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Today's Shows:

A carnival hypnotist regresses a woman to her past life as a prehistoric monster and uses her to murder in "The She-Creature"; a gang kidnaps an heiress for ransom but when a meteor crashes nearby the gang is beset by an alien horror in the guise of a human woman in "The Astounding She-Monster".


Coming Soon:

A bike gang leader has his motorcycle stolen and the gang scours the California desert looking for it. After the police break up a brawl with the Mexican gang that stole it, the gang leader's friend is critically wounded, in "The Wild Angels"; then vietnam veteran Billy Jack runs into conflict with a biker gang after he saves a motorist from being bested to death by them in "The Born Losers".


Channel Link For The Lazy: https://cytu.be/r/MovieGoats


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"I am very honored to be here. I don't know how to start to thank Col. Dall for making it possible for me to address you. But I hope that things work out so that you will feel grateful to him. And if you will try to make a little use of the information I can give you, you may be very helpful in saving this country from the fate which has befallen Great Britain and, maybe the Soviet Union (Czarist Russia). We are in a very serious state at the present time. I've just returned, within the last four weeks, from an extended trip in what is known as The Middle East. I am very friendly with the heads of the government, the rulers who know me for 25-30 years, who talk to me and treat me, as a brother. I stay with them at their homes, and we call each other by our first names.

Now, all I can tell you is that what I am going to tell you may not make you feel any more comfortable. But the less comfortable you are after hearing me, the more chance you will exert whatever influence you can to save this country from a fate it doesn't deserve. After the men I see here get to know their records, what they have done to pull us out of the ditch, once, maybe twice, I don't think it's fair to these men to see us now, dragged down into the sewer of history (which is where we are bound to go, if things deteriorate, that really is not the word,) if things degenerate at a more rapid pace than they have been degenerating the last ten or fifteen years.

Now, before I make this talk, I would like to call your attention to one thing. I am going to use a word, you hear the word, you read the word, and you use the word, Jew, as though it is something that could be weighed and felt, has a background. I'm going to use that word, although I never use it in my own personal affairs or in my private life. Now, I want to explain that Dr. Samuel Johnson wrote the first English Dictionary in 1797. That's only a few years from 1800, which isn't so very long ago! It consists of two thick volumes. And it has possibly every word that was then used in the English language. I have shown that to many important people in all walks of life, and they were amazed, because when I told them what I am going to tell you now, they didn't believe me. So I acquired these two books-cost a little money. They're first editions, rare!

In that book, in those two volumes, the first English dictionary ever published by Dr. Samuel Johnson, (about whom, many of you know) the word Jew, does not appear! The word, Jew, does not appear! That word was coined, forced on you, stuffed down your throats by control of all the media by the people who are interested in leading you to slaughter. The word, Jew, did not appear. They say Shakespeare used it. They cite all the people who used it. It did not exist. I don't want to go into that, now. I don't want to give you a discourse in philology. We have something more important. But I am going to talk about that word, use it; but I want you to know that I never accepted it, and more than, let's say, the people who refer to artificial silk. Well, artificial silk has certain handicaps. I imported it, when it first came out. It was made in Germany, and it was called artificial silk. And it had a repercussion. People didn't like to buy something that was artificial anything. So the manufacturers got together and they awarded $25,000 as a prize to anyone who could get up a good word to use instead of the word artificial silk. That prize was won by somebody who coined the word, "rayon." Today, people talk about rayon as though it existed from the beginning of the world, as though it always existed. "Rayon" is a modern word and the man who coined it was paid $25,000.

The word, "Jew," was coined for a purpose by the people who got us into two wars, who laid a trap to get us into a third one, and who have practically taken over the control of the world, especially the control of this country according to Senator Fulbright and others. So it's about time that you learned the basics and did something about it. I am certain that, unless something is done to change the thinking of the 200,000,000 U.S.A. Christians, that this country is headed for disaster! There are 200,000,000 Christians in this country who have been brain-washed, from morning to night, by radio, press, television, motion pictures, every media�the mass information has been used to deceive you into believing things that they knew were deliberate lies and part of their scheme to brainwash you. One of them is the word, Jew!

