Harvey Weinstein, the politically connected and influential Jewish Hollywood mogul.
On October 5, The New York Times – a publication owned and operated by wealthy Jews for virtually its entire existence – published a lengthy article detailing the sexually perverse and predatory nature of Jewish Hollywood mogul Harvey Weinstein. Weinstein’s disgusting and debasing sexual advances on women have been well known in Hollywood circles for decades, and his perverted, twisted exploits were even joked about in various media forums and in comments made by numerous celebrities and actors.
Since the Times published its revealing expose of Weinstein, numerous high profile celebrities, actors, journalists, and other media and Hollywood figures – the vast majority of whom are Jewish – have been accused of similar sexual misconduct and abuse. Those accused or outright implicated in such disgusting and perverse behavior include the Jewish actors Jeremy Piven, Dustin Hoffman, and Jeffrey Tambor; the Jewish “comedian” Louise C.K.; the Jewish filmmakers Brett Ratner and Matthew Weiner; and the Jewish journalists Mark Halperin and Leon Wieseltier, among many other high profile celebrities and Hollywood insiders.
Hollywood has always been a Jewish owned industry, from its very inception. And it’s always been a haven for sexual degeneracy, perversion, debauchery, and abuse. Sadly, even pedophilia is rampant in Jewish owned Hollywood, as outlined here by Jewish actor Corey Feldman:
These facts were recently laid out in an informative article published by The Times of Israel, an article which demonstrates the long history of sexual perversion and debauchery that is widespread in Jewish run Hollywood. The article focuses primarily on Jack Warner, one of four Warner brothers who founded the iconic Warner Bros. Studios in the Los Angeles area. The article – published by an explicitly Jewish news outlet, mind you – openly acknowledges the fact that Hollywood is and has always been a Jewish run industry from its very founding. The entire piece is well worth reading.
Decades ago, Warner Bros. studio mesmerized moviegoers with films such as “The Jazz Singer” and “Casablanca” — some of the most popular hits of cinema’s golden age.
Now, the four Jewish-American brothers who founded that studio — Jack, Harry, Sam and Albert — are the marquee attractions of a new book: “Warner Bros: The Making of An American Movie Studio,” by film critic and historian David Thomson.
It’s part of Yale University Press’ Jewish Lives series, and the protagonist is studio head Jack Warner — a walking paradigm of Hollywood success and scandal.
Warner is “maybe the biggest scumbag ever to get into a Jewish Lives series,” writes Thomson. But when Yale suggested Thomson take up the Warner Bros. for the series, the acclaimed author of 20 books was intrigued. It hadn’t occurred to him to write about a corporation, he told The Times of Israel.
He said, “certain corporations that were absolutely vital in the history of movies were largely or almost entirely Jewish. … I was always very interested in the way in which Jewish culture had so much to do with the foundation of movies.”
“The most important factor of all is that I really felt, for me personally, Warner Bros. was the great studio,” he said.
The family’s original name was either Wonsal or Wonskolasor. Of the four brothers, the older three — Harry, Albert and Sam — “were all born in what was either Poland or Russia depending on the frontiers at the time,” Thomson said.
In the late 19th century, their father, Benjamin, immigrated to the US and changed his last name to Warner. His sons Moses, Aaron and Shmuel became, respectively, Harry, Albert and Sam.
“I think, back in Europe, they had a hard time,” Thomson said. “They were not nearly as poor as some, but they were not well-off. Because they were Jewish, I think they were subjects of a great deal of hostility.”
As the family moved across North America, they lived in Canada, where in 1892, a baby boy named Jacob was born; he would become Jack.
They relocated to Youngstown, Ohio, trying their hands at various career paths including operating a bowling alley.
One night in 1903 or 1904, Sam Warner suggested something different: As his brothers sampled their mother Pearl’s potato latkes with applesauce and sour cream, he used a recent technological phenomenon — a movie projector — to show a 1903 film, “The Great Train Robbery,” on a sheet pinned to the wall.
“If Sam had not really urged it upon them, they might have done something else altogether,” Thomson reflected.
Follow the celluloid road
Moviemaking in that era was a path well-traveled by Jewish Americans, according to Jan-Christopher Horak, director of the UCLA Film & Television Archive and a professor of critical and media studies.
“Almost all of them were immigrants from the shtetl, Jewish, from Russia or Eastern Europe,” Horak said. “Louis B. Mayer, Fox, Samuel Goldwyn, whose real name was Goldfish.”
“[At] the beginning of the 20th century in this country, there was still a lot of anti-Semitism,” Horak explained. “Certain professions, they were maybe not legally banned from, but it was extremely difficult to get into. At the beginning of the 20th century, what you had was the creation of, the invention of, motion pictures. A lot of Jewish immigrants saw this as a way to get into something in which there was no competition.”
However, they faced anti-Semitism from first-generation film producers such as Thomas Edison, Horak said. “In the period to 1912, there were a lot of anti-Semitic statements that ‘these Jewish pushcart peddlers are taking over the film business, destroying the morals of our youth, etc., etc.’ — from the right wing, of course,” he said.
But circa 1915-1917, Jews moved into production “and pretty much invented Hollywood,” he said — referencing film critic Neal Gabler’s 1988 book “An Empire Of Their Own: How the Jews Invented Hollywood.”
“He was the first to write about it,” Horak said. “Up to that time, it had been a taboo subject — that someone thinking about it would say that it would be anti-Semitic. In 1912, it happened that most of the producers themselves … did not make films with Jewish themes. [They wanted to] appear completely American. So much of America, in the heartland especially, was anti-Semitic. They did not emphasize the fact they were Jewish.” […]
Incredible information – “anti-Semitic” information – coming directly from a Jewish source. It’s amazing what the Jews themselves say and publish, and then call people like me and others who expose the reality of Jewish power and influence in our society delusional, paranoid “anti-Semitic conspiracy theorists” for simply pointing it out.
The article concludes by highlighting the scandalous and licentious behavior of Jack Warner, which was common in Hollywood at the time (as well as today!).
Jack Warner himself died in 1978. He left a legacy of professional achievement and personal scandal, divorcing his first wife, having a daughter with the woman who became his second wife, and alienating his son Jack Jr.
His era is associated with unsavory images of power-hungry studio heads and the casting couch — which have reappeared with Weinstein.
“The womanizing habits coming out that Harvey was prone to have a long history in the film business,” Thomson said. “Attitudes change. We’re shocked now.”
“Once upon a time,” he said, “the general feeling was that women going into the movies to get a job as an actress … should not be surprised if they were propositioned, if they had to do pretty nasty things to get ahead. It happened across the whole film business. It’s regrettable.”
Horak said that “Louis B. Mayer was known as an unbelievable satyr, the Harvey Weinstein of back then. Harvey Weinstein was doing it at a time when you couldn’t do it any more. You had the women’s movement in the late 1960s, early 1970s. […]
As Dr. Kevin MacDonald and other writers at The Occidental Observer have pointed out recently, Jews have a strong proclivity to engage in degrading, abusive, and perverse sexual behavior towards White Christian gentiles largely as a result of their entirely distorted and largely false historical narrative of “oppression” and “genocide” at the hands of the goyim.
Powerful Jews like Weinstein are motivated primarily by revenge and a desire to dominate and debase their non-Jewish racial enemies. Thankfully, this information is coming to light in a major way, especially in the wake of the Times article detailing Weinstein’s disgusting and truly shameful behavior. Jewish run Hollywood – and the entire (((mass media complex))), for that matter – needs to be exposed as the corrupt, degenerate, truly evil institution it is in the hands of vengeful, disgusting Jews.
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