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Archives for posts with tag: Hitler
Can You Ever Forgive Me? ****
Melissa McCarthy, in what must be her least repugnant role to date, plays the hard-drinking, foul-mouthed misanthrope and literary forger Lee Israel in this amusing movie for booklovers. After publishing biographies of Tallulah Bankhead, Dorothy Kilgallen, and Estée Lauder, Israel fell on hard times and, in order to make ends meet and keep her cat alive, took to forging and selling letters that purported to have been written by the likes of Dorothy Parker and Noel Coward. McCarthy, who is fatter but still way more attractive than the actual Lee Israel, manages to make an almost lovable character out of "a 51-year-old woman who likes cats better than people." Suspenseful, involving, and often funny, Can You Ever Forgive Me? is forgivably watchable if you don't have to pay for it.
4 out of 5 stars. Ideological Content Analysis indicates that Can You Ever Forgive Me? is:
4. Pro-gay. Israel is a lonely lesbian and her partner in crime is a charming British homosexual, Jack Hock (Richard E. Grant), who tragically comes down with a case of the AIDS at the end of the movie after "fucking [his] way through Manhattan." Hock appears with a bloody face in one scene as a reminder of the perils of being a fruity fop in a cold and insensitive world. Israel's forging of letters by Noel Coward, too, furnishes a pretext for a history lesson about how, during the benighted first half of the twentieth century, gays still had to hide their orientations and carry out their forbidden amours in secret.
3. Anti-drug. Israel's drinking is a barrier to healthy relationships. Cocaine, meanwhile, is associated with homosexual excess and irresponsibility. After going away and leaving Hock alone to look after her apartment and cat, Israel returns to find that her friend went on a coke-and-sodomy spree and that the cat has died. It is unclear, however, whether the cat has actually died because of neglect or simply succumbed to old age, considering that it was already sickly. In any case, Hock's life of doping and diddling eventually leads to his demise.
2. Anti-family. "Maybe she didn't die," Hock reflects, trying to recall what became of a mutual acquaintance. "Maybe she just moved back to the suburbs. I always confuse those two. No, that's right. She got married and had twins." "Better to have died," quips Israel, who has no interest in family life.
1.Philo-Semitic and anti-white. Can You Ever Forgive Me? takes place in a New York of the imagination in which plucky underdog Jews struggle to make it in a WASP-dominated world. "Did you hear," bookseller Anna (Dolly Wells) asks, "that Tom Clancy is getting paid $3,000,000 to write more right-wing macho bullshit?" "Are you kidding me?" Israel objects. "That blowhard's gettin' $3,000,000? Oh, to be a white male that doesn't even know he's full of crap, right?" To her credit, Israel's literary agent Marjorie (Jane Curtin) advises her to become "a nicer person" because "you can't be such a bitch" and make it in the publishing world. Israel, however, accuses Marjorie of benefiting from (an implicitly WASPish) privilege and wealth. (Deleted scenes include a vignette in which Israel takes a job as an assistant to a rich blonde lady with the nakedly symbolic surname Whitman. The viewer, of course, is encouraged to find Israel more likable, cleverer, and more deserving of comfort and success in life than the prim and tedious Whitman.) Probably to counter the bad-optics spectacle of a slovenly character named Israel engaging in theft and fraud and generally being antisocial, screenwriters Nicole Holofcener and Jeff Whitty throw in references to Adolf Hitler and "terrible old fart the tyranny addict Joe Kennedy" to remind viewers of Jewish suffering during the Second World War. In truth, however, Can You Ever Forgive Me? is, all things considered, a celebration of balls-out chutzpah and Jewish talent at snookering the gullible goyim.
Rainer is the author of the books Drugs, Jungles, and Jingoism and Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies.
Tags Adolf Hitler, AIDS, alcohol, alcoholic, alcoholism, anti-drug, anti-family, anti-Semitism, anti-white, anti-white male, books, bookstore, Can You Ever Forgive Me?, cat lady, cats, cocaine, crime, Dolly Wells, Dorothy Parker, drugs, gay, gay interest, Hitler, homosexuality, Jane Curtin, Jeff Whitty, Joseph Kennedy, Lee Israel, liquor, literature, Melissa McCarthy, misanthrope, misanthropy, movie review, movies, New York, Nicole Holofcener, Noel Coward, pro-gay, publishing, Richard E. Grant, Second World War, suburbs, Tom Clancy, urbanite, WASP, World War 2, writer
A Cure for Wellness **
"Help! Let me out of this shitty movie!"
I've developed such an iron stomach when it comes to digesting rotten movies that it really says something when it takes me multiple sittings to make it all the way through one, as happens to have been the case with A Cure for Wellness. This plodding Judaic dud concerns a corporate creep (Dane DeHaan) who travels to Switzerland to retrieve an insane executive who is reportedly recuperating in a mysterious clinic. Switzerland essentially being a piece of Germany, the place is naturally being run by crypto-Nazi perverts with all sorts of deep, dark European secrets. Boringly perverted director Gore Verbinski and his collaborators are so determined to give the setting and characters an air of coldness and clinical inhumanity that these qualities, unfortunately, end up attaching themselves to the film itself, making it about as appetizing as a gore popsicle. Even the effort to liven things up with would-be shocks like sadistic dentistry, eels in a toilet, masturbation, and incestuous rape only make the movie more of a yawn-inducer. Even the Blu-ray menu is irritating, with its horror movie cliché of a little girl's monotonous singing. Throw in the fact that this is yet another mean-spirited production of Israeli intelligence asset Arnon Milchan (opening with a shot of skyscrapers, to boot) and A Cure for Wellness goes straight into the biohazard bin.
2 out of 5 stars. Ideological Content Analysis indicates that A Cure for Wellness is:
3. Assimilationist, showing the inspiring ability of blacks and Indians to ape European dress and mannerisms.
2. Judeo-capitalist, casting a financial criminal as the protagonist.
1. Anti-white and pro-miscegenation. Early in the movie, a white woman makes a reference to a "twelve-inch" black penis, suggesting congoid sexual superiority. The pathology of a racially homogeneous community is conveyed by icy-eyed Europeans whose sterile paleness is amplified by their all-white wardrobe. National Socialist notions of racial hygiene are parodied as a form of isolationist inbreeding. The protagonist learns that the clinic occupies the property of a nobleman who determined that the only woman pure enough to bear him a child was his sister. Sad to report, we have now actually plumbed the cultural depth at which audiences are sufficiently debased to tolerate the casual horror of a father (Jason Isaacs) sticking his hand up his daughter's crotch and then sniffing his fingers for the camera. Hitler is never explicitly referenced, but the entire backstory of fiendish medical experiments and fields full of emaciated corpses are intended to evoke the specter of the persecution of the Jews. A Cure for Wellness functions as "Holocaust" revenge porn, with the viewer expected to exult in the sight of a sheltered European girl (Mia Goth) cleaving her father's skull with a shovel and riding into the night on a bike with the evilly grinning New York crook who has rescued her from the Swiss ethno-dystopia.
Tags 9/11, anti-white, Arnon Milchan, assimilationism, assimilationist, capitalism, capitalist, cinema, clinic, criticism, critique, cultural Marxism, culture war, Dane DeHaan, doctor, eels, Europe, experiments, film, Germans, Germany, Gore Verbinski, Hitler, Holocaust, horror, immigration, inbreeding, incest, Indians, Israel, Jason Isaacs, Jewish, Jews, Mia Goth, miscegenation, movie review, movies, murder, National Socialism, Nazi, Nazis, New York, pro-miscegenation, race, racial hygiene, racism, rape, review, subtext, Switzerland, symbolism, Wall Street
The Sum of All Frauds
The goofy espionage thriller The Sum of All Fears (2002), adapted from one of Tom Clancy's Jack Ryan novels, contains a speech by its principal villain, the elite crypto-Hitlerite terrorist mastermind Dressler (Alan Bates), which says a great deal about the burgeoning threat to their communications hegemony which some forward-looking Jews recognized in the then-recent explosion of the internet into public life. Recording his motives for posterity, Dressler simpers into a video camera:
Most people believe the twentieth century was defined by the death struggle of communism versus capitalism, and fascism was but a hiccup. Today we know better. Communism was a fool's errand. The followers of Marx [are] gone from this earth, but the followers of Hitler abound and thrive. Hitler, however, had one great disadvantage. He lived in a time when fascism, like a virus – like the AIDS virus – needed a strong host in order to spread. Germany was that host. But strong as it was, Germany could not prevail. The world was too big. Fortunately, the world has changed. Global communications, cable TV, the internet. Today the world is smaller, and the virus does not need a strong host in order to spread. The virus is airborne. One more thing: let no man call us crazy. They called Hitler crazy, but Hitler wasn't crazy. He was stupid. You don't fight Russia and America; you get Russia and America to fight each other – and destroy each other.
Alan Bates as Dressler
Dressler's speech, while it contains much stupidity, also reveals the revolutionary potentials represented by the internet in its undermining of the long quasi-monopoly enjoyed by Jewish and Zionist entertainment and the dissemination of the "news". By removing the Jewish screen, thereby democratizing mass telecommunications, Europeans are now able to spread unmediated information to each other on a free and instantaneous basis.
The Sum of All Fears, with its hokey yarn about a neo-Nazi plot to explode a nuclear bomb at a football game and initiate a war between the United States and the former Soviet Union, perpetuates the notion that Hitler intended to conquer "the world" and that nationalists of any and every stripe, from European parliamentary presences to prison gangs, threaten to plunge the planet back into worldwide chaos with "weapons of mass destruction" if not held in check and kept under a scrupulous surveillance by the great, patriotic bunch of Americans staffing the Central Intelligence Agency. With his history of peddling junk like this, should it come as any surprise that Sum of All Fears producer Mace Neufeld was honored by the Israel Film Festival with a Lifetime Achievement Award in 2014?
To the extent that nationalism or identitarianism, and not the Jews themselves, can be accurately characterized as a parasitic "virus" occupying a "host", the script does identify an undeniable truth: the virus can no longer be contained, and Aryan Skynet has definitely gone live. Just listen to these two Jews whimpering like trapped rats:
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Tags Abe Foxman, AIDS, Aryan Nations, atom bomb, capitalism, Central Intelligence Agency, Christopher Wolf, CIA, communism, espionage, fascism, fascist, Hitler, identitarian, identitarianism, internet, Israel, Israel Film Festival, Jack Ryan, Jews, Lifetime Achievement Award, Mace Neufeld, Marx, Marxism, mass media, movies, National Socialism, nationalism, neo-Nazi, nuclear war, nuclear weapons, television, The Sum of All Fears, Tom Clancy, TV, Viral Hate, war, weapons of mass destruction, WMDs, Zionism, Zionist
Hellstorm *****
YouTube might not have been the battleground that the Fuhrer envisioned, but this is where the war is being won and the dignity of the German race and Europeans in general is being reclaimed. Hellstorm, based on the book of that name by Thomas Goodrich, who addresses the viewer directly, was produced by Renegade Broadcasting's Kyle Hunt (not to be confused with Eric Hunt, maker of the must-see "Holocaust" documentaries The Jewish Gas Chamber Hoax, The Treblinka Archaeology Hoax, and The Majdanek Gas Chamber Myth).
Hellstorm focuses on the collapse of the Third Reich and the consequent atrocities visited on the German people by the Allies in what is commonly held to have been the "good war". Wisely, Hunt has opted for a female voice for his film in selecting narrator Sinead McCarthy – a meaningful choice in consideration of the unfortunate fact that so much of the suffering involved women, so many millions of whom died or were tortured and raped repeatedly by Soviet forces (as well as Americans). The Hitler worship is minimal, with the emphasis squarely placed on the human element of the history, so that Hellstorm might serve as fine initiation into World War II revisionism for those who, like so many victims of Jewish brainwashing, are incapable of approaching any subject on anything but the emotional plane.
