[–] VAT 3 points 38 points (+41|-3) ago  (edited ago)

(((Who))) was the force behind resuming these monopolies to control all media in USA and force perversions against White civilization into the theaters?

Will any of the past or future patriotic documentaries by Dinesh D'Souza be allowed in these new democrat leaning (((theater chains)))?

Dinesh D'Souza made some awesome, box office leading , eye opening documentaries :


  • 2004 Michael Moore Hates America
  • 2012 2016: Obama's America
  • 2014 America: Imagine the World Without Her
  • 2016 Hillary's America: The Secret History of the Democratic Party
  • 2018 Death of a Nation: Can We Save America a Second Time?
  • 2020 Trump Card

alas, no more conservative popular films...

[–] ATF-AgentDrake 1 point 45 points (+46|-1) ago 

People still go to movie theaters?

[–] VAT 0 points 9 points (+9|-0) ago  (edited ago)

I saw three of those in theaters, and took a buddy to one of them to watch it a second time. Dinesh D'Souza had highest selling documentary in some years, higher than any leftist marxist propaganda films. highest.

I think I might never go again except to see Avatar sequels in 3d, and get preached at for "white man bad" plot... for the sfx.

Avatar sequels are supposed to be mind blowing effects. plus 60 FPS (not 24!) and extra hot expensive projector bulbs.

[–] Inaminit 0 points 4 points (+4|-0) ago  (edited ago)

You couldn't pay me to sit in a theater and watch any movie ever again. Fuck kikes, queers and niggers... That's all any movie even is anymore.

[–] RobertJHarsh 0 points 6 points (+6|-0) ago 

Movie Theaters didn't let in third party films before this rule change. Sometimes you get lucky about and see an independent film in a theater but for the most part these theater chains have existing contracts in place with the studios.

[–] OandAPartyRock 0 points 5 points (+5|-0) ago 

I didn’t realize how ignorant I was about this issue. I just assumed most theaters were owned by left leaning corporations to begin with. Since it seems that corporate culture leans to the left as a whole anyway. And I also assumed that studios were pushing the theaters around even if they didn’t own them anyway.

This is pretty interesting stuff actually. I didn’t even realize.

[–] Gigabump2 ago 

China owns AMC

[–] LoveRight 0 points 1 point (+1|-0) ago 

Dude, are you seriously shilling for that indian shit curry nigger? This website has gone downhill.

[–] Tallest_Skil 4 points 13 points (+17|-4) ago 

Oh neat. Now studios will have literal visual monopolies on what content goes to what theater. We’ll have Universal theaters again, Disney theaters, Warner Brothers theaters… Great stuff. Nothing but the best circus and the most corn syrup-laden bread for the goyim.

[–] tonberry2 0 points 9 points (+9|-0) ago 

It's going to lead to some difficult consumer choices: "Hmmm, do I watch the woke film from Universal, the woke film from Disney, or the woke film from Warner Bros.?"

[–] Draco888 0 points 4 points (+4|-0) ago 

... Or do I not waste my hard earned money on an overpriced movie ticket to support degenerate jewish propaganda.

[–] Broc_Lia 0 points 3 points (+3|-0) ago 

That's the choice we already had though, this doesn't change much.

[–] VAT 0 points 3 points (+3|-0) ago 

See comrade? You still have a choice!

Bend a knee, racist!

[–] whatisbestinlife 0 points 1 point (+1|-0) ago 

well instead of complaining we could be proactive and make content at a lucrative profit rate if we organized. crowd funded westerns should be easy enough

[–] XSS1337 0 points 5 points (+5|-0) ago 

Tranny kids and horny dogs

Calling it now.

[–] Zestyclose_Marketing ago 

Poor Scooby Doo

[–] heretolearn ago 

shush faghot. you'll still be sucking your mom's dick in those theaters so don't pretend you give a shit, you jew bitch.

[–] Tallest_Skil 1 point 1 point (+2|-1) ago 

retarded subhuman faggot doesn’t understand sarcasm

Who are you and what did I prove you wrong about.

[–] Diggernicks 1 point 0 points (+1|-1) ago 

corn syrup laden bread

I'm in

[–] Broc_Lia 0 points 9 points (+9|-0) ago 

The core of hollywood's monopoly isn't production, distribution or theatres, it's copyright. Axe that and the whole rotten thing falls apart.

[–] BoyBlue 0 points 2 points (+2|-0) ago 

Chinese don't give a shit about copyright laws. Jews think they can separate them from their wealth...I think the Chinese have other plans for the jew. Well at least there won't be any gas chambers, those people will eat anything.

[–] Broc_Lia 0 points 3 points (+3|-0) ago 

Copyright is no longer about preventing knockoffs, that battle was fought and lost the moment you could download a movie in under an hour. Copyright is about cultural domination: Any goy who goes off res can be shut down for "copyright infringement," easily and quickly.

[–] NoseSubversion 0 points 1 point (+1|-0) ago 

Thank you!!! I was going to blame it on distribution. But then again, (((who))) will (((legally))) battle copyright?

[–] PhilKDick [S] 0 points 1 point (+1|-0) ago 

Sonny Bono's Mickey Mouse Disney law, repeated and extended, keeps copyright going for way too long. And the US bullies other countries to do the very same

[–] Broc_Lia 0 points 1 point (+1|-0) ago 

Yep, they ratchet it up. The EU passes a law for 70 years, the feds kvetch about how "we can't fall behind" so they pass a law for 75 years. Rinse repeat.

