Nazis 26 Times More Popular Than Hollywood's Least Popular Group

And other reasons to denounce the Jewish victimhood fraud

If you are a screenwriter looking to break into the movie business, you’ll want to avoid setting your story in Russia between 1917-1987, even though that whole period was rich with drama and depravity—the yin and yang of the film industry. You had “ten days that shook the world,” the slaughter by machine gun of the entire royal family in the basement of a farmhouse, elaborate torture spectacles hosted by coked-out monsters in black leather who would invite their friends to come spend an afternoon watching them do stuff like slowly feed Russian officers feet first into furnaces, and so much more. These monsters were called Bolsheviks, and despite their colorful and sadistic personalities, you should probably not write about them if you want to be a success in Hollywood.

Write about Nazis, instead. Yes, Bolsheviks make better villains, being the most depraved humans who ever lived, but if you search for the term “Bolshevik” in the plot summaries of the movies in the Internet Movie Database (IMDb), the results will show 275 titles. By comparison, if you search on the term “Nazi,” you’ll get back 7,225 titles. See what I mean? Nazis are 26 times more popular in Hollywood than Bolsheviks are. Hell, a search on “Anne Frank” produces 128 movies, TV shows, TV movies, TV specials, videos, video games, and podcasts. That’s nearly half of what all the Bolsheviks together produce, and she was just one Jewish individual.

Granted, the Bolshevism was Jewish, too. And, for that matter, so is Hollywood. But, stating either of those facts out loud is an act of antisemitic discrimination under the new IHRA definition of antisemitism and can land you in prison in those parts of the world, like Florida or 27 countries in Europe, for example, where the people don’t enjoy the same freedoms we do.

And that’s how you know both statements are absolutely true. But since both are also antisemitic canards, you have to pretend they aren’t true or Jonathan Greenblatt, who has a lot of pull in Hollywood, won’t let you get a job.

So, write about Nazis or Anne Frank if you want to make it in Hollywood.

Clearly, Hollywood favors movies about Nazis over movies about Bolsheviks.

It’s a shame screenwriters aren’t allowed to exploit Bolshevik villainy and have to make do with evil Nazis. Bolsheviks make Nazis look like Ned Flanders. The Bolsheviks had already murdered 20 million Russian Christians by the time Hitler even came to power in Germany. They were such bloodthirsty villains they didn’t even let WWII interrupt their mass slaughter of innocent men, women, and children. The machinery of death didn’t even slow down.

Hollywood played its role, then, too, convincing us Americans in propaganda shorts at the movies that Hitler was the new Hitler and so we allied with the Soviet murderers against German Christians while the Soviets mass murdered Russian Christians and confiscated anything valuable they owned “for the proletariat,” which meant for the proletariat on the Lower East Side of New York. So we had ships heading west across the Atlantic bearing the wedding rings of Russian housewives and the heirloom watches handed down for generations in families that had recently suffered extinction, then returning with a cargo of fresh young Christian boys to feed the insatiable blood lust of the Zionist war pigs.

And then the genocide of Russian Christians continued for another 42 years after Germany surrendered. Forty-two years! By the time it was all over, the monstrous abomination the Bolsheviks had created and unleashed on the people had murdered 66 million human beings—a Holocaust turned up to eleven.

The Bolsheviks dwarfed the Nazis in every category of atrocity, whether it was the number of total victims, the number of intentional famines, the number of victims tortured to death, the number of minority groups wiped out, the number of forced labor deaths, the number of populations displaced, or the amount of property stolen.

There is no question who the criminals of the 20th century were.

Under the Bolsheviks, every town of any size at all in Russia had its own CheKa secret police bureau, which wielded life-and-death power over the people. Junkers (Russians with German ancestry) weren’t just executed, but were tortured to death by official CheKa policy. Junkers were generally prosperous, and, therefore, ipso facto “enemies of the people.” Thus, Bolshevism included from the start¹ a program of brutal ethnic cleansing with mandatory torture thrown in. The rise of Hitler owed no small debt to the lurid accounts of the horrors being inflicted on their ethnic kin back in Russia by those Junkers who managed to escape to Germany.

This can’t be repeated enough: thanks to the propaganda of Hollywood, the New York Times, and the rest of the media under Jewish control, we allied with the Bolsheviks to destroy Germany. Of all the many great shames the United States has heaped on itself, this one, at least in my view, is the most odious. No, George W. Bush, you turd, our freedom isn’t why they hate us. It’s our Jews.