The principal feeling produced in viewers might not be empathy, however, but anger at all of the lies dispensed to them by the public indoctrination facilities (i.e., schools).
Five Stars. Ideological Content Analysis indicates that Hellstorm is:
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Tags criticism, critique, documentary, Eric Hunt, Ethnonationalism, fascism, Germans, Germany, Hellstorm, history, Hitler, Holocaust, Jew World Order, Jewish, Jewish supremacism, Jews, Kyle Hunt, National Socialism, nationalism, Nazi, Nazism, rape, Renegade Broadcasting, review, revisionism, revisionist, Sinead McCarthy, Third Reich, Thomas Goodrich, World War 2, YouTube, Zionism
Skynet Self-Awareness Means the Rise of the Machines
Anthony Zerbe and Keanu Reeves talk encrypted shop in The Matrix Reloaded.
In the Jewish supremacist film The Matrix Reloaded (2003), Neo (Keanu Reeves) has a ruminative chat with Councilor Hamann (Anthony Zerbe) about the relationship between man and machine in Zion. In addition to references elsewhere in the film to sheep and steak (i.e., goy cattle), the subtext of Jewish superiority becomes clear in these characters' attitudes toward the subservient machines that sustain their people. Neo notes in passing that "there are no young men on the Council" to which Hamann belongs, so that the latter's words are to be understood by the redpilled viewer as the pronouncements of an Elder of Zion.
Elder: I like to be reminded this city survives because of these machines [i.e., the Shabbos goyim]. These machines are keeping us alive while other machines [i.e., anti-Semites and Muslims] are coming to kill us. Interesting, isn't it? The power to give life and the power to end it.
Neo: We have the same power.
Elder: I suppose we do, but [. . . ] I can't help thinking that in a way we are plugged into them.
Neo: But we control these machines, they don't control us.
Elder: Of course not. How could they? The idea is pure nonsense, but it does make one wonder, just what is control?
Neo: If we wanted, we could shut these machines down.
Elder: That's it, you hit it. That's control, isn't it? If we wanted, we could smash them to bits. Although, if we did, we'd have to consider what would happen to our lights, our heat*, our air.
Neo: So we need machines and they need us.
In a later scene, Neo meets the Matrix's anti-Semitic "Architect" (German-born actor Helmut Bakaitis), who explains as an image of Hitler flashes across several monitors in the background that he had to redesign the Matrix to account for the troublesome behavior of humans/Zionists. The Matrix with which the viewers of films like this one find themselves confronted is, of course, of Jewish provenance rather than anti-Semitic, and the robotic Sentinels that detect and destroy human dissent are more likely to take the form of organizations like the ADL and SPLC rather than the National Socialist German Workers Party.
The Matrix endures . . . for now.
*Ronald L. Eisenberg explains that, "In the Mishnah, the Rabbis enumerated 39 major categories (with hundreds of subcategories) of labor that were forbidden (avot melakhah) based on the types of work that were related to the construction of the Tabernacle in the wilderness, which ceased on the Sabbath (Shab. 7:2). Activities that cannot be performed on the Sabbath are basic tasks" such as "kindling a flame (lighting, extinguishing)". These are reserved for the Shabbos goy.
Tags ADL, allegory, Anthony Zerbe, architect, Aryan Skynet, avot melakhah, cattle, Councilor Hamann, cryptocracy, Elders of Zion, goy, goyim, Helmut Bakaitis, Hitler, Jewish, Jewish question, Jewish supremacism, Jewry, Jews, Judaism, Keanu Reeves, machines, Mishnah, National Socialist German Workers Party, Nazi, Nazis, Neo, NSDAP, parasitism, politics, rabbi, red pill, redpilled, robots, Ronald L. Eisenberg, Sabbath, Sentinels, Shabbat, shabbos goy, sheep, sheeple, Skynet, SPLC, steak, subtext, superstition, symbolism, Tabernacle, Talmud, The Matrix, The Matrix Reloaded, Wachowski Brothers, Zion, Zionism
Black Sea ****1/2
Directed by documentarian Kevin MacDonald – no, not that Kevin MacDonald – Black Sea is a taut, gritty undersea suspense feature, a fine addition to the venerable submarine subgenre that manages to be original while also echoing The Treasure of the Sierra Madre (1948) in its story of treachery motivated by lust for gold. Jude Law, never one of this writer's favorite actors, turns in a surprisingly masculine turn as an unemployed submariner who signs on with a ragtag, half-British, half-Russian team of dead-enders to swipe a sunken cache of Nazi gold and spite his previous employers by beating them to the punch. Black Sea also packs a major plot twist that ratchets the tension nicely. Definitely recommended.
4.5 out of 5 stars. Ideological Content Analysis indicates that Black Sea is:
4. Anti-tobacco. Peters (David Threlfall) has emphysema, reminding audiences of the dangers of smoking.
3. Anti-fascist. The backstory on the treasure is that Hitler, with Nazi Germany's economy on the verge of collapse in 1941, extorted an exorbitant "loan" from Stalin's "neutral" U.S.S.R. with a threat of invasion if the demanded sum was not received. The implication would seem to be that, while the communists enjoyed an ebullient economy, Hitler's Third Reich was an inefficient basket case that could generate prosperity only through intimidation and violence. Nazis in a sunken sub are also revealed to have engaged in cannibalism.
2. Anti-corporate, anti-bankster. Financial elites inspire loathing and corporate players cannot be trusted.
1. Egalitarian. Robinson (Jude Law) dictates that every man in the crew is to receive an equal share of the booty regardless of his specific responsibilities or national origin. The submarine therefore functions as a microcosm of an experimental socialist society – one that sinks or floats on the strength of collective cooperation. Fraser (Ben Mendelsohn, reunited with Killing Them Softly costar Scoot McNairy, who plays corporate weasel Daniels) is the unredeemable teabagger type in the group, who thinks his ethnic cohort deserves a bigger share of the loot and refuses to share with the Russians. It is Fraser, with his combination of individualistic greed and jingoism, who will more than once put the crew in serious peril. Robinson, through his climactic demonstration of heroism, proves to be motivated more by a sense of justice and vengeance against a hostile elite than by greed or personal pettiness.
Tags anti-bankster, anti-corporate, anti-fascist, anti-tobacco, banker, Ben Mendelsohn, Black Sea, British, cannibal, cannibalism, cinema, collectivism, communism, conspiracy, criticism, critique, David Threlfall, economics, egalitarian, egalitarianism, fascism, film, Hitler, Jude Law, Kevin MacDonald, Killing Them Softly, microcosm, movies, politics, recession, review, Russia, Russians, sailor, Scoot McNairy, seaman, socialism, Soviet Union, Stalin, sub, submarine, submariner, subtext, suspense, The Treasure of the Sierra Madre, Third Reich, Thriller, treasure, USSR
X-Men: Days of Future Past ****
After an overly busy and action-saturated exposition, alleged pedophiliac ringmaster Bryan Singer's X-Men: Days of Future Past develops into a passable superhero entertainment, with Logan (Hugh Jackman) venturing back to the seventies to try to stop scientist Bolivar Trask (Peter Dinklage) from developing the adaptive Sentinel robots who pose an existential threat to mutant survival in the future. Highlights include a comedic slow-motion bullet-halting set piece and the climactic confrontation in which Logan and Beast (Nicholas Hoult) gang up on renegade Magneto (Michael Fassbender). Jennifer Lawrence, meanwhile, playing the pivotal role of Mystique, will, depending upon the viewer's tolerance for fetish garb, either be sexy or repulsive in her scaly blue body stocking and slather of greasy red porn hair.
4 out of 5 stars. Ideological Content Analysis indicates that X-Men: Days of Future Past is:
4. Anti-family. Asked if he has children, Logan (Hugh Jackman) answers, "Sure as hell hope not."
3. Anti-corporatist. At the unveiling of the Sentinels, decorations feature Trask insignia melded with elements of the American flag, suggesting a fusion of government and the defense industry.
2. Feminist. The formidable Mystique kicks or otherwise incapacitates dozens of men throughout the film.
1. Crypto-Zionist. Ostensibly antiwar, Days of Future Past shows its neoconservative streak by having the Sentinel raids on the X-Men occur under the threateningly gloomy skies of Russia and China, two countries currently standing in the way of the Jew World Order. Bodies dumped in a pile evoke the famous images of the Holohoax, while Bolivar Trask's obsession with experimentation on the mutants so as to find a way to eradicate them recalls the notorious Dr. Josef Mengele's alleged experiments and Hitler's supposed "Final Solution" of fumigating the world of Jewry.
The Trask Industries logo, with its angular insignia in a circle against a plain field, vaguely suggests a Nazi banner, and the fact that Trask himself is a midget casts race-conscious gentiles and nationalists as small, abnormal men who overcompensate for their inadequacies by pointing their fingers at those who happen to be a little different. Mutants, like the Ashkenazim, are extraordinarily talented infiltrators who pass as members of a majority they despise and to which they consider themselves superior, a step higher on the evolutionary staircase. Mystique, significantly, is a shapeshifter who, in her mission to save her "people", insinuates herself into the highest levels of politics so as to subvert and neuter human government from within.
X-Men: Days of Future Past also reveals that, while Magneto has been accused of murdering John F. Kennedy (thus accounting for that legendary "magic bullet"), the helmeted hero was actually trying to save Kennedy's life because – get this – Kennedy himself was a crypto-mutant! Thus, continuing with the Jewish-mutant parallels, the film seeks to exonerate Israel of any connection with the JFK assassination and paint the president as a tragically fallen friend of the Jews. This would all seem to be designed to distract from the intriguing case made by journalist Michael Collins Piper, author of Final Judgment, to the effect that the Mossad had Kennedy killed because he opposed Israel's nuclear weapons program.
Tags anti-capitalist, anti-capitalistic, anti-corporatism, anti-corporatist, anti-family, anti-racist, Ashkenazi, Ashkenazim, Bryan Singer, capitalism, China, cinema, comic book, conspiracy, conspiracy theories, corporation, corporatism, crypto-Zionist, feminism, feminist, film, Final Judgment, future, futuristic, Hitler, Hugh Jackman, Israel, Jennifer Lawrence, Jew, Jew World Order, Jewish, Jewry, Jews, JFK, John Kennedy, Kennedy assassination, magic bullet, Magneto, Marvel Comics, Michael Collins Piper, Michael Fassbender, midget, Mossad, movies, mutant, Mystique, National Socialism, Nazi, Nazism, neoconservatism, neoconservative, new world order, Nicholas Hoult, nuclear weapons, NWO, pedophile, pedophilia, Peter Dinklage, pro-NWO, race relations, race war, racism, review, Richard Nixon, Russia, science fiction, shapeshifter, state capitalism, subversion, superhero, time travel, Washington D.C., White House, Wolverine, X-Men, X-Men: Days of Future Past, Zion, Zionism, Zionist
Redlands ****1/2
Vienna (Nicole Fox) is a Midwestern transplant to Southern California who dreams of immortalizing herself through art as a model. Allan (Clifford Morts) is the "fat pervert" and amateur Irving Klaw who entertains her vanity. The pair's initial collaboration sets Redlands into deliberate motion.
An uneasy study of the creative process and of the artist-model relationship as an "energy transfer", or a form of vampirism, John Brian King's debut directorial effort is shot almost entirely in static master shots, a choice that screams "art house" (and low budget) and will automatically alienate the easily distracted. Potential viewers are warned that this is not a film for the faint of heart and that it contains one appalling scene of physical violence in addition to multiple instances of emotional cruelty.
Redlands, owing to a shared subject matter and sensibility, would make for a complementary double feature with Gut (2012) or 24 Exposures (2013) – not that most people would want to sit through two such films in a single sitting. Those sufficiently bold to be interested, however, can screen this gross and engrossing movie via Vimeo.
Ideological Content Analysis indicates that Redlands is:
9. Anti-miscegenation. A freakish, infatuated Asian sidler (Connie Shin) haunts a camera shop to be near its clerk (Leland Montgomery), but he wants nothing to do with her.
8. Anti-Christian. Vienna sports a kitschy "Have Faith" t-shirt as she rambles inanely about Falco.