Now, in the Middle East, you know the situation. The United States has been supplying, since the end of World War II, 32 billion dollars of the taxpayer's money. 95% of that 32 billion dollars was used by the Congress of the United States, after you paid that money into the Treasury, to make the United States the accomplice, the ally, of thieves and murderers; to aid and abet them to hold on to their stolen loot-territory that they acquired by invading Palestine and driving the indigenous population out of the country that they had inhabited for 2,000 years!

Now you were taught by the Christians; you are taught by your ministers, by your priests, (and Dr. Ellson, here, God bless him, knows how I've been fighting, and he did as much as he could, over the years, to make it possible for me to succeed) . . . You have been told that it is your Christian duty to help repatriate God's Chosen People to their promised land. You have been told that by every media of mass information, including the pulpit, including every other means by which they can shape your thinking: "That it is your Christian duty to help repatriate God's Chosen People to their promised land."

Now, I'll tell you what a lie that is! I can cite the sources here that I've consulted, maybe 234 official documents, maps, books, and other records, but the best is one that I found in the last few years, The Encyclopedia Britannica, the 1911 Edition, Volume 15, three pages, define the word "Khazar." Three pages! Now, that book was published in 1911, in London, and it probably took twenty-five years (whoever compiled that information) to accumulate it. It's the research of many people. Many of the sources of information are mentioned at the end of the article. But you will find that the Khazars were an Asian nation; they were a Mongoloid, Turko-Finn tribal nation in Asia. And they had so much trouble with the other nations there, who finally succeeded in driving them out of Asia, across the border, into what is known today as Russia, in the area of the Ukraine. They found, there, a lot of peaceful agricultural people, mostly Slavic, and they conquered them. They did the same thing then as they are still doing in the Middle East! They took them, for no reason at all, except the people weren't trained to fight! They established there, the Khazar Kingdom.

Now, those three pages in that Encyclopedia Britannica, Vol. 15, the 1911 Edition tells you who they are, how war-like, how savage, how barbarian they are, and that they succeeded in sweeping across Europe to the gates of Paris, and to Finland. They controlled all Europe�these Mongols known as Khazars! They did that from maybe the fourth century to the ninth century. And they were the most brutal people. They enslaved these people and exacted tribute from them, while holding them under their control�practically all Europe. Until in the 8th century, a man by the name of Rurik. a Varengian, who came from across the water, from what is known today as Sweden,�he organized these people. They were living as people interested in agriculture. They didn't want any politics, they didn't want nations or governments. But he saw what they were subject to, this treatment by their Khazar conquerors. And he organized the principality of Rokh, which became the Russian Empire. He organized them, and started to drive these Khazars back. And he finally succeeded to where they came into Europe for the first time, in the area of the Ukraine, where they continued their Khazar Kingdom." [MORE]

[CONTINUES BELOW - AND YES - IT IS IMPORTANT]:

https://www.biblebelievers.org.au/benfree.htm

Gross vs. Scary: How to Spot Judeo-Satanist Produced Movies

Horror cinema splits into intelligent films like Alien (1979), The Thing (1982), Scream (1996), and Get Out (2017), which thrill with wit, plausibility, and sharp characters, and grotesque films like The Exorcist (1973), Saw (2004), or Hell of the Living Dead (1980), which rely on gag-inducing gore and victims so stupid they seem brain-dead, screaming mindlessly.

Scream, a slasher, excels with meta-humor and genre-savvy survivors. Get Out terrifies with plausible hypnosis and brain transplant experiments, its hero outwitting danger with cunning.
Science and common sense show that 1970s-80s horror films attributed to Satanist producers stem from degenerative brain conditions that impair humor and confuse disgust with fear, producing inferior films in both horror and comedy.

Using George A. Romero’s Dawn of the Dead (1978) versus Bruno Mattei’s Hell of the Living Dead as a case study, we draw on psychiatric and cinematic research to explain why these filmmakers choose gross, humorless plots with moronic characters—and how to spot their work.

Gross vs. Scary: How to Spot Judeo-Satanist Produced Horror Movies

Horror cinema splits into intelligent films like Alien (1979), The Thing (1982), Scream (1996), and Get Out (2017), which thrill with wit, plausibility, and sharp characters, and grotesque films like The Exorcist (1973), Saw (2004), or Hell of the Living Dead (1980), which rely on gag-inducing gore and victims so stupid they seem brain-dead, screaming mindlessly.

