Hollywood’s Home Movies Portray Jewish Nightmare

The studio sold this movie with the tagline:
 “This is the way we all are.”
Judd Apatow mainstreams the dysfunction 
of Hollywood Jews, the only people he knows. 

Since [Luciferians think] man is an animal with no divine soul, there is no need to restrain his basest appetites and functions. (That would be “repression.”)  Therefore “comedy” no longer is defined as being “funny” but as being disgusting. Since man cannot aspire to be godlike, all that remains is a race to the bottom.  

by Henry Makow Ph.D.

There is a special schadenfreude 
you get from watching other people degrade themselves. 

Judd Apatow’s productions which include the HBO series “Girls” and movies like “Knocked Up” (2007) and “This is Forty” (2012) specialize in this kind of train-wreck voyeurism. In 2007, I wrote“Knocked Up” is a trip down a psychic rabbit hole populated by perverts, creeps and losers. Hollywood wants us to emulate them. Judging from the rave reviews, we are  willing to oblige.”


( Mogul Judd Apatow) 

It is no exaggeration to call This is Forty “a home movie.”  Apatow wrote and directed it. Although Paul Rudd plays Apatow’s character “Pete”, Apatow’s wife, Leslie Mann plays wife “Debbie”, and his two daughters, Maude and Iris, play the children. As Malcolm Forbes said, “There is nothing wrong with nepotism as long as you keep it in the family.” 

Leslie Mann actually turned 40 in 2012 and this movie obviously was lifted from Apatow’s domestic life, including what passes for witty pillow talk. The only fictional element concerns the family facing financial distress. 

Before I get to the family dysfunction, let me harp one more time on Apatow’s vulgarity and adolescent obsession with bodily functions. As I have said, the Luciferian defines “courage” not in terms of standing for truth and justice, but in breaking norms of decorum, good taste and style. 


Since man is an animal with no divine soul, there is no need to restrain his basest appetites and functions. (That would be “repression.”)  Therefore “comedy” no longer is defined as being “funny” but as being disgusting. Since man cannot aspire to be godlike, all that remains is a race to the bottom.  


The litany of vulgarity and tastelessness crammed into the first hour of this movie include Pete sitting on the toilet, Pete getting a colonoscopy, Pete farting in bed, Pete examining his hemorrhoids in a mirror, Pete looking up an woman’s skirt.  

Apatow has a woman expatiate for five minutes on how her vagina is numb from an operation and two gays talking about blowjobs.  Apatow displays his wife’s breasts, has her feel Megan Fox’s breasts (to see if they are real,)  give Rudd a blowjob and get a vaginal exam. Mercifully, he doesn’t reference his daughters’ genitals this time around.

After an hour of cataloging bodily functions, the film settles down to an inventory of dysfunction facing rich Hollywood families. These include foul mouthed children who defy their parents and take their cues from social media instead; parents of parents who start second families when they are too old and poor; people living way beyond their means and feeling life is a treadmill, and a general inner emptiness which defies definition or solution. Gatherings with family and friends are toxic with everyone starved for a crumb of encouragement or, failing that, a chance for recrimination. 

The problem is the abdication of the father. The father fails to set down the law. Thus the family is in a state of anarchy. 
Rudd’s portray of Apatow is of a weak man who is lost in the world. His record company is floundering. He can’t keep his diet. He can’t control himself so how can he control his family? Debbie is the usual melange of insecurities and they bicker constantly. 


(Rudd looks and acts like oldest son)

“What are we even doing?” Debbie says. “This is not making me happy. You’re not happy. You don’t like me. I can feel that. I’m not blind. Jesus. We’re like business associates. We’re like brother and sister. There’s no passion there.” 

The problem is not passion, it is power. Pete has to take possession of his wife and children. They have to obey him. He is the leader. He must have a vision. When the man is emasculated by the wife, the result is anarchy. 

PETE- “Don’t be such a ball buster.” 
DEBBIE- I am not a ball buster. You make me one! I am a fun girl! I am fun-loving! I am a good time Sally! I dance hip-hop. I cannot believe I’ve wasted my whole life busting the balls of people who have no balls. I am the only one here who has any balls.” 

Hollywood Jews are very good at creating and spreading dysfunction but they never present the solution. For them, the human condition is to wallow in sickness and derive consolation from self pity or sentimentality.  Imagine if this story were about the husband reasserting his authority and his wife supporting him? But that would be “sexist.” 

In general, Hollywood was hydrochloric acid to Christian civilization. It corroded every form of social coherence: marriage and the nuclear family,  racial homogeneity, and religion. It promoted homosexuality. Now all that is left to destroy is human dignity and self respect. 

Why are there so few movies that uplift and inform, that make us feel good about being human? Why do the vast majority focus on 
human sickness and depravity in one form or another? (There are some exceptions.)  Hollywood is run by the Illuminati, a Cabalist satanic cult. Its goal is overturn the natural and spiritual order so it can replace God on top.  

Mankind is under occult attack. Art and entertainment have become a psy-op.

This is Forty – The Script 

Related –

Makow –Hollywood’s Sabbatean Sex Propaganda
——— Dog’s Breakfast at Tiffany’s
——— Henry Blodgett: Why Do People Hate Jews?
——— HBO’s Girls Celebrates Dysfunction
——— Hollywood Hypes Lesbian Jewish Parable


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