7. Anti-vegan. Vegans are depicted as somewhat shallow. Hitler is more than once referenced as having been a vegetarian, presumably so as to discredit the lifestyle.
6. Populist, Luddite, anti-corporate, and protectionist. Allan becomes frustrated with a credit card company's user-unfriendly robot phone system and finally snaps when he gets through to a human customer service representative, who turns out to be an African named Chiwamba. He calls her a "black bitch" after she informs him that her predatory bankster organization has lowered his credit limit without informing him and is charging him penalty fees for exceeding his newly decapitated limit. Allan's anger is that of the disenfranchised white male and the American who has seen his countrymen's jobs either shipped overseas or given to cheap wetbacks and other undesirables. In a fit of impotence, he smashes his phone.
5. Un-p.c. Characters use words like "bitch" and "retard".
4. Anti-drug. Vienna's father was an addict.
3. Anti-Semitic! Zack (Sam Brittan) is a parasitic Jew and quasi-pimp, an abusive easy rider who leeches off of his gentile girlfriend's earnings. "Somebody's gotta mind the store," he says. "Might as well be me."
2. Anti-porn. Parallel scenes of photography sessions evoke a powerful metaphor: pornography as a body of autopsy photos of western woman.
1. Anti-feminist/anti-slut. The misogynistic behavior of the men in Redlands is unpleasant to witness and not at all condoned in the tone of the film. What is impossible to deny, however, is that the unenviable treatment of the women in Redlands results from feminism and its destabilizing effect on the family and the moral fabric of society. The importance of the father as the central figure in a woman's life comes across very clearly.
Tags 24 Exposures, abuse, addiction, Africa, amateur, anti-Christian, anti-corporate, anti-drug, anti-feminist, anti-miscegenation, anti-porn, anti-Semitic, anti-Semitism, anti-slut, anti-vegan, art, art film, artist, band, blood, blowjob, California, camera, cheesecake, cinema, Clifford Morts, Connie Shin, credit card, divorce, drama, drugs, easy rider, Falco, fellatio, female nudity, feminism, fetish, film, gore, guitarist, Gut, Hitler, independent film, infidelity, Irving Klaw, Jew, Jewish, Jewry, Jews, John Brian King, Leland Montgomery, Luddism, Luddite, miscegenation, model, movies, murder, Nicole Fox, nude, nudity, obsession, offshoring, Ohio, parasite, parasitism, perversion, pervert, photographer, photography, pimp, political correctness, political incorrectness, populism, populist, porn, pornography, protectionist, psychological drama, Redlands, review, Sam Brittan, Seinfeld, sidler, slut, snuff, studio, un-p.c., vegan, vegetarianism, Vimeo
March of the Wooden National Socialists
For those still among the uninitiated, one of the great comedy and musical treasures that the cinema has to offer is the original film adaptation of Babes in Toyland, more commonly known as March of the Wooden Soldiers. Based on a popular stage production with music by Victor Herbert and libretto by Glen MacDonough and Anna Alice Chapin, the 1934 film directed by the team of Gus Meins and Charley Rogers has, with its preoccupation with toys and even an appearance by Santa Claus (Ferdinand Munier), ensconced itself with ease in audiences' affections and become a Christmas classic of sorts, despite the story being only tangentially Christmas-related. With beautiful songs, imaginative sets and creature creations, and hilarious star turns from Laurel and Hardy, the film is refreshingly innocent and rivals The Wizard of Oz in delightfulness and capacity to produce a smile.
Laurel and Hardy goosestep with a wooden soldier.
What the back of the DVD case is unlikely to tell modern viewers, however, and what makes Babes in Toyland something of a forbidden treat subtextually, is that the film is positively dripping with anti-Semitism, particularly in its depiction of Toyland's alien userer Silas Barnaby, played with hissing, insinuating glee by Henry Brandon – born in Berlin as Heinrich von Kleinbach and credited here as Henry Kleinbach.
Henry Brandon as Jewish usurer Silas Barnaby
Authentic Jew Lev Bronstein, alias Leon Trotsky
Barnaby, (barely) a crypto-Jew with a little Leon Trotsky goatee, dresses all in black, sneers and snivels, and creeps with a crooked cane through Toyland to the accompaniment of somber violin cues, sometimes in company with a large-nosed, depraved-looking dwarf lackey (John George) in a yarmulke. Hellbent on miscegenation and financial vulturism, Barnaby would appear to be the only thing preventing the simple and happy folk of Toyland from enjoying an essentially ideal society.
John George as Barnaby's Minion
Good-natured but bumbling toymakers Stannie Dum (Laurel) and Ollie Dee (Hardy) cross paths with Barnaby when the villain threatens to callously foreclose on the home of the poor Widow Peep (Florence Roberts) unless she consents to allow her daughter, Bo Peep (Charlotte Henry), to marry the parasitic rascal.
Charlotte Henry as Bo Peep
Complicating Barnaby's plan, however, is pretty Bo Peep's understandable aversion to his advances and the fact that the handsome Tom Tom (Felix Knight) has already asked for her hand in marriage. Undaunted, Barnaby simply sets about framing Tom Tom for the murder of one of the Three Little Pigs (played by children, one of whom, Edward Earle Marsh, would go on to earn infamy as a director of pornographic films under the name Zebedy Colt).
After "pignapping" Elmer the Pig and hiding him in his cellar, Barnaby produces a string of sausages that, he claims, is proof that Tom Tom did the little fellow in, with the result that the innocent Tom Tom is cast out of Toyland and into the forbidding Bogeyland. Ollie Dee and Stannie Dum exonerate Bo Peep's beau, however, when they discover that the sausages used as evidence against Tom Tom are not pork, but beef – Barnaby's Jewish pig meat taboo having given him away.
Stannie Dum contemplates a Final Solution as comrade-in-arms Ollie Dee, impatient for glory in blood and iron, works an interesting mustache.
Determined to have his petty revenge against the people of Toyland, Barnaby comes back with an unsightly invasion force of hirsute, subhuman Bogeymen, who, with their horrible features, nappy hair, and savage subservience, may put some viewers in mind of caricatures of Africans and of Jewish provocateurs' agitation of American blacks through various radical front groups of the burgeoning civil "rights" movement. Thankfully, after overcoming their initial panic, the folk of Toyland rally themselves and – with no little help from Stannie Dum and Ollie Dee, who activate a phalanx of goosestepping wooden soldiers – manage to expel Barnaby and his Bogeymen, thus securing the political and genetic integrity of Toyland as a contented monarchic ethnostate.
And so Babes in Toyland happily ends – to the extent, at least, that such a story can have any reassuring closure as long as the likes of Barnaby and his Bogeymen are at large in the world.
Brutish Babes in Toyland producer Hal Roach poses with a truckload of antlered victims of his supremacist megalomania on their way to the infamous studio furnaces – dry run for the real thing a few years later.
Tags 1934, 30s, Africa, allegory, Anna Alice Chapin, anti-miscegenation, anti-Semitic, anti-Semitism, Babes in Toyland, black people, Charles Rogers, Charley Rogers, Charlotte Henry, Christmas, cinema, civil rights, civil rights movement, comedy, criticism, crypto-Nazi, dwarf, Edward Earle Marsh, Ethnonationalism, ethnostate, fascism, fascist, Felix Knight, Ferdinand Munier, film, Florence Roberts, front groups, front organizations, Glen MacDonough, goosestep, goosestepping, Gus Meins, Hal Roach, Heinrich von Kleinbach, Henry Brandon, Henry Kleinbach, Hitler, Holocaust, Jew, Jewish, Jewry, Jews, John George, Laurel and Hardy, Leon Trotsky, March of the Wooden Soldiers, midget, miscegenation, monarchy, movies, National Socialism, nationalism, Nazi, Oliver Hardy, racism, racist, Santa Claus, Stan Laurel, subtext, The Wizard of Oz, thirties, Three Little Pigs, Victor Herbert, Zebedy Colt
Nazis at the Center of the Earth **
From They Saved Hitler's Brain and The Frozen Dead to The Boys from Brazil and, more recently, the gotterdammerung-awful Iron Sky, B-movies have gotten a lot of mileage out of the notion of the Fourth Reich – a return to power by fugitive Nazis who, during the decades intervening since their defeat in World War 2, are supposed to have been plotting and building their organization in some secret hiding place. Just so that the movie industry can reassure itself that all of the possible bases of Nazi resurgence are covered, Nazis at the Center of the Earth opts for the opposite approach from its cohort Iron Sky, positing that the inevitable Nazi invasion will come not from outside the Earth's atmosphere, but from within, under Antarctica's frozen surface. As in The Boys from Brazil, the infamous Dr. Josef Mengele (Christopher Karl Johnson) is the mastermind behind it all.
Nazis at the Center of the Earth, unfortunately, fares little better than Iron Sky; whereas that one groped for laughs with zany, unhumorous humor, Nazis at the Center of the Earth feels like a comedy with all of the jokes removed. What funniness there is to be had from it derives from the premise, situations, and visuals: graphic but comfortingly absurd gore scenes and even a cyborg Adolf Hitler (James Maxwell Young), or at least the Fuhrer's sneering head encased in a terrarium planted on top of a CGI robot body. With the exception of Jake Busey's singular turn as Antarctic bacteriological researcher Dr. Reistad, however, most of the actors play the material straight, with the result that the film has an uneven tone, ranging from the ridiculous to the incongruously serious.
Jake Busey, both physically and in his screen presence, is very much a chip off the famous old block, and one wishes he had more to do here than standing around looking odd, as Busey is easily Nazis at the Center of the Earth's greatest asset. Basically competent technically, the film still comes up lacking in the entertainment department. The gore effects are good, but not sufficiently plentiful to carry the day for horror fans; and whatever suspense is generated during the first half hour is dissipated once it becomes clear the story is going nowhere novel or fun. The wax flake snow, the pedestrian score, the boring moralizing, and chintzy effects all might be forgiven if only this cheap exploitation effort had acknowledged its roots and gone for the throat with the gore or included some sexy material – or, better yet, some humor in the form of one-liners or comedic characters instead of a generalized, intermittent, and anticlimactic absurdism.
Ideological Content Analysis indicates that Nazis at the Center of the Earth is:
7. Conspiracy theory-friendly. All those kooks who wrote those books about Nazi flying saucer experiments were right!
6. Euthanasist. The unfortunate Dr. Maynard (Adam Burch) is kindly put out of his misery by one of his colleagues after being discovered with all of his skin removed.
5. Pro-life/anti-slut. Dr. Reistad, learning from his girlfriend that she is pregnant, knocks her out and extracts the embryo for its stem cells, which are used to revive the Fuhrer's head.
4. Zionist. Dr. Blechman (Andre Tenerelli), captured by the Nazis and identified by Mengele as a Jew, denies this, saying, "No, I'm not religious." He is vaporized anyway, having failed to understand that the Nazis and probably WASPs and other gentiles generally hate Jews not because they practice Judaism, but because they are Semites and a biological abomination. Implicit in Blechman's punishment is a validation of militant Jewish vigilance.
3. Pro-marriage. Dr. Morgan (Dominique Swain) accepts when Dr. Moss (Joshua Michael Allen) proposes to her.
2. Anti-Christian. Hitler seems to be the most religious person in Nazis at the Center of the Earth. "The Lord of the Universe has been so generous to us in recent years that we bow in gratitude before a Providence that has permitted us to be members of such a great nation," he proclaims after coming back to life.
1. Anti-racist/anti-fascist/anti-eugenics, etc. (i.e., pro-yawn). "Bomb every non-Aryan country!" Hitler commands, intending to wipe out the untermensch with flesh-eating bacteriological warheads. "We are about to start a New World Order where only the strong will survive," Dr. Mengele explains.
Tags Adam Burch, Andre Tenerelli, Antarctica, anti-Christian, anti-fascist, anti-German, anti-racist, anti-slut, antiwar, B movies, bacteriologist, biological warfare, Boys from Brazil, Christopher Karl Johnson, conspiracy theories, cyborg, Dominique Swain, euthanasia, euthanasist, fascism, flesh-eating bacteria, Fourth Reich, genetic research-ambivalent, Germany, Hitler, Iron Sky, Jake Busey, James Maxwell Young, Josef Mengele, Joshua Michael Allen, living head, movies, Nazi, Nazis at the Center of the Earth, NWO, pro-life, pro-marriage, scientist, severed head, stem cell research, The Frozen Dead, They Saved Hitler's Brain, World War 2, Zionist


