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I have already written here many times about the draconian fascist anti-speech laws of the censorious DICKtatorship known as the Netherlands. There is no freedom of speech in the Netherlands whatsoever. What kind of expression is legal in the Netherlands?  Here are some descriptions of American torture porn that Dutch children, and actually children across the whole of Europe, can watch on the American part of the internet right now, and there is nothing that the EU or the UN, or the Dutch Public Prosecutor or the Dutch police are going to do to stop this kind of American misogynist sexist torture porn from entering European homes and affecting European kids. Every single film scene described in the segment quoted below is supposedly legal and sanctioned by law under the First Amendment. Why is such footage of unrepentant hatred towards women allowed to be streamed into Europe, where we supposedly have anti-hate laws which are supposed to protect women? Because Americans are above the law on the internet and they get to dump and pour their sexist misogynist filth into other countries:

I recently became the recipient of three secret torture videos (complete with captions and descriptions). The anonymous senders said they trusted I’d “make good use” of them. So, with this important mission in mind, please allow me to introduce a horrifying but illuminating glimpse into the terrorist mindset.

The first footage showed a bruised and battered captive stripped naked and being kept in a small cage, a cage too small to allow the person to either stand or lie flat at full extension. The victim was wearing some kind of collar which was connected to cage itself by a long chain leash of sorts.

We next see a terrorist enter the room, open the cage, and disconnect the chain. He uses the chain leash to lead the captive out on all-fours. Interestingly, the victim makes no effort to resist but perhaps the caption explains why: “Pacification through terror.”

The last few minutes of the video involves the hate-fueled torturer pushing the captive into a prone position, face-up, and then straddling them — knees pinning the victim’s arms to the filthy floor. At this point, the sadist begins to pummel the captive’s face and upper body with punches in what looks like a MMA match without a referee. The sound of clenched fists hitting flesh is nauseating.

Video #2 begins with the victim already naked, on all-fours, and seemingly under the influence of some kind of sedative or narcotic. Three torturers are in the room.

One roughly holds the captive’s head in position so they can see what’s happening. A second terrorist inserts a clear plastic tube into the victim’s anus. At the other end of the tube is a large plastic funnel. The third abuser holds a pail filled with water.

Swimming in the water are live silvery fishes about six inches long and maybe 1.5 inches in diameter. He lifts the pail up and pours several of the fishes into the funnel. Gravity forces the fish to swim through the clear tube and into the victim’s anus.

The clip ends with a shot of the captive’s expressionless face, eyes rolling back in their head. Caption: “It should be more compliant after this treatment.”

Finally, we see another naked victim being held in an intricate restraint on a tall table. Their spread legs are held in place with knees bent up towards their chest, arms cuffed to the table at the wrists, and head held in place by a thick iron collar that’s also attached to the table.

Judging from the open cuts, bruises, welts, and scars, the victim has been subjected to a brutal beating. A terrorist stands close by, holding a small jar bearing the label “Fire Sauce.” He uses a medium-sized paintbrush to stir the sauce, bringing the gooey brush close to the victim’s nose. The victim recoils. This substance is obviously quite potent.

The laughing sadist then uses the brush to slowly and meticulously “paint” the hot sauce onto the victim’s shaved genitals. The result: harrowing shrieks and howls of agony — made even more unforgettable by the words used to describe the terror tactics: “Cannot move, cannot scream, cannot rest, cannot escape. Can only endure.”

I turned off the last video and wondered: What kind of hate must one feel to perform such torture and to film it? Who are these savages and who is funding them? ISIS? CIA? Mossad? Al Qaeda? Did this cruelty take place at Gitmo or perhaps a secret prison in North Korea?

But just then, a second e-mail arrived to reveal the origin of all three videos of sadistic abuse. And what a relief to learn it was a false alarm! The source was a popular social media website.

It wasn’t terrorism. It wasn’t torture. It wasn’t even illegal! It was just mainstream, easily accessible porn.

(And thankfully, the individuals I called “victims” were just women.)

When you read about violent gang-rapes in India, or in Brazil, or in Pakistan, or Thailand, or in Burma, or Indonesia, or in Cambodia, or in Argentina, when you read about gang-rapes in any country that isn’t Western, don’t you ever wonder whether those men have been watching American torture porn on their mobile phones? What happens when Americans stream their violent misogynist torture porn into countries that barely have any women’s rights? What happens when Americans stream their torture porn into counries where men can really have their way with women who are the most powerless or powerless females on the planet, women who literally have no access to law enforcement or the law to defend themselves against men re-enacting the torture porn they’ve seen on the internet on their bodies?
The social media site in question is Tumblr. European governments will censor their own citizens and threaten them with jail time over political speech, but they allow Americans on Tumblr to pump this torture porn filth into European homes and into the minds of European kids. Read more about this Tumblr torture-porn phenomenon in another article by the same author:

Has Tumblr mainstreamed misogyny and rape culture?

This article lists (fortunately doesn’t link to) a number of torture-porn sites that the average teenager can access on Tumblr right now as we speak. These pages are NOT hidden behind an age-wall or credit card check or anything like that, and are literally at anyone’s fingertips.

Torture videos are illegal and are taken off the internet when they are produced by ISIL, but misogynist torture video are considered legal and acceptable when it’s Americans torturing women in the name of male orgasms and so-called consent and posting this hateful filth on Tumblr.

Because expressing and depicting hate and violence against women, especially when this hatred of women is depicted in the extremely gross and grotesque torture porn such as that described above is always  protected freedom of speech, in America and in Europe and especially in the Netherlands, a country which has long been an importer of such American misogynist filth. The question remains: why is it legal to hate women in the Netherlands and why is it legal for American to make torture videos in which women are brutalized and to broadcast these into Europe? Why speech so relentlessly policed and censored in Europe, but not visual imagery expressing unmitigated hatred and violence towards women?

Why are male orgasms in the Netherlands considered more imporant than a woman’s free speech right to talk about the violent abuse she has suffered at the hands of men?!


This CNN news item about Donald Trump pretending to be his own pair of publicists is really interesting, because I myself once [redacted by censorious European courts&laws]. No, it wasn’t Donald Trump, it wasn’t Recep Tayyip Erdogan either, but I guess you can say it was [redacted by censorious European courts&laws], to the point of making me wonder whether the whole ordeal was inspired by Donald Trump and modelled after his invention of a pair of fake, non-existing publicists for himself.

Dr. Gail Saltz discusses possible psychological roots of Donald Trump’s personality traits, including pretending to be his own publicist, and what it means:

But if “John Miller” or “John Barron” don’t exist and are Donald Trump, it makes me think of the statement that he’s offered so often in this campaign where he says he’ll ‘surround himself with good people.’. Perhaps his idea of “good people” are misters Barron &  Miller, meaning, there is nobody that I can surround myself with because I’M DA MAN, I’m not yielding to anybody’s judgement, I’m gonna rely on Barron & Miller!

Read more at:

Donald Trump masqueraded as publicist to brag about himself

And speaking of Donald Trump, here is a video I found of legendary American punk rock artist Jello Biafra presenting a Donald Trump colouring book for American children which has an image of Trump dropping a nuclear bomb:

I love it how everyone all over the social media over the past few weeks was screaming holy hell about the Netherlands doing business with a country like Turkey, but doing business with a country that considers this kind of a colouring book suitable material for children is considered non-controversial.

Institutionalized American exceptionalism at the International Criminal Court, or why Americans are literally above the law and will never be persecuted much less tried for war-crimes at the “World Court” or ICC.

The 2002 American Service Members’ Protection Act threatened to limit us participation in un peacekeeping operations, unless the Americans involved were granted immunity from any potential icc prosecution

it also authorized us Marines to ‘storm the beaches of Holland to rescue any American citizen who might languish in icc custody’

In response to this threat to invade the Netherlands for the purpose of “rescuing” (read: kidnapping) an American citizen brough to trial at the ICC, the World Court gave explicit assurances to America that no American official will ever be prosecuted or indicted by the ICC.

I have seem may people in the social media who have recently been reblogging and posting a bunch of articles suggesting American will now finally be persecuted for war-crimes. I have said this before and I will say it again: no American will ever be persecuted for war crimes, ever. Americans have literally been declared above the law and beyond reproach by the World Court prosecutors. I have been posted the article below from the New Left review, and I will continue to post this until people get this through their heads: America LITERALLY THREATENED TO INVADE THE HAGUE if an American official was ever indicted, captured and brought to The Hague for trial at the world court. In fact, America literally adopted a new law, the so-called 2002 American Service Members’ Protection Act, giving America the right to invade the Netherlands and kidnap any American official brought to trial at the World Court in The Hague. It is an article of faith of the globalist courts that no persecution of an American citizen will ever be undertaken and that International Criminal Law is mainly to be used to civilize the “dark savages”.

Get it through your heads people: Americans are literally above the law when it comes to international criminal law. International criminal law is just a means to institutionalize American white supremacy and American exceptionalism and to extend American jurisdiction beyond American borders, giving America the literal right to invade other countries, including Western countries like the Netherlands, to kidnap American officials.

