Rock and Roll unleashed youth culture, and social critics fretted that the boomers(and subsequent generations) would never grow out of their teen years. This has indeed become a problem. But, there was another phenomenon, especially beginning in the 1980s, that fixated on childhood emotions. There was Steven Spielberg who made children’s movies for teens and adults(and for children too, of course). And there was Paul Reubens’ Pee Wee Herman who looked and acted like a five(at best seven) year old child snuggled inside an adult’s body(and brains, as he was pretty clever). Or more like a toy doll come to life. (If Pinocchio wanted to be a real boy, it’s as if Pee Wee wants to be a real toy.) If Elliott found the perfect friend or toy in E.T., the Tintin-haired Pee Wee was like a boy and a toy in one, almost a real-life Pixar character before the advent of CGI that made movies like TOY STORY possible. (Me, I’d rather have my own Terminator toy, like with the kid in JUDGMENT DAY.) Never mind adults failing to grow past teen emotions. Pee Wee mentality couldn’t grow past childish emotions. It was a disturbing departure from traditional children’s culture. When adults took their kids to Disneyland or a Disney movie, there was a clear distinction between children and adults(or parents). Grownups knew it wasn’t for them and just did it for the kids. But the Pee Wee phenomenon was different. As goofy and ‘cute’ as PEE WEE HERMAN’S BIG ADVENTURE is, it is rather perverse and disturbing in parts, indeed more suited for adults. But, is it proper for grownups to get their jollies by following the adventures of a perpetual man-child toy-boy, one who is blissfully, shamelessly, obnoxiously, and dementedly childlike, indeed enough to make Peter Pan blush?
Part of the appeal was surely nostalgia. While Pee Wee Herman was no one’s idea of the conservative archetype, he played on innocence as a fetish. In this, he shares something with Spielberg whose world shows few signs that the Counterculture even took place. The setting of JAWS is a tight-knit small town tourist community with nice middle class folks. CLOSE ENCOUNTERS OF THE THIRD KIND begins with the discovery of World War II fighter planes, and cultural references are to toys, THE TEN COMMANDMENTS, and a slightly more casual portrait of Fifties idyll of family life. Even though there are adults in EMPIRE OF THE SUN and JURASSIC PARK, Spielberg’s touch works most naturally with children. It’s as if Spielberg found a way to bottle the child’s sense of wonder inside a magic lamp. Even SCHINDLER’S LIST, horrific as it is, unfolds emotionally on the childhood level. Nazi atrocities are presented as crimes not only against a people but against innocence itself.
Counterculture promoted sexuality, drugs, cynicism, and obscenity(as gestures of rebellion and/or liberation), but Spielberg(and George Lucas) offered something nostalgic and reassuring. The Mexican village elder’s words in THE WILD BUNCH come to mind: “We all dream of being a child again…” And lucky for Lucas and Spielberg, their visions coincided with the Reaganite spirit of ‘Morning in America’. Neither Spielberg nor Lucas was a Republican, but their cultural references owed little to the Sixties, the spirit of which was revived with the ascent of Oliver Stone.
In a way, Sylvester Stallone also profited from the cult of innocence beginning in mid-70s when people wanted to put the Vietnam War, race riots, and Watergate behind them. Even though ROCKY has a violent fight scene, it is a Cinderella story, a fairy tale for grownups. And even though RAMBO(aka FIRST BLOOD II) was almost pornographic in violence, it too played on the cartoonish innocence of American Patriotism, i.e. “We were the good guys and would have won… had we not been stabbed in the back by cynical politicians and dirty hippies who called us ‘baby killers’.”
And of course, there was Michael Jackson, by far the biggest musical act of the 80s, a real-life Peter Pan onstage. But then, Jackson’s whole career arc was rather an outlier at odds with Rock culture. Sixties youth culture was all about late teen years and early twenties. It had no use for childhood, a time when one’s under the thumb of parents and teachers; indeed, it was embarrassing to admit you had once been a clean-cut kid in those grammar school pictures. On the other hand, like Benjamin Braddock in THE GRADUATE, it dreaded full adulthood with its responsibilities and ‘plastics’. The Woodstock Ideal was being old enough for sex-and-drugs but young enough to still dream of the future.