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by Nick DiMola - October 2, 2009, 1:58 pm EDT
Total comments: 16
This puzzler is a great concept hindered only by its execution.
Scribblenauts was love at first sight. While playing the game for the first time at E3, I couldn't help but think it was one of the greatest and most ambitious ideas I had ever seen. When the game arrived at my house for review, I was still completely enamored. In one challenge, I spawned a time machine, went back in time, filled a bottle with water from a medieval moat, returned to the present, and quenched the thirst of a man in a desert. How could this not be the greatest game I had ever played? Unfortunately, as time went on I found myself less and less impressed with many of the game's concepts.
The game is a puzzle title wherein players perform some sort of designated task depending on the scenario they have launched into. Furthermore, the game has two distinct puzzle types with accompanying modes. The first puzzle type is aptly named, "Puzzle." In this mode, players must perform some task to reveal a Starite, the item that must be collected no matter the mode or level. The second type of puzzle, "Action," shows the Starite on the screen and requires players to work through the level to reach the Starite. Players accomplish their task by spawning items into a stage via an on-screen keyboard.
Each level determines performance based on how many items you use and how intelligently or originally the puzzle is solved. With this approach, players are able to replay any particular level in order to solve it in different ways. In fact, players will need to solve puzzles four different ways in order to receive a gold Starite.
Conceptually, Scribblenauts has the potential to be a masterpiece. Unfortunately, the execution is plagued with a variety of issues, the most egregious of which are the controls. Maxwell, the game's protagonist, is unbelievably frustrating to control. Interacting with objects seems to always be a challenge, and furthermore, just moving Maxwell around the screen is an exercise in frustration. Because Maxwell essentially follows the stylus on the touch screen, he has a tendency to fly across the screen even when you are just trying to interact with an object.
Another shortcoming is the way Maxwell interacts with many of the objects. While nearly every unlicensed word known to man will spawn an item on the screen, many of these items have no purpose, and some that should have a particular purpose fail to perform that function. For instance, a spear can not be thrown, but instead is used similarly to a baseball bat. In one challenge, I tried to use the spear to impale a piranha that needed to be killed to reveal the Starite. Rather than tossing the spear, Maxwell jumped in the water and was subsequently mauled to death by the piranha. It's these types of issues that make the game feel far less inventive and more limiting.
As players complete more and more of the game's 220 challenges, they will start to recognize patterns of items that tend to work to solve most puzzles. Due to many items not behaving as players suspect, they will often take the path of least resistance, constantly solving the puzzles with the same item set. Unfortunately, this defeats the purpose of the game and puts a damper on the general experience.
Scribblenauts is a game that begs for a sequel. The concept is still unbelievably unique, and the game does offer fleeting moments of genius and fun. A sequel would serve the series well, because it would allow 5th Cell to take their ideas and truly tighten them to the point of perfection. In the meantime, if you are prepared to deal with many annoyances but seek an original and mostly enjoyable play experience, you'll be well served by Scribblenauts.
Lastability
The game's art style is unique, beautiful, and consistent. Given the sheer number of items, it's amazing that each and every one effectively conveys the personality of the title.
Most of the soundtrack is repeated often. Sound effects match their items, but overall, the game's sound is nothing to write home about.
Controlling Maxwell is absolutely horrendous. He zips around the screen on a whim and has trouble interacting with objects. The only redeeming feature is that items are easily spawned and moved around the screen with the stylus. It's still amusing that there is no scribbling in Scribblenauts.
The core gameplay concepts are fun and engaging, but the game breaks down in the details. Items don't behave as expected, and puzzles are too easily solved by continually using the same objects.
With 220 levels and a level editor, there is plenty to do. Additionally, players can solve each puzzle four different ways to receive a Gold Star.
Scribblenauts is a fun but flawed title. The concepts and ideas shine strong, but the implementation leaves so much to desire that it often impedes enjoyment of the game. Players willing to take a chance on it will find many things to like but will likely finish with it craving a sequel that fixes the many problems.
Review Page 1
Unbelievably unique
With the right items, puzzle solving is fun
Spotty controls
Unexpected item behavior
Review Page 2: Conclusion
BlackNMild2k1October 02, 2009
Actually you only need to solve a puzzle 3 different ways to get the gold starite. You just have to do the puzzle four times.
1st time to beat it initially
then 3 more times to get the gold starite, but you can use everything you used the 1st time to beat it in the 3x run.
Other than that, I agree with this review.
HalbredZachary Miller, Associate EditorOctober 02, 2009
I've heard from various sources that the game will not spawn a penis no matter what euphamism you use, so it's dead to me.
MegaByteAaron Kaluszka, Associate EditorOctober 02, 2009
Zach, did you bring down AT&T?
vuduOctober 02, 2009
What if you just type sausage and then squint your eyes?
ThomasOOctober 02, 2009
I was completely turned off by Scribblenaut's bad control, which led me to sell it away a week after purchase. Like someone said in the Scribblenauts thread, it felt like I was playing with a prototype, like the controls were thrown in only to get the main idea to work.
Quote from: MegaByte
King of TwitchOctober 02, 2009
Tale as old as time.... Third party makes game, gamers fall head over heels then a week into the marriage the control issues surface. Sad.
that Baby guyOctober 02, 2009
This title is why I hate gaming media. I'm infuriated at the love the game received from the press.
It's not worth it, and I think Nick was generous in his review, too. So many items just feel like the item you drew before it. Most projectile weapons feel like guns. Most living things you can ride feel the same. Most things can be thrown, put in containers, or bounce you up somewhere higher. Person X likes item Y. When he gets it, he's happy. Nothing else special happens. Everything just falls flat. The flamethrower, under simple circumstances, freezes the game!
It's just sad, and I honestly feel like all the press swindled me into the purchase with a title I find to be of the same quality as Drawn to Life, something the press agrees fell flat.
Anyways, yeah. Don't pick it up. I'm glad Nick wrote this. The End.
GoldenPhoenixOctober 02, 2009
Quote from: thatguy
On the flip side, pick up the game it is brilliant. It is one of my favorite games this year, and I love finding new ways to solve puzzles, I'm even able to navigate the controls much better. I honestly feel sorry for those swindled into not playing the game because of people who enjoy bashing games because they are relatively well received. It may have its flaws but overall it is a unique and fun title.
D_AverageOctober 02, 2009
I heard that title screen was the best part. Hopefully they toss up a demo so I can experience that aspect and move on.
AVOctober 02, 2009
now this sucks because i asked for this for my birthday. now i'm not sure anymore. it's probably to late too.
It's a fun game and some levels are really challenging.
You can be cheap and re-use some items that will pretty easily float you through a whole section, but those same items might not work on the next section quite as easily.
Also the controls can be frustratingly difficult at times, but you can be inventive enough to work around it sometimes. I've never degraded a leading videogame character through such vulgar language before on such a regular basis, but I did for the most part have fun doing it.
It's a good game, but it does have it flaws. It's worth a play and a must buy if you like something challenging that you can play in quick 5-10 minute intervals.
SixthAngelOctober 03, 2009
I agree with the wording of the review but would have given it a much higher score as I didn't find any of these problems to be as bad.
The controls gave me problems until i got more used to it and figured out one thing. If the item is near Maxwell always tap and drag never tap or he might move if you miss. A button that freezes Maxwell would have fixed all my control complaints but I consider them minor. I think a big problem with many people (not this review) is perception. They see Maxwell and expect to be doing these Mario like platform jumps. The game doesn't want people to do that because it is a puzzle game. They want people to find different solutions to the problems with items, not with reflexes and timing. If a cop starts shooting you or a bear is mauling you the problem isn't that you can't jump over him, it is that you didn't already have an item to take care of him.
Any complaints about all items not behaving in every possible way is a little ridiculous. It should have been expected by everyone that some items will be limited. The spear is treated as a melee weapon, which it also is, so unfortunately can't be thrown. (attacking with any melee weapon uses the same melee animation.) It never stopped me from exploring new items and seeing how they worked and nearly all work just as you would expect. Bug spray sprays, you throw darts and balls, sunlight kills vampires, flashlights light up the darkness, heaters melt ice etc.
With the incredible number of items the option to use a handful (a large handful) to solve many of the problems was inevitable. The point of the incredible number of items isn't that you have to use them, it is that you can always use something different and be creative if you want. The game wants you to and rewards you with merits for doing new things. That is also why the gold star requires you to use different items in every level, forcing you to broaden your choices. In one level I grappling hooked around like spiderman, I flew my sphinx around next, I jumped on trampolines after that, and the last time I moved the starite to me with a combination of a rope, animals and food. If I wanted to I could have made three different flying animals (I figured out about 10) but I don't have to, I can solve it how I want and that is the point of the being able to use any item.
KDR_11kOctober 03, 2009
For throwing the spear, did you try to summon a javelin? Regular spears are meant to be used in close combat.
SeaBassOctober 03, 2009
what do you mean you cant "scribble" in scribblenauts? if you mean "scribble" as in "write", yes you can.
yea...the game was kinda dissappointing. i was DYING to get my hands on it and now i havent played it in a week or so.
Nick DiMolaNick DiMola, Staff AlumnusOctober 03, 2009
Scribblenauts will serve everyone differently, it's a very controversial game. For me, as I played more and more I found my enjoyment level of the game decreasing rapidly. The annoyances started small and grew to be bigger and bigger problems I just got sick of dealing with.
That's me though, hence the 7 I settled on as my score. I could see scores for this game ranging all the way up to a 9. When it comes down to it, each person is going to have a different tolerance for the game's issues.
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Game Profile
Developer 5th Cell
Players 1 - 2
Online Yes
Worldwide Releases
Release Sep 15, 2009
Publisher Warner Bros. Interactive Entertainment
Rating Everyone 10+
Scribblenauts [DS]
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redpajama_set_name: RedPajamaCommonCrawl