Each CheKa developed its own specialty torture and a sort of informal competition sprang up between them over who could devise the most exotic tortures—could inflict the most pain for the longest period before the victim succumbed. One torture, for example, a favorite of the Chinese CheKa in Kiev, involved strapping a metal cage with a live rat in it to a victim’s torso. Then they would heat the floor of the cage, forcing the desperate rat to gnaw through the victim to escape the heat. It could take up to 24 hours of unimaginable, nonstop agony for the victim to finally die.

This is a version of the live rat torture. Here, a woman is forced to sit naked from the waist down on a bucket in which the live rat the guy is holding will be put. The bucket is over a flame. These tortures were frequently used to force victims to divulge the location of family members or hidden valuables. “Drawings from the Gulag” by Danzig Baldaev

The Bolsheviks would do things like announce mandatory political training for the entire faculty of a given university. Everyone except Bolshevik Party members would be required to attend the training, which was to be conducted in a far off city. So the entire non-Bolshevik university faculty would meet on the designated morning and board the train. The train would head out in the dead of winter across the wilderness and then the train would stop in the middle of nowhere. Armed soldiers would order everyone off, telling them that their train was being taken out of service, but there was another train coming just behind them that would take them the rest of the way. Everyone would disembark and their train would chug off and then they would be left standing there in the frozen silence. The truth would come slowly. There was no other train coming. With dusk, the ravenous wolves with which Russian forests are thick would draw closer and closer as more and more wolves arrived. Try to imagine what that would be like.

These were the Bolsheviks.

And yet, while everyone has heard of the Nazis and the Holocaust, few have heard of the much deadlier Bolsheviks despite the enormity of their crimes and the unprecedented scale of human suffering they caused. Much of this ignorance has to laid at the feet of Hollywood, the sole source of the typical American’s knowledge of history. Books? Hah!

It is significant that a search of the IMDb database for “Holocaust” yields 2,007 titles, while a search for the much deadlier “Red Terror” produces a mere 12 titles. And of those 12, five are about a Red Terror in Ethiopia, one is about the French Revolution, one is about Italian films, one is a documentary about a dispute among historians over the causal relationship between the Russian Red Terror and German Nazism, one is an American Western from 1930 that appears to be referring to the “red terror” of warlike Native Americans, one is about the disputes Lithuanians had with Russians after WWII, one is a silent movie from 1928 about a peasant’s troubles in Tsarist Russia with snooty aristocrats, and only one, a documentary that aired in 2018, is even about the Red Terror in Russia that claimed millions of innocent lives.

One.

Hollywood produces 2,007 times as many movies about the Nazi Holocaust as it does about the much more lethal Red Terror. At some point, even Christian Zionists will begin to wonder whether such an extreme skew might be intentional. And then the question becomes, “But, why?”

The greatest mass murderers of the 20th century were transformed by Hollywood into its greatest victims. Why was it done? And how come nobody is talking about this?

The chart above shows the number of IMDb titles in which the terms “Nazi” and “Bolshevik” appear in their plot summaries as well as the total number of victims their respective genocides claimed. As you can see, they are in extreme disproportion. Hollywood generates one film for every 857 Jews killed in the Nazi Holocaust, while it requires 229,323 Christian victims of the Bolshevik holocaust to warrant a movie.

Today, Jews are seen as the 20th century’s greatest victims, thanks to the powerful ability of television and film to shape the way we view the world. But, in fact, Jews were among the greatest criminals of the 20th century and, given their tiny percentage of the world’s population, on a per capita basis, Jews were, by far, that century’s greatest mass murderers. That fact alone neuters the cries of Jewish victimhood independently of the degree to which anyone buys into the whole Nazi gas chambers thing.

Here is an example of why the Jewish victimhood fraud must be exposed and denounced:

Two summers ago in Kansas City, every Friday late afternoon, Black Lives Matter held a protest against police brutality in front of the downtown police headquarters. One day, I happened by as two guys, one black guy in his 30s, one white guy in his 20s, were setting up before the protest. They were placing a row of posters with the images of Kansas City residents shot and killed by Kansas City police. Then the last poster showed pictures of the Board of Police Commissioners with short comments beside each photo. The comments next to the white members were racially demeaning, so I said to the white guy, Jesse, “This is what I object to. It’s wrong to use someone’s race in a derogatory manner in order to denigrate them.”

“Oh, I don’t think that’s what the people who made this were trying to do,” he said. “They were just trying to…” His voice trailed off.

“Only whites are victims of that kind of open racial denigration,” I said.

“Well, they do have the power,” Jesse replied.

I told him I thought Jews had the power.

“Um, you kind of lost me there,” Jesse said. “Jews are the victims of marginalization, too.”