Now, let’s quote the relevant excerpt in full from the New Left Review article about the World Court or ICC caving into American threats to invade The Hague and declaring Americans literally above and beyond the law when it comes to the indictment of war criminals on the basis of International Criminal Law at the ICC:

Fears that the icc might become ‘politicized’—code for the investigation of American war crimes—were repeatedly rejected as ‘unwarranted’ and ‘far-fetched’, a most ‘unlikely eventuality’, against which the Rome Statute had plentiful ‘safeguards’, ‘checks’ and ‘restraints’.34 The Bush Administration, gearing up after 9/11 for the invasion of Afghanistan, and with sights already set on Iraq, demanded harder guarantees.

The 2002 American Service Members’ Protection Act threatened to limit us participation in un peacekeeping operations, unless the Americans involved were granted immunity from any potential icc prosecution it also authorized us Marines to ‘storm the beaches of Holland to rescue any American citizen who might languish in icc custody’.

The courts’ jurisdiction was established by fiat of the occupying powers, who appointed both prosecutors and judges, while granting themselves impunity. As the Indian judge Radhabinod Pal put it in his dissenting judgement at Tokyo, it appeared that ‘only a lost war is a crime’.

Bush need not have worried. As Luis Moreno Ocampo, the incoming icc Prosecutor, hastened to assure a us official in March 2003, he ‘could not imagine launching a case against a us citizen’.

The Athens Bar Association submitted a call for an investigation of acts in Iraq ordered by Blair, Geoff Hoon and Jack Straw.40 Ignoring the whole question of the Iraq war, Ocampo’s first statement as Prosecutor suggested that the Court might enjoy a Zen-like inactivity: its efficiency should not be measured by the number of cases it took up; on the contrary, ‘the absence of trials led by this court as a consequence of the regular functioning of national institutions would be its major success.’41 The ngo lobby was affronted by this do-nothing approach; the Prosecutor had to do something. The Office of the Prosecutor began scanning the world for sites of violence other than Afghanistan and Iraq. At his July 2003 press conference, Ocampo announced that he would be examining the situation in eastern Congo.

In July 2012 the Office of the Prosecutor opened an investigation into the situation in Mali, its eighth formal investigation—and the eighth in Africa.75 The Court’s myopic focus has caused anger on the continent. That military intervention by former colonial powers has been followed, almost de jure, by juridical intervention by the icc, leaves Africans understandably suspicious. At the African Union summit in Addis Ababa in May 2013, Ethiopia’s Prime Minister Hailemariam Desalegn accused the icc of ‘hunting’ Africans because of their race.76 The notion that international criminal law is a neo-colonial imposition is no longer limited to critical international legal theorists; it is now heard most loudly from the post-colonial elites of Addis Ababa and other African capitals.

That the Court’s investigations have coincided with imperial concerns is apparent; that they are motivated by simple racism is less evident, although this is not to downplay the court’s role in reproducing a longstanding dynamic of racialization in international law.78 On the Court’s record, crimes against humanity and war crimes are acts committed by non-Westerners. The Hague’s courtrooms replicate a historical pattern in which, as Makau Mutua puts it, ‘morality comes from the West as a civilizing agent against lower forms of civilization’.

The doctrine of ‘complementarity’, too, affirms a sharp division between Western countries, with their developed judicial architecture—which, as the German representative gloated, will never be found unable to carry out a prosecution—and the rest of the world, where the icc may more readily make out a case for a judicial system’s ineffectiveness. In this respect, the Court appears to reproduce the colonial international law of the 19th century, underpinned by a distinction between civilized and uncivilized states.

As the reactions to Ngudjolo’s acquittal revealed, many of the human-rights and international-justice advocates who once concerned themselves with the rights of the accused have become preoccupied with victims and the ‘scourge of impunity’ instead. Prosecution and conviction are increasingly conceptualized as the ‘fulfilment of the victims’ human right to a remedy’, as Darryl Robinson has noted.85 Amnesty International once focused on the release of political prisoners, with ‘amnesty’ central to its mission; on the treatment of defendants in custody and their right to a fair trial. Today, with the rise of an international-criminal-justice complex, Amnesty consistently opposes amnesty laws and is not wont to challenge the treatment of defendants accused of international crimes.86 This was evident at the Rome Conference, where human-rights ngos under the cicc umbrella were the most strident pro-prosecution voices. These groups advocated loudly for broad and open-ended definitions of crimes and modes of liability—and narrow defences—so as to avoid acquittals that would risk ‘victims’ rights to justice’.

Yet far from ending the de facto impunity long enjoyed by the powerful, the icc has helped to institutionalize it. The Court’s selective and highly politicized interventions have operated to reproduce one-sided narratives of complex conflicts, demonizing some perpetrators as hostis humani generis, while legitimating military interventions in the name of humanity. The logic of ‘international criminal law’ on this model was spelled out with refreshing frankness by the former Prosecutor in a recent interview on Canada’s cbc. nato and the Court should work hand in hand, serving one another: ‘Integrate the sc, the icc, nato forces.’89 Once celebrated as an avatar of Kantian cosmopolitanism, the icc has served rather to shield and strengthen the imperial powers, less a tool of international justice than the judicial concomitant to Western intervention.

– excerpted from “Dispensing Global Justice” by Tor Krever for the New Left Review at

The following videos supposedly show child abuse and animal abuse, at least according to American animal rights extremists. The videos below actually show a group of American white children in the rural part of the State of Oklahoma learning from their parents, themselves farmers and homesteaders, how to process a dead pig that they themselves had raised into individuals chunks of meat. Every single one of these videos is hidden behind an agewall as if it were pornography. I can go on Youtube right now and watch pornography with no age-check whatsoever, but no, it’s these videos that Youtube wants to protect children from:

Once upon a time you could freely watch these videos on Youtube, as they were clearly meant to be instructional tutorials and were thus considered uncontroversial. The parents in these videos stated on their channel that they had consciously decided not to show the actual culling of the animal for that very reason, to stress the fact that these videos are meant to be instructional. But the vegan censorship brigade went and falsely flagged these videos as “animal abuse”, so Youtube caved into their censorious demands and decided to put these videos behind a age-wall, which is completely ridiculous because the children shown in these videos are themselves minors. Youtube is basically saying that the rural children who appear in these videos should not be allowed to watch their own videos, at least as far as Youtube’s own idiot brigade of censors is concerned. Censorship always tends to get kinda funny and absurd like that. The fact is that young children can go on Youtube right now and watch vegan gorefest documentaries like Earthlings uncensored, but don’t you dare show children an instructional video of how a dead animal is actually processed by the children who raised that animal themselves.

Actually, every child in the whole wide world needs to know this and needs to be able to do what is shown in these videos in case of an emergency situation, but I’ve seen vegans argue that teaching a child to do this constitutes a form of child abuse, which is ridiculous because these kids are homesteading in the middle of Oklahoma after having homesteaded(? is this a word in English?) in South America. But then again, animal rights extremists aren’t about protecting children, they are about controlfreak censorship and would much rather like to keep everyone ignorant of the survival skills that have kept humanity alive through the aeons in the name of animal rights, doing so in the first world country of America where there are more animal shelters than facilities for homeless children.

“With the benefit of hindsight”
Jacob Appelbaum in the Middle East in 2009 – the tweets
assembled by drs. Efthimia Dilpizoglou

Today I am going to present a collection of tweets that Jacob Appelbaum posted to Twitter while touring the Middle East in 2009 seemingly on behalf of The Tor Project or for the purpose of promoting the use of Tor in the Middle East. These tweets together convey what appears to be some kind of a tour of the Middle East that Appelbaum undertook in the winter of 2009, which involved him visiting not just Lebanon, but also Qatar, Jordan and even attempting, apparently unsuccesfully, to enter Syria two years prior to the 2011 civil war.

While reading through these tweets, always keep in mind the timeline of the Syrian Civil War:

With regards to Appelbaum’s touring of the Middle East I’d also like to bring your attention to the following excerpt from a highly critical essay on Appelbaum in which he is provocatively referred to as a “military contractor”, something he would surely dispute:

For someone who sells himself as a techno-anarchist fighting against the all-powerful US Imperial Surveillance State, it’s a bit weird to see Appelbaum fight for the interests of political movements and activists in conflict zones around the world — activists that just so happen to be in states like Iran and Syria, where the U.S. has been trying to conduct regime operations since before Appelbaum was born.

I would also like to link to the following podcast expressing a possibly even harsher critique of Appelbaum and the milieu he seems to operate within, which you are going to have to pay to listen to but it’s worth it:

The above aren’t the first time that people have questioned why it oh so happens to be that Appelbaum visited Arab countries just before there were attempts at regime change with the context of the so-called Arab Spring spreading through the Middle East.

Keeping in mind this critique of Jacob Appelbaum, let’s have a look at the actual tweets that Appelbaum posted while he was touring the Middle East in 2009:

Jacob Appelbaum ?@ioerror 27 nov. 2009
Today is going to be hectic. Packing for Beirut, flying to Lebanon via Frankfurt tomorrow…

This is tweet number one about Jacob Appelbaum going to Lebanon. This tweet suggestes he was in Lebanon on the 28th or 29th of November 2009. He conspicuously leaves out the fact that he entered Lebanon through Israel, as he admitted later in a public lecture. Here, he claims he flew into Lebanon directly from Germany.