It was in such a cultural climate that Jackson Five burst upon the scene. It was incredible, a child star rocking with the best in Rock and Soul. How could a child do it and do it so well, so convincingly? By 1983, Michael Jackson was a full-grown man, at least biologically. But emotionally, it was as if he never grew past ten, and once he built his own Ludwig-II-like dream palace, he seemed to be growing backwards. In another 80s cultural artifact, AMADEUS the movie, Tom Hulce’s Mozart was like an androgynous MTV star, infantile and ‘gay’-ish, though not homosexual like Boy George. Given Pee Wee’s perky affectations, one might assume Paul Reubens is homosexual, possibly even pedophilic, though he’s actually straight, like Neil Sedaka, another one who seems ‘gay’ but is actually straight, though who really knows? (Michael Jackson was accused of pedophilia, but perhaps he didn’t see it that way as he was emotionally a child himself, i.e. in his mind, it was essentially a child-and-child matter. In our age, when a man who feels as a woman is a ‘woman’, perhaps some may argue that a man who feels as a child is a ‘child’, therefore his pedophilic acts aren’t really pedophilic since he identifies as a child. Crazy, but we live in crazy times.)
One of the biggest hits of the 1990s was FORREST GUMP, about a dummy with a heart of gold who lives through the upheavals of the Sixties and Seventies but always retains a sense of innocence and cares more for a box of chocolates than a Rolling Stones album or a bag of weed. (Incidentally, Tom Hanks starred earlier in a movie called BIG where he plays a child who finds his soul transported inside an adult body. It is first-rate comedy though somewhat disturbing upon reflection. The kid in the man’s body develops a sexual relationship with a woman, which might qualify as a sexual crime.)
Quentin Tarantino, given his compunction for violence and curse words, would seem diametric to Forrest-Gumpism, and yet his shtick also comes with a tinge of innocence. Paradoxically, some of his works are so perverse and demented precisely because his childlike mentality fails to fully grasp their moral implications. It’s like children can be cruel due to an undeveloped sense of empathy and moral logic. They fail to see the wrong of tearing the wings off insects or throwing rocks at small animals, like the children in the beginning of THE WILD BUNCH who laugh at the sight of scorpions being tormented by ants and then set fire to them. Tarantino is high IQ with an encyclopedic knowledge of cinema(and popular culture in general), but he talks like he never grew past childhood. He talks about sex and dicks in the opening of RESERVOIR DOGS like boys do in the 5th grade. Terry Gilliam is another one, and first truly independent movie was TIME BANDITS, a dark children’s movie made for grownups.
Orson Welles once said of cinema, “It’s like the biggest electric train set any boy ever had.” With Pee Wee Herman(and Tim Burton, a perfect match in sensibility), the metaphor becomes literal as his cinema is one big toyland from beginning to end, top to bottom. It’s all seems so innocent yet also a bit perverse because there’s something grotesque about a full-grown man being so totally obsessed and immersed in childhood. It used to be adults catered to childhood sensibility in kiddie shows, like Art Linkletter and Captain Kangaroo. Or adults played the clown, a silly figure but still an adult, like Bozo.
In contrast, Pee Wee is an adult as a child, and there’s a sickly quality to the cuteness and hilarity. Its sensibility overlaps with the camp in ROCKY HORROR PICTURE SHOW and the foul sewage of John Waters.
In some ways, Pee Wee Herman could be seen as more subversive precisely because his shtick wormed into the mainstream as fit-for-kids, as harmless stuff. (Not surprisingly, just like Michael Jackson, Paul Reubens was caught in a scandal of his own at a porno theater, especially inexplicable in the age of the VCR? Perhaps an exhibitionist streak?) Adam Sandler’s shtick was to play a more jock-like version of Pee Wee the perpetual child. Never grows up but beats up everyone or takes charge of every situation.
Wally George vs Jim Myers is like a caricature of MAGA Populism vs the Neocons.
Childhood is associated with innocence but also with terror, not only what the child fears but feels toward others. Good thing children are small and weak because the childish mind lacks empathy, is often demanding & impetuous, and feels the world should revolve around his or her wishes. Children often throw temper tantrums or bawl like it’s the end of the world if they don’t get what they want, be it ice cream or a toy. A TWILIGHT ZONE episode showed how dangerous things would be if children had power over adults. And one reason why blacks are so dangerous is they are more childlike but also bigger and stronger than whites. Take Mike Tyson, the dominant heavyweight boxer of the 1980s. He was built like Mighty Joe Young but had the mentality of a school yard child bully. Indeed, whites handle blacks as if the latter is a bunch of children who can beat them up. If children had power over us, it’d be the Village of the Damned.
