X-men, mutants, Jews, and Homosexuals

Source: Culture Wars

by Michael Timmons

On February 21st, 1973, President Richard Nixon called Evangelical Pastor Billy Graham to discuss his frustration with Israel’s foreign policy and American Jews’ domestic activities. According to the official tapes from the White House Presidential Recordings Forum, Nixon admitted: “What I really think is that deep down in this country there is a lot of anti-Semitism, and all this is going to do is stir it up.” Graham agreed that American anti-Semitism was “right under the surface, and it will come right to the top.” Later, Nixon continued: “They’re going to get the darnedest wave of anti-Semitism here if they don’t behave.” He further clarified: “Anti-Semitism is stronger than we think, you know. They just – it’s unfortunate, but this has happened to the Jews. It happened in Spain, it’s happened in Germany, it’s happening – and now it’s going to happen in America if these people don’t start behaving.” (1)

This candid conversation between Nixon and Graham examined their private understanding of America’s “Jewish problem”. Graham even cited the biblical reference to Jews as “the synagogue of Satan” and explained: “They’re the ones putting out the pornographic literature. They’re the ones putting out these obscene films.” Nixon quickly agreed and added: “Like the thing in Time Magazine, and then Newsweek.” Nixon was entirely puzzled by these controversial actions and contemplated their motives: “Can’t figure it out. Can’t figure it out. Well, it may be they have a death wish, you know. That’s been the problems with our Jewish friends for centuries.” Nixon also recognized some Americans had noticed these subversive activities and declared: “There are elements in this country, you know, not just the [John] Birchers, but a lot of reasonable people are now getting awful sick of it.” (2)


Coincidentally, the recent film X-Men: Days of Future Past is set during the same historical era and also depicted a minority race under threat of persecution. The film’s villain, Dr. Bollivar Trask, is a weapons designer who is worried about the threat of “mutants”: “There is a new enemy out there. An enemy that will render your arsenals useless, your armies powerless, and your nations defenseless. You’ll need a new weapon for this war, I call them Sentinels. Named after the ancient guardians that stood at the gates of the citadel.” When a mutant attempted to assassinate Dr. Trask, they actually validate this claim. In fact, President Nixon’s character in the movie supported this American pogrom against mutants and approved Dr. Trask’s weapons program: “My fellow Americans, today we face the greatest threat in our history: Mutants. We have prepared for this threat. In the immortal words of Robert Oppenheimer: ‘Behold, the world will never be the same again.'” (3)

Rev. Billy Graham and President Richard Nixon in 1973

Meanwhile, the mutants fight back and their leader Magneto (whose character is actually a Holocaust survivor) declares:

“You built these weapons to destroy us, why? Because you are afraid of our gifts, because we are different. Humanity has always feared that which is different. Well, I’m here to tell you, to tell the world, you’re right to fear us. We are the future, we are the ones who will inherit this earth. And anyone who stands in our way will suffer the same fate as these men you see before you. Today was meant to be a display of your power, instead I give you a glimpse of the devastation my race can unleash upon yours. Let this be a warning to the world, and to my mutant brothers and sisters out there I say this. No more hiding, no more suffering. You have lived in the shadows in shame and fear for too long. Come out, join me, fight together in a brotherhood of our kind. A new tomorrow, that starts today.” (4)

However, there is a small group of mutants known as the X-Men who are still subversive but do not want to destroy the world and hope to avoid an apocalyptic war. Their leader, Professor X warned the mutants: “I know what Trask has done, but killing him will not bring them back. It will set you on a path from which there is no return and end in a cycle of killing, us and them, until there is nothing left.” (5) Within this context, Magneto represents mutant “Zionism” and Professor X promotes mutant “assimilation” into American society. This theme was originally created by Jewish comic book author Stan Lee and continues today with the ideas of Bryan Singer, the Jewish movie director responsible for the modern film series. Therefore, X-Men portrays the Jews’ role as cultural subversives and their choice to oppose or assimilate into the dominant society they live within.


