Paul Craig Roberts made an intriguing reference the other day. He wrote that “a noted philosopher wrote an article in which he suggested that Americans live in an artificial or virtual reality. Another noted philosopher said that he thought there was a 25% chance that the philosopher was right. I am convinced that he is right. Americans live in the Matrix. Nothing that they know or think that they know is correct.” I agree.

The media, of course, is a constituent part of that Matrix, and I am particularly interested in the Hollywood branch of the media. Needless to say, most TOO readers are probably aware of Hollywood’s pronounced anti-White, anti-Christian bias and are clued in to the ways they subvert traditional White Christian culture.

One of my favorite essays unpacking Hollywood’s subversion has always been Kevin Beary’s “Adorno’s Bastards: Pleasantville and the Frankfurt School,” which parses the storyline of the anti-White film Pleasantville. Unfortunately, Beary’s colorful site with film stills has disappeared, leaving only this truncated version on another site.

Readers know I have done readings of many films and may also know that I’ve written quite a bit about Jewish involvement in finance and deception in that field (see here, here, and here). Today I’d like to write a review of a movie that encompasses both.

J.C. Chandor’s 2011 film Margin Call tells a story that loosely mirrors the fall of Wall Street giant Lehman Brothers. Even for Hollywood, however, the deception in this movie is staggering, and it occurs on many levels. It terrifies me to think that the masses will swallow this tale, particularly the images that will have such a powerful subliminal impact.

Now picture this: The Margin Call premise is that a group of WASPs and a Catholic or two run a leading investment bank on Wall Street. Things turn sour, however, and the firm is looking at bankruptcy unless they can pull off a miracle.

Obviously, such a scenario makes little real-world sense. In the real world, Wall Street is heavily Jewish, especially the investment banks. This is so obvious that Wiki has a special segment called Jewish investment banks, which includes, in part:

So Lehman Brothers was a classic Jewish investment bank. For those wishing to find more explicit discussion about the Jewish origins and uninterrupted Jewish roots of Lehman Brothers, see the following: Stephen Birmingham, Our Crowd: The Great Jewish Families of New York (New York: Harper and Row, 1967) and The Rest of Us: The Rise of America’s Eastern European Jews, (Boston: Little, Brown & Company, 1984); Jean Baer, The Self-Chosen: “Our Crowd” is Dead — Long Live Our Crowd (New York: Arbor House, 1982); Richard L. Zweigenhaft and G. William Domhoff, Jews in the Protestant Establishment (New York: Praeger Publishers, 1982); and Gerald Krefetz, Jews and Money: The Myths and the Reality (New Haven and New York: Ticknor and Fields, 1982).

Priceless in this respect is Judith Ramsey Ehrlich and Barry J. Rehfeld’s The New Crowd: The Changing of the Jewish Guard on Wall Street (New York: HarperPerennial, 1989); they personally interviewed many of the Jewish participants under discussion here. They also fill out background on Lehman partners and traders, contrasting, for example, “Our Crowd” Bobbie Lehman with the coarse and brash Lewis Glucksman. Typically, they write of Lehman Brothers:

Chairman Frederick Ehrman and president Warren Hellman, who was Ehrman’s nephew, were the very soul of Our Crowd’s Jewish banking aristocracy. The Hellmans had built the Wells Fargo bank in San Francisco into one of the most post powerful financial institutions in the country. They were related by marriage to the Seligmans, the most important Our Crowd family in New York during the nineteenth century.

To drive home how common it is to have Jewish executives in these investment firms, note that Ehrlich and Rehfeld write that “Without consulting anyone,” Glucksman as chief executive of Lehman “appointed as president of the firm his closest ally, Robert S. Rubin.” That is a different banker from former Secretary of the Treasury, Goldman Sachs co-chairman, and later Chairman of Citibank Robert E. Rubin.

The last CEO of Lehman Brothers, from 1994–2008 was Richard Fuld, born to Jewish parents in New York City. When, at a Congressional committee hearing, fellow Jew Rep. Henry Waxman said to Fuld, “Your company is now bankrupt, our economy is in crisis, but you get to keep $480 million,” Fuld corrected him by saying it was only $300 million.

Ehrlich and Rehfeld conclude that these Jewish “New Crowd” bankers “challenged the dominance of the old corporate culture, overturned the traditional rigid management hierarchy . . . [and in] the process, the New Crowd broke the stranglehold of the Establishment Wasp bankers.” Note that when WASPs dominate an industry, the word ‘stranglehold’ is used. However, to say that Jews have a “stranglehold” on investment banking or on Hollywood would be deemed anti-Semitic.

Casino Jack. In Margin Call, these facts are everywhere hidden, beginning with the head of the trading floor, Sam Rogers (Kevin Spacey). Spacey looks, acts and talks exactly like the middle-class White man he played in American Beauty. In Margin Call there is not even an attempt to give him a Brooklyn accent or exaggerated mannerisms. Or to have him wearing a kippah as he did for his role as Jack Abramoff in

Further, out on the trading floor we see two young traders, Peter Sullivan (Zachary Quinto) and Seth Bregman (Penn Badgley). At least these young men have dark hair.

Paul Bettany) is dirty blond with blue eyes. In contrast, trading desk head Will Emerson () is dirty blond with blue eyes.