“C’mon,” I said, “seven out of eight Ivy League presidents are Jews. Jews completely dominate Hollywood. The media. The highest incomes. Half of US billionaires. Ten of fifteen cabinet positions in the current administration. How are Jews marginalized victims?”

“The Holocaust?” Jesse replied pointedly in the manner of a true believer, as if nothing in the world could be more obvious.

“Which holocaust?” I asked. “The Nazi Holocaust that started in 1939 and killed six million Jews? Or the Bolshevik Holocaust that started twenty years earlier and killed 66 million Christians?” Jesse made a noise that sounded like surprise.

Jesse has been taught his whole life about Jewish victimhood and the Holocaust. If he’s even heard of the Bolsheviks, you can be sure he knows next to nothing about them, and he certainly doesn’t know that Bolshevism was a Jewish movement. Jesse has accepted the false premise, as many Jews themselves have accepted it, of thousands of years of Jewish innocence and gentile wickedness—of the unjust persecution of Jews at the hands of irrational, envious, violent gentiles. That false victimhood narrative is so powerful it acted as a kind of mental filter that prevented Jesse from seeing Jewish power clearly or even considering its possibility. Conversely, because his own people lack victimhood, Jesse condoned their racial denigration.

Jesse is politically crippled, and that’s no accident. The Hollywood narrative is the calculated, intentional deployment of the Nazi Holocaust story alongside the downplaying (or flat out denial) of the Jewish role in the Bolshevik holocaust. The IMDb again provides an interesting insight into just how contrived the Jewish victimhood claim really is.

Normally, after some traumatic event occurs affecting a great many people, there is an immediate spike in public attention to that event, which is reflected in live TV coverage, radio talk shows, social media, and so on. That immediate attention gradually recedes with time and a delayed attention takes its place in the form of weekly, then monthly, magazine articles, then movies, documentaries, books—in other words, those things that take a little time to prepare. This pattern manifests in the IMDb search results for “9/11.”

Hollywood interest in “9/11” shoots up in 2001, of course, peaks in 2006 (except for the tenth and twentieth anniversary years), then generally declines. Last year had the fewest 9/11 related titles of any full year since the event.

The attention Hollywood has paid to 9/11 follows the expected and natural pattern. Aside from the spikes in the tenth and twentieth anniversary years, the peak Hollywood attention to the 2001 attacks came in 2006. (And if the official explanation for The Miracle of the Two Airplanes, Three Skyscrapers were a little more believable, the pattern would probably be even more pronounced.)

Now consider the pattern that emerges from an IMDb search for “Auschwitz.” It is radically different from the “9/11” interest pattern.

Such a traumatic event as a death camp operation claiming three million victims² would surely spark an immediate surge of interest, let’s say upon liberation in 1945 when the existence of the death camp became known to the world. So, if there were the same lagging surge from the movie industry that we saw with “9/11,” we should see the peak of interest in Auschwitz in 1951. <checks chart> Well, there were 0 movies about Auschwitz in 1951, so it’s hard to argue that there was any kind of a peak that year. In fact, there were zero movies the year before, as well, and the year before that, too. And zero movies the year after, and the year after that, and the year after that. For such a traumatic event, one that claimed so many lives, it’s very weird that just where the peak interest from Hollywood should show up, there’s this giant, six-year blank spot. Even weirder, Hollywood’s interest in “Auschwitz” actually peaked 70 years after the event itself.

Jewish control of American media—of the mechanism that determines public opinion and, therefore, public policy—will eventually, probably soon, prove fatal to American gentiles. Moreover, the Talmudic center that controls world Jewry is more than willing to sacrifice the lives of Jews as well—including, as Putin has warned, of Israel, itself—in order to achieve its goal of total world domination as commanded by Jehovah in Deuteronomy. As I wrote above, the Jewish victimhood fraud must be exposed and denounced—for our sake, for the sake of gentile and Jew, and for the sake of the entire world. Spread the word.

1. Founder Felix Dzerzhinsky, always described by untrustworthy Wikipedia as a “member of the Polish aristocracy” (his father, a Jew, had converted to Catholicism in a successful bid for Polish nobility), had the murderous CheKa up and running before the end of 1917.

2. I believe the Auschwitz people have revised their estimated death toll downward by as much as half, but three million Auschwitz victims is still the legally required number they have to pretend to believe in Florida in order to avoid prison. Since I have more readers in Florida than any other place, the last thing I want to do is put them all in legal jeopardy by using the official Auschwitz tally of Jewish victims. So, I’m sticking with the number preferred by Republican State Representative Randy Fine, third from left below.

Randy Fine, third from left, celebrating with other Florida lawmakers the passage of legislation that fights Jew-hatred by locking Floridians in cages.