The X-Men are only one example of America’s Jewish comic book industry. In his book, From Krakow to Krypton: Jews and Comic Books, comedian and author Arie Kaplan also noticed the connection: “Jews and comic books. A curious topic. One wouldn’t group the two subjects together as readily as say, Jews and comedy or African Americans and hip-hop. But there it is. Those in the know realize that Jews almost single-handedly built the comic-book industry from the ground up.” Simcha Weinstein also examined these ideas in his book, Up, Up, and Oy Vey: How Jewish History, Culture, and Values Shaped The Comic Book Superhero: “In those days (the 1930s), the shadow of persecution was descending upon European Jews once more, and no one seemed willing to come to their rescue. The world needed heroes. So even before their own country went to battle with Hitler, young Jewish American artists and writers (some barely out of their teens) began creating powerful characters who were dedicated to protecting the innocent and conquering evil.” (6)

In other words, Weinstein portrays comic book he- roes as Jewish fantasies:

By living with the times in their own outrageous way, this small band of Jewish men invented a whole new art form: the comic book. Their names include Jerry Siegel and Joe Shuster, creators of Batman, and their protégé, Jerry Robinson, who invented the immortal villain, the Joker; Will Eisner, creator of the Spirit and graphic novel pioneer; Julius Schwartz, the publisher known as the father of science fiction comics and the man behind the Justice League of America; Martin Nodell, the man behind the Green Lantern; Jack Kirby (born Jacob Kurtzberg) and Joe Simon, who brought the world Captain America; Max Gaines, the true father of comic books, his son William, publisher of MAD Magazine, and William’s partner in satire, Harvey Kurtzman; Stan Lee (born Stanley Martin Lieber), who created Spider Man, the Incredible Hulk, the Fantastic Four, and the X-Men; and Lee’s boss, Martin Goodman of Marvel Comics. (7)

In fact, Bangor University Film Studies Professor Nate Abrams claimed “Superman, the invention of two U.S. Jews, is a profoundly Jewish character whose film history is entwined with that of American Jewry”: “Superman was the creation of two American Jews, Jerry Siegel and Joe Shuster, who envisioned him as a conceptually Jewish character. Clark Kent is just a cover name hiding a deep, subsurface Jewishness. As the Jewish novelist Michael Chabon wrote, ‘only a Jew would pick a name like that for himself.’ Clark Kent is a kind of empty vessel to hide his birth name: Kal-El, which could translate as either ‘vessel of God’ or ‘voice of God.’ He is the son of Jor-El of the House of El. To fit into the Jew-free Kansas farm surroundings where he was raised Kal-El changed his name, as so many Jewish immigrants did before and after him.” (8)

Abrams continued:

Outwardly, as Clark Kent, Superman is the classic Yiddish nebbish or schlemiel. He is a refugee alien from a foreign planet. A nerdy, wimpy, bumbling and geeky Jew, he hides behind a pair of over sized glasses of the type so beloved of Jews on screen and of Haredi Jews, a clear signifier of Jewishness if ever there was one. He is unmarried and is awkward with women. His chosen human job – journalist – is clearly a Jewish profession, requiring intellect and Yiddishe kopf, or Jewish brains, rather than relying on physical attributes. (9)

Like Superman, the X-Men mutants represent assimilated American Jews. By contrast, the rebel mutants led by Magneto symbolize Zionist Israeli Jews. In Witness, Trauma, and Remembrance: Holocaust Representation and X-Men Comics, University of Gdansk Professor of English Cheryl Alexander Malcolm examined the X-Men series and claimed: “I conclude that mutants are a symbol for all Jews.” She further clarified: “Lee universalized Jewish experience when he created mutants. Indeed, mutants provoke some of the same fears that Jews have throughout history. Mutants are subject to the same persecution as Jews.” Within the mutants, Baskin makes distinctions between the X-Men and the Magneto’s group of rebels: “[X-Men creator Stan] Lee identifies good mutants with a WASP norm, evil mutants with an ethnic other…. Magneto resembles the stereotype of the immigrant or non-WASP American whose allegiances are suspect. He also resembles the untrustworthy and conspiratorial Jew stereotype that is the basis of anti-Semitism.” (10) In other words, Lee hoped to encourage young American Jews to publicly assimilate into mainstream society but privately maintain their “mutant” identity like the X-Men did in his stories.