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Eine Questura (eingedeutscht "Quästur") ist in Italien eine Polizeibehörde und eine Dienststelle der Polizia di Stato. In fast allen italienischen Provinzen gibt es eine Questura, an deren Spitze ein Questore ("Quästor") steht. Vergleichbar ist die Questura mit Polizeipräsidien in deutschen Ländern, weswegen Questore oft mit "Polizeipräsident" übersetzt wird. Da es in Italien über 100 Questure gibt, sind sie in vielen Fällen auch mit deutschen Polizeidirektionen vergleichbar.

Die Bezeichnungen Questura und Questore gehen auf die Quästoren des Römischen Reiches zurück.

Aufgaben und Organisation
In den über 100 italienischen Provinzen vertritt in der Regel ein Präfekt die Zentralregierung in Rom und pflegt die Beziehungen zu den Selbstverwaltungsorganen vor Ort. Er beaufsichtigt auch die Außenstellen der nationalen Regierung in der jeweiligen Provinz und damit auch die dort eingesetzten Polizeieinheiten. Der Präfekt sitzt dem Provinzkomitee für die öffentliche Sicherheit vor, dem neben dem Quästor auch die Provinz-Chefs der Carabinieri, der Guardia di Finanza, der Präsident der Provinz und der Bürgermeister der Provinzhauptstadt angehören und das Grundsatzentscheidungen hinsichtlich der öffentlichen Sicherheit in der Provinz trifft. Der Quästor ist unter der Aufsicht des Präfekten sowohl Polizeikoordinator, als auch Chef der Polizia di Stato in der jeweiligen Provinz. Ausnahmen bilden besondere Einheiten der Staatspolizei, die Kommandostellen auf der Ebene der Regionen direkt unterstellt sind.