No wonder some of the creepier tales involve a locale ruled by kids, like CHILDREN OF THE CORN where young ones have become spellbound into a crazy cult akin to Amish-or-Evangelicals-gone-mad. It was secular Stephen King’s jibe at Christian zealotry and religious puritanism, but, like Joyce Carol Oates, he seems to be just as fanatical in his quasi-spiritual faith in the Magic Negro or the healing power of fantasy. Of late, King has been rabid with something approaching religiosity about Covid-19 and Russo-Ukraine War. He has become the secular or neo-religious version of the Christian fanatics he has so often mocked. Talk about the lack of self-awareness.
Despite Paul Reubens’ real-life straight sexuality, his Pee Wee act foreboded the confluence of homo culture and pedophilia in American politics. (I wonder if Stanley Kubrick had Pee Wee Herman in mind for Alan Cummings’s role as hotel clerk in EYES WIDE SHUT.) Though the AIDS crisis and 9/11 served as dampers, the culture became increasingly ‘gay’ since the 1970s. Not only was it increasingly celebrated but came to be ‘spiritually’ consecrated. Jews did a judo-move on HIV and turned it to homo advantage in movies like PHILADELPHIA where dying of AIDS was equivalent to neo-sainthood. And in BROKEBACK MOUNTAIN, the myth of the American West was turned into Homo on the Range, with two cowpokes buggering one another. Of course, there has always been homo cowboys, but the point of the movie was, “Sodomy is as American as Apple Pie”, the stuff of manly pride than something one should keep to oneself. When legend becomes ‘gay’, bugger the legend.
As if the world turning ‘gay’(and men turning into ‘women’) hasn’t been bad enough, there’s an increasing lurch toward pedomania. It’s a strange phenomenon where adults are increasingly infantilized while children are increasingly sexualized, even pornified. For many full grown adults, videogames and superhero movies(and other such blockbusters) have become their cultural staple. Universities are supposed to be places of intellectual curiosity and free debate, but PC and then ‘wokeness’ have turned many students into shrill emotional children. When Donald Trump was elected in 2016, some universities allowed students to skip class(as they were too distraught to attend class) or served them milk and cookies. Yes, college kids coddled like children whose pet hamster just died. Emotionally, many college students seem stuck in kindergarten level with their need for ‘safe spaces’ lest they be ‘triggered’ by bogeyman ideas(or KKK lurkings at colleges like Oberlin). Not only are comic book movies promoted and lauded as cultural events, but a movie about Joker(from Batman universe) counts as an ‘art film’. The fantasy Wakanda of BLACK PANTHER was discussed as if real, or at least a realistic vision of future Afrotopia. Childish pranks like ‘hate hoaxes’ have rocked community after community, and no one seems to learn anything as new ‘hate hoaxes’ keep popping up like mushrooms, as if America is trapped in some Groundhog Day or Truman Show universe.
But just when the adult world is increasingly infantilized, children’s world is ever more sexualized. Globalist hysterics bitch and whine about Florida’s “Don’t Say Gay” bill, willfully distorting its purpose which is to shield young children from sexual(especially homosexual and tranny-sexual) propaganda. Why such eagerness to introduce sexual matters, especially deviant and degenerate ones, to young children? One would assume that these ‘educators’(or ‘peducators’) regard children as sexual creatures ripe for grooming.
Now, if children are to be regarded as sexual creatures(who, from a tender age, can choose to have their hormones blocked or their genitalia altered in some grotesque way), it would imply they should be able to engage in sex, at least with one another. But if children can have sex with children, why not with adults too? Follow such crazy logic to its conclusion, and we end up with a pedomaniacal world.
Given these issues, what once seemed ‘innocent’ and cute about Pee Wee Herman in the 1980s should maybe give us pause. If adults can be seen as big children, the corollary is children can be seen as little adults, just another variation of ‘men can be women’ and ‘women can be men’.
Anyway, PEE WEE HERMAN’S BIG ADVENTURE offers a glimpse into the nature of the Jewish mindset, though it may not have been conscious or intentional. For a more political Pee Wee Herman movie, there is BIG TOP PEE WEE, a box office failure that pretty much ended the movie franchise. It was clearly meant as an allegory of Jews leading mass immigration to subvert, overwhelm, and transform ‘racist’ US represented by small town white Americana. A circus troupe of various freaks of all colors come crashing into a virtually all-white community of ‘narrow-minded’ folks. The politics is blatant and in-your-face.
