Tag: Hellmouth

Never Too Old to Take the Ticket

How on Earth does she do it? We’re supposed to be amazed by Kylie Minogue’s “comeback of the century” as a pop kitten at the age of 55.

Kylie Minogue is currently in the midst of a career resurgence not seen since her Can’t Get You Out of My Head days. The Australian hitmaker, who just celebrated her 55th birthday, is racing up the charts with her comeback single Padam Padam and reaching a whole new generation of fans via social media.

The addictive dance track has become a viral sensation on TikTok and Twitter, racking up millions of views through hilarious memes. It’s also shaping up to be a massive hit on the music charts, becoming her highest-charting single in Australia in over a decade after debuting at No. 39 in its first week.

The song is racing up the UK charts too, hitting No. 1 on the UK Big Top 40 chart, which measures radio airplay, iTunes sales and Apple Music streaming.

Very impressive, right. It’s just a mix of the right song, the right producer, and the right singer at the right moment, right?

Whatever. She’s just another manufactured Illuminati whore.

So we have a very good idea of how this “unexpected comeback” was arranged. What’s interesting, however, is that the global media is openly attempting to run cover for her ticket-taking. It’s not the fact that they’re doing so that’s interesting, that’s only to be expected, but the fact that they feel the need to do so.

Kylie Minogue is embroiled in a bizarre and baseless Satanic conspiracy theory.

In other words, we’re actually supposed to believe that the way that the vast majority of people are granted fame and what passes for success in the entertainment world, the very way that celebrities from Bob Dylan to Lady Gaga have openly admitted is how it was given to them, is “bizarre and baseless”.

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The Little Trashmaid Sinks

The media is claiming that the blackwashed live action version of the classic Disney film is a big success.

Disney’s The Little Mermaid has topped the box office at the number one spot over Memorial Day weekend with a whopping debut of an estimated $118 million.

The live-action remake, which is also mixed with CGI animation, stars Halle Bailey playing the leading role of Ariel, whose casting initially sparked backlash, Melissa McCarthy as sea witch Ursula and Jonah Hauer-King portraying Prince Eric.

On Friday alone, the film raked in a total of $38 million in ticket sales in celebration of the anticipated project’s release in theaters to kick off the summer season. Through Sunday, The Little Mermaid garnered $96 million in the box office, and over the span of the entire holiday weekend, the movie is expected to make $118 million in the domestic markets, making it the fifth highest Memorial Day opening in history, per Variety.

‘This gives Disney the green light to keep mining its vault. With an opening this big, I think you’re going to keep seeing these live-action reboots.’

Wow, apparently people really want to see black people replacing their redheaded icons after all, right? Well, not so fast. The Dark Herald puts the numbers in their true perspective at the Arkhaven blog.

This is a disaster for Disney.

Not that you would know that from the level of spin going on in the trade media.

“BOFFO BOX OFFICE BONANZA FOR THE THE LITTLE MERMAID THAT COULD! $163 MILLION ON ITS OPENING WEEKEND!!!

If that was just the domestic total then, awesome, boffo indeed. But it’s the grand total. Just for reference, the godawful CGI Lion King remake hauled in $269 million on its opening weekend and that was in 2019 pre-Bidenflation bucks. In today money it would be $358 million.

The Little Mermaid’s domestic haul is an acceptable-I-guess $95 million.

But the International market has cratered at $68 million. That is a catastrophe for Disney. Simply put, the critically important international market is blatantly and obviously not going to get better from here.

More importantly, Disney desperately needed The Little Mermaid to overperform due to the number of recent flops it has released in the aftermath of the shutdown of its parks. Because Indiana Jones: The Old Guy’s Last Hurrah or whatever it is called, is already more doomed than the temple of the second film.