Die Organisation der Questura ist von der territorialen Ausdehnung und insbesondere von der Einwohnerzahl der jeweiligen Provinz abhängig, die Grundstruktur folgt jedoch einem weitgehend einheitlichen Schema. Dem Questore, dessen Rang im Allgemeinen dem eines Brigadegenerals entspricht, unterstehen neben verschiedenen Verwaltungs- und Unterstützungsdienststellen zwei Abteilungen: Einerseits die Kriminalpolizeiabteilung (polizia giudiziaria, "Gerichtspolizei") mit einer mobilen Kriminalpolizeieinheit (squadra mobile), einer polizeilichen Staatsschutzstelle (DIGOS) und einer kriminaltechnischen Stelle; Andererseits die Verwaltungspolizeiabteilung mit Ausländeramt, Passamt, Waffenamt und dergleichen. Hinzu kommt eine kleinere Schutzpolizeiabteilung mit einer Leitstelle, einer zentralen Streifenwagen-Einheit (squadra volante) und einer Anzeige-Aufnahmestelle. Einer Quästur sind in der Regel mehrere Polizeikommissariate nachgeordnet, die im Wesentlichen nach dem Muster der Quästur organisiert sind.

Weblinks

 Darstellung auf poliziadistato.it
 Organigramm einer italienischen Questura
 Liste der Quästuren
 Polizeigesetz Nr. 121 vom 1. April 1981 auf normattiva.it

Organisation der Polizei (Italien)
Behörde (Italien)

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Item # 318128 Stash Points: 2,495 (?) This is the number of points you get in The Zumiez Stash for purchasing this item. Stash points are redeemable for exclusive rewards only available to Zumiez Stash members. To redeem your points check out the rewards catalog on thestash.zumiez.com.
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Flocked Champion logo script on the chest in black.


