WE ALL know that Iran funded and supported terrorism around the world for 47 years.
We all know that Qatar did as well.
And we all know that Hollywood actors, directors and celebrities represent a depraved and immoral class of people, many of whom are perverts.
All of Hollywood portrayed child rapist Roman Polanski as a martyred and unjustly exiled artistic genius whose cinematic creativity eclipsed any petty moral consideration such as whether it’s appropriate to hero-worship a man who raped a 14-year-old.
Ordinarily, then, it’s become pretty redundant to castigate Hollywood and its denizens. But incredibly, they are getting worse.
We are told by the more optimistic voices that the culture wars are done, and that the forces of sanity and reason won the day. The Democrats lost in 2024. Kamala’s celebrity-packed campaign crashed and burned. Bob De Niro’s spittle-flecked rants didn’t cause Trump’s fall. Bruce Springsteen and Bono’s leading the music world charge of resistance in a tuxedo didn’t work either.
It all fell as flat, dead and useless as a Jimmy Kimmel monologue navigating that difficult artistic territory between patrician establishment sneer and the street Democrat voter level of laughing with glee because we murdered Charlie Kirk.
Surely, an actual assassination would kill the hysteria, dishonesty, smug certainty, misplaced sense of moral righteousness and blind slavering hatred of the Democrat celebrities? Surely it might finally intrude on to their consciousness, on to whatever shrivelled palp of heart remains when the brain is nothing but arrogant entitlement, that they might be the bad guys?
After all, they had plenty of build-up to look back on, and plenty of opportunities, before Charlie’s murder, to reassess their positions and try a little humble pie.
Ricky Gervais offered the definitive takedown of woke Hollywood’s political posturing at the Golden Globes of 2020: ‘So if you do win an award tonight, don’t use it as a platform to make a political speech. You’re in no position to lecture the public about anything. You know nothing about the real world. Most of you spent less time in school than Greta Thunberg. So if you win, come up, accept your little award, thank your agent and your God and f*** off, ok?’
So these people had voices within the celebrity bubble telling them what ordinary people thought of them. Gervais, for all his soft-left naivety, was a rare voice intruding from the working class. Nobody else could have told them as bluntly, accurately and amusingly that a rich and pampered class cosplaying as freedom fighters or saviours of the planet is a gross and frankly disgusting spectacle . . . even if the causes they supported were just.
When the causes aren’t just, it becomes so much worse.
Rich people telling poor people to pay higher taxes, when they avoid theirs altogether. Owners of private jets using them to fly to huge climate change conferences or getting pizzas flown to them from Italy demanding that ordinary people be denied a two-week holiday abroad via a budget airline ticket. People who live in gated mansions with heavily armed private security protecting them telling ordinary people they are fascists for opposing borderless mass migration. And an industry that more than any other in the world has facilitated the ability of powerful sexual degenerates to abuse and rape a production line of the young, the vulnerable and the gullible, people who glad-handed and praised the perverts among them, pathetically transferring their own history of sexual crimes on to the man they most despise.
All of these are obvious. Nothing has changed. They are even worse.
At the 2024 Grammys, and at the 2024 SAG Awards and the Oscars, celebrities wore no doubt expensive little lapel badges designed by a group called Artists4Ceasefire and featuring a red hand symbol. The Red Hand is a terrorist symbol which became popular with Hamas and other Islamic terrorist factions following the 2000 Ramallah lynching, where two Israeli soldiers were killed and their bodies mutilated. The Palestinian mob showed blood on their hands which they also smeared on to their faces. Cannibalism was alleged.
Twenty-four years later, Hollywood signalled that it agreed with the cannibals.
Snopes and other fact checkers of course opine that the label the celebrities wore was orange, and that there was no intent to mirror the Red Hand. But it’s a very red shade of orange so far as I can tell from the pictures, and the Red Hand was an existing, known terrorist symbol that the badge exactly mirrors. Innocent mistake? When the badge in 2024 was signalling opposition to Israel and support for Hamas? I don’t think so. Fact checkers describe claims of cannibalism as an Islamophobic blood libel.