In contrast, one could easily overlook the ‘political’ subtext of PEE WEE HERMAN’S BIG ADVENTURE as it’s fast-paced and full of laughs. Paul Reubens’ energy level is amazing, even infectious, like among the biker gang that’s about to tear him to pieces but is won over by his sheer zaniness. In his own way, he’s as ‘wild’ as the bikers are and, furthermore, truly unique, therefore precious and worth sparing, even cheering for.
Despite the lack of an overt ‘political’ message, Pee Wee’s fixation on his special bike and the trouble he goes to(and the way he involves others) in retrieving it when stolen speaks volumes about a certain facet of the Jewish mentality. To Pee Wee, his Bike isn’t just any bike. All other bikes, fancy or basic, are merely properties. Some may be super-expensive but aren’t priceless, which he deems his own bike to be. The Bike is like a personal covenant with the toy god, or his personal Zion. Jews look upon all the world as one big real estate, something for Larry Fink of Blackrock to sop up. But Jews regard Israel as priceless. Jews involved the great powers to aid the Jews retrieve it as their own special homeland. Not even all the money in the world could persuade Jews to sell an inch of it to filthy goyim. The Covenant and Israel are to Jews and Zionists what the Bike is to Pee Wee. Indeed, the Jewish worldview is neatly encapsulated in the scene where fat spoiled Francis tries to buy the Bike from Pee Wee who is equally tickled and infuriated. The idea that he would sell his special Bike to some stupid fatty is a laugh riot. It is also insulting as it assumes Pee Wee would give up his most valuable possession for money. All the fools in IDIOCRACY ‘like money’, but Pee Wee has a sense of value that goes beyond the Benjamins. So, when it’s stolen, it’s the Lost Ark that must be recovered.
It’s telling that Pee Wee’s front yard has a rocket(perhaps signifying Israel’s nuclear arsenal) and life-size models of farm animals, especially horses and cows, possibly suggesting that goyim are closer to animals than real humans that only the Chosen are. In their name-calling, Pee Wee dubs Francis a ‘monkey’, an animal. Pee Wee says he doesn’t make monkeys but trains them. It’s as if God created Jews as full humans but made goyim into something like half-man half-animal, creatures to be trained by Jews, not unlike the beast-men in THE ISLAND OF DR. MOREAU, which could serve as an allegory about Jewish control over goyim. None of this is to say Paul Reubens consciously thought all this out, but the creative subconscious feeds on one’s ethnic and cultural biases. Besides, the overall conception seems as much the work of Tim Burton(the forerunner of Edgar Wright) as Paul Reubens. Still, Jewish subconsciousness surely shaped the invention and narrative. (In the case of Steven Spielberg’s WAR HORSE, the big beast is clearly a metaphor for goyim. In the current Western Order, goyim are like trained monkeys, attack dogs, and war horses of Jews whose roles are of the pigs in George Orwell’s ANIMAL FARM.)
Pee Wee is at once ultra-freaky as an oddball and hyper-normal as a neatly dressed upright citizen in the community(who keeps his property and the grass clean and green, anticipating the middle class respectability of homos as a throwback to the 1950s ideal with a ‘gay’ twist). Something for everyone, like Barack Obama. Freaks and weirdos could identify with him, but conservatives might appreciate his sense of order.
Like David Lynch, Reubens’ Pee Wee is a ‘weirno’, or weird + normal, or someone who feels attached to normal things of familiarity and nostalgia but is nevertheless different in some strange way and doesn’t quite fit in. One might also say Tim Burton is like a toy house version of David Lynch, and one could connect the thematic dots from ERASERHEAD to PEE WEE’S BIG ADVENTURE to TWIN PEAKS to PEE WEE’S PLAYHOUSE to MARS ATTACK! Pee Wee revels in his difference but is also insistent on his normality, even ultra-normality. In our time, the freaks aren’t content with the freedom to be freaky but insist that they too are normal or constitute the New Normal, and furthermore, we must be compelled, even by the force of law, to accept and celebrate their freakiness as normal. So, Rachel Levine has been deemed ‘woman of the year’ by some elite institution, and we are supposed to keep a straight face and nod along as if nothing could be less controversial. Such conformism of the mind is suggested in the scene where Pee Wee comes upon a bunch of young boys in a bike shop.
On one level, it’s just a nice moment between Pee Wee and ‘friends’. Pee Wee walks into the bike shop, and the kids greet him as a familiar face and then depart. Yet, something is a bit off. The kids look totally normal as white middle class archetypes. Also, in their dirt bike gear, they even look warrior-like, part of jock culture. So, why would they be so ‘cool’ and cordial with someone like Pee Wee, a full-grown man who acts like a child and talks like a dork?