Google is watching you. No matter which way you look at it, Google has a hand in what you search for, comment on, watch, download, share or publish. Every time you search for a location or use Google maps as a Sat-Nav that information is stored. If you type in the latest bestselling book, blockbuster movie or front-page celebrity, those searches are also saved. Websites send small packets of data known as Cookies, to help them remember you choices or personal information for the next time you visit. These Cookies help build an online profile which allows that creepy banner advert for the product you have just been looking at to pop up on a completely unrelated website, or your details to be remembered the next time you pay a visit your favorite online retailer. It's like that odd shop assistant who always remembers who you are and what you want.
This detailed information is of course interesting to governments, law enforcement agencies and marketers, providing a very detailed map of a person's movements, habits and preferences. Despite this unprecedented level of data collection and surveillance, there are ways to avoid being tracked and remain anonymous online.
It has never been so easy to track someone. Pretty much every person over the age of 5 has a small electronic device in their pocket that is constantly transmitting signals and revealing its location. Users even make tracking easier by searching for a nearby restaurant or asking Siri where the cheapest dog food can be found, giving away information on where we are going and why we are going there. All of this stored information can be accessed; Google Timeline provides a very spooky map of everywhere you've been since you created a Google account. Google also creates a nice history of every website you have searched for or visited. Yes, there's the locally stored history everybody knows about and deletes after they've visited a website they'd prefer other computer users not to know about, but there's also a more complex Google search history linked to your account. This can be accessed and cleared, unless you want Google to know exactly what you've been looking at since you created your account. You can also ask Google not to save your results or track your movements via your account preferences.
Emails should be a safe haven. Traditional post is still considered to be pretty secure and letters can be sent anonymously, so online mail should reflect this. But this isn't the case. Gmail messages carry your IP address, so the location you send an email from is logged and whenever you download a message, your location is given away again. These settings can be changed, but not many people realize this location sharing is a default setting.
Even your YouTube video watching habits are being monitored, stored and acted upon. Have you ever noticed that after spending a Sunday morning watching hilarious cat fails and shark attack videos that the next time you log in, there are many other cat and shark videos on your 'recommended' list? Guess what – it's not a coincidence. Fear not however, your YouTube viewing history can also be cleared and settings tweaked so that anything you watch in the future can be forgotten instantly.
When it's time to buy Grandma's birthday gift, make sure the connection you are buying over is secure. Look for a padlock, https: prefix or green 'verified' box in the address bar or alternatively, shop using a VPN (Virtual Private Network). A VPN will encrypt any data transmitted and will make it difficult for snoopers to view sensitive details such as credit card details, or even what you are buying for Grandma.
If you type in the latest bestselling book, blockbuster movie or front-page celebrity, those searches are also saved. Websites send small packets of data known as Cookies, to help them remember you choices or personal information for the next time you visit.
If you're going for a walk and don't want anyone to know where you're going, enter your phone's settings and turn of location services. This is the software setting responsible for transmitting to applications like Google Maps exactly where you are, based on your phone's GPS signal. This allows Google to build a detailed profile of where you've been, where you ate and what you've been doing for last four hours.
There are lots of easy ways for people to find out lots of information about you. If you have several social media accounts that use the same email address, there are intelligent Chrome web add-ons such as Prophet and search techniques that will allow a complex snapshot of your life to be created. If you use the same email address for Facebook and LinkedIn for example, and you don't have strict privacy settings on Facebook, your real name, occupation, address, favorite football team, sexual preference, age, phone number, number of children, pets and names of your family and loved ones can be collated in seconds. For identity thieves, this makes things easy. Consider using a different email address for different social media accounts and make your Facebook profile inaccessible to strangers, or limit the amount of information you put on there. Did I mention Facebook also monitors and collates your likes, where you go and what you do as well?
As technology progresses and more is done with the information we give out freely, it will only get worse for people wishing to benefit from the digital world but remain off the grid at the same time. It is virtually impossible to live an online life without giving away more personal details than necessary, but with the right precautions, you can limit the amount of data that is freely available and decrease the chances of your personal data being taken advantage of.
The post How to Remain Anonymous Online appeared first on The Prepper Journal.
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text:
Geist Review
First Released Aug 15, 2005
Reviewed Aug 15, 2005
The shooter portions of Geist aren't all that special, but there's a lot more to this game than meets the eye.
By Greg Kasavin on August 15, 2005 at 4:39PM PDT
If you've never had an out-of-body experience before, you could always try Geist, a first-person-perspective action adventure exclusively for the GameCube. In the game, your character's spirit is ripped from his body, leaving you to explore a high-tech, heavily guarded compound as an invisible being capable of possessing other living creatures--and even certain objects. This unique premise sets up some unusual situations and some cleverly designed puzzles as you infiltrate your enemies' ranks by borrowing their bodies and walking among them. Since much of your time is spent occupying the personal space of armed guards, though, much of the game plays out like a standard first-person shooter. The game's ghostly twist is also central to its multiplayer mode, which can be played with or without computer-controlled opponents and teammates. Geist's graphics and sound aren't that remarkable by current standards, and despite its long time spent in development, it's got some obvious rough edges. So its finer points aren't right there on the surface. And maybe that's befitting a game about an invisible man.
You get to be the star of this particular ghost story.
The man in question is John Raimi, a scientist called in with a special forces unit to declaw the Volks Corporation, located somewhere in France. Much like Half-Life's Black Mesa research facility, Volks is a high-tech subterranean laboratory in which dangerous, barely controllable top secret experiments are taking place. In short, Volks is up to no good, so Raimi and company storm in to get their hands on incriminating evidence. But the ambush doesn't go according to plan. Soon Raimi finds himself separated from his squad, becoming the next subject of Volks' nefarious agenda. He's turned into this disembodied, energy-based life-form...and, by some chance, he's then able to escape the elaborate containment system designed to prevent him from running amok. Now it's payback time, and Raimi can see to it that his enemies don't even know what hit them.
It's a good thing there's more to Geist than first-person shooting. In the first few minutes of the game, a shoot-out erupts, and Raimi runs around blasting foes with a handgun while they whittle away at his health bar with their automatic rifles. Your enemies crumple like rag dolls when killed, and don't do much to try to avoid getting shot, so they don't make for particularly challenging opponents. The game's controls are a little sluggish, and the frame rate tends to noticeably bog down during battles, so Geist's first big action sequence falls flat. Fortunately, it's not long before you're transformed into a ghost, and the game gets considerably more interesting from there. Geist's single-player adventure is fairly short and should take you maybe 10 hours or fewer to complete, but it's got a good amount of variety. There's quite a bit of shooting, including more than a few battles against thick-skinned boss opponents. The nature of the action changes considerably depending on the host you possess and whatever weapon he or she happens to be carrying. You'll also get to possess everything from animals to conventional appliances while finding your way around Volks Corp. and uncovering the intentions of its eccentric leader.
As a ghost, you might expect you'd have free reign to wander the halls of Volks however you please. However, your new "body" has certain limitations. You can't pass through solid walls unless there's a noticeable gap in them allowing you to slip through. Volks has also set up certain defenses, preventing you from floating around unhindered. To make matters worse, your health constantly dwindles away and can only be restored by possessing a host or drawing energy from plants you'll find here and there. In practice, there's little danger in running out of health when in ghost form, but your limited life force puts a little pressure on you to keep moving forward. Occasionally you might get stumped by a puzzle and find yourself searching for where you need to go next. But between the game's linear structure and your access to a 3D map of your surroundings, it shouldn't be long before you figure out your next move.
First things first: Before you can possess human subjects, you may need to freak them out by tampering with their trusty appliances.
Geist's linear design helps ensure that the action remains reasonably well-paced, though it also makes a lot of the game's puzzles really simple. It's great that the game lets you possess both living creates and inanimate objects. However, you'll soon learn that pretty much the only inanimate objects the game lets you inhabit are the ones that help you get past an environmental obstacle of some sort. So you won't need to think much about why you're possessing that pile of dishes or that fuse--you'll do it because you can. One of the game's conceits is that, before possessing a living host, you must first weaken its mental defenses by scaring the living daylights out it. You'll do this by possessing computers, ladders, telephones, and more. The results of these freak-out sequences are sometimes creepy and sometimes amusing, but they're completely scripted. You'll wonder how the game might have been different if it gave you more freedom to accomplish your objectives rather than put you in a string of contrived situations, each with very specific solutions.
Though the game frequently leads you by the nose, Geist definitely has its moments. At one point, Raimi finds himself in a women's locker room (no, it's not the first place he goes as soon as he realizes he's invisible). At another point, he must possess the body of an animal handler who has a real way with ill-tempered, stubborn mutts. Some of the later puzzles are pretty decent, too, and the action also gets better as the game gradually accepts that you've come to grips with the basics. The late-game battles are some of the best parts of Geist. You'll need to use your ghostlike abilities to suppress difficult odds, such as by frequently switching between hosts in the middle of a firefight, causing your foes to fire on one another in panic. Since the world seems to move in slow motion as you travel around in ghost form, it can be exciting to watch your foes caught up in the chaotic instant. And just when you think you're unstoppable...well, you'll find out. While the world of Geist isn't so detailed or open-ended that you can really lose yourself in the experience, the game at least succeeds at keeping you guessing, and it compels you to keep pressing on until the climactic conclusion.
Geist's multiplayer mode plays up the game's unique ghosts-and-humans premise.
Geist's multiplayer portion is subject to the same relative strengths and weaknesses as the rest of the game. That is, it makes up for its fairly standard look and feel with some distinguishing features. Multiplayer is split up into different modes of play: possession deathmatch, capture the host, and hunt. All three center on the game's possession mechanics. In deathmatch, your weapons are dependent on which host you possess. Geist has a good selection of different weapons in it, so this is a decent deathmatch mode with a twist. Capture the host works well as a team-based variant, where you try to possess a host and then safely get to a strategic point. Kill some foes along the way and you'll score bonus points when you get there. Hunt is a ghosts-versus-humans match in which ghosts must possess their human opponents and force them into environmental hazards, like pits or fans, while the humans must use their slow-loading antispirit pistols to immobilize and dispatch their ethereal enemies. Each of these modes has a different tone to it, so it's difficult to decide which is best. Hunt is the most unusual, but all tend to be action-packed, partly due to the rather small maps.
Geist supports four players in split-screen matches, but you can have up to eight characters running around in a match by padding it out with computer-controlled extras. The ability to play with bots is definitely nice to have, and multiple difficulty settings for the bots make them suitable competition for players of various skill levels. There are numerous other options you can tweak to customize your multiplayer sessions, and you can also unlock additional maps and characters by finding hidden secrets strewn through the single-player adventure. Overall, Geist's multiplayer mode is a solid addition to the game.
Geist is well worth playing if you're looking for an unusual spin on the first-person-action formula.
Sometimes Geist looks rather impressive, but at other times it's choppy and slow, making the game look dated and uneven. The sum total is still a fine-looking GameCube game that features some fairly expressive characters, lots of pretty-looking atmospheric lighting effects, and considerably detailed environments. There also aren't many interruptions to the action, as loading times during the single-player portion are thankfully infrequent--until you die, anyway, at which point Geist has the annoying habit of prompting you to save your progress before taking several long seconds to load your last saved point. All the while, Geist's audio is good but unremarkable. Weapon effects are a little subdued, and most of the dialogue is spelled out in onscreen text, while the portions of it that are delivered in full speech are of mixed quality. The soundtrack cues up fairly well to what's happening in the game, and it helps reinforce both the suspenseful and action-packed portions of the plot.
By now, the first-person shooter is probably the single-most-played-out style of gaming around. So many games have pushed this style of gaming to the limits, and so many more have fallen short of the mark, that it's difficult for any such game to stand out anymore. Geist at least serves as an important reminder that an original game design and a first-person perspective aren't mutually exclusive. The shooter portions of Geist aren't all that special, but there's a lot more to this game than meets the eye.
Geist / GameCube
Unique premise enables a lot of fun possession-based gameplay
Single-player adventure offers plenty of surprises and variety
Surprisingly good use of slow-motion effects
Solid multiplayer takes some liberties with conventions
Shooter portions tend to feel a little stale
Frame rate sometimes chops up pretty badly
Single-player campaign is quite short
Greg Kasavin
Geist More Info
As a spectral operative, you must search for your physical body, which is mysteriously being kept alive somewhere in an expansive complex. While exploring, you must collect the energies of indigenous spirits to help unravel a mystery and build your own power.
Please Sign In to rate Geist
n-Space
Action, First-Person, Shooter, 3D
Blood and Gore, Partial Nudity, Violence