Scream, a slasher, excels with meta-humor and genre-savvy survivors. Get Out terrifies with plausible hypnosis and brain transplant experiments, its hero outwitting danger with cunning.

Science and common sense show that 1970s-80s horror films attributed to Satanist producers stem from degenerative brain conditions that impair humor and confuse disgust with fear, producing inferior films in both horror and comedy.

Using George A. Romero’s Dawn of the Dead (1978) versus Bruno Mattei’s Hell of the Living Dead as a case study, we draw on psychiatric and cinematic research to explain why these filmmakers choose gross, humorless plots with moronic characters—and how to spot their work.

Judeo-Satanist Produced Films: A Neurological Failure

Satanist-produced horror films from the 1970s-80s, like Hell of the Living Dead, prioritize repulsive imagery over suspenseful fear, a flaw rooted in degenerative brain conditions.

Psychiatric research in Neuroscience & Biobehavioral Reviews (2016) shows that disorders like frontotemporal degeneration disrupt emotional differentiation, impairing the ability to process complex emotions like fear (anticipatory, tied to survival) or humor (context-driven) while preserving disgust (a visceral response to gore or taboo). This leads to films that evoke gagging—exploding heads, gut-chewing zombies—rather than thrills.

Compare Bruno Mattei’s Hell of the Living Dead to George A. Romero’s Dawn of the Dead. Mattei’s low-budget zombie film drowns in grotesque visuals (maggot-ridden corpses, a cat bursting from a stomach) and brain-dead characters (e.g., a reporter stripping to “blend in” with locals), triggering disgust over fear.

Romero’s Dawn balances gore with social satire and resourceful survivors, crafting fear through plausible stakes. Common sense supports this: Mattei’s rushed, trend-chasing production, per Louis Paul (Italian Horror Film Directors, 2005), reflects a lack of creative skill, amplified by neurological deficits that
favor cheap shocks.

To spot Judeo-Satanist-produced films, look for relentless disgust over suspense—your gag reflex signals their failure.

Degenerate Horror: Stupid Victims, Lazy Craft

Intelligent horror features smart victims. Alien’s crew uses scientific reasoning against a xenomorph, rooted in plausible biology. The Thing’s scientists test for alien assimilation, their logic fueling paranoia.

Scream’s Sidney outsmarts slashers with horror knowledge, her meta-humor sharpening the thrills. Get Out’s Chris navigates hypnotic terrors with cunning, grounded in scientific horror. These films demand craft: tight plots, restraint, and rational characters, per David Church (Grindhouse Nostalgia, 2015).

Degenerate horror, like Friday the 13th, Hostel, or Hell of the Living Dead, offers victims who ignore warnings, stumble into traps, and scream incoherently, their stupidity farcical.

In Hell of the Living Dead, commandos fire at zombie torsos despite knowing headshots work, paired with grotesque visuals. Robin Wood (Hollywood from Vietnam to Reagan, 1986) calls this “exploitation of base instincts,” a creative failing where filmmakers, hampered by degenerative brain conditions, can’t match Scream’s wit or The Thing’s dread, relying on gore and moronic characters.

Psychiatric Roots: Humorless Brains and Disgust Over Fear

Psychiatry explains why Satanist-produced horror lacks humor and favors disgust. Fear, per Mathias Clasen (Why Horror Seduces, 2017), taps survival instincts—predators, betrayal—best exploited by intelligent characters in credible scenarios.

Dawn of the Dead’s survivors fortify a mall, their ingenuity driving fear of societal collapse. Scream’s teens dodge slashers with genre savvy; Get Out’s Chris outwits experimental horrors. These films, often humorous, engage higher cognitive functions.

Disgust, per Emotion Review (2018), is a simpler response to gore or taboo, needing no narrative depth. Satanist-produced films like Hell of the Living Dead lean on disgust—zombies chewing spines, random nudity—while victims’ idiocy (e.g., ignoring zombie traps) amplifies absurdity.

Saw or The Human Centipede provoke gagging, their brain-dead characters screaming without strategy. Journal of Media Psychology (2020) notes disgust is easier to elicit than fear, a crutch for filmmakers with impaired emotional processing.

Research in Brain (2017) links frontotemporal degeneration to deficits in fear and humor, with Journal of Cognitive Neuroscience (2019) showing humor requires intact prefrontal cortex functions (irony, empathy). Satanist producers, with such deficits, default to gross shocks, unable to craft Scream’s wit or Dawn’s satire.