Either way, the Red Hand signals full support for the most bestial of murders.
There was therefore nothing accidental in the use of that imagery. It was a signal. A sly wink. We say this is about ceasefire. But we mean to celebrate depraved brutality. Perhaps some of the Hollywood wearers of the badge were utterly ignorant of what the red hand symbol references. I’m always amenable to the idea that these people are extraordinarily stupid and wouldn’t know about or research anything they virtue signal on. But it’s rather like the collective Hollywood guilt for people like Harvey Weinstein. It’s possible to be dumb enough not to know, but when the reference is already famous or the pervert is already notorious, how do you keep not knowing?
Poor Oprah Winfrey has been unfortunate enough to innocently befriend multiple rapists, including John of God, the healer who ran a baby factory while abusing more than 600 victims, and enjoy an even longer and closer friendship with Weinstein. Oprah has of course has described being a rape victim, and expressed sympathy for victims. She must at the least be an unusually bad judge of character.
I will leave readers to judge how much of Hollywood’s general and sexual depravity comes from being naive, stupid and unaware compared with how much of it comes from being depraved, complicit and guilty. What I can say is that while it’s perfectly possible to innocently know a pervert, it should be incumbent on an adult to actually know what ideologies and groups they endorse, when crimes are public record.
This year, Ricky Gervais repeated his 2020 comments, adding ‘they still aren’t listening’. At recent ceremonies, actors and actresses gave a repeat of the Red Hand badge with new little designer signals, wearing anti-ICE badges.
At the Golden Globes Mark Ruffalo, Wanda Sykes, Natasha Lyonne, Ariana Grande and Jean Smart wore ‘Be Good’ and ‘ICE Out’ pins in tribute to Renee Good, a 37-year-old killed by an ICE agent in Minneapolis on January 7, and Keith Porter Jr, a Los Angeles resident killed by an off-duty ICE officer on New Year’s Eve.
At the Grammy Awards, Justin and Hailey Bieber, Billie Eilish, Finneas, Kehlani, Joni Mitchell and Bad Bunny wore ‘ICE Out’ pins. Bad Bunny explicitly condemned ICE in his acceptance speech: ‘ICE out. We’re not savage, we’re not animals, we’re not aliens. We are humans and we are Americans.’
The movement extended to the SAG Awards, Sundance Film Festival and New York Fashion Week, with figures such as Natalie Portman and Olivia Wilde also participating. The campaign, backed by organisations including the ACLU, National Domestic Workers Alliance, and Maremoto, has been described as part of a broader ‘craftivism’ movement, with pins, T-shirts, and even knitted ‘Melt the ICE’ hats gaining traction.
The campaign has sparked both support and criticism, some calling it performative ‘virtue signalling’ while organisers argue it raises awareness and fuels real political pressure, including contributing to the shutdown of the Department of Homeland Security.
Again, the surface explanation is a response to ‘injustice’, an assertion of moral superiority, and a totally unthinking, collectivist political statement that assumes all decency and goodness is on their side. But it is moral inversion, the Democrat production of fake and vile martyrs out of people who behaved in stupid and criminal ways, which goes alongside the demonisation of those fighting terrorism or trying to enforce sane and sensible border laws.
It’s part and parcel of the inversions that shift Epstein blame (a Democrat donor invited at least 17 times to the White House by Bill Clinton) to Trump and the Republicans. It’s part and parcel of Democrat support for domestic terrorism as ‘resistance’ to the Trump administration. It’s the hysteria and lies of constant claims of fascism and dictatorship. It’s Hollywood luxury terrorism.
Reference bloody murder and say you are good. Make martyrs of the deranged and say you are good. Fight against policies that won the vote and say you are saving democracy. Support Hamas and call that kindness. Encourage people to physically attack the police and then blame the police for the inevitable consequence. Give speeches in tuxedos from positions of privilege telling half the country they are evil for having a different opinion.