When you become a certified financial planner, you are fully prepared to help people make decisions when it comes to financial decisions such as: Creating financial �... All information provided by the FPSC � Be a Planner. The Standard. CFP � certification is the most widely recognized financial planning designation in Canada and is considered the standard for the profession, representing the highest level of competence, ethics and practice.
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text:
Sammy Shelor and Springfield Exit: A night of great bluegrass
Great bluegrass music from the stage of The Floyd Country Store.
Sammy Shelor and Linda Lay.
Banjo extraordinaire Sammy Shelor joined in with Springfield Exit Saturday night before an enthusiastic crowd at the Floyd Country Store.
As one would expect from musicians with an international following, they delivered incredible bluegrass music on a fall night in Floyd. Shelor's appearances with fellow banjo lover Steve Martin, who is also a comedian and actor, on David Letterman's show and other venues, along with his awards and appearances with various bands, include The Lonesome River Band, make the Meadows of Dan banjo picker a favorite for bluegrass fans.
Springfield Exit's singer and musician Linda Lay spent her early years with Janette Carter of the Carter Family Fold and is the featured vocalist for the Virginia Foundation for the Humanities and a master vocalist in the Old Dominions Folklife Program.
The band's other members include a sought-after session musician and award winners of the International Bluegrass Music Association.
The Springfield Exit plus Shelor


Wondering? What's the secret to take great pictures with your iPhones? Well! Some people really work for years to master iPhones photography shooting and editing techniques. But with these simple tricks you can start taking much better photos today. Ready? Say Cheese!
Important to note – when taking a picture of one, spend some extra time setting up the shot. Don't forget to tap the screen of your iPhones to focus the camera on your subject – that'll help to ensure that it's focused and the lighting is optimized. Also, take a look at some of the most beautiful examples of portrait photography. You can even use filters and various apps to make the subject more vivid.
Our eyes are drawn to reflections. So look for opportunities to play with them in photos. There are plenty of out-of-the-box places to find reflections such as – larger water bodies, mirrors, sunglasses, puddles, drinking classes and metallic surfaces.
Pictures that contain symmetry are incredibly pleasing to the eyes. Well! It's one of the most compelling and simplest ways to compose a photo from iPhones. In photography, symmetry usually means creating an image that can be divided into two equal parts and are like mirror images.
Include Shadows In Your Composition!
Show Depth in Your Photos!
Aren't, photos look better when they convey a sense of depth as this helps to draw the viewer's eye into the scene. There are several easy techniques that can be used to create depth in your photos.
Don't you dare make this mistake of not getting close enough to the subject? If you shoot from too far away, you won't be able to capture the amazing details, colors and textures that will add charm to your photos. Getting close allows you to capture facial features and emotions more effectively.
Undoubtedly, recent generations of the iPhones flash are much improved upon their predecessors, but their flash is just an LED light. It's just not that powerful and can only occasionally emit a strange hue onto your photographs.
Snap Photos with the Volume Button!
As the iPhones is so thin, tapping the digital shutter button can cause camera and blur the photo you're trying to take. It's better to use the volume up button as one of the easiest tips to click perfect photographs on iPhone and to avoid camera shake completely. Do remember the saying that you explore and let the camera do the rest and this can be the beautiful rain photography ideas and tips that you are looking for.
Negative Space refers to the areas around and between the subjects of an image and it can increase the level of photo from 'good' to 'great'. Including lot of empty space in a photo will stand out more and evoke a stronger reaction from viewer's side.
Mess Around with Color Blocking!
Isn't it cool when an entire image is black and white, except for a single object? Yes! There are many apps to try such things. Color blocking helps in highlighting the elements of a photo that you want to stand out with a bold hue. Here we have narrowed some of the popular self-portrait categories, so you can easily find the one that inspires you most.
Though, it's clear – an iPhone is capable of taking some astonishing photos, but as always understanding your tools is the first step to create great things with them. If you are a street photographer or a person having fondness for street photography, then these Magical Examples Of Street Photography will stun you for sure. There are all sorts of little features that one can use which unlock a whole range of tips to click perfect photographs on iPhone that are more accomplished, more creative and captivating.


text:
package com.allanbank.mongodb;

import javax.annotation.concurrent.ThreadSafe;

/**
 * Extension of the {@link Callback} interface to provide the ability to notify
 * callers when the stream is done.
 *
 * @param <V>
 *            The type of the operations result.
 *
 * @api.yes This interface is part of the driver's API. Public and protected
 *          members will be deprecated for at least 1 non-bugfix release
 *          (version numbers are <major>.<minor>.<bugfix>)
 *          before being removed or modified.
 * @copyright 2013, Allanbank Consulting, Inc., All Rights Reserved
 */
@ThreadSafe
public interface StreamCallback<V>
        extends Callback<V> {

    /**
     * Called when the stream of MongoDB documents has been exhausted.
     */
    public void done();
}

redpajama_set_name: RedPajamaGithub


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