How Our America Became Theirs

Imagine a nation founded on the sweat and blood of European pioneers, a land of vast frontiers where rugged individuals carved out freedom from wilderness. Now picture that same nation, its collective consciousness hijacked by a tiny ethnic clique--AshkeNAZI (Khazarian) Jews, which comprise a mere 2% of the U.S. population--a group of people who slithered in during waves of mass immigration in the early 20th Century, fleeing their own troubles, only to seize the reins of power here in America. They didn't conquer with armies or ballots; they did it with stories, and illusions spun on silver screens.

Hollywood, that glittering mirage of dreams, isn't American--it's a Jewish fortress, built by immigrants who remade our country in their image while at the same time preserving their own tribal purity. For over a century, these endogamous Caucasian interlopers of Turkish and Iranian descent, who are not even genuine Semites (Hebrew descendants of Shem), have wielded the film industry as a weapon, pumping out propaganda that promotes racial mixing (miscegeny), cultural dilution, and communist rot for the white, European majority, all while shielding their own people from the same poisons. They masquerade as white when it suits their films, blending seamlessly into the American façade, yet politically they shriek denial, positioning themselves as eternal victims outside the "white" oppressor class. And why? To erode the our society's foundations while bolstering their ethno-nationalist state (Israel) abroad. It's a masterclass in duplicity: Communism and Globalism for thee, ethno-nationalism for me. America isn't sovereign anymore--it's a vassal state, the United States of Israel, where the goyim (non-Jews) toil under the spell of AshkeNAZI storytellers. Never forget... He who controls the media controls the public's mind, and the Jews have locked that control in their own tribal vault.

Our story begins in the shtetls of Eastern Europe, those squalid villages where Jewish life festered under the Russian Tsar. These Khazarian/AshkeNAZI immigrants--Harry Warner from Poland, Samuel Goldwyn (born Goldfish) also from Poland, Carl Laemmle from Germany, Louis B. Mayer from Russia, William Fox and Adolph Zukor from Hungary--fled the crackdown on Jews in Russia after they conspired to carry out the assassination of Alexander II in 1881. After millions of these [Marxist] Jews were imported to New York City for re-settlement here in America (1880-1920), prominent ones like Leon Trotsky (born Lev Davidovich Bronstein) who remained in Russia would go on later to spearheaded the Bolshevik Revolution (i.e. the "Communist Revolution") there in 1917.

They weren't simple farmers; they were peddlers, salesmen, and traders. But in the chaos of early cinema, they sniffed opportunity. Thomas Edison's Protestant elite saw movies as lowbrow amusement for the masses, which was riddled with stereotypes of "hook-nosed Jews" and razor-wielding blacks. The Jews, however, bypassed Edison's monopoly on cinema by fleeing west to California. There, they built empires: Warner Bros., MGM, Paramount, Universal, Columbia, 20th Century Fox. By the 1920s, these six studios dominated cinema from then on, all run by a small group of men who were born within 500 miles of each other. This wasn't coincidence; it was AshkeNAZI tribal networking, a closed circle which excluded outsiders, and still does as much as it's possible to do so. This monopoly isn't merit--it's nepotism, a Jewish cartel controlling powerful and influential narratives, and thereby, the American mind.

What did they do with this power? They crafted an "American Dream" that was anything but American. These fugitives from pogroms infused films with their traumas: rampaging oppressors, slaughtered innocents, burning homes--echoes of Cossack raids repurposed as Western villains or Nazi hordes. But the real subversion was in the values they peddled. Hollywood became a temple of multiculturalism, where outsiders triumphed, classes mixed, and races blended. Films like Show Boat glorified interracial unions, with a white man "internalizing" black blood. Pinky dramatized blacks passing as whites, mirroring Jews' own assimilation tactics. The moguls championed the "little guy"--prize fighters, gangsters, common men--while whisking audiences into luxury, but always with a democratic twist: love knows no borders, interethnic romance as the ultimate ideal. Why? Because, intermarriage signaled Jewish ascent into society. They divorced Jewish wives for Gentile ones, hid their roots from children, changed their names (Theodosia Goodman to Theda Bara, Emanuel Goldenberg to Edward G. Robinson). In films, they blurred lines: Gentleman's Agreement insisted Jews are "just like us," passable as Gentiles. Yet politically, many Jews reject whiteness. They benefit from white privilege but claim minority victimhood, decrying "white supremacy" while climbing its ladder. This chameleon act: white in movie reels, is almost always non-white at their political rallies.

