An Accidental Truth: "They Live" (the Movie)
7 February 2000
Dear White Racialists:
In some odd permutation of the mathematical rule that the multiplication product of two negative numbers is a positive number, a science fiction movie written and produced by the excruciatingly Politically Correct has some apt and powerful visual imagery for those of us who have awakened to our Talmudic status as "cattle" for the vampire jews.
"They Live" was released as a feature film circa 1988. It is available on video and probably can be found in the Science Fiction section of your local video rental outlet.
The "Corel All Movie Guide" (on CD) describes the story thus:
"A drifter discovers a alien plot to take over the world. Aliens are masquerading under the guise of Reaganism, capitalism, and yuppiedom."
Reaganism? Exactly which part was Reagan's and which part was the work of jewish "advisors" of the banking cartel fraudulently entitled the Federal Reserve? Capitalism? Does that refer to small business or the so-called global economy where sovereign nations are disposed of? Yuppies? Okay. The biggest fans of yuppies were tax collectors for the banking cartel.
Allow me to translate and elaborate on the movie plot for you.
A muscular White construction worker arrives in an unidentified American city to get work because construction halted along with the failure of many banks in his home town. The White construction worker with the unfortunate character name of John Nada (nada means nothing in Spanish) is played by professional wrestler Rowdy Roddy Piper, a muscular blonde man of pleasing proportions. He is warned off from sleeping on a construction site by the White foreman, whereupon a compassionate black man tells John Nada where the local hot showers and free food homeless encampment is.
The ubiquitous TV is on in the homeless encampment. Hackers are interrupting the broadcast signal with messages such as "Our impulses are being redirected...They are safe as long as they are not discovered...We are their cattle. We're being bred for slavery..."
The encampment is raided by SWAT teams of cruel and vicious "White" men who also destroy the church across the street. John Nada had been nosing about the church previous to the raid and discovered a lab and boxes of sunglasses. He returns to the raided church to discover the cause of the raid.
After finding a pair of the sunglasses, John Nada puts them on, and is amazed to view the subliminal messages on all signs and publications around him. With the glasses, the textual facades fall away to reveal "Watch TV", "Sleep", "Obey," "Consume," "Do Not Question Authority," "No Independent Thought", etc.
On the dollar bill is written:
"This is Your God."
When John Nada puts on the mysterious sunglasses and looks at the people on the street, he sees that there are hideously ugly aliens intermixed with the White folks. The aliens resemble skeletons with what appear to be disease blotches. They are the embodiment of the "scabrous hypocrites" that Mr. James Floyd from Alabama refers to in his missives.
The human population cannot accurately see the aliens because of an omnipresent mesmerizing signal broadcast throughout the world. Poor humans. Dazed by the alien broadcasts and absorbing subliminal commands, they are much like....the people some of us refer to as sheeple.
John Nada has a very human reaction to being confronted with alien invaders and goes on a shooting spree, carefully avoiding harming humans and terminating aliens wherever possible.
According to the rules of politically correct films, all White men have black buddies, so John Nada must persuade the compassionate black man to put on the mysterious sunglasses in order to understand what danger the human race is in. The black man refuses. John Nada decides to use force to MAKE the black man put on the sunglasses. The street fight that follows is at least 7 minutes in duration (though it seems longer), with blows to the groin and organs that would severely injure most mortals.
For those of us who have tried to make other people understand the connect-the-dots pattern to their servitude to the people who call themselves the government, this fight scene is the physical analogy of the intellectual fights engaged in. "No, no, no, I won't look!" is a common reaction of the sheeple.
Finally the sunglasses are put on, revelation follows, and the White man and mandatory black buddy join up with the human rebels who are working to destroy the source of the mesmerizing alien broadcast signal.
In the underground facilities of the aliens, a banquet is being held. The aliens are congratulating their human race traitor partners on the fantastic gains being made in "developing" the earth. The globalist drone will sound familiar to anyone who listens to the "free trade" traitors. ("The gains have been substantial...You, the human power elite...the per capita income of each of you has risen an average of 39%...")
In the end, John Nada forces his way up to the alien transmitter device. He destroys it, thereby enabling humans to see the aliens amongst them. In the process, John Nada is shot and presumably dies. The movie ends with a gratuitous naked woman scene, as she realizes she is being intimate with an alien. Strange choice, that.