Jacob Appelbaum was in Beirut for the following event:

happy monday #lebanon. what u wanna know ~ net security or mobiles 4 change? @smexbeirut talks w/@ioerror & @katrinskaya coming in December.
23:02 – 29 nov. 2009

Note the language used in this tweet. The event was promoted as a “net security” event. It was not promoted as a “digital democracy” event or as net “surveillance/censorshipop circumvention” event. In 2009, Arabs attending a Tor lecture assumed they were listening a “net security” lecture. The wording of things is very important in these contexts and this is why we have to pay very close attention to how things were worded back then.

Jacob Appelbaum ?@ioerror 3 dec. 2009
I might have a chance to visit Syria this weekend. Any suggestions for me while visiting Damascus?

This is a tweet that Jacob Appelbaum tweeted while in Lebanon. Lebanon was supposed to be a stepping stone towards entering Syria and visiting Damascus, which is the capitol of Syria and is relatively near the Lebanese border. Later he will tweet that he failed to enter Syria but he will not elaborate on what caused this failure. So what happened?

That Appelbaum was in Lebanon is confirmed online, for example here:

The second annual Arab Bloggers Workshop is currently taking place in Beirut, Lebanon (see other blog posts here); the Workshop consists of various presentations and smaller workshops on topics ranging from “Arab techies” to online campaigns to anonymity and circumvention technologies. Today, Jacob Appelbaum (@ioerror on Twitter) of Tor gave a presentation on how to select the right circumvention tool, as well as specific information on the project for which he works.

Once in Beirut, he discovered that the Lebanese goverment was blocking people from accessing Tor’s website in order to download Tor, and posted an image of this blockage on his “hilariously” named website

Jacob Appelbaum ?@ioerror 7 dec. 2009
HTTP filtering in Lebanon of Tor’s website: #ab09 #censorship #tor


On the 9th of December 2009 he posted (note: Doha is in the State of Qatar):

I want to travel from Beirut to Doha and then to Cairo. I can always return to Germany by way of Beirut from there… Where else in MENA?
06:08 – 8 dec. 2009

A day later he was “still in Lebanon”:

Jacob Appelbaum ?@ioerror 9 dec. 2009
@thomhastings I’m still in Lebanon and it’s people here who are setting up Tor servers, not me. 🙂

Note the date of this tweet: 9 December 2009. Appelbaum would later do a join lecture with Seth Shoen, the recording of which has since been removed from the internet but of which I still have a private copy, in which he stated before a crowd that the Lebanese authorities wouldn’t let him into Lebanon because they supposedly had a problem with either him being a Jew or a homosexual. This tweet directly contracts that claim. Appelbaum was in Lebanon in December of 2009.

On the 11th of December 2009 he tweeted:

Jacob Appelbaum ?@ioerror 11 dec. 2009
Tickets booked for Doha, Cairo, Amman, Beirut and then to Frankfurt. I guess I’m driving from Frankfurt on the evening of December 26th…

I really have to recommend visiting Beirut. Lebanon is an amazing place. Friendly people, good food, intense music, insane taxis… #ab09
09:31 – 11 dec. 2009

But, also on the 11th of December 2009, he tweeted the following:

I was refused entry to Lebanon, denied a new visa, my previously visa was “not valid” and now I’m waiting at the gate. Kafkaesque transit.
Jacob Appelbaum ?@ioerror 11 dec. 2009

Contrast this 11 Dec 2009 tweet (“I was refused entry to Lebanon”) to the previous tweets as well as the one from 9 Dec 2009 (“I’m still in Lebanon”). Why is he claiming that he was refused entry into Lebanon while he just admitted he was there?

Note also how he claims he has “a previous visa”… so that means he was Lebanon even before 2009! What was he doing there on behalf of whom?

On the 14th of December he tweeted:

Jacob Appelbaum ?@ioerror 14 dec. 2009
I’m all packed and ready to fly to Doha shortly. I’m really looking forward to meeting with Al-Jazeera and visiting Qatar. I’ll miss Beirut.

Followed by

The filter in Doha on Qtel appears to be NetSweeper.
15:19 – 15 dec. 2009

NetSweeper is “The best web filtering internet security solution for schools, Telcos and business.

Jacob Appelbaum ?@ioerror 16 dec. 2009
Islamic Art Museum of Doha:

Indeed, he was in Qatar to shoot the Al Jazeera studios, with some of the pictures later appearing on Laughing Squid:

Photos: The Al-Jazeera Studios in Doha, Qatar

Recall here the central role of Al Jazeera in the coverage of the Arab Spring.

Wherever he was in the Middle East, he was always detailing the “censorship”… or should that rather be: determining a 3rd world goverment’s capability to prevent destabilization efforts by hostile Western entities?

Jacob Appelbaum ?@ioerror
Here’s another Qatari censorship screen:
13:08 – 16 dec. 2009

On the 15th and 16th of December 2009 he was in Qatar, posting this Flickr picture.

And on the 19th of december he was done with Qatar:

RT @ioerror: Time to head to the Doha airport and fly to Cairo.

And then he hit Amman in Jordan:

Jacob Appelbaum ?@ioerror 23 dec. 2009
I’m packing for Jordan and flying out in a few hours. I’m speaking at  PSUT in the Luai Shamout Auditorium in Amman tomorrow at 13:00.

According to the following website, the Jordan Open Source Association had organized a lecture with Jacob Appelbaum to talk to them about Tor at the Princess Sumaya University for Technology:

Appelbaum presented several practical examples on how to use the project, which was also presented in a Middle-East tour in the last Arab Bloggers Conference in Beirut and at Al Jazeera Satellite Channel in Doha, Qatar.

Lecture flyer:!topic/jolug/tg3GLv5CvFo

The following is a typical example of Jacob Appelbaum’s “humour” on Twitter:

Jacob Appelbaum ?@ioerror 24 dec. 2009
How does this Jew celebrate Christmas in Jordan? By taking up smoking, drinking Baileys and sitting in front of a gas heater. Thank no gods.

On the 25th of Dec 2009 he was done in Amman and was to return to Frankfurt through Beirut:

Jacob Appelbaum ?@ioerror 25 dec. 2009
After a nice hour of sleep, I’m awake and trying to find my way to the airport in Amman. Soon Beirut and then to Frankfurt! To the Congress!

Jacob Appelbaum ?@ioerror 25 dec. 2009
Books@Cafe is totally my favorite place in Amman.

This series of tweets is interesting because Appelbaum is communicating with people who were in Israel who wanted to meet Appelbaum to go to Petra in Jordan. Did he end up meeting these people? Unknown.

Sharon ?@sharon 23 dec. 2009
@ioerror that would be awesome, but we have plans in israel  on xmas with my best friend.   how long are you in jordan?


Jacob Appelbaum ?@ioerror 23 dec. 2009
@sharon I’ll be in Jordan in five hours. I’m sepaking at PSUT tomorrow at 13:00. Will you be around Jordan? Want to go to Petra on xmas?


@ioerror we are traversing the same part of the planet as you. we were just in egypt, now we’re in israel/palestine, heading to jordan soon.



Sharon ?@sharon 23 dec. 2009
@ioerror 😦 looks like we’ll just miss each other.  but have an amazing time and let us know how petra is!!!  xo


Space Rogue ?@spacerog 23 dec. 2009
@ioerror If you get a chance rent a car and drive down to Petra, or just the Dead Sea, defiately worth it, was there a year ago, awesome!


Bassam Ali ?@3abbas 25 dec. 2009
@ioerror I hope you enjoyed ur petra Trip

Petra is a Jordanian ancient city famous for its pink-hued rock-cut architecture. The Dead Sea is of course between the West Bank, which is for all intents and purposes ISRAEL, and Jordan.

Appelbaum responds with the following statement:

Jacob Appelbaum ?@ioerror 23 dec. 2009
@spacerog I’ve been to the dead sea about six years ago. After I had some fresh piercings too. It was great. 🙂

In other words, Appelbaum says here that he was at the Dead Sea 2009-6= in 2003. Was Appelbaum at the Dead Sea on the Israeli side of the Dead Sea? Remember here the previous tweet about an earlier VISA…

Now, pay VERY close attention to the following tweets, because this is where Appelbaum’s tour in the Middle East gets really strange!

The undercover (customs? police?) agents in Lebanon are the keystone cops of the (wannabe) spook world.
Jacob Appelbaum ?@ioerror 26 dec. 2009


I made it out of Lebanon. I was only detained one more time before departure. We drove from Frankfurt to Berlin and now I’m at the BCC. Imad Bazzi ?@TrellaLB 26 dec. 2009

Compare this tweet about “making it out of Lebanon” with him claiming during the Seth Shoen lecture that customs wouldn’t let him into Lebanon because he’s a Jew or a homosexual… which is it? Did he or did he not manage to enter Lebanon? And was he trying to enter Lebanon… possibly through ISRAEL? It is my personal experience since 2010 that almost every single one of Appelbaum’s stories disintegrates as soon as you go into the details. But maybe there is something I am missing here.

What is clear from the above tweets is that “something weird” happened in Lebanon. Possibly this was the date of the incident he spoke about in the Seth Shoen lecture where he said he was kicked out of Lebanon and sent back to Israel. However there are no subsequent tweets about being sent to Israel or being in Israel. Curious isn’t it? It gets even more curious with the following tweet:

Jacob Appelbaum ?@ioerror 4 feb. 2010
That quick ten day trip to Lebanon really snowballed into something else. Sixty plus days later, I’m finally heading back to San Francisco.