And now, with the films picked as winners at this year’s Oscars, double down on it all.
Two significant winners are Sinners and One Battle After Another. Both are execrable movies if you are looking for intelligent, thoughtful pieces with any shade of nuance or insight. Both are at best workmanlike as popcorn for the brain entertainments that at least know which direction the camera should be pointing or how to keep the boom out of shot. They aren’t art. They aren’t brilliantly written. They aren’t innovative or interesting. The acting is fairly risible, featuring a particularly crass and wooden turn from the perennially dour and overrated Sean Penn and an almost spoof-like offering from Leonardo DiCaprio. In Sinners, both the heroic blacks and the wicked whites are such paper-thin (or only skin colour-deep) portrayals that it’s hard to believe the actors are real human beings, let alone the characters.
These movies are student level agitprop, pure propaganda, and of a particularly clumsy kind.
The message of Sinners is that all white people are KKK vampires. ‘Them white folks is wicked evil, sure enough. They done suck da blood of us black folks for generations, I tell you. You can’t do wrong killing a thing that’s already dead inside, that’s what I’m a-saying.’
To be frank, the imaginary dialogue I’m supplying as a spoof is less clunkingly obvious than Sinners itself. It’s a case where if you spoof it, you elevate it, because it’s not so much a film acting as a vehicle for a politics of hypocritical racial hatred, it’s more a thing that is race hate, with nothing else there at all except a budget.
One might imagine that it was summoned from the dimension of hate in a ceremony rather than filmed on location. In the process of expressing that hate, it dispenses with movie-acting, script, plot, soul and thought in the relentless pursuit of purpose. It wants to nail people to a chair, force their eyes wide with a mechanical device straight from A Clockwork Orange and fast cut non-subliminal messaging with maximum sound and fury with the apparent desire that everyone should leave the theatre and immediately kill the first white person they meet.
Similarly it’s hard to think of One Battle After Another as a movie. It’s more blatantly propagandistic than anything offered by the Soviets or by Nazi Germany. Leni Riefenstahl would laugh at it, not because it’s a film about fighting fascism, but because it’s a fascist film created by people with no self-awareness or talent. Riefenstahl at least knew what she was doing. Astonishingly, the most likely response from anyone who loves film will not be ‘Isn’t fascism awful?’ but more likely a cynical and depressed ‘At least the Nazis knew how to direct’.
There’s a superb and full ripping-apart of this godawful film here. I can’t top what the excellent author of that review has put, but suffice to say One Battle After Another is not a movie. It’s not an entertainment. It’s not art. It’s agitprop from start to finish, and agitprop that makes an evening of Soviet-commissioned poetry of the 1970s sound like a great night out. A Bad Bunny halftime show is subtle by comparison.
This is an anti-movie. It tells the audience that domestic terrorism is cool and that they should go out and make some bombs while smoking pot. That, apparently, is the secret of being a good person. Years ago I grew to hate films like The Wind that Shakes the Barley, which turned the Neanderthal child killers of the IRA into romantic heroes. This is worse. It doesn’t really romanticise terrorism because the bomber isn’t presented as a freedom fighting stud but an old man with pot-addled principles.
Hollywood is presenting both what the average Democrat voter and what Hollywood elites are, with the sole distinction being the level of money they can devote to it, and that is cosplay luxury terrorists, people who do genuinely believe that the good guys smoke pot all day, make a bomb, and throw it at cartoon Nazis and white supremacists because, after all, that’s what everyone who isn’t them must be.
A black supremacist, race hate vampire flick and a domestic terrorist recruitment ad also saying, in a slightly different way, kill the white folks.
That’s Hollywood now. A little of the sickness and rot on the casting couch is harder to get away with today since Weinstein and Epstein. So they make terrorist propaganda films instead, which have no content except hate.
A longer version of this article appeared in Jupplandia on March 16, 2026, and is republished by kind permission.