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Torching Indy

Disney has burned the effigy of Indiana Jones. The Dark Herald explains how on the Arkhaven blog:

The original Indiana Jones Trilogy of films all revolved around religious artifacts that held immense power.* In Indiana Jones and the Dial of Destiny, the Antikythera Machine turned out to be a time machine, created by Archimedes. A machine created by the One True Science and not religious at all. The Spear of Longinus is in this thing too and has no power at all because religion is now fake and gay in Indy’s new horrible world. Everyone knew this thing was going to be a disaster when we heard that Fleabag had been cast. Phoebe Waller-Bridge has become a greater harbinger of impending franchise doom than any plague spot. Woke Hollywood is still determined to make her thing and she’s not and never will be. But they will be getting over that soon.

Truth be said, this movie had a much worse casting decision going for it. Harrison Ford as Indiana Jones. I’ve said before and I’m saying it now, the attraction of Indiana Jones wasn’t that you wanted to see his movies, it was that you wanted to BE Indiana Jones. Young, mid-thirties, Nazi-punching Indiana Jones. Nobody wants to be old-as-fuck 80-year-old Indy. Bringing him back to the franchise was a terrible idea… Unless you were planning to obliterate Indiana Jones and the rumors all said the same thing, that, that was what they were planning to do. Indiana Jones would be humiliated by Fleabag for the entire movie then, time travel back to his forties, meet his younger self, and then his younger self would be killed. Banishing Doctor Henry Jones Jr from all of his adventures. Then Fleabag would pick up his hat and have those adventures for him thus cucking Indy, his audience, and all men everywhere.

LucasFilm actually had the nerve to be surprised when the test screenings bombed. Much to her rage, Kathleen Kennedy was ordered to unfuck the ending.

The ending was resentfully changed to Indy getting heroically clocked by Fleabag, because he wanted to stay in the past. He wakes up in the present and is bummed about it until Marion walks in with some groceries. At the start of the movie they had been divorced, and that got Butterfly Effected away. So now it’s a happy ending.

I stopped watching Indiana Jones after The Temple of Doom. Frankly, I thought the greenscreen Apple II game Aztec was vastly more entertaining. But it’s still nice to see the satanic corporate skinsuit of what was once Disney crashing and burning repeatedly this summer. As Razorfist mentioned in his epic rant on UATV, it wasn’t all that long ago that Disney was flirting with bankruptcy. It’s looking increasingly possible that they’ll go down for good this time.

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Amazon Doubles Down Again

It’s just SJWs doing what SJWs always do. When I wrote SJWs Always Lie and SJWs Always Double Down, which led quite naturally to Corporate Cancer, I wasn’t inventing anything. I was simply observing the obvious.

A new report claims that Amazon Studios scrapped an audience ranking system after data revealed audiences were put off by “queer stories” and themes.

This new report comes from The Hollywood Reporter’s Kim Masters who details that Amazon’s “reliance on testing and data led to a clash late summer” specifically following a marketing meeting regarding the company’s A League of Their Own series.

Masters notes during this meeting an Amazon executive pointed out “that data showed audiences found queer stories off-putting and suggested downplaying those themes in materials promoting the show.”

On top of this, Masters also detailed, “Multiple sources say [Amazon’s system] often ranked broad series featuring straight, white male leads above all others.”

According to the report, the show’s co-creator Will Graham “launched into an interrogation of the system,’ which resulted in Amazon dropping “the system of ranking shows based on audience scores.”

The converged entertainment corporations are never going to stop what they’re doing. Which is why companies like Castalia and Arkhaven are going to outlast even the biggest corporate giants. We’re not competing with them, they’re just waging psychological war on their own customers. And eventually, the wall of reality against which they are battering their heads is going to break them.

It will get worse. It will get a lot worse. It will get worse than you believe is even theoretically possible.

Jesus harrowed Hell. Arkhaven will harrow the Hellmouth.

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Star Wars is Dead

The Dark Herald checks his watch and calls it.

