Like mob lawyers tasked with getting their criminal clients acquitted (despite the fact they know they’re guilty as hell) all can be rest assured powerful Jewish groups in the US and elsewhere–and particularly those constantly loudmouthing about Jewish persecution–have known from the beginning about the now-infamous organ-trafficking business officially sanctioned by the Israeli government. After all–in addition to spying on and then blackmailing certain targeted individuals–it’s the job of these various groups to know what kind of problems might be lurking out on the horizon possibly impacting their most valued client, meaning the Jewish state. Therefore knowing everything–including the most heinous crimes their client has committed–is a prerequisite of sorts if these groups are to successfully engage in the “great commission” for which they were created, meaning damage control for that great criminal headquarters disguising itself as a viable political entity known as Israel.
It’s not difficult to imagine then how thrilled-as-pigs-in-shit these same powerful Jewish groups must have been when–after producing a blockbuster movie portraying the role of Jewish organized crime interests in the crucifixion of Jesus–the world’s most popular actor at the time puts together yet another blockbuster film depicting a brutal, bloodthirsty tribe of savages whose MO is kidnapping powerless people from neighboring villages, half of whom become victims of organ harvesting when their hearts are cut out while the other half are reduced to slaves.
The movie was Apocalypto, produced and directed by Mel Gibson whose career was deliberately and systematically destroyed by Jewish Hollywood as a result of his producing the highest-grossing movie of all time portraying Jesus Christ in the kind of dramatic light in which He truly deserves to be seen, meaning honorable. Like the aforementioned works The Passion and Apocalypto, producing movies with storylines that are 3rd-trimester pregnant with strong cultural and political implications has been Gibson’s signature since making Braveheart, complete with his depiction of William Wallace as a Christ-like revolutionary fighting for his people’s freedom from an oppressive, barbaric ruling system.
Whether deliberate or not, nevertheless Gibson (along with Iranian co-producer/screenwriter Farhad Safinian) stumbled on to something big with the storyline of Apocalypto since–allegorically speaking–it is for all intents and purposes a cleverly masked yet impossible-to-avoid-noting depiction of Zionism 101 and the situation in which the world finds itself these days as a result of what may be delicately termed “Jewish interests”.
For those who have not had the pleasure of watching the movie, the storyline reads like any 21st century headline in which Jewish interests are directly or indirectly involved. It is the time of a brutal, savage civilization (if it can be called that) of South American Natives adept at nothing more than making war and propped up by forced slave labor and held together with the religious glue of human sacrifice. The system cannot function without the work of slaves and in order to keep the population docile and distracted the captured men from neighboring villages–physically without blemish or defect–are dragged onto an altar and in full view of all those in attendance are subjected to a 15th century version of the same gory, grisly business described in newspaper headlines across the world recently, namely the Jewish ritual practice of harvesting Gentile organs. Their hearts are cut out of their bodies, still beating, by the high priests of that society and held high for all to see. Invoking the powers and blessings of the deity upon whose good graces this brutal savage society is dependent for their prosperity, the high priest also appeals to the people, reminding them they are a “chosen” people, a “light among nations” and “destined to rule the world with exhortations such as–
“We are a people of destiny…destined to be the masters of all time, destined to be nearest to the gods…”
And just before plunging the knife (scalpel) into the chest of the victim, exhorts the deity for whom it is being done with–
“Great Kulkulkan, whose fury could scourge the earth to oblivion, let us appease you with this sacrifice…to exalt you in your glory and make our people prosper…
And, predictably, the assembled crowd roars in approval over the suffering occurring, much like the celebrations seen taking place in Israel during Operation Cast Lead as men, women and children in Gaza were bombed into oblivion and incinerated with white phosphorus. There is no soul-searching amidst these people, no fear of any higher power other than the violent god who demands they sacrifice powerless others in appeasing his bloodlust. Naturally, the Mayans love hearing the high priest speak of their specialness, their exceptionalism and their superiority, so much so that not an eek of pity or compassion is heard from the crowd as the victims are literally gutted like fish.
Other scenes are equally reminiscent of the cauldron of misery that has been inflicted upon subject peoples wherever Jewish power has reigned, and particularly in Israel. The peoples–prior to their capture, are content to live their lives with raising their families and living peaceably with their neighbors. As they sleep, their captors invade, depriving them of even the semblance of a fair fight. Those not sacrificed are forced to live in camps where squalor reigns and that might as well be any refugee camp where Palestinians and others are forced to “exist”, complete with raw, flowing sewage, emaciated people and some who have gone mad from the life of privation and suffering they have endured.
In short, Apocalypto is the story of the 20th and 21st centuries in places such as Palestine, Iraq, Afghanistan and anywhere else neighboring peoples have been subjected to the “tender mercies” of God’s chosen people now given a free hand to nostalgically relive the exploits of their forefathers in the Old Testament who invaded, murdered, enslaved, and in all other ways reduced those living within the vicinity of their grasp to a veritable hell on earth. At the same time, fat men such as John Hagee, Hal Lindsey, Pat Robertson and their cohorts on the false prophet circuit who have made billions in decoding and predicting the mystery concerning the end of the world have missed the fact that for those living in the land made holy by the life and death of Jesus Christ every day is Apocalypto.
One can just imagine the pickle this particular movie put these powerful Jewish groups in. Knowing they and their operations were the topic of the film’s plot and being depicted allegorically in the story of the Mayans as they brutally murdered and enslaved their weaker neighbors, at the same time they could not draw attention to these parallels, and particularly not when the major part of the world’s people knew little to nothing about the grisly business of organ harvesting taking place at that time to the “disawareness” of the world’s peoples, save the Palestinians who knew all too well. These same Jewish groups were forced therefore to simply bite their tongues and not breath a word of protest. It does however speak volumes as to why Gibson was obviously targeted in the now-infamous drunk-driving incident where he blamed the Jews for all the wars after being stopped by–surprise, surprise–a Jewish cop.
“Our lands were ravaged…We seek a new beginning…” said a native as he and his people fled the approaching storm of violence, murder and enslavement.
It is a warning to all as the terrible exercise of Jewish power and the devastation it has wrought everywhere is more and more apparent, and something that–if indeed anything survives–will be the cry of those left–
“Our lands were ravaged…We seek a new beginning…”
(c) 2009 Mark Glenn