Here Appelbaum claims was supposed to be in Lebanon for only 10 days in 2009… but ended up staying in the region for 60+ days. This presumably includes the failed  attempted entry into Syria and his being thrown out of Lebanon upon re-entering from Amman in Jordan.

In March of 2011 Appelbaum starts tweeting about brewing unrest in Syria:

Events in Syria are extremely serious – the government is shooting people and killing them. #Daraa #syria
22 mrt. 2011


Another bizarre tweet from the same day is the following in which Jacob Appelbaum refers to what he calls “the leader of the Syrian revolution” (?!) whose private contact information he claims he had (where did he get it from?)

If media is looking for the leader of the Syrian revolution in Dara – I’ll pass contact information for Ahmad Sayasnah – DM me #syria
22 mrt. 2011


Several months later, on the 19th of August 2011 he tweeted the following. Note the complete absence of tweets from Syria in the above collection of tweets. Indeed, tweets about Appelbaum being in Syria in 2009 are nowhere to be to be found using Twitter’s search-engine despite his stated intent to visit Syria:

Jacob Appelbaum ?@ioerror
@barrythrew I was in Lebanon and the surrounding areas but my trip to Syria did not work out as planned. Probably for the best.
12:37 – 19 aug. 2011

“I was in Lebanon and the surrounding areas”… does that term, “the surrounding areas” include Israel? He stated he couldn’t get into Syria, so what other “surrounding areas” could there have been for him to get into, besides Israel?

Also with regards to “the surrounding areas”, he cryptically posted this on the 18th of December 2009, almost a year after his 2009 Middle East tour:

Jacob Appelbaum ?@ioerror 18 dec. 2009
Probably as close as I’m ever going to get to the Kingdom of Saudi Arabia:

The woman posing with him on that Flickr picture is someone he only identifies on Flickr as “Jackie”. Note the complete absence of any reference to this person traveling with him or to trying to visit Saudi Arabia in any of the other tweets I have posted.

As for Wikileaks themselves happily participating in those regime-change efforts during the Arab Spring, something Julian Assange openly takes pride in facilitating, here is Wikileaks volunteer Jacob Appelbaum dog-whistling Anonymous regarding Syria and of course Israel and US’s arch-enemy Iran back in 2012 with “Dear #Anonymous” –>

Dear #anonymous – consider that the government of Syria and Iran are taking major actions against their people today and this weekend.
04:34 – 10 feb. 2012

These are the tweets that I have been able to find that are IMO relevant to Jacob Appelbaum’s tour of the Middle East in the winter of 2009. Jacob Appelbaum in Lebanon, Jordan, Qatar, almost Syria… maybe ISRAEL? Later I will get into another interesting person who was in the Middle East at the same time with Appelbaum. This person, who is of the opinion that “no one” is busy “fact-checking the fact-checkers”, is actually a researcher who is herself worth researching. More later.

Jeanne Marie Spicuzza’s The Scarapist

trailer analysis and debunking of Berlinale award claims
by drs. Efthimia Dilpizoglou
(cc) 2016 creative commons (attribution only, spread far and wide!)

Part 1: How to spot an American indie film poseur claiming false laurels or awards on the internet

Berlinale responds to false award claims by Jeanne Marie Spicuzza of The Scarapist

Berlinale responds over e-mail to false award claims by Jeanne Marie Spicuzza, confirms her film The Scarapist was never awarded at their film festival

The American Indie Film Industry’s Punks – how indie film wannabes in America try to deceive the general film viewing public as well as potential future investors and sponsors by falsely claiming non-existing awards for their films, thus inflating the artistic and commercial merits of their films.

Alright boys and girls in film school, today I am going to show you what an American film industry poseur and wannabe looks like and how they operate to deceive the public and investors. I am sharing this information to help you determine whether someone in the film industry is trustworthy. I have seen many people get ripped off in the American indie film industry, and want to prevent that from happening to any of you. Here’s what to watch out for.

One of the way that desperate wannabes and poseurs try to sell their ass in the cut-throat American film industry is by claiming fake laurels. Basically, by claiming fake awards they have never received from organizations that don’t even exist. Laurels are those little laurel-branches that you oftentimes see printed on the packaging of DVDs, Blurays or film posters. These laurels either represent the festivals the film was screened at, or the awards the film has received. You’d be shocked to discover how many industry poseurs are claiming fake laurels for their films and are able to get away with it because of a lack of fact-checking. Using the popular and actually awarded American movie of The Revenant I will first show you what real, genuine laurels look like on Facebook:

As you can see, real laurels are indistinguishable from fake laurels. Anyone could Photoshop themselves a pair of fake laurels, put them in their trailer or on their online film-banner on Facebook or Twitter and claim themselves to be an award winner. Laurels on the internet are no indication of a real award. This is why you must fact-check any award  claims you see online! We know that The Revenant’s laurels are real because we saw actor Leonardo diCaprio receiving an Oscar on mainstream TV and other reputable media. We can also fact-check this using the Oscars’ official website where they post a list of the winners:

Now that you’ve learned how to fact-check real and genuine laurels, I will show you what it looks like when an indie film industry poseur and wannabe claims fake laurels to inflate interest for their film in an effort to deceive the film viewing public and potentional future investors and sponsors about their artistic and commercial merit.

An American indie thriller film called _The Scarapist_ by the female American filmmaker Jeanne Marie Spicuzza recently posted messages in the social media claiming to have been awarded at the Berlinale Film Festival, the biggest film festival in Europe after Cannes. Many of the documentary films that ended up being screened at the festival I was volunteering at as a post-grad were first screened at Berlinale. Berlinale is basically the tastemaker for all the other film festivals around Europe.

“The Scarapist”, released in the US in 2015 (or 2013, or even in 2012, depending on which source you believe), claims to have won a “Best Feature” award by the so-called “Verein Deutscher Kritiker Und Filmemacher” at the recent Berlinale.
Here is the tweet in question:

The Scarapist won best feature at @berlinale EFM from the Verein Deutscher Kritiker Und Filmemacher! Source: Twitter link

And here is the Facebook post on the makers’s wall making the same claim:

The Scarapist won best feature at Berlinale European Film Market from the Verein Deutscher Kritiker Und Filmemacher, also known as the Association of German Critics and Filmmakers! Source: Facebook link

Knowing a thing or two about European film festivals – having myself volunteered at a big documentary film festival for years in Amsterdam and also seen a lot of the films that end up being shown at festivals – I instantly smelled a huge rat, so I researched these claims. You’ll be surprised, boys and girls, that most people in the American indie film industry do not do this, they do not bother to fact-check award claims made by filmmakers eventhough it’s now easier than ever to do so thanks to the internet. Indie poseurs rely on this lack of fact-checking to get away with their claiming fake laurels. If you seriously want to work on indie films, pay attention to your intuition when your gut tells you that something isn’t right about a filmmaker claiming awards for their films and be suspicious when people tell you not to question things.

Here is what came out of my research:

I couldn’t find any information online about an alleged “Verein Deutscher Kritiker Und Filmemacher” being active in Germany or at the Berlinale specifically. This alleged organization does not appear to exist at all.

The only organization I was able to find through Google is a “Verband” of German film critics called “Verband der Deutschen Filmkritik”. Obviously a “Verband” is not the same thing as a “Verein” in German. I contacted them and they themselves told me that their “Verband” has nothing to do with this alleged “Verein”. This is the official website Verband der Deutschen Filmkritik: There isn’t a single announcement on their website of them awarding films at the Berlinale or of them awarding The Scarapist.

I also sent an e-mail to the Berlinale European Film Market asking them whether The Scarapist had received any awards at their festival. I would strongly recommend contacting the festival itself if you are wondering whether a filmmaker is being truthful about their film receiving awards. Festivals have a very good grasp on such things and keep close track of which films are awarded at each edition. Here is the e-mail message to the Berlinale EFM.

I am writing to you with the following question regarding a claim I came across today in the social media.

An American independent horror film by the name of “The Scarapist”, released in the US in 2015, claims to have won a “Best Feature” award by the so-called “Verein Deutscher Kritiker Und Filmemacher” at the recent Berlinale.

Here is the tweet in question:

And here is the Facebook post on the makers’ wall making the same claim:

I cannot find any information online about an alleged “Verein Deutscher Kritiker Und Filmemacher” being active in Germany. Does this alleged organization exist? Were they invited to the EFM at the Berlinale?

The only organization I was able to find through Google is “Verband der Deutschen Filmkritik”.

I cannot find any mention of such an award or of this film being awarded at the Berlinale on the website for the
“Verband der Deutschen Filmkritik”:

Furthermore, there appears to be no such
award from any German critics association mentioned anywhere on the Berlinale website:

Could you please explain whether the above tweet and Facebook post are true?

Does this alleged organization “Verein Deutscher Kritiker Und Filmemacher” even exist?

Is this alleged organization associated with the Berlinale and the EFM?

Did they really award the film “The Scarapist” for Best Feature at the Berlinale?

Please let me know because there are a lot of frauds claiming fake awards in the industry lately.


drs. Efthimia Dilpizoglou


The Berlinale EFM, predictably, responded in the negative: they wrote to me that The Scarapist has never received any awards at their festival, and that they have never heard of this alleged “Verein” before.