Worse, they weaponized this to push miscegenation on whites. Their films promote black culture via Jewish composers like Harold Arlen (blues) and Irving Berlin (who Americanized Jewish aspirations in their blackface tunes). Films internalized racial mixing, advocating assimilation for all--shed identity, pay the price, America accepts you. But for whom? Not Jews, of course. While preaching multiculturalism for the Goyim (you and me), they guard their own tribe fiercely. Intermarriage rates [with whites] among Jews are high, but core identity persists; they promote it for others as dilution, for themselves as strategy. After all, marriage to a Jew always involves conversion of the non-Jew to Judaism. Hypocrisy: Open borders and diversity for America, are at the same time, walls and purity for Israel. They flood the West with migrants while Israel deports Africans, Palestinians, and even sterilizes Ethiopians. Globalism for thee, nationalism for me, say the Zionist Jews.

And Communism? Hollywood's red underbelly is infamous. Transcript details the House Un-American Activities Committee (HUAC) 1947 probe, which accused the AshkeNAZI Hollywood moguls of creating subversive, Communist propaganda. They made populist films during WWII, portraying integrated armies (all fiction; the real U.S. military was segregated), equal foxholes, caring comrades—echoing Marxist ideals. Post-war, they faced blacklist for pro-Soviet leanings. Moguls buckled, instituting blacklists, but the taint lingered. They infused films with class warfare, anti-fascism (ANTIFA) ideas, which were merely a mask for anti-capitalism. Berlin's "God Bless America" veils radical roots; he fled pogroms, wrote patriotic anthems, but Hollywood's dream was always collectivist: boundless optimism, but only for the [collective] masses, not for individuals. They sold Communism as Americanism--happy endings where workers rise and elites fall. Yet for Jews? Tribal loyalty, not class solidarity. They amassed fortunes (Mayer became the highest-paid man alive), lived like royalty, while preaching classless equality to Americans.

This media stranglehold is just the tip. Since mass immigration post-pogroms, Jews--now 2% of our nation's population--dominate beyond all proportion. In finance: Banking, once barred, now theirs through "profitable trades" like moneylending. Politics: Congress overrepresented; liberal. Business: Overrepresented in tech, media. This isn't talent--it's tribal clannishness (forbidden of white Americans), networks of Jew excluding others, especially white men. They built studios as family fiefdoms, staffing with relatives. Same in finance, politics: it's all just AshkeNAZI Tribalism masquerading as merit.

Why? It's all about control. Media shapes minds: 75% Americans attended movies weekly in 1920s-30s. Today, Hollywood's ideology dominates--icons of underdogs, pogrom imagery recycled as oppression tales, assimilation as a happy ending. But for whites? Ethnic erosion: Miscegenation weakens bloodlines, multiculturalism fractures society, Communism destroys both individual incentive and enterprise. Jews thrive though: Israel is their second homeland, the diaspora here in America their power base. Zionism is so entrenched here in America that it's beginning to feel like we now live in United States of Israel--we give aid in the billions for Israel, fight wars for Israel, all the while borders are borders and culture is being intentionally dissolved by Jewish groups like the Hebrew Immigrant Aid Society (HIAS), which helped funnel in tens of millions of illegal aliens into America during the Obama and Biden years). Strange how no such group facilitates foreign immigration to Israel. I wonder why that is? These Jewish Hollywood moguls wrap themselves in American flags, but hide their real origins and their real intentions. Some even celebrate July 4th as their birthdays. It's all a facade. Their real loyalty is to their AshkeNAZI tribe, and to their beloved Israel, not America.

This cost of this AshkeNAZI Hollywood deception? A deracinated America, whites guilted into self-erasure while Jews hoard identity like they are the only ones entitled to it. They wear white skin for convenienc--passing for whites in films, reaping the so-called "privilege"--then shedding it quickly it for victim status, demanding inclusion as an "underrepresented" class, despite their tribe's dominance over American and European society. These people are hypocrites. They promote open borders and multi-culturalism for ethnically white countries, but they want Israel to always be a Jewish ethnostate.

It's time to wake up, America. Hollywood's version of the American dream is actually a nightmare: a AshkeNAZI Jewish monopoly that, like a spell, poisoning our nation's mind. We must reclaim our nation's media, expose their destructive propaganda overrepresentation, demand that Congress re-adopt the Motion Picture Production Code (Hayes Code) that protected Americans from Communist-style propaganda from 1930 until 1968. If they push diversity, the AshkeNAZI Jews ought to apply diversity within their own ranks and to Israel. We must end dual citizenship and end dual loyalty. Our nation is about America first, not Israel first. Remember, folks. He who controls media controls the public's mind, and we must wrest that control back, or perish as Goyim slaves.

Find more of my work at https://FreedomMovement.info and @AlaskasList on X https://x.com/AlaskasList