The second episode of The Mandalorian aired last Wednesday and I have yet to hear a peep out of Fort Mickey. Whenever the streamer studios have one of their exceedingly rare wins they screech it from the rooftops… Today Samba.TV released its numbers for the opening episode of The Mandalorian and they are b-a-a-a-a-d.

Disney+ ate its own seed corn when the Book of Boba Fett was bombing. Tearing off Mando’s admittedly good third-season starter and stuffing it into the Book of Boba Fett was like pouring an entire bottle of expensive perfume on a pile of shit. It wastes the perfume without making the pile smell any better. Favreau had to slap together a replacement season opener out of spare parts and abandoned scripts. It was a weak start when it needed to come out strong.

Obi-Wan Kenobi’s premier was 2.14 million unique views.

The Mandalorian third season opener was 1.5 million unique views.

This is truly dire for Disney because The Mandalorian has lost half of its audience. It only edged The Book of Boba Fett by 2%.

And apparently the Marvel Cinematic Universe is rapidly going the way of the Star Wars Universe.

The Walt Disney Company CEO Bob Iger signaled that the company plans on cutting back on Marvel franchise films in the wake of Ant-Man and the Wasp: Quantumania performing abysmally in the box office.

During an appearance at a Morgan Stanley conference, The Hollywood Reporter’s Alex Weprin reported Iger signaled the company plans on cutting back on how many films they make around certain characters.

Iger said, “What we have to look at at Marvel is not necessarily the volume of Marvel storytelling, but how many times we go back to the well on certain characters.”

He elaborated, “Sequels typically work well for us, but do you need a third or a fourth, for instance? Or is it time to turn to other characters? There’s nothing in any way inherently off in terms of the Marvel brand. I think we just have to look at what characters and stories we are mining.”

Convergence kills. There is no way back for any of these franchises. They’re not necessarily going to go straight downhill, as there will be overperformances and underperformances, there always are, but the general trend is perfectly clear. And as AI improves, the cost of producing alternative entertainment is going to decline as well, thereby creating new opportunities for Arkhaven and other independents.

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No Truth, No Taste

The (((CBS producers))) thought the Charlie Brown Christmas was too slow, too religious, and didn’t like the music. The truth turned out to be the precise opposite, of course.

“Isn’t there anyone who knows what Christmas is all about?” an exasperated Charlie Brown exclaims. “Sure, Charlie Brown,” Linus reassures him, “I can tell you what Christmas is all about.” And then Linus famously recites Luke 2.8-14, part of the biblical Christmas story.

It’s just seven verses. Read by the innocent voice of real child (rather than an adult voice actor), it’s the highlight of the show for many people.

And yet those seven verses almost got the whole thing canceled.

When Charles Schultz, the creator of the Peanuts comic strip, was first approached about doing a Charlie Brown Christmas special, he included the Scripture reading in his pitch. One of his producers was instantly hesitant, but Schultz insisted.

“If we can talk about what I feel is the true meaning of Christmas, based on my Midwest background,” the producer later recalled Schultz saying, “it would really be worth doing.” Notice how Schultz had to speak of the Christian faith euphemistically as coming from his “Midwest background.” The producer explained that Schultz was adamant that the Scripture be included, “If we hadn’t gone that way, we wouldn’t have done the show.”

And yet, when the CBS producers saw the first cut of the show, they were really worried. “We thought we had ruined Charlie Brown,” one producer said. Along with thinking it was too slow and not liking the music (they didn’t like the music!), they thought it was too religious.

These are the inversionists who subsequently decided that America wanted every single television show to be set in New York City and Los Angeles, and killed off the most popular shows on TV. Don’t ever mistake what is reported to be “popular” and “successful” as actually being what people want.

Now they’re going to try to convince everyone that no one ever liked Dilbert, one of the three greatest cartoons ever drawn.

UPDATE: Scott Adams reports on the efforts to erase him.