Part 2: The proliferation of false awards claims on the internet by indie film industry poseurs for the sake of promoting their films – the use of aggregator websites and Search Engine Optimization services to spread false claims far and wide on the internet with no oversight.

Aggregator websites are used by companies that offer so-called Search Engine Optimization or SEO services. If you are unfamiliar with the wacky world of Search Engine Optimization and how they are used to manipulate search engine hits, please read this Wikipedia article:

What these companies basically do is they run a whole bunch of fake websites appearing to the casual viewer like regular press release websites, and proceed to post the same PR message on all these sites that they themselves run simultaneously. Because the message ends up on so many websites at the same time, Google’s web-crawling spider-bots pick up the same PR message over and over again on different websites and thus the PR message ends up at the top of the list of hits when you do a Google Search for a specific term. Because there is no oversight whatsoever, Search Engine Optimization services are a great way for liars to propagate lies far and wide on the internet with virtually no impediment. Google already knows about SEO websites manipulating its web-crawlers in this manner,  but Google doesn’t care to block them from doing so. In fact, as you will see in the list of aggregator sites I have assembled below, Google happily participates in the perpetration of deceitful PR messages through SEO by hosting these deceitful PR messages on their own website.
You can generally recognize an aggregator website because they will include a disclaimer at the top of their site with the following text or something to this effect: “Information contained on this page is provided by companies via press release distributed through PR Newswire, an independent third-party content provider. PR Newswire, WorldNow and this Station make no warranties or representations in connection therewith.”. This disclaimer is just a legal trick for aggregator websites to absolve themselves of defamation lawsuits for being used by liars to spread all kinds of bullshit on the internet. However, some aggregator websites are so deceptive and reckless that they do not even bother to include any disclaimer at all at the top of their pages, and only upon close scrutiny does it become apparent that one is dealing with a press-release aggregator and not a regular website with real content. Such disclaimer-free aggregator websites are amongst the most rogue and feral websites on the internet.

I have assembled what I believe to be the full list of aggregator websites used by Jeanne Marie Spicuzza to spread the false claim that her film The Scarapist received an award “at Berlinale International Film Festival and European Film Market”. The language used in the original press release, which was then copied onto all the other aggregator websites, is clearly meant to be misleading and to suggest that The Scarapist received a Berlinale award. Also, notice how many of these aggregator websites listed below have the word “fox” in their domain name. The use of the word “fox” in the domain name is meant to falsely suggest that these are Fox News websites or somehow Fox News affiliated websites when they are not.

1) This is the original PR message that started the ball rolling and was copied ad verbatim by all the other aggregator websites in this list:

“The Scarapist”™ wins best picture at Berlinale
“The Scarapist”™ has been awarded best picture by the Verein Deutscher Kritiker Und Filmemacher at Berlinale International Film Festival and European Film Market.

Indie thriller “The Scarapist”™ from Seasons & a Muse Productions won the award for best picture from Verein Deutscher Kritiker Und Filmemacher (VDKUF) at the 2016 Berlinale International Film Festival and European Film Market (EFM). Based on a true story of therapist abuse, “The Scarapist”™ stars Jeanne Marie Spicuzza, Katy Colloton and R. Michael Gull, and is directed by screenwriter Spicuzza and Synthian Sharp.

“The Scarapist”™ screened at EFM on February 12, following its limited release in Landmark Theatres. The VDKUF, an association comprised of German critics and filmmakers, held its awards ceremony on February 17.

In addition to the VDKUF Award presented to “The Scarapist,”™ River Road Entertainment’s production “Seline,” which also screened at EFM, was awarded best short film. Director Luciano Silighini Garagnani and actresses Flavia Monteleone, Sara Menassi and Sofia Bergamo were in attendance.

2) Press release distributed by PRLog

3) Information contained on this page is provided by companies via press release distributed through PR Newswire, an independent third-party content provider. PR Newswire, WorldNow and this Station make no warranties or representations in connection therewith.

4) Information contained on this page is provided by companies via press release distributed through PR Newswire, an independent third-party content provider. PR Newswire, WorldNow and this Station make no warranties or representations in connection therewith.

5) idem

6) idem

7) Information contained on this page is provided by an independent third-party content provider. WorldNow and this Station make no warranties or representations in connection therewith. If you have any questions or comments about this page please contact


9) Information contained on this page is provided by companies via press release distributed through PR Newswire, an independent third-party content provider. PR Newswire, WorldNow and this Station make no warranties or representations in connection therewith.

10) idem

11) idem




15) <–  as you can see, even Google is all too happy to allow its search engine to be used to spead questionable if not outright false or misleading PR messages. That same deceitful PR message that the aggregator websites mirrored ended up being mirrored on itself.

Part 3: Online claims that The Scarapist was directed in 2009 by Julie Dash of _Daughters of the Dust_ fame  

According to several webpages I have found with Google (for example, here, here and here), _The Scarapist_ was directed in 2009 by African-American film director Julie Dash, the respected director of the 1991 film _Daughters of the Dust_ which I have seen myself. This claim however does not appear on the IMDB page for The Scarapist or Julie Dash’s own IMDB page. Did Julie Dash direct The Scarapist, or is this another falsehood about the film being spread on the internet using aggregator sites? If anyone knows please let me know. Why are there all these pages claiming that Julie Dash was the director? Where did these pages/claims come from?

Part 4: Close-reading analysis of the film-trailer for _The Scarapist_. Does this even look like a film deserving of an award for “Best Feature” at Berlinale?
This blog article is about ethics in film promotion. But what kind of film artist  makes false award claims to promote their film? Did Zack Snyder, Wes Anderson, Martin Scorsese, Christopher Nolan or Stanley Kubrick make false awards claims when they were starting out to help their films along?

Of course not. Really talented people don’t need false awards claims to have a film career. Whoever is making false awards claims, chances are they are just an amateur or an industry-hack and the film viewing public might  actually be right for ignoring their film. If you want to be awarded for your films, why don’t you try making better films for starters? Instead of spending money on aggregator websites to spread lies about your film across the internet, why not use that money to get some professionals onboard and make a more professional looking film? Let’s have a close look now at the online trailer for _The Scarapist_  and assess this film trailer for professionalism, workmanship and characterization.

I had a look at _The Scarapist_ film trailer and to me as a casual viewer of feature films (I’ll admit I am unimpressed by most feature films I watch, and would much rather be watching a documentary) this looks like sloppily colour-corrected Youtube B-movie. It doesn’t look like a film I would personally pay to see at an arthouse cinema. I would only watch it for free on Vimeo or Youtube. Also, whoever colour-corrected this film clearly doesn’t know how to white-balance because the scarapist character’s face looks pink/purple in some of the scenes. The crew behind this film also doesn’t seem to know how to properly light a scene/face for a facial close-up. I mean seriously, why all these eyelash shadows blocking and distracting from her eyes? If this character is a hypnotist her eyes should be the whole focus. There is a huge difference between not being able to properly light your film and claiming your film to be “noir” because of random shadows. Unnecessary eyelash shadows isn’t “noir”, it means your director doesn’t know how to light a face threeway to prevent eyelash shadows. All in all, The Scarapist doesn’t look like Berlinale award material by any stretch. It’s an insult to the Berlinale really for someone to perpetrate the false claim of having received an award at their festival for such a sloppy and badly made film showing all the seams of an amateur job. I obviously haven’t seen the whole film so as to comment on the story. The trailer suggests a stereotypical “damsel in distress” trope. I also dislike the statements that Jeanne Marie Spicuzza made in a podcast about the female scarapist seducing the female lead, saying that the film was meant to depict a scarapist who goes looking for a patient to exploit rather than a patient who is looking for a therapist. In Queer Film Theory this is known as a classic lesbophobic trope of mainstream straight film wherein the good innocent  straight girl is seduced by the evil lesbian seductress. The presentation of the seductress as an evil manipulator is meant to foreclose any possibility that the straight girl might have desired or enjoyed the seduction and might herself be interested in exploring some form of lesbianism, whether platonic or overtly sexual.

See also:
Update 29MAR2016: The Scarapist also seems to be informed by another American literary genre, that of the so-called Southern Gothic, a genre characterized by tropes such as, to quote Spicuzza’s beloved Wikipedia, “ambivalent gender roles, decayed or derelict settings, grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.”. One of the bands for which Spicuzza’s husband was the drummer, the Violent Femmes, is according to the Wikipedia article associated with the Southern Gothic genre in music.

Not having seen the movie itself I do not know whether this seduction is merely a metaphor or whether we are dealing with an actual platonic lesbian-esque relationship between the two female characters. (At one point the therapist reaches out and touches a strand of hair as the female lead walks by.) The trailer certainly doesn’t arouse my interest to discover how the relationship between the therapist and the patient develops, because there isn’t anything here to be discovered: the therapist is already revealed in the trailer to be the personification of evil (at one point she bears an upside down cross on her forehead) and the female lead is presented as pure if gullible innocence. Bo-ring! I would guess that most adults prefer to see movies where there are shades of gray to the morality of a character. I am willing to accept the possibility that the story behind The Scarapist might be so captivating that the experienced b-movie viewer would forgive the film its mistakes and weak points in favour of the narrative. However I do know that a trailer is meant to present the most exciting/promising parts of a film, and this trailer rather reveals everything that is wrong with The Scarapist.