After viewing this movie, I wondered if the director and writer were sending coded messages of their own. Could it be that apparent "Gentiles" employed in the jewmedia toxic pits of Hollywood and the San Francisco Bay Area actually understood how our economy and culture is controlled and manipulated by members of the alien culture of judaism?
The director of the movie, John Carpenter, is cited in an interview about "They Live" (attributed to Empire Magazine, November 1996):
"I wanted to return to low budget movies that would turn a profit for the studio cos it cost s**t to make. I wanted to say something about a lot of the things what were going wrong in the country at the time. There was this trend to unrestrained capitalism, it was absolute total stupidity some if it. All the problems I thought had been solved were back: censorship, racism. But I didn't want to preach. So I took a short story and adapted it. And I also wanted to make the longest fight scene in film history..." (sic, various)
The problems of censorship and racism? Censorship of what? I can turn on the tv and have access to 24 hour a day pornography any time I want to pay the fee to satellite TV. It is only White pride speech that is prohibited. Racism? Does he refer to the racism against White "Gentiles"? Probably not. I conclude that John Carpenter is clueless.
Perhaps the writer of the story was sending coded messages of enlightenment.
The movie is based on the story "Eight O'Clock in the Morning" written by Ray (Radell) Faraday Nelson which was published in 1963. Besides writing science fiction stories, Nelson is attributed with the creation of the propellor beanie. Those who wear propellor beanies (known as propellorheads) can give some comic relief to viewers, but it is not a look that commands respect.
Looks can be deceptive, so I went searching for more information on author Ray Faraday Nelson.
In the science fiction anthology _Again, Dangerous Visions_ (©1972, Doubleday & Co.), I was plunged into the woozy world of jewish editor Harlan Ellison introducing a Nelson story. Ellison's defense of stories that "had some acceptability problems with certain libraries" included his disdain of "...scoutmasters and outraged mommies and common garden-variety guardians of public morality", his approval that "young people are getting it on sexually much earlier" and his "trouble with bluenoses" includes when "Citizens for Decent Everything get their white sheets on...".
I finally made it to the opening line of Nelson's story "Time Travel for Pedestrians":
"Masturbation fantasy is the last frontier. When we travel to other planets we won't find much that we can't see or guess at from here, but there are things so strange we can hardly get the fingers of our minds around them that are closer to us than our own skin. Martin Esslin said it, in _The Theatre of the Absurd_:
'In a world that has become absurd, transcribing reality with meticulous care is enough to create the impression of extravagant irrationality'..." (end story except)
Ahhh, not again. What is hyped as a politically correct Journey of Discovery is actually a slosh through the toxic waste of:
"Don't fight back---just concentrate on what you CAN do as a slave...have sex, don't resist, have sex, obey your masters, have sex...".
As is so common with the politically correct, enmeshed in a virus infection of narcissistic neuroticism is a glimmer of truth. White Racialists who communicate reality are often perceived as being in the grips of extravagant irrationality.
Oh, well. So much for the author Ray Faraday Nelson.
I truly believe that neither director Jack Carpenter or story author Ray Faraday Nelson actually understand the larger pattern of the "social injustice" portrayed in "They Live". A movie was accidentally produced that has visual metaphors for the perpetration of genocide against White "Gentiles". I can utilize this work to easily show people the grim reality I perceive.
See here? It's like scenes from this movie:
The aliens are among us. They mimic us and look like us, but they control the lives of White "Gentiles" with the assistance of the White "Gentile" race traitors. And federal agents help guard the aliens, their loot, and their mesmerizing transmitters.
There. That was easy.
Sincerely,
Elena Haskins
P.S. Thank you to my friend for the recommendation of this movie.
For
a fan's site of stills and information about "They Live":
www.toptown.com/dorms/creedstonegate/they/they.htm
A fan's John
Carpenter webpage:
circuits.cf.ac.uk/~spemsb/carp/index.html
Rowdy
Girl Presents Piper's Pit, A site dedicated to Rowdy Roddy Piper:
rowdygirl.simplenet.com/RowdyGirlsWCWZone/Piper/pipernews.htm
Copyright © 2000 Elena Haskins.
Reproduction strictly prohibited without advance written permission.
All Rights Reserved.
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