In the 1970s, another Jewish comic book writer Chris Claremont continued the X-Men series and introduced the Holocaust into the narrative:

Distinctive generational attitudes to the Holocaust and Jewishness can be found in the work of writers of differing generations. Two writers have given X-Men Comics its particular depth. Stan Lee, who was born in 1922 to Romanian Jewish immigrants in New York, created the comic book characters in 1963. Chris Claremont, a young British Jewish immigrant to the United States, launched the second series in 1974. Whereas Lee codifies Jewishness (when not erasing it altogether), Claremont makes Holocaust witness, trauma, and remembrance distinctly Jewish features of the comic book. Claremont transforms the second series and, in retrospect, the first series, when he reveals Magneto’s Auschwitz past. (11)

Claremont explained his basis for transforming the villain Magneto into a Holocaust survivor:

I was trying to figure out what made Magneto tick…. And I thought, what was the most transfiguring event of our century that would tie in the super concept of X-Men as persecuted outcasts? It has to be the Holocaust!… All the rest fell into place, because it allowed me to turn him into a tragic figure who wants to save his people. Magneto was defined by all that had happened to him. So I could start from the premise that he was a good and decent man at heart. I then had the opportunity, over the course of 200 issues, to attempt to redeem him, to see if he could start over, if he could evolve in the way that Menachem Begin had evolved from a guy that the British considered “Shoot on sight” in 1945 – you know, “you see him, you kill him! Don’t bother about a trial!” – to a statesman who won the Nobel Peace Prize in 1976. (12)

Baskind also noticed the significance and claimed “the Holocaust underpins the distrust and uncertainty that characterize X-Men comic books and makes mutants a metaphor for Jews”:

Magneto equates Mutants with Jews and anti-mutantism with anti-Semitism, the X-Men Comics rapidly become an extended Holocaust narrative and meditation on the viability of assimilation in light of the near total destruction of European Jewry. Similarities between anti-mutant and Nazi rhetoric, violence in Europe and in the United States, and anti-mutant legislation and the Nuremberg Laws substantiate Magneto’s fears of another genocide. Other survivors and the descendants of survivors voice their fears. Witnesses to the liberation of the camp warn that history could repeat itself if anti-mutant attitudes are tolerated. Survival that depends on remembering the Holocaust becomes a recurring message in these comic books. (13)

Therefore, the X-Men series is a Jewish portrayal of anti-Semitism in the modern world. Stan Lee claimed his comics “made a good metaphor for bigotry and the ills of hating people who are different than you.” Baskin noticed: “Anti-mutantism is strikingly similar to anti-Semitism. Mutants are feared because they are different. They can hide this difference and appear the same as anyone else, yet success in this maneuver can make them seem even more threatening.” Despite these threats, the X-Men mutants are portrayed as benevolent heroes who use their powers for good: “The irony is that the X-Men actually are more powerful than those who wield power over them; they could, feasibly, overthrow any government. Yet, they choose not to. In this way, the X-Men discredit the mutant conspiracy theories and fears of a ‘mutant menace.'” (14) In other words, the X-Men mutants are venerated because they have assimilated into mainstream American society and use their skills to defend and promote American interests.


Back in 2000, Jewish homosexual film director Bryan Singer transformed the X-Men comics into a modern movie series that has earned over $2.9 billion worldwide. In the Jewish Journal article “How Auschwitz, ‘X-Men’ and its Jewish Director Changed Comics”, Danielle Berrin examined Singer’s self interest in the X-Men narrative: “As a gay, adopted, agnostic Jew, Singer has always been drawn to the otherness of these superheroes.” In an interview with Shana Naomi from the homosexual website Out.Com, Singer himself even admitted: “The central theme of the X-Men universe is living in a world that hates and fears you…. They all had to deal with isolation and being outcasts, and they all found each other.” (15)

Naomi also examined Singer’s childhood depression and sexual identity:

As a miserable teen, Bryan Singer’s parents sent him to a shrink. The therapist offered to have a colleague step in, one who more often worked with kids struggling with their sexual orientation, but Singer resisted. “My sexuality is not what is tearing me up inside,” he insisted. “I’m in love and he doesn’t love me back and it’s killing me. I need relationship advice!” (16)