Part 5: I am a desperate indie film maker, should I pull a Jeanne Marie Spicuzza and spread falsehoods about my film receiving awards I have never received? What are the risks of doing so?

I understand that the indie film industry is a cut-throat industry. I understand that this film industry is all about who you know and who they know. I know things are hard for indie filmmakers. I know things are especially hard for female indie filmmakers. All these are no excuse for you to go around making false claims about receiving laurels from your film.

You have NO right to use the name and logo of the Berlinale EFM or any other film festival for that matter as a means to lend credence to your self-serving lies. In America you can get sued for doing so. Don’t ever try to make false claims about your film having received awards at for example Sundance or any other big American festival that awards filmmakers. In the case of the Berlinale you are abusing the name and logo of a highly respected European film festival to spread lies about yourself and your film, thus increasing profits for yourself at the expense of the reputation of the Berlin film festival. What you are doing could be interpreted as fraud under certain readings of European law, and the festival could report you to the German authorities for dragging their name and/or logo into a deceitful PR campaign. I believe that unlike litigious Americans who will sue anyone and everything at the drop of a hat, Europeans don’t take it to court because they just feel sorry for you that you have to resort to such desperate measures to garner unwarranted and undeserved attention for your film. It’s a cultural difference. My understanding is that Americans have a tendency to misinterpret this European laissez-faire attitude and lack of a litigious culture as an invitation to exploit and abuse the system to their heart’s content. Maybe we should stop being so lax about this in Europe and take a few Americans to court to teach them some respect for our cultural institutions. Americans would obviously never pull this shit with an American film festival, like Sundance or Telluride, because they know they’d sue and/or would get them blacklisted all over the States for being such an industry charlatan claiming false laurels. Americans are doing this to a European film festival because they think they can get away with it. I sincerely hope that whoever claims false laurels at the Berlinale or any other European film festival will suffer the professional consequences for hurting the entire indie film industry as a whole with your selfish lies, and I hope the Berlinale will get them blacklisted so that they are never allowed to ever screen their films again at their festival or any other European festival.

If you are a young film student who is considering making false awards claims, think about how this reflects on you. You must be such an insecure attention-seeker to need to resort to claiming false awards from a non-existent critics organization to feel like you have accomplished something. Indie film industry poseurs and charlatans are making things harder for everyone working in indie film. No one trusts indie film makers anymore because of liars claiming awards never received and using aggregator websites to spread self-serving lies far and wide. They are the reason all the really talented hard-working film artists can’t get their films pitched at festivals anymore. They are a parasite and a pest on the real indie film industry where people don’t have to claim fake awards to garner attention for their films, where films stand or fall on the basis of their own artistic merits. American film makers complain about the Telluride film festival being coopted by the mainstream film industry. Well, do you realize festivals are going corporate exactly because of people trying to hawk their films on the basis of false claims? Indie film makers were already treated with suspicion, and because of false award claims this suspicion will now only get worse. Do you understand that any false promotional campaign launched by an indie film maker will affect not only your own credibility but that of indie film makers as a group?

Worst of all is when you are making false awards claims as a female filmmaker, because women have it harder than anyone else in the sexist film industry. Both the indie film industry and the mainstream industry are notoriously sexist. But if women filmmakers are as good as men, why would they need to resort to making false award claims to promote their films? Your insecurity as a female filmmaker in a sexist cultural industry is no excuse to want to deceive the public to make yourself feel better. A female filmmaker making false award claims is making every female filmmaker seem like an impostor who resorts to telling lies to garner attention for her film. Women in film are already suffering from Impostor Syndrome without having to actually resort to lies about the merits of their films.

To close, boys and girls in filmschool, don’t be an indie film industry poseur. Don’t claim awards you’ve never received. Don’t drag film festivals into deceptive advertising campaigns. Don’t deceive anyone at all if you can avoid it.

Part 6: Broken windows theory applied to the indie film industry – how industry wannabes beget more wannabes who in turn beget more wannabes. The downward spiral of corruption in the indie film industry.

Let’s apply the broken windows theory to people making false awards claims in the indie film industry. Let’s look at every false award claim being made by an indie filmmaker as a broken window in Tinseltown. People try to rationalize the deception saying: “Everyone tells a white lie every now and then”, “We like to twist things a little bit”, “Have you never told a lie on your resume”, “all actresses lie about their age on IMDB”, etc etc. I firmly believe that when liars are awarded this gives them an incentive to tell ever more grotesque lies. I have seen this corruption repeatedly with my own eyes manifest in the indie film industry. Lies incentivize ever greater and more absurd lies. Liars also have a tendency to bring other liars into the industry. People who never considered lying before suddenly find themselves lying too because they see liars getting away with it and reason that “nice guys don’t get paid”. Soon, the industry will consist of nothing but liars constantly scamming and deceiving one another in a truly sick and perverted game of oneupmanship that ultimately benefits no one. No one will trust eachother anymore and the product of the industry, the films being made, will suffer because they are being made in such a toxic environment. Film is a collaborative artform and there has to be trust. There can only be trust when people are honest. If someone doesn’t like your film they are doing you a favour being honest about it because they are inadvertently helping you become a better film maker. Stop thinking of criticism as “people throwing up all over you” and other such grotesque emo metaphors. Grow a spine and learn to appreciate criticism. I believe people sincerely want to see better films being made. I want to see better films being made because I never liked most of the feature films I saw in my life, with a handful of notable exceptions. Honest criticism is the only way to get there.

During my research into The Scarapist claims, I discovered that there was yet another indie film on Facebook falsely claiming laurels from this “VDKUF” or “Verein Deutscher Kritiker Und Filmemacher”: UPDATE: This post appears to have been removed from the Seline Facebook page. However, the Youtube videos perpetrating the myth that this Seline film was awarded at the Berlinale are both still online, as are all the false press releases on the aggregator websites.

What you are seeing here is “broken windows theory” in action in the indie film industry. And they too were using (Italian) aggregator websites to spread their false laurel claims far and wide. Even after I confronted them if my researched they refused to admit they were deceiving the public about receiving an award at Berlinale. They admitted that they had never received an award at Berlinale (while claiming otherwise on their aggregator websites) but then tried to gaslight by claiming that the “Verein”, which clearly doesn’t exist, is supposedly some private German company that handed them an award at Berlinale but wasn’t associated with Berlinale. As I wrote above, there is no evidence whatsoever of this “Verein” ever existing or being active at Berlinale. The Berlinale EFM themselves stated they had never heard of this alleged “Verein” before. They also stated that if a film had won an award at Berlinale, they would know about it. Am I supposed to believe that some “private” German company of film critics and filmmakers is supposedly quietly handing out awards left and right at Berlinale without the EFM themselves knowing about this company or authorizing such an activity on their festival premises? If you know how punctual and formal Germans are, and how obsessed they are with documenting everything under the sun, you’d know how preposterous this claim is. I wanted to ask the Seline crew to provide me with hard evidence of their receiving an award from this alleged “private company” quietly infiltrating Berlinale, but discovered that they had blocked me from asking further questions. Someone who is honest and true should not shy away from answering pointed questions and providing evidence. It always depresses me when upon being exposed someone still tries to gaslight.

To conclude, if you want awards for your films, make better films. PERIOD.

Sources used in the writing of this article:

Full list of 2016 Berlinale award recipients <– as you can plainly see with your own eyes, Jeanne Marie’s The Scarapist is nowhere to be found in this list.
Jeanne Marie Spicuzza falsely claiming to have received a Berlinale award from this non-existing “Verein” on her personal LinkedIn page:

Feminist Frequency has a great series of videos on Youtube about the “damsel in distress” trope as it occurs in both American films and video-games:

Article about The Scarapist with Jeanne Marie Spicuzza interview:

Jeanne Marie Spicuzza’s latest film project Night Rain Facebook page:

Podcast interviews with Jeanne Marie Spicuzza about The Scarapist by Bennet Pomerantz:

Steated At The Writers’ Table podcast interview with Jeanne Marie Spicuzza about The Scarapist: <– this is where she makes the claims about the relationship between the scarapist and the female lead being “seduction”.

Going Commando podcast interviews with Jeanne Marie Spicuzza:

Music 4 Life radio podcast interview with Jeanne Marie Spicuzza:
“Meet guest Jeanne Marie Spicuzza, a film producer in California, as she unveils the secret that seeded the special film project called The Scarapist, then discusses deeper topics that link the Sex Pistols with Hildegarde of Bingen.”

Jeanne Marie Spicuzza’s autobiographical poem about her therapist: <– What is interesting is that in this poem the scarapist is described as being an older lady. In the essay I link to below, Spicuzza describes The Scarapist as the mother-figure she wished she had, again indicating that this therapist was an older person. In the film the therapist character, whose name is Ilse, is actually played by a young woman, younger even than Jeanne Marie’s character Lana. Why did Spicuzza turn The Scarapist into a young woman for her supposedly autobiograpical film? That seems like a rather peculiar capitulation to the sexism and ageism of mainstream American film for someone who in one of the above podcasts claims to have a punk rock background, and was also describing herself as a “riot grrrl” (female punk rocker) on Wikipedia, as you will see below in the Wikipedia links.