One would expect these clean-cut All-American golden boys to make fun of Pee Wee, but they seem to find him alright, and, if anything, it’s Pee Wee who’s sort of annoyed with them. The scene is like a blueprint of how Jews desire goyim to feel and act. No matter how weird and nutty Jews may be, they want goyim to act as if all is fine, all is normal, and etc., just like ‘Jennifer’ Pritzker wants to be treated as if he’s a real ‘woman’, and there is NOTHING weird or funny about that. Jewish vanity is the new sanity. At the bike shop, Pee Wee picks up the horn, which could signify the Jewish will to monopolize the megaphone.
Pee Wee is clearly Jewishy while the kids look ‘Aryanish’, and the camaraderie between them isn’t exactly natural. It’s as if the kids have been trained(like monkeys) to hold something back, to be on their best behavior in his presence. Pee Wee doesn’t get the ‘Eugene Treatment’ from them(or the harassment by local kids upon Albert Brooks in LOST IN AMERICA).
To his utter shock and dismay, Pee Wee discovers his bike has been stolen and comes to surmise the culprit must be Francis, who happens to be taking a bath with toy battleships in a swimming-pool-sized tub. In rage, Pee Wee dives into the tub-pool and tussles with Francis. It could be an allusion to Moses splitting the sea, or maybe the attack on USS Liberty.
What sets Pee Wee apart from comedians like Buster Keaton is a sense of ‘centrism’, i.e. his ego expects the whole world to revolve around him. Buster Keaton’s characters get caught up in lots of action, but they remain do-it-aloners, individuals. They don’t expect the world to come to their aid and instead scramble the best they can to keep their heads above water.
In contrast, as far as Pee Wee’s concerned, his troubles are the world’s troubles. His tragedy must be prioritized above all else. Indeed, it’s as if everyone in the community must care more about his Bike than their own. He is the sun ‘nerd’, they are the planets. In this, he’s different from Big Lebowski, aka the ‘dude’, who knows full well that the world doesn’t give a hoot about his problems, like when the Mexican-American policeman laughs in his face about the ‘leads’. It is only at the dogged insistence of Walter, a Dumb-Polack-type who tries so hard to think, feel, and act like a Jew, that Lebowski is persuaded to turn the Rug problem into a major issue with larger implications.
An individualist sees his problem as his own, whereas a centrist believes his problem is the world’s problem, so the world must fix it. It’s like the young girl in the Coen Brothers’ version of TRUE GRIT who doesn’t merely plead for help but feels as if others should fight and die to put the world right for her. An individual, being a social creature(as all humans are), often works with others to achieve his goal but still understands that the world doesn’t revolve around him. If others lend support, it’s either a matter of contract or conscience(of free will and agency of personal choice). In contrast, the centrist’s emotions demand that the world agree and acquiesce to his or her interests and agenda. The likes of William Kristol and Victoria Nuland seem downright offended when goyim seem less willing to agree with them, praise them, and kill/die for their causes, which, for all the smoke-and-mirrors verbiage about ‘democracy’ and ‘freedom’, serve extremely narrow ethnocentric interests of Jewish Supremacism or Exceptionalism, which is often peddled as ‘American Exceptionalism’, which seems to exceptionally favor Jews over goyim and Zionists over Arabs/Muslims and whatever else that Jews favor around the world, like heartlessly using Ukraine as a proxy against Russia.
In the scene above, Pee Wee acts like Neocon types who feel that the goy world exists to obey and serve Jews. If Jews are angry about something, goyim must growl along. If Jews want something, it must be gotten for them by the goyim. If Jews hate something, goyim must share in the hatred. Currently, Russia is the main target of hate, so all of the West is barking mad at Evil Putin. And Jews and their Anglo-Cucks are growling at China, India, and other parts of the world that won’t bark along at Bad Bad Russia. It’s as if Jewish ego/ethnocentrism expects the world to be an emotional and physical extension of the Jewish psyche. So, if Jews feel something, the world must materialize it into reality. If Jews want Syria destroyed, the world must have it destroyed. Pee Wee is like a more aggressive and hyper version of the child-man played by Peter Sellers in BEING THERE who expects the world to be like TV according to the remote control. Push-button reality.