However, Singer labeled himself as “quite bisexual” in the interview and claimed to have intimate relations with both men and women. In fact, he attempted to justify his promiscuous lifestyle with Alfred Kinsey’s repudiated studies: “If you look at the Kinsey Report, human sexuality is so complex. And the reason I’ve never talked about it to the press – until now – is because sexuality is so complex. To have a real conversation about it, you really want to have the person you’re talking to in front of you.” Naomi recognized that Singer’s unorthodox view of sexuality clearly influenced his X-Men film series: “[The X-Men] long to be normal, but instead become
scapegoats in a fearful society in which laws are passed to identify and criminalize anyone who is different. Is this a story about mutants? Or is it the modern gay civil rights movement?” She also referred to Singer’s X-Men movies as “queer allegories of superheroes”. (17)

The introductory film of Singer’s X-Men series is set in the 1960s with the United States Congress debating legislation for a mutant registration program. The villain is Senator Robert Kelly, a character inspired by Senator Joe McCarthy. Mutant advocate Dr. Jean Grey who opposes Senator Kelly’s program argues: “Senator, it is a fact that mutants who have come forward and revealed themselves publicly have been met with fear, hostility, even violence. It is because of that ever present hostility that I am urging the Senate to vote against mutant registration.” (18)

In response, Senator Kelly claims to have a list of subversive mutants and warns his audience:

I have here a list of names of identified mutants living right here in the United States. Here’s a girl in Illinois who can walk through walls. Now, what’s to stop her from walking into a bank vault? Or into the White House? Or into their houses? And there are even rumors, Miss Grey, of mutants so powerful that they can enter our minds and control our thoughts, taking away our God given free will. Now, I think the American people deserve the right to decide whether they want their children to be in school with mutants, to be taught by mutants. Ladies and gentlemen, the truth is that mutants are very real. And they are among us. We must know who they are, and above all, we must know what they can do! (19)

Meanwhile, the United Nations plans a World Summit on Ellis Island to examine “the mutant phenomenon and its impact on our world stage”. The mutants are forced to make a choice between Zionist separatism and American assimilation. The Brotherhood of Mutants reject Americanism and Magneto declares: “Because there is no land of tolerance. There is no peace, not here, not anywhere else. Women and children, whole families destroyed simply because they were born different from those in power.” However, the X-Men defend America and claim: “That was a long time ago. Mankind has evolved since then.” Nevertheless, Magneto ends the movie with a declaration that “the war is still coming” and asks the American mutants: “Doesn’t it awake you in the middle of the night, the feeling that someday they will pass that foolish law and come for you and your children?” (20) In other words, the assimilated mutants have been accepted but Magneto claims future persecution and conflict are inevitable.

Bryan Singer

The debut film in the series was a success and brought the X-Men back into mainstream popularity:

Director Bryan Singer, who is credited with launching the ‘X-Men’ film franchise did so with an unexpected Jewish twist: he set the opening scene of a comic book adaptation at Auschwitz. It’s the last place you would expect to find emotionally tortured mutants with superpowers, but the move wove a box office gamble into gold. And as a result, the comic book genre was given grit, severity, and seriousness in popular culture…. From those first moments, “X- Men” set itself apart from the entire Hollywood history of comic book adaptations and marked the beginning of this current era of fanboy cinema, which has dominated the box office and elevated San Diego’s Comic Con International into something resembling a Cannes for capes. (21)

Ami Eden, the Editor-In-Chief of the Jewish Telegraphic Agency, also noticed Jewish themes within the film and claimed “the plot for ‘X-Men’ is an extended metaphor for divergent Jewish responses to the Holocaust:

The film, Eden says, ‘echoes the real-life clash between two radical theological responses to the Holocaust’ and focuses on a compelling moral question apropos of Jewish political power: ‘Does having superpowers [read: Israel] obligate the mutants [read: Jews] to seek peace with the rest of humanity? Or entitle them to wage war at the first sign of human hatred?’ Eden illustrates the two responses to the Jews-in-danger paradigm as follows: Professor X (read: [Rabbi Irving] Greenberg) advocates coexistence and peacemaking, while Magneto (read: [Rabbi Meir] Kahane) believes in preemptive combat that preserves safety and security. (22)

