For the past few days, since reading and watching news about the film The Hunt, (now apparently canceled or delayed), I’ve been planning to write a piece focusing on the screenplay’s kill list of “deplorable” American conservatives. My initial primary resource was the official movie trailer itself. Now, in a two minute movie trailer, nothing is included by chance, not even one frame. Halfway through, a bulletin board is shown with photos of the deplorables who have been kidnapped for the hunt depicted in the movie. You will note that along with an evil rhino hunter and a tiki-torch-marching neo-Nazi are a lady with a long gun in front of an American flag, some politicians on the steps of Congress, and a “Range” (Trump?) campaign worker, among others.
YouTube trailer link: https://www.youtube.com/watch?v=x8IifEu67yU
In the movie trailer for The Hunt, the only “kill” that is shown appears to be that of the presumably evil rhino hunter, whose graphic murder by arrow is depicted in close-up.
The original thrust of my piece was that this theme constitutes depersonalizing enemy citizens for a later genocide, to be conducted by an adequately enraged population of properly brainwashed drones. I was going to examine past genocides in Turkey, Russia, Germany, China, Cambodia and Rwanda that were in every case preceded by cruel soulless regimes (and their media and entertaimnemt lackies) systematically degrading and dehumanizing the groups to be targeted for eradication. The “deplorable” conservatives being kidnapped and set up to be hunted and murdered in The Hunt seemed to fit within that pattern, as we see the Left in 2019 branding all conservatives, and most of all white conservative heterosexual Christians, as inherently evil racists who need to be eradicated. Eradicated is the key word here.
Reza Aslan Calls For Genocide Against Trump Supporters
By Ian Miles Cheongon / August 6, 2019 / Human Events
CNN contributor and liberal intellectual Reza Aslan is calling for the “eradication” of Trump supporters. In a series of aggressive tweets directed toward the President and those who voted for him, Aslan remarked – in response to the mass shooting in El Paso – that President Donald Trump “is a white nationalist terror leader.” Arguing that there was “no longer any room for nuance” – words that are remarkably similar to Dayton shooter Connor Betts’ calls for violence on Twitter – Reza openly called for the genocide of Trump supporters. “The President is a white nationalist terror leader. His supporters – ALL OF THEM – are by definition white nationalist terror supporters. The MAGA hat is a KKK hood. And his evil, racist scourge must be eradicated from society.” Armed with dehumanizing language, Aslan’s call for the “eradication” of the Left’s political opponents and his characterization of Trump supporters as an “evil, racist scourge” is rooted in the language of Holocaust proponents and other architects of 20th-century genocide. The term “eradicate,” when used in the context of groups of people, is a call for genocide. An early intelligence record on Hitler’s “Final Solution” was declassified in 2001 under the Nazi War Crimes Disclosure Act, which contains statements by Axis diplomats referring to a plan for the “eradication” of Jews in Europe. “The Jewish problem is being partially solved in the Protectorate [Reich Protectorate of Bohemia-Moravia], as it has been decided to eradicate all the Jews and send some to Poland and others to the town of Terezin, whilst looking for a more remote place,” reads an official Nazi dispatch to the Chilean government.
As of this writing, certified blue-check Twitter celebrity Reza Aslan has not been censured by Twitter following his calls for the eradication of white Trump supporters, while at the same time the Leftist mainstream media and politicians are attempting to ban the word “invasion” when referring to millions of illegal aliens crossing our southern border. It was in this politically biased environment when I first examined the film trailer for The Hunt, and came across the bulletin board photo montage of the “deplorables” set to be hunted down and murdered by the liberal elitists. But while I was pulling together notes and references for my own piece, tentatively to be called “The Left’s Kill List,” the film’s September release was cancelled, or at least delayed, due to a backlash against its theme of political murder in the highly charged atmosphere following the recent California, Texas and Ohio mass-shootings.
Then a counter-narrative began to emerge. What if the liberal elites sipping champagne and nibbling caviar on their Gulfstream jet (along with their kidnapped victims drugged and unconscious in the back) were actually the villains, led by the evil character played by Hillary Swank? What if the deplorable conservatives, led by the character portrayed by Betty Gilpin, turned the tables and hunted their hunters? Would this legitimize the content of the film? After all, hasn’t Hollywood produced revenge-oriented action pictures for decades, such as the original Death Wish series, starring Charles Bronson?
To my way of thinking, no, not at all. In Death Wish, Bronson’s character Paul Kersey is an average city dweller whose wife and daughter are brutally attacked, raped and murdered (the daughter lives a while in a coma) by criminals in a home invasion. When the police can’t find the perps, Kersey eventually begins to roam the city streets in order to tempt criminal thugs into attacking him before shooting them in a vigilante form of self defense. Similarly, current hyper-violent films like the John Wick series target only confirmed gangsters and criminals. In no way do these films compare to The Hunt, which according to reports was initially titled Red State Vs. Blue State, with a clearly political basis accounting for the selection of the victims to be kidnapped, hunted and murdered.