Jeanne Marie Spicuzza has written a two-part essay about her alleged real life experiences that were the basis for The Scarapist screenplay:

The Scarapist by guest @JeanneSpicuzza Part Two

This essay suggests that the scarapist supposedly hypnotized Jeanne Marie Spicuzza into visting a specific hairstylist in Los Angeles to get a haircut. I can’t imagine a story so pedestrian making for an exciting viewing experience. Who wants to see a whole film about a woman who’s scared of haircuts getting a haircut supposedly under the spell of an overwhelming hypnotist of a therapist? (Frankly, that sounds more like a great idea for a comedy than a thriller!) I can’t imagine anyone thinking this to be an exciting premise. I know a lot of women associate their hair with their femininity and might identify with the female lead based on that, but as a woman who has had both long and short hair I don’t particularly identify with that hair fetish. I just don’t see what the big deal is about someone being talked by their therapist into getting a haircut. It seems to me that this is exactly what therapists do and I would guess that people routinely visit therapists to get over all kinds of irrational phobias. I don’t see the thrill in that. As for this statement from the essay: “It turned out, she had hacked out over 65 percent of my hair, causing root and shaft damage, even hair loss.”, isn’t a haircut technically a form of hair loss by default?  If there was really “root and shaft damage” (you know what we say on the internet, pictures or it didn’t happen!), how is the therapist to blame for the incompetence of the hairstylist? Nevermind logic and reason in assigning blame, so traumatized is Jeanne Marie Spicuzza from getting that haircut that she supposedly, quoting again from the above essay, “(…) called suicide hotline over twenty-three times in nine months following our last conversation. I felt folded into pieces, broken, seemingly beyond repair. I beat my own body. I didn’t want to live with the shame. My husband found me, naked in the dark.(…) Shattering and devastation, my pain, grinding on my mind and bones everyday. I was often dizzy, and had to catch myself from falling. I was diagnosed with chronic post-traumatic stress disorder, and was told it would be years before I would recover.”… let’s just say I feel confirmed in my opinion that this strange story of obsessive haircut drama is better suited for comedy than a thriller. And I still don’t see how an incompetent hairstylist can be blamed on the therapist who merely recommended them, but then again in American courts judges routinely sentence completely innocent people to deathrow and call that “justice”. As for the claim that the therapist implanted sexual abuse memories, this is mentioned in passing in the essay and left dangling. What I did manage to discover during my research was this 2001 San Jose/Silicon Valley area article by a “Mary Spicuzza” about a medical malpractice lawsuit. I wonder whether this is related to The Scarapist, because this Mary Spicuzza writing about medical malpractice as far back as 2001 appears to be the sister Jeanne Marie Spicuzza. Isn’t it interesting that Jeanne Marie’s sister Mary Spicuzza was writing about medical malpractice half a decade before Jeanne Marie Spicuzza herself claimed to have suffered medical malpractice at the hands of a therapist?

Update 14MAR2016: Spicuzza apparently sent an abusively frivolous and censorious DMCA takedown request to WordPress in which she preposterously claims that quoting 8 sentences from her 400+ sentence autographical essay supposedly constitutes a copyright infringement. Spicuzza, who in this podcast interview claimed she was almost thrown out of a court for “sounding like a lawyer”, has obviously never heard of something called protected fair use in the context of criticism. According to a quantitative analysis I performed using the website Spicuzza’s essay consists of 3775 words and 411 sentences. It goes without saying that quoting a mere 8 sentences out of 411 sentences, or a mere 101 words out of 3775 words (which is about 3% of the total essay, since Spicuzza is such a fan of statistics), is proportional fair use with regards to the full lenght of the essay. Fortunately WordPress recognized her DMCA takedown request was frivolous and refused to removed my article. #FAIL It is my firm belief that Spicuzza needs to spend more time learning how to make decent movies instead of wasting her time sending out frivolous DMCA takedown requests to censor film criticism. But what to expect from someone who is so insecure that she needs false press releases on aggregator websites to inflate her film?

As for the alleged lawsuit, I now have a PACER (Public Access To Electronic Court Documents) account and can look up any civil or criminal lawsuit in the United States that isn’t sealed. I haven’t been able to find Spicuzza’s alleged lawsuit against her therapist, but this could be due to the fact that lawsuits involving doctors/therapists and/or medical/therapeutic procedures are often sealed or anonymized in the US to protect the privacy of the patient. Either the lawsuit has been sealed or anonymized for privacy, or this lawsuit just doesn’t exist the same way the Berlinale award claim is false and the “Verein” doesn’t exist. I am open to either posibility.

During my online research into Jeanne Marie Spicuzza’s career I discovered that her Wikipedia article had been voted into deletion by Wikipedia editors after they discovered that she was making unsourced claims about herself and had also used a sockpuppet account to vote in favour of herself. According to the records currently available on Wikipedia, Jeanne Marie Spicuzza not only enlisted the help of her sister Mary Spicuzza in tracking down an Wikipedia editor she was enrolled in a dispute with over the Ralph Nader Wikipedia article, but even went and hired a legal gun in Los Angeles, a personal injury attorney by the name of Richard Rosenthal Esq, and sent a legal threat to the Wikimedia Foundation, the organization behind Wikipedia, demanding that alleged “defamation” about her be deleted from their site. I will assume mr. Rosenthal would like to see with his own eyes my correspondence with Berlinale EFM confirming that his client never won an award at their festival and that the Berlinale has never heard of this alleged “Verein” that his client claims to have received an award from. I in turn would love to receive from mr. Rosenthal hard evidence of his client receiving a Berlinale award and hard evidence of the existence of this “Verein”.

According to this TechDirt comment Mary Spicuzza got herself involved in a Wikipedia editing war involving her sister Jeanne Marie Spicuzza’s vanity article on Wikipedia and a Wikipedia editor who insisted it should be removed and succeeded to have it voted into deletion.

Legal threat by Jeanne Marie Spicuzza to Wikimedia Foundation (say hi to Personal Injury Attorney Richard Rosenthal, Spicuzza’s legal gun in Los Angeles):

In defense of Google’s Street View, and thoughts on Internet privacy

The discussion about the incident archived on Wikipedia itself suggests that Jeanne Marie Spicuzza was using Wikipedia to spread unsourced claims about herself through her Wikipedia vanity article. In other words, she was using Wikipedia in the same way she is now making false awards claims after having her film screened at the EFM. Are we to conclude that Jeanne Marie has a history of making false or unsourceable claims about herself and her achievements? Quoting from the archived discussion:

Mary Spicuzza doesn’t say that the “page” in question was in fact a Wikipedia article about Jeanne Marie Spicuzza. Another editor nominated this article for deletion on notability grounds; I was one of 16 editors (out of 19) who voted to remove the article from Wikipedia. An article about Spicuzza’s company, Seasons & a Muse, Inc., was also removed. Mary Spicuzza also doesn’t mention that her sister Jeanne was banned on two occasions from Wikipedia for sock-puppeteering at Ralph Nader articles, each time for six months.

After Jeanne Marie Spicuzza’s “page” was removed from Wikipedia, another Spicuzza family member — she describes herself as “21 year old female,” where Jeanne Marie is nearly 40 — began keeping a MySpace blog about me. In her latest entry, she describes herself as “Accomplished,” gives a link to her aunt’s (sister’s?) SF Weekly article, and pronounces it “Awesome!” (The Wikip spamblock feature does not allow My Space links, but trust me.)

(In fairness to Jeanne Marie Spicuzza, author Mary Spicuzza’s sister, it should be noted that Jeanne Marie claims to be unacquainted with Wikipedia. In the Comments section to her sister’s SF Weekly article she wrote, “I do not participate on Wikipedia, nor do I use it as a source” (see comment #10, dated Feb. 13, 2008). However, this statement contradicts author Mary Spicuzza’s claim to have heard about me first from her sister Jeanne; moreover, the quotes Mary Spicuzza used in her article show an understanding of my Wikipedia dealings with Jeanne Marie that Mary could not have acquired on her own.)’_noticeboard/IncidentArchive372#Attempted_Outing_of_Wikipedia_Editor_User:Griot_by_Tawdry_Tabloid_Journalist

The following comments by Wikipedia editors voting on why the Jeanne Marie Spicuzza vanity article should be deleted are instructional in the context of Jeanne Marie Spicuzza using aggregator websites to spread her false Berlinale award claims far and wide on the internet to inflate interest for her film. These comments plainly shows that she has a history of making either false, unsourced, unverfiable or inflated and self-congratulatory claims about herself:

“A whole lot of air inflating very little. Lots of name-dropping, very little reason for that.”

“This individual appears only in her own productions, according to IMDB. No independent evidence of notability. Article is almost certainly autobiography.”

“The subject could be marginally notable but the self-promotion and policy violations are overwhelming. I wouldn’t be against re-creation of a neutral, balanced and well-sourced article. History does not give us much hope that the subject herself will be able to do that.”

“Ironically, if the article had not been so frequently edited by individuals with clear associations with Ms. Spicuzza and thus clear conflicts of interest, I might have abstained or voted to keep. But the evidence for notability is marginal and all the sockpuppet/meatpuppet activity makes even that marginal amount so suspect that it falls back under the notability line.”