Doron Fishler from Haaretz magazine even examined “Magneto and the Jewish Question”:

The X-Men have always been a little more political than your average hero in tights. Superheroes are perhaps the most escapist genre in existence: fantasies of power played out in a universe of absolutes in which a lone hero takes the law into his hands and personally saves the world – usually from equally fantastical threats… But things are more complicated in “X-Men.” The first issue of the comic book bearing that name appeared in September 1963. The people belonging to the group are mutants, people who were born with special abilities. Like every deviant minority, they are ostracized and suffer discrimination and hatred; indeed, they can easily be seen as an allegory for every such group. (23)

In other words, Bryan Singer’s films have successfully transformed the X-Men mutants into cultural symbols representing any group of morally subversive people. Fishler explained: “When the [X-Men] series reached the big screen in the last decade, under the direction of Bryan Singer, the most blatant evocation was of the situation of gay people. ‘X2,’ the second film in the series, has a coming-out-of-the-closet scene in which the brokenhearted parents ask, ‘Have you ever tried not being a mutant?”‘ Singer’s films are clearly influenced by his experiences as a sexual degenerate. Simon Kinberg, a film writer and producer who has worked with Singer on the X-Men movies claimed: “Bryan brings an amazing attention and sensitivity to these characters and, I think, a real connection to what it means to be a little bit of an outsider…. That was the core of the X-Men in the comics; I think that’s something Bryan is fascinated by, and he very actively wants to explore that dramatically.” (24)


Despite Singer’s career success with the X-Men film series, his personal life has recently imploded with allegations of pedophilia and sexual abuse. Time Magazine columnist Kate Pickert examined the controversy in her article “What the Bryan Singer Scandal Says About Hollywood”: “Allegations of a party scene involving hordes of barely legal young men and orchestrated by powerful gay men, like X-Men director Bryan Singer, who is accused of sexually abusing underage boys, has some declaring that the infamous casting couch still exists.” In other words, Singer allegedly exploited young boys who aspired to star in his movies and become child stars: “The casting couch is as old as Hollywood itself. Ever since there have been aspiring actors eager for a chance to break into the business, there have been powerful producers and directors offering opportunity and access in exchange for sexual favors. But in the wake of accusations that X-Men director Bryan Singer sexually abused underage boys, there’s a re-examination now going on in Hollywood of exploitation in all its forms.” (25)

Lou Pearlman (l) at a party with N’Sync shortly before being sentenced to prison

In fact, the increased scrutiny has spread beyond Singer into his group of homosexual friends:

The ensuing scandal has prompted a spate of fresh reporting about a party scene involving hordes of barely legal young men and some powerful gay men in Hollywood, reportedly including Singer. According to dispatches by Defamer, Buzzfeed, and others, this party scene has gone on for years. While sexual encounters and relationships between older and younger men are not necessarily illegal, reports of Singer, 48, hosting parties primarily attended by men in their late teens and early 20s has led to accusations the director was exploiting young men who simply wanted to break into the movie business. (26)

Gawker columnist Jordan Sargent also noticed the flood of allegations made against Singer:

[T]he accusation has opened the floodgates of stories, memories, rumors, and gossip much of which landed in our inboxes over the last two days. Welcome to the Bryan Singer sex party mailbag. If there was one sentiment that was consistent across the emails we received about Bryan Singer, it was that ‘everyone’ in Hollywood knew exactly what boys Singer hung out with (young, skinny, and white), what he did with them (gave them cocaine, molly, and other drugs at raucous house parties), and why (sex). (27)

The allegations made against Singer and his Hollywood peers expose a correlation between homosexuality and pedophilia. Sargent claimed the scandal could be a public indictment of Hollywood’s gay community: “[Michael] Egan’s lawsuits have exposed a culture that was previously visible only to insiders in and around L.A., especially within the gay enclave of West Hollywood.” Sargent also indicated that Singer was only one example, but the problem was much larger in scope: “X-Men director Bryan Singer is not the only powerful gay man in Hollywood who likes to surround himself with hand- some twinks. But according to a handful of sources who spoke with Gawker over the course of the last week, he was known as the most generous and active benefactor of a scene that allowed the young and impressionable to rub up against Hollywood elite including prominent writers, directors, and actors leaving behind bitter memories and a sheaf of newly filed lawsuits.” (28) Sargent also examined Hollywood’s predatory homosexuality:

