Allied myths about World War Two continue to hold true–Studs Terkel’s pivotal reference point–”The Good War”–is confirmed. There are good wars, by golly, and WWII was it. Hip, hip, hooray!

Even before its release, reports in the media called “Schindler’s List” a shoo-in for any number of awards. Later, after a pre-release screening of this latest Steven Spielberg movie, holocaust survivors (some of whom claimed to have been on the list to which the movie’s title refers) proclaimed that the film exactly depicted how things had been nearly 50 years ago in Eastern Europe.

In the flood of mail that I received in response to my broadcast two weeks ago about the deliberate lies and distortions of supposedly “educational” television documentaries, I was pleased to note that many of my listeners already are fully aware of this sort of mendacity and have been keeping their own notes. I pointed out in my broadcast two weeks ago that the people in Hollywood who make these television documentaries not only lie to us, but they also are very careless with their facts, and I gave some specific examples of incorrect dates used in a History Channel program that was supposed to inform us about the secret history of Nazis in America.

By an amazing coincidence, Mel Gibson’s epic about the American Revolution, “The Patriot,” just happened to open in theaters on Independence Day weekend. And cynics complain that Americans don’t take national holidays seriously anymore! Most viewers may regard the film as one more wallow in fantasy and stale popcorn, but among the nation’s literati it’s actually incited something resembling thought. Yet, the resemblance is not too close. The immediate reaction to “The Patriot” was denunciation for a scene in which the hero’s preteen sons are given flintlock rifles by their dad (Gibson) and spontaneously conscripted to help massacre a contingent of British troops about to hang their brother.

The made-for-TV movie White Lies was aired on CBC (Canadian Broadcasting Corporation which is a publicly funded network) in March of 1998 and in August of 1999. It claims to be based on “a fiction story” but is actually based upon the experiences of Elizabeth Moore who for a short period was an activist with the Toronto-based pro-White group the Heritage Front and who was also a “consultant” for this film. Moore’s stint with the Front was followed by a defection to the camp of the anti-racists and it’s her experiences on both sides of the racial/political divide that White Lies attempts to capture. Defection from the ranks of evil racists to that of the racial “good guys” was an opportunity which the progressive-minority coalition could simply not let pass.

AFTER I HAD WRITTEN a couple of newspaper columns pointing out that the movie The Hurricane is a hoax, I found myself on a Los Angeles talk-radio station debating the matter with Rudy Langlais, executive producer of the movie. I talked about reading an excerpt from a 1964 Saturday Evening Post article on Rubin “Hurricane” Carter. The article appeared at the apex of Carter’s boxing career, just before he was to fight for the middleweight championship. Carter told the writer that in his youth he used to “shoot at people.” He elaborated: “Some-times just to shoot at ‘em, sometimes to hit ‘em, sometimes to kill ‘em. My family was saying I’m still a bum. If I got the name, I play the game.”

Today I want to talk with you about morality… about standards… about values. Most of us have heard it said that the reason America is in such a mess today is that our people have lost the values we used to have, and that we need to regain them–that we need to begin teaching values to our kids in the schools. And I guess I’ll agree with that . . . but there’s more to it. It’s certainly true that as a nation, or as a race, we’ve lost our values. Or, more accurately, we had them stolen from us. And now, unfortunately, the values we used to have are being replaced by new values which are worse than no values at all.