7:31:23
Whitney Webb
SG: “Remember that time when former Reddit CEO Ellen Pao posted on Twitter that she was at a party w/ Ghislaine Maxwell, partygoers ‘knew she was supplying underage girls for sex,’ and that it was ‘fine w/ the ‘cool’ people’ who sponsored the guest list.
Good times …”
Awful. But everyone always focuses on Maxwell, and not the thousands of politicians, CEOs, billionaires, and celebrities who raped these children. She was part of and serving an endless network of evil—she was not operating on her own. This is not a defense of Maxwell, who is a monster. As Whitney Webb states in the very important interview linked above: “This stuff has been going on for a very long time. And the first step is to be outraged.” But nobody cares because they’re too busy being mad at which political party the president is, what pronoun people call them, what jokes hurt their feelings, or they are in plain denial—they don’t “believe” the world works this way.
Note: I taught Woody Allen’s Manhattan for years in my masculinity in film course. I have never liked the film for various reasons, one of which is its narcissistic psyop ending, where Allen has Hemingway play (ventriloquize) him—”Everyone gets corrupted,” she tells him (it is said that the line is, “Not everyone gets corrupted,” but I never hear the word “not.”) There is also the telling line: “I’m legal but I’m still a kid.” Allen’s character can’t even wait six months for her. He has to derail her life, her plans, her dreams. I now think the film was predictive programming (gradual conditioning) for normalizing the sexualization of young girls in mainstream culture. Allen did it again with Juliette Lewis in Husbands and Wives, where Lewis plays his writing student—that gross kiss during her birthday party at her parents’ house. And of course Allen’s marriage to his adopted daughter, Soon-Yi, whom he raised, was a great test case for the American public’s moral tolerance of pedophilia. But I still can’t figure out why Polanksi (who sodomized a 13 year old girl in Jack Nicholson’s hot tub) was exiled from the US (but not from making movies that were celebrated in the US. According to Michael A. Hoffman, Polanski produced snuff films involving minors for sale on the private market, but these allegations remain unproven), while Woody Allen got away scot free, despite (or rather, because of) his Epstein connection, and the Allen v Farrow 2021 HBO doc. Is it because Polanksi is a foreigner? Is it because of Allen’s deep-state ties? Was Polanski’s “banishment” simply protective optics (as he kept making movies, wining awards, and prospering. He was also extremely high-rank in the Hollywood entertainment complex)? What is the difference between these two celebrated male directors? The difference is certainly only a cover. Crispin Glover: “If one discovers that everything one has been taught to be good is actually false, what then? At what point is one neurotic?” Allen built his entire career on the celebration/joke of male neuroticism because it was the right kind of neuroticism. As I write in my book, Time Tells vol 2., “Manhattan marks a cultural turning point for white masculinity and comedy alike: it refashions the intellectual Jewish male neurotic as a romantic hero. His neuroticism makes him seem funny and harmless—hapless, even—rather than predatory and narcissistic. In the alienated character structure on which psychoanalysis and pharma-occultism rely, the kind of alienation Woody Allen made a career out of, no solution exists except the acceptance and celebration of no-solutions and bad character. Allen’s comedy foregrounds the cinema of emotional nihilism (“Manhattan is the movie where Allen projected his own self-absorption as a universal condition,” J. Hoberman declared in his 2007 retrospective review for The Village Voice). How can we want, much less find, something we no longer believe in? How can we believe in something we no longer know how to want—or be? Psychoanalysis emerged as an anti-faith system that prioritizes the logic and analysis of the bad experience (in particular, early childhood) above all. It takes as its hero the alienated and faithless mind.”
Should we be calling all of this predator entertainment?