The twink-party scene of which Singer was a fixture is at once troubling and deeply familiar; scandalous and unsurprising. After all, gender aside, the mogul-hosted party filled with willing-to-please ingénues is older even than Hollywood. But more than anything else what comes across in conversations with sources is the scene’s sadness: another stage on which an aggressive, alienating Hollywood social scene plays itself out The gates to Singer’s mansion are wide open if you’re young, cute, and skinny, and if you can’t find your way in, there’s likely someone out there to pluck you. (29)

Eventually though, most of these young children are given empty promises and eventually discarded after they have been sexually violated:

Hollywood is swamped with ambitious young people who will try and use sex to get a sniff of fame and success. But, rarely if ever, does that plan bear fruit…. Instead, there seems to be a profound loneliness. Most of the young guys are chewed up and spit out. The ones who become especially close to Singer trips to Hawaii or the Golden Globes will eventually be replaced and find themselves with little-to-no legitimate work experience. But the visible ascent of certain young men into the inner circles of people like Singer lead the most impressionable boys into seeing that situation as the jackpot at the end of the rainbow. (30)

Michael Egan, the plaintiff of the lawsuit against Singer, followed along this typical path. According to Daniel Miller of the LA Times: “Michael Egan came to Hollywood at 14 or 15, a Nebraska kid who had done some professional modeling and was hoping to make it as an actor.” Meanwhile, Egan was invited into Hollywood’s predatory homosexual community: “A friend at school invited him to a mansion in Encino where, according to a lawsuit filed by Egan, he and other teenage boys were plied with drugs and alcohol – and then coerced into having sex with older men.” In fact, Egan claimed he was put on a payroll and paid nearly $2,100 a week “in an attempt to manipulate his compliance with the sexual demands of those adults” who attended these homosexual pedophilia orgies. Ultimately, Egan was sexually exploited but never hired for the movie roles he had anticipated: “Now 31, Egan is unemployed and remains in therapy, according to his attorney, Jeff Herman. A resident of Las Vegas, Egan sought for years to make it in Hollywood as an actor.” (31)

While some critics in the media have questioned Egan’s motives, many supporters have also acknowledged the validity of his claims:

The allegations have triggered debates at industry lunch spots and studio back lots throughout Hollywood. To some, the party scene described by Egan has long been an open secret. “The party culture does exist,” said Anne Henry of BizParentz Foundation, a support group for parents whose children work in the entertainment industry, who was not referring specifically to Egan’s allegations. “It is a party culture of older teenage boys.” (32)


Bryan Singer is only the latest example of pedophilia accusations in the entertainment industry. Back in 2007, Bryan Burrough of Vanity Fair exposed similar allegations against Jewish music executive Lou Pearlman. According to Burrough, Pearlman left America after he was accused of swindling from the investors in his companies and sexually exploiting the young boys in bands he created: “Until he fled the country in January, accused of embezzling more than $300 million, Lou Pearlman was famous as the impresario behind the Backstreet Boys and ‘NSync. Turns out his investors weren’t the only victims, colleagues reveal: “Pearlman’s passion for boy bands was also a passion for boys.” During a 2006 interview, Justin Timberlake was asked about working for Pearlman and said his band felt like it “was being financially raped by a Svengali.” Backstreet Boys member Nick Carter’s mother even claimed: “Certain things happened and it almost destroyed our family. I tried to warn everyone. I tried to warn all the mothers… I tried to expose him for what he was years ago…. I hope you expose him, because the financial is the least of his injustices.” (33)

Lou Pearlman

Burrough described the boys’ experiences with Pearlman:

Some, especially the teenagers, shrugged and giggled when he showed them pornographic movies or jumped naked onto their beds in the morning to wrestle and play. Others, it appears, didn’t get off so easily. These were the young singers seen emerging from his bedroom late at night, buttoning their pants, sheepish looks on their faces. (34)