But hasn’t the basic plot of The Hunt been used in movies many times, notably in various renditions of The Most Dangerous Game?
Again, the comparison falls short. In all versions of The Most Dangerous Game, victims such as hapless sailors were chosen at random by a wealthy psychopathic killer to be hunted and killed on his private island. In The Hunt, victims are chosen for their present-day political beliefs. In the highly charged political environment of 2019, turning the tables to make the hunted the hunters is merely a fig leaf to disguise and excuse the film’s dripping scorn and hatred for deplorable white conservatives.
But how can I make this claim, after watching only the trailer for The Hunt? Because the film’s producer, Jason Blum, has a long history of producing ultra-violent America-hating murder porn, most notably his “Purge” films, adapted both for the big screen and television.
And who is Jason Blum? To begin, he’s a 1991 Vassar grad and a protégé of disgraced schlockmeister Harvey Weinstein, back when the Weinstein brothers ran Miramax. Yes, that’s where Jason Blum made his start in the film industry, under the tutelage of that serial rapist, high-level Democrat Party fund raiser, and close friend of the Clintons….Harvey Weinstein.
But now Blum works for Universal, which is owned by Comcast, which also owns MSNBC and Telemundo. The head of Universal is the radical leftist Donna Langley, who has been a big contributor to Hillary Clinton, Kamala Harris, and left-wing activist organizations like “Act Blue.” So she’s perfectly simpatico with Blum’s overtly anti-American, anti-white and conservative-hating films.
Jason Blum makes no bones about his radical leftist political orientation. In an interview about his 2017 film Happy Death Day, Blum was asked “What would you do if you had a day with no consequences?” His stone-cold-serious answer was, “I would take out the current administration … I went dark, but I went honest.” (About his answer.)
The violent inclinations of his hard-left political beliefs are most clearly born out in his Purge series of films and television shows. In the Purge films, following an economic collapse “The New Founding Fathers of America” party (racist white conservatives) has come to power, and once a year they allow citizens to go on unchecked murder rampages where they mainly wipe out minorities. The films always struck me as uniformly moronic, so I didn’t pay much attention to the greater issues presented within them until now.
Basically, in the Purge films, conservative white Americans are portrayed as evil racist monsters who will murder minorities if given the opportunity to do so without suffering any consequences. These blood-soaked murder sprees are often musically accompanied by “America the Beautiful,” lest any of the dimmest viewers miss the point. And while there have been gory slasher and murder-porn films going back for decades, none have combined nihilistic hi-def graphic closeup murder sprees with pervasive anti-conservative, anti-white and anti-American themes like the films of Jason Blum. Scan this blog which blends a synopsis of The Purge: Election Year with images to take a stroll through the film.
Note the “Keep America Great” subtitle of The Purge: Election Year, a clear reference to President Trump. The three images on the left above were taken from a GIF embedded at the above “WTF: The Purge Election Year” link. (I added the text within the shotgun blast’s flash.) Many other still images and GIFs are there, and you might want to get a barf bag ready before you visit. But decrying the hyper violence within the Jason Blum Purge films is not the point of this essay, it’s his consistent anti-conservative, anti-white and anti-American themes that are deliberately and inextricably mingled with the racial hyper violence.
If there were ever films more deliberately designed to stoke racial animosity, it’s hard to imagine them. But being a murder pornographer has been very lucrative for Jason Blum, whose net worth is estimated at about 50 million dollars, including a 10 million dollar Brooklyn townhouse.
But while being a pornographer has always been lucrative, at least Hugh Hefner and Larry Flynt did not create their pornography out of close-up imagery of gory murder committed by evil racist conservative white American men against women and minorities for their own depraved pleasure. That new low–politically-motivated racist murder porn–was left to be plumbed by Jason Blum, Hollywood’s most vile anti-American murder pornographer. But he’s rich and he’s famous, he even made the Time Magazine list of the 100 most influential Americans! So who cares if he’s priming the mental fuses of the next unhinged San Antonio or Dayton mass shooters? Come on, kids, let’s break a hundred on the next rampage! You can do it! And Blum will predictably blame it on America and evil white conservatives.
We’re constantly told by leftist politicians, media and “entertainment” (sic) figures that the solution to America’s mass shootings is the elimination of the hundreds of millions of firearms already in private hands. But semi-automatic magazine-fed rifles (and pistols, revolvers and shotguns) have been available for over a century, while mass shootings are a modern phenomenon. The guns didn’t change, society did. And we can thank greedy murder pornographers like Jason Blum for helping to feed the moral depravity and stoke the fires of political and racial hatred. So in that light, his currently delayed film The Hunt makes perfect sense. Who cares if you help to instigate a bloody second civil war, a dirty civil war that might lead to the deaths of millions of Americans, as long as you can make millions of dollars producing anti-American, anti-white and anti-conservative murder porn? Not murder pornographer Jason Blum. He’s laughing–at you– all the way to the bank.