My publisher for non-Dilbert books has canceled my upcoming book and the entire backlist. Still no disagreement about my point of view. My book agent canceled me too.

Build your own platforms and keep the wicked out of them. If you don’t, they won’t hesitate to eject you, your faith, your nation, and everything that is good, beautiful, true, or functional.

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The Jews and Their Hellmouth

It has been extremely informative to experience how being openly Christian and avowedly anti-satanic inevitably leads to accusations of being “anti-semitic” and having the ADL put you on one of its endless lists. But the Hellmouth won’t stop spewing its wickedness any more than we will stop acknowledging and insisting that Jesus Christ is the Lord and Savior of Mankind.

So, what side will you choose? Because there are no fences, no jokes, and no coincidences.

The Evil, the Ugly, and the Fake

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Michael Myers was the Good Guy

It turns out that “Jamie Lee Curtis” (real name: Jamie Lee Schwartz) was actually the evil monster in Halloween.

Hollywood star Jamie Lee Curtis has deleted an Instagram post after followers noticed a photo in the background depicting a naked child stuffed in a box. In her original Instagram post, the actress revealed she tested positive for COVID. She also explained why she posted a picture of her office, though she didn’t address the bizarre photo in the background.

“Ok. This is a weird post. But I have Covid, so f*ck it. During one of the SAG nomination panels for @everythingeverywheremovie I told the story of how I ended up with my office furnished with my beautiful Pollack chairs from that movie,” she wrote.

“I mentioned if people followed me, that was not a cheap trick to try to get people to boost my numbers, but I couldn’t figure out how else to get the picture out into the world, that I would post a picture of them on my IG in my offices for @comet.pictures and I am a truth teller so here you go.”

Jamie Lee Curtis recently revealed that her son Thomas transitioned into a woman and now goes by the name Ruby.

These Hellmouth denizens are not only fake and gay, they are wicked and degenerate. Those who hate the Good, the Beautiful, and the True can’t help but expose themselves sooner or later due to their instinctive preference for the Evil, the Ugly, and the Lie.

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Why They Take the Ticket

And all you have to give them is your soul.

Daily Wire CEO Jeremy Boreing published a video Thursday disclosing and discussing a binding contract the company offered to podcast host Steven Crowder. The contract reveals that Daily Wire offered Crowder $50 million over four years. The deal included a two-year company option that, if exercised, would continue to pay Crowder $12.5 million a year.

Boreing expressed this was DW’s opening bid. The company was likely to bid — much — higher during negotiations, he states. Boreing posted the video in response to comments Crowder made on Tuesday about an unnamed conservative media company offering him a contract that contained, what he described as, penalties if Big Tech were to demonetize his content.

Crowder accused the company of enabling censorship with the following terms:

“If any of the major platforms (e.g. YouTube, Facebook, Apple Podcasts, Spotify) issues a content strike (other than a “companywide” content strike) such that Crowder content cannot be monetized on such platform, and the company is not able to resolve the issue within 90 days, then the fee will be reduced by 25% from that point forward.”

Precisely, the contract would allow the company to reduce Crowder’s salary if a content strike were to decrease the revenues the brand could generate from his program. For background, Crowder boasts nearly 6 million subscribers on YouTube. He has notoriously feuded with the video service over demonetization, censorship, and suspensions.

This makes it clear why YouTube banishes people like Owen Benjamin. He was over 300k subscribers when he was banned, and he probably would have been well over 1 million subscribers by now, which would have been worth about $2 million annually from a ticket-distributor like Daily Wire.

Of course, the money isn’t actually real, as evidenced by the fact that it has to be returned to sender upon the relocation of the ticket taker to Hell. Make no mistake. This isn’t genuine success. This is the satanic illusion of success that is on offer as bait.

That is why I always find it mystifying when people claim that I am jealous of the likes of John Scalzi, Jordan Peterson, Ben Shapiro, or Steven Crowder. Because you literally could not pay me to take their place.

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