Rich Cronin, a singer from one of Pearlman’s boy bands further claimed: “It was so obvious and disgusting…. He definitely came at people. He came at me. In my situation I avoided him like the plague. If I went to his house, I went with somebody. I would never go with him alone. Because I knew every time I was over there by myself it always led to some weird situation. Like he would call late at night to come over and talk about a tour, and you would get there and he’d be sitting there in boxers. The guy was hairy as a bear.” (35)

Similarly in 2011, former child star Corey Feldman appeared on ABC Nightline and exposed pedophilia in Hollywood. In his book Coreyography, Feldman remembered his on-air confession: “Nobody talks about what the real problem is.’ ‘What’s the real problem?’ I could feel it coming, the words bubbling up in my throat. ‘The number one problem in Hollywood,’ I said, ‘was, and is, and always will be pedophilia. That’s the biggest problem in this industry, for children. It’s the big secret.'” Later in the book, Feldman wondered: “How does this happen? How do so many innocent, talented, and even famous children wind up suffering in silence? The obvious answer is that pedophiles will flock to an industry where they can surround themselves with eager, ambitious children. But there’s another answer too; the bright lights of Hollywood are blinding, and the sanctity of childhood is easily trumped by the deafening drumbeat of fame.” (36)

Feldman also remembered the sexual exploitation of his close friend, Corey Haim:

Within hours of our first meeting, we found ourselves talking about ‘Lucas,’ the film he made in the summer of 1985, the role I had wanted for myself…. At some point during the filming, he explained an adult male convinced him that it was perfectly normal for older men and younger boys in the business to have sexual relations, that it was what all ‘guys do.’ So they walked off to a secluded area between two trailers, during a lunch break for the cast and crew, and Haim, innocent and ambitious as he was, allowed himself to be sodomized. (37)

Although Feldman knows who molested his friend, he has refused to disclose the name of the pedophile:

There is nothing I would rather do than publicly out the man who molested – and ultimately destroyed – my dearest friend. Unfortunately, that is not the way the world works. You can’t go around publicly accusing industry titans without expecting to find yourself in the middle of a nasty lawsuit, to say nothing of the potential threat to my career, as well as the personal safety of myself and my son. (38)

In other words, Hollywood’s pedophiles are largely exempt from legal punishment or public scrutiny. As Dr. E. Michael Jones noticed in his article about “Woody Allen and the Double Standard”: “The same media which automatically assumes that every Catholic priest accused of abuse is guilty as charged lets Hollywood celebrities off the hook by insisting that they are innocent until proven guilty.” Later he noticed: “When it comes to sexual abuse, the rich Jew is innocent until proven guilty, but the Catholic priest is guilty until proven innocent.” Similarly, the Italian newspaper La Repubblica noted back in 2010 that “certain Catholic circles” claimed the Church’s pedophilia scandal was the work of a “‘Jewish lobby’ in New York”. (39) By contrast, the mainstream media defends Hollywood’s homosexual pedophiles like Bryan Singer and they are rarely ever held accountable for violating children.

Ultimately, from Stan Lee’s comics through Singer’s films, the X-Men narrative depicts the Jews’ role as cultural subversives and their option to oppose or assimilate into the dominant society they live within. The X-Men are the mutants who choose to assimilate and accept Americanism. The other mutants, led by Magneto, choose to reject America and violently embrace Zionism. However, both groups are based on the racial belief that mutants are genetically distinct from the rest of humanity. By contrast to either American- ism or Zionism, the Roman Catholic faith offers Jews the best opportunity to give up their mutant identity and live in peace with the rest of mankind. Otherwise, as President Nixon once mentioned: “There are elements in this country, you know, not just the [John] Birchers, but a lot of reasonable people are now getting awful sick of it.” (40)

X-Men director Bryan Singer allegedly drugged and abused teen at
Hollywood sex party

Bryan Singer Accuser — I Was Repeatedly Raped At Hollywood Orgies

Backstreet Boys Discuss Former CEO Lou Pearlman | Backstreet
Boys Interview

Corey Feldman: Pedophilia Is Hollywood’s Biggest Problem

Ex-Men: Magneto


Further reading:

Time to pull the plug on the cesspool called Hollywood? – blowing cover in Hollywood – Randy Quaid slandered – actors getting whacked

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