Gogo-Gôchistes Pédophiles

John Rosenthal follows the money on the state sponsored hate speech behind Roman Polanski’s film The Ghost Writer. It won “best picture” in the European Film Academy awards, and like virtually all European films shows in the credits a gaggle of state funded sponsors, and other barriers between the product and its unviability.

The entire effort is to advance the “lapdog” argument, as if the tunnel of mirrors, the same one that convinces people to ignore or even defend Polanski’s pederasty, isn’t one big lap of operant conditioning and servility.

The film is a kind of amalgam of “good European” pieties (e.g., the righteousness of the International Criminal Court) and delirious anti-American phantasms. It follows the trials and tribulations of a ghostwriter working on the memoirs of a former British prime minister. In the midst of his assignment, the ghostwriter gradually uncovers the “appalling truth” — as the official synopsis puts it — that his employer had been under the control of the CIA while residing at 10 Downing Street.

Never mind that the population is so cheap and lethargic that “Culture Ministries” are needed to buoy the arts, films, and the like, even those that pander to the obvious which one would think not need state support, get it.

Full of delusions and excuses, dependant on enablement and ignoring the norms of right and wrong, we might as well call it the politics of pedophilia. A fitting end to a society that largely believes that children aren’t worth having, were it not for one’s need to see others as creatures only worth keeping around to exploit for your ego and pleasure.