[–] Saltyhymen 0 points 8 points (+8|-0) ago 

Movie theaters will be dead in 10 years.

[–] Draco888 0 points 8 points (+8|-0) ago 

Niggers and overpriced tickets for propaganda films have already done that.

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[–] Straight_up_Prick 1 point 0 points (+1|-1) ago  (edited ago)

They're dead now.

[–] ardvarcus 0 points 8 points (+8|-0) ago 

The Jew seeks ever greater control over the media.

[–] cdglow 0 points 7 points (+7|-0) ago 

OP is wise for considering the Jewish angle in this law because the cultural effects right now are complex and a bit unknown, but I'd like to explain the original history of how degeneracy partly spread in the movie industry.

Originally the movie industry was going for total vertical integration. They tried to "own" the stars through very restrictive contracts that only let them work and be developed by them, they tried to build massive studio lots where they could film much of what they needed to easily, and they tried to own their theater chains.

All of this was GOOD for the morals of the country. The stars had to behave like good people (not degenerate jerks) or the studio they worked for would suffer a public humiliation if the stars they developed got caught in a sex or drug scandal. Unlike today, the theaters had to ensure good conditions (good snacks, no sticky floors and seats, troublemakers got removed) inside the movie theater because their reputation was tied to the movie studio. And most importantly if they tried to release a degenerate movie; because the studio owned the theater that was seen as indecent or promoting sex or drugs or degeneracy, the movie studio would directly suffer so morals were kept in check.

Due to anti-trust actions. This connection between the theaters reputation and the movie studios was split up and eventually the star system died down. This is why movie studios could start ramping up the degeneracy and why stars could become completely degenerate. The reputation of the movie studio was isolated from everything else tied to films in any way.

This is a very surface level overview. There's a lot more you could say about moral codes and the very early film industry (the degenerate Nickelodeons and literal Jewish gangsters that did terroristic acts against Edison's film cartel is really important in this history). But just pointing out that vertical integration was at one time not bad, but essential for a wholesome society. The golden age of film (in terms of morals and quality) was around 1939 and we've gone downhill since.

[–] PhilKDick [S] 0 points 4 points (+4|-0) ago 

Well, yes, much could be said about the Hays Code. Early talkies, starting with (((Al Jolson))) saying, in 1929, "You ain't seen nothing yet," were textbook examples of depravity, during the studio's vertical integration with theaters. Movies released after mid-1934, with the code's seal of approval, were much more wholesome. Goyim Code officials would actually participate in script rewrites. At the same time, Congress and religious pressure groups, including Father Coughlin-loving Catholics, kept the pressure on what they knew to be a jew-ridden racket of a film industry. Hence the concern for how movie stars conducted themselves. United artists, consisting of freedom-loving, bright, savvy goyim famous actors like Douglas Fairbanks, Jr., managed to become the only independent studio during the studio system/vertical monopoly days, due to their proven star-power. They did not make depraved films, of course, in spite of not controlling theaters.

No, the jews pushed against morality steadily over many years, gradually brainwashing the goyim customers. At the same time, (((gossip rags))) got rich peddling smut, real and imagined, on stars (but rarely on their jew masters). Ask yourself, was Judy Garland fed pep and sleeping pills before or after the studio system? Were their not Black Dahlia hollyweird scandals before 1948? No, and all that happened after 1948 is that jew studio heads could no longer hide the depravity that the toxic (((movieland))) environment inevitably produces. TL;DR: For as long as jews have run hollywood, tinsel town has been an immoral sludgepit, with some gold paint sprayed on.

At least, without control over theater chains, there is more competition, and less profits for jew moguls, who are less powerful than the Selznicks and Mayers, out there. Now, shit goes from bad to worse.

[–] cdglow 0 points 5 points (+5|-0) ago 

You bring up some great points. This is an extraordinarily complex history and I don't think it's ever been fully put together from somebody who is red pilled on the Jews who also has a good understanding of the complex economic incentives, moral codes and religion, stars and movie studios history, Jewish gangsters in early 1900s NYC and their role in strong-arming the early motion picture cartel to protect the Nickelodeons (likely associated names to look into include Big Jack Zelig, Lefty Louie Rosenberg, Gyp the Blood Horowitz, Joe The Greaser Rosenzeig, Jaboc Johhny Levinsky, Charlie the Gripple Vitoffsky, Bessie London, Tillie Finkelstein, Birdie Pomerantz, Jennie The Factory Morris, and the Yiddish Black Hand Gang, film equipment thefts and early studio fires in the (I think) 1900 to 1920 range (I'd have to look that up), and even history of intellectual property laws that knit this all together. There's a great red-pilled book here for somebody to write.

[–] Merlynn 0 points 5 points (+5|-0) ago 

Ok,I'm gonna explain this slowly. As long as jews control the money through the federal reserve,they can literally buy anything. So they're not stoppable until you patch their cheat code out of the economic game.

[–] tokui 1 point 4 points (+5|-1) ago 

What's the difference when one jew owns A and another jew owns B.

[–] Behuvius ago 

The difference is in having better theaters that don't cuck and bend to the will of the Jewz. Gives better independence and flexibility on the movie selection in theater. Besides, why would you want the Jewz to monopolize on yet another media source?

[–] tokui ago 

It's not just theatres and studios. The distribution network is also involved in the process.

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