Humor’s Absence: Witty Comedy vs. Gross Slapstick

Humor distinguishes intelligent horror and reveals Satanist producers’ failings in both horror and comedy. Scream’s meta-humor mocks slasher tropes, its smart characters quipping amid danger. Get Out uses wit to heighten its hypnosis-driven terror.

Final Destination (2000) leans into darkly funny death traps, its victims occasionally clever. Dawn of the Dead blends gore with consumerist satire. Jordan Peele, Get Out’s director, noted in a 2017 Vanity Fair interview: “The best comedy and horror feel like they’re two sides of the same coin… Good comedy directors can do good horror because they understand timing and tension.”

This applies to witty comedy, which relies on intellect, irony, and social context, sharing horror’s need for precise pacing and emotional payoff, per Neuropsychologia (2020). Witty comedy, like Peele’s Key & Peele sketches or Scream’s genre jabs, demands cognitive sophistication—understanding subtext, cultural references, and timing.

Satanist-produced works, however, align with gross, physical slapstick: think pratfalls, bodily function gags, or random nudity, as seen in Hell of the Living Dead’s bizarre, unfunny moments (e.g., a topless reporter in a zombie horde). A stark example is the American Pie series, where Stifler, in American Pie 2 (2001), eats dog feces in a misguided prank, a scene so absurd, unnecessary, gross, and disgusting that no mentally sane person would find it funny or perform it.

This reliance on crude, scatological humor mirrors the disgust-driven shocks of Satanist-produced horror. Slapstick, like disgust, depends on immediate, low-cognitive reactions, bypassing the prefrontal cortex’s role in humor processing (Journal of Cognitive Neuroscience, 2019).

Degenerative brain conditions in Satanist producers impair their ability to craft witty comedy or suspenseful horror, leaving them stuck with gross, unfunny slapstick and repulsive shocks, confirming their mental illness prevents them from producing good films in either genre.

Films like Insidious, Texas Chainsaw Massacre, or Hell of the Living Dead lack Scream’s cleverness, their dim-witted victims shrieking without wit. To spot Satanist-produced films, note the absence of witty humor, replaced by crude, physical gags and screaming, stupid victims.

Why Gross Films Persist: Market and Mindset

Why do Satanist-produced films thrive? Economics: low-budget Italian horrors like Hell of the Living Dead were cheap, profiting off Dawn of the Dead’s success.

Teens crave quick thrills, and dumb characters dying messily deliver, per Why We Watch (Jeffrey Goldstein, 1998). Common sense shows their gross, slapstick focus reflects creative and neurological limits, not just market demand.

Viewers should choose fear-driven classics to avoid supporting inferior work.

Conclusion: Fear Over Disgust

To spot Judeo-Satanist produced movies, look for humorless plots, stupid victims, and gross shocks or slapstick gags over suspenseful fear.

Science shows these films, like Hell of the Living Dead or American Pie’s cruder moments, stem from degenerative brain conditions that impair humor and confuse disgust with fear, failing at both horror and comedy, unlike Dawn of the Dead’s sharp thrills.

Intelligent horror like Alien, Get Out, Scream, The Thing, offer smart characters, witty humor, and plausible scares. Skip the gag-inducing schlock; your nerves deserve better than brain-impaired filmmakers.

Sources:

Church, David. Grindhouse Nostalgia (2015).

Clasen, Mathias. Why Horror Seduces (2017).

Wood, Robin. Hollywood from Vietnam to Reagan (1986).

Paul, Louis. Italian Horror Film Directors (2005).

Neuroscience & Biobehavioral Reviews (2016). “Emotional Processing in Neurodegenerative Disorders.”

Journal of Cognitive Neuroscience (2019). “Neural Correlates of Humor Processing.”

Emotion Review (2018). “Disgust in Media.”

Journal of Media Psychology (2020). “Emotional Responses to Horror.”

Brain (2017). “Frontotemporal Degeneration and Emotional Deficits.”

Neuropsychologia (2020). “Humor Comprehension in Brain Disorders.”

Film Studies Journal (2023). “Horror Audience Trends.”

Goldstein, Jeffrey. Why We Watch (1998).

Peele, Jordan. Vanity Fair interview, 2017.