As Anglos, once the most powerful people on Earth, became the most servile dogs of Jews, the Tribe now feels entitled to the same kind of servility from the whole world. No wonder the US government is so angry at India. Jewish has a master attitude toward Hindus: “We are the master, and Anglos fetch and roll over for us, so WHY DON’T YOU AS WELL?” And the Anglo have a dog attitude toward Hindus: “We grovel at the master’s feet, so WHY DON’T YOU AS WELL?” Dogs want other dogs to be equally obedient to the master. Pee Wee’s frustration with others lacking the requisite enthusiasm to recover the Bike is akin to Jewish-controlled America’s rage at parts of the world that won’t join in the hunt for the Russian Bear. Jews want all goyim to serve as dogs baiting the bear.
The scene below indicates that maybe Paul Reubens, not George Soros, has been the mastermind behind the formula of GloboHomo and BLM. The current anti-white agenda combines black thuggery with homo-tranny vanity. Even though the criminal isn’t black in the scene, what ensues is criminality and cross-dressing working together to get past the defense of white law-and-order. While Pee Wee dons a woman’s dress(looking like Olive Oyl), the criminal thug is disguised as a respectable citizen. Doesn’t that sound familiar? BLM and ‘Pride’ marching together.
PEE WEE HERMAN’S BIG ADVENTURE has similarities with two other movies of the same year, 1985. Albert Brooks’ LOST IN AMERICA and Rob Reiner’s THE SURE THING are also road movies. The Pee Wee movie, like Brooks’ comedy, could be referencing EASY RIDER, though Pee Wee is strictly a cyclist rather than a biker. Paul Reubens’ persona is clearly Jewishy but isn’t pinned down, whereas Brooks wears his Jewish neuroticism on his sleeve. (In obsessiveness, Brooks draws on the energies of THE GRADUATE and THE HEARTBREAK KID and is rather different from the laid-back goyim of EASY RIDER.)
The difference is, whereas Pee Wee’s sights are set on a clear goal, something that matters to him most, Albert Brooks’ character chases after the end of the rainbow, the illusion of freedom in the middle of nowhere when the real treasure for Jews is in the city where all the wealth and talent are concentrated. The yokels in Scotland have their quaint charm in LOCAL HERO, but the real action is in the metropolis. No wonder then the Brooks character in LOST IN AMERICA finally regains his Jewish essence and heads straight to New York, where his ‘bike’(or Mercedes) is. Germans used to kill Jews, but with Jews owning the world, the well-heeled Krauts are eager to build and sell luxury cars to the Chosen.
As for THE SURE THING, the two lead characters played by John Cusack and Daphne Zuniga could be of any ethnicity, but Cusack’s brunette character is contrasted with his blond buddy and finally rebuffs the advances of a blonde babe. As for Zuniga’s character, she ultimately dumps her very Waspy and dull boyfriend, a dweebier version of Carl in THE GRADUATE and finds her true love in Cusack. It was directed by Rob Reiner who, during the Trump years, came out as a totally deranged super-Zionist Jewish Supremacist hater of MAGA ‘white trash’. (THE SURE THING is delightful, his best work.)
Perhaps, the most obvious Biblical reference is the scene where Pee Wee scrambles to save the animals in a burning pet shop. It’s clearly an allusion to Noah and his Ark, though it might have something to do with Holocaust too: Save them from the oven!
Needless to say, Pee Wee triumphs in the end. Not only does fortune smile down on him and reunite him with his Bike but his story is made into a glamorous 007-like movie with tall Aryan-ish characters lending glamor to the legend of Pee Wee. If Charlton Heston played Moses and Ben-Hur, why shouldn’t James Brolin play Pee Wee?
What is politics in the Current West but goyim, white and black, acting out the roles conceived, scripted, and funded by Jews? George W. Bush, the tool of Neocons, and Barack Obama, the tool of Neolibs, with Neo- being synonymous with Zio-. American Politics is an experiment in Zio-Labs. It’s as if all of us are living in a Jewish movie. Jews who bitch about ‘conspiracy theories’ turned US politics under Donald Trump into one big spy movie about Putin’s regime as Spectre that rigged the election for his Siberian Candidate in the Donald. And Ukraine has been run by Zelensky, a Jewish comedian of all people, and the Ukrainian narrative on the war makes Spielberg’s 1941 seem downright sober. Just like everyone becomes part of the Pee-Wee-centric world in BIG ADVENTURE, it’s as if we’re all trapped in the world reduced to a toyland for Jews.
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