What is particularly disturbing is that Jeanne Marie Spicuzza, under her Wikipedia sockpuppet name of Telogen (an account she abandoned supposedly after discovering that Wikipedia’s Jimmy Wales supports pornography), resorts to accusations of sexism and also has the nerve to bring up riot grrrl to attack Wikipedia editors for wanting to delete her vanity article, while insultingly referring to them as “40 year old virgins out for blood” saying she hopes to “see more fem votes” (I am a radical feminist myself and let it be known I will never endorse a poseur making false claims about themselves in the film industry just because she is female):

Article asserts notability and sources confirm it. Milwaukee Journal-Sentinel ranks 39 in top 100 largest U.S. newspapers, hardly “indie” or “non-trivial.” ‘Poetry Motel’ is a respected publication, and none listed are vanity presses. Sourced in international riotgrrrl publications. Ani DiFranco uses her own label, as does Kat Bjelland, etc., so doesn’t make a good argument. Btw, seems one user voted twice. Looks like a lot of 40 year-old virgins out for blood. Hope to see some more fem, impartial and/or non-SPP votes. Telogen 08:55, 19 May 2007 (UTC)

A woman filmmaker using feminism as an excuse to cover up a thorougly documented career of online vanity at Wikipedia is one of the most annoying abuses of feminism a radical feminist like myself has to encounter online.

It’s telling how Jeanne Marie Spicuzza would never make any false claims about receiving awards at an American festival like La Femme. She knows exactly what would happen if she did claim a false award at an American film festival. Not only would she run the risk of being sued for dragging the name and reputation of that festival into a false advertising campaing while effectively claiming a false endorsement from the festival, such a move would probably get her blacklisted across the US.

She fact that Jeanne Marie Spicuzza is posting about her film in a Facebook group such as Seeking Our Story, a group about films by female filmmakers while using her film to perpetrate tired old stereotypes such as “damsel in distress” is a typical example of the way Jeanne Marie Spicuzza only invokes feminism and women to benefit herself while seemingly having no understanding or knowledge of feminist film critique. If she did, The Scarapist would have been a completely different movie.

UPDATE 14MAR2016: Update: Jeanne Marie Spicuzza tried to take down this blog entry with a maliciously false DMCA takedown request for linking to this Facebook entry on the Seeking Our Stories Facebook wall which features an embedded picture of actress Katie Colloton. WordPress automatically expands the post with the embedded picture, so I removed the expanded embedded post and replaced it with this link. A whole blog entry exposing Spicuzza’s


“The truth does not bind us, it sets us free. <3” – Jeanne Marie Spicuzza.

The following poem is a work of fiction and bears no relation to existing people or events.

I Found Pieces of Jennifer’s Body of Lies (poem)
by drs. Efthimia Dilpizoglou
(c) 2016 all rights reserved

The daughter of a Jewish Bolshevik communist
A prostitution and pornography apologist
Lying in the media about being a feminist
Here we go again with the same old shit
Another pretender from the Bronx
Who dyed her hair black and started sporting a fake name
I eat these liars like vegan cereals with coconut milk for breakfast
Because I refuse to go along with this silly game
Such Lauries and Jennies are a penny a dozen
You your auntie your sister and your cousin
Don’t get impressed by the journalistic credentials that I got
I’m still I’m still Jennie from the block
She says women are punished for wanting muchness
When women are punished for wanting anything at all
American woman you stand so tall
And you have the gall
To think yourself a badass
Having been to every American blacksite and Alcatraz
Tell us again, how did you even gain access?
When muchness is what used to be called greed
An American creed
Going well beyond need
No woman has ever been freed
When an American took the lead
I got my tentacles all over your fucking backstory
You know I do
And I know it’s something that really makes you worry
Gloria In Excelsis Diss Your Dea
I know something that could destroy-ya
You came to my home-country Greece
And drew my country ugly just like you drew
Those ugly American hookers
You used to draw at mister sharpies
That’s right harpy
You think I forgot?
How are you telling the media
You wasn’t making money
Eating hard boiled eggs
When I know you made a lot
And it wasn’t at any cardboard box
Drawing American hookers
Sucking bankster cocks
You you the tourist gazer
You the objectifier
You the money-maker
And arts franchinser
Charging other artists to draw strippers
Not consensual dolphin fucking with Flipper
You the feminization of the Male Gaze
Drawing no blood other than
What little drips out of you every 28 days
So you made a book about Greek austerity
Hip hop hurrah
Made a shitload of money
Never sent none this way
“I love muslim culture”
“I’m treated like a third gender”
Says the American gazer
When she wouldn’t last a day
In Syria or anywhere else
Islamists get to have their way
I recall an image of a young girl
Licking an ice-cream cone in the shape of a dick
Pedophilia-apologetics always gets you awarded by the system
And how wonderful you’re now learning Arabic
Now you’ll really pass
The CIA test because establishment artists
Are never suspected of working for the man
And get to tresspass
Into what was and will never be again
Splitting glass
Cracking open walls
And breaking through cement
I swear no American artist in the middle-east
Was ever there on behalf of their government
Always with the best of intentions
Art in the hands of Americans
Is just another form of spying and data retention
In countries where everything is banned from being said or drawn
An American drawing a pen
A Conquistadora drawing her sword
Every history you are hiding
And lying to hide and be able to lie about
A noose around your neck
With me holding the cord
Every woman is on a leash
No woman is ever free
Certainly not a fucking American liar like you
Drawing up a fake version of history
For the world to see
So they won’t listen to me
I found pieces of Jennifer’s body of lies
Serving Americanized versions of geopolitics and history
You know this hardluck story enough to believe it
Press the button drop another bomb again and hit it


… as if communism would’ve treated the trans group any different from the way communism treated homos and women!

In the previous two blog articles this week, I showed by means of actual mainstream documentaries what communism really did to women and homosexuals. Coincidentally I recently discovered the following Youtube channel, representative of yet another group of people in America that is mindlessly getting into communism:

The videos in this “detransition” channel, run by a certain “Nadia Yvette Chambers” (? real name?), have mock-provocative/ironic titles such as “Atheist Anarchist Communism and Vegan Transgender Feminism” (!) or “Quantifying the Atheist Anarcho-Communist Transsexual Feminist Vegan Self” (!!) or “The Gawdless Anarcho-Communist Transsexual Feminist Agenda” (!!!). These videos come in series of dozens and dozens videos that are each about 7-8 hours long on average. Nevertheless this channel has over a 1000 viewers with each video having hundreds of views, so someone out there is actually watching this! Who is watching all this? Surely not the maker himself who should’ve taken the time to edit his videos out of courtesy to his viewers and seems to make an effort out of broadcasting his every waking moment on Youtube. The owner of the channel describes his mission as “I Bring Soviet Sexual Chaos to America” (a 72 part series of 7-8 hour videos) and promises “A Soviet Vagina for Every Transsexual Woman Contrary to Christ”. A dedicated commie pinko if there ever was one :\ This channel by Nadia takes the American communist fannishness to a whole new level of ridiculous devotion, which Nadia can always distance himself from by claiming he is merely being ironic or provocative.  Transsexuals apparently are another social group in the United States of America who, witnessing American society collapse all around them, imagine the Soviet Union being some kind of a gay paradise, when, if actual communist history is anything to go by, most of these lovestruck ignoramuses would’ve ended up a communist conversion camp. I have even come across American homos in the social media celebrating the fact that Maoist party luminaries were exposed to be closet gays, ignoring the fact that Maoist communism actually repressed homos, as one can plainly read on Wikipedia:

While many dissidents would be imprisoned, it is unclear if LGBT people were specifically targeted for oppression due to their sexual identity. Reportedly, Mao Zedong believed in the sexual castration of “sexual deviants” (Randy Shilts. “Conduct Unbecoming”) but little is known about the Communist Chinese governments official policy with regards to homosexuality prior to the 1980s.

Even as late as the early 1980s, there were some Chinese men seeking asylum in other countries reported that they had faced systematic discrimination and harassment from the government because of their sexual orientation as well as similar mistreatment from family members. Likewise, the Chinese government did treat homosexuality as a disease and subjected gay men to electric shock therapy and other attempts to change their sexual orientation

The usual excuse offered in the social media for this American love-affair with communism is that the European hang-up on communism is just a European thing that American homos need not be concerned with because communism was never a ruling ideology in America… which is like saying fascism would be a good idea in the US because there never was an American Hitler (was there? 😉 ) and the European hang-up with Nazis is just a European frustration that should have no bearing on Americans. It’s like Americans will bend themselves out of shape to make up excuses allowing them to salvage what they think is American communism while disavowing any association with its working ruling manifestation at the other side of the globe, which was DICKtatorial Stalinism, Maoism and the killing fields of Southern Asia.

The following is an excerpt from the documentary S21, The Khmer Rouge Killing Machine which was screened at the 2004 edition of the IDFA. Communism is in line with vegan animal rights ideology because the animal rights field does not recognize the concept of human rights or the idea that there is a difference between human beings and animals, or the idea that human life is important and should be protected, therefore, it is acceptable under communism to treat a human being worse than an animal, which is exactly what the Khmer Rouge killing machine did. –>

Anyway, I am going to post the link again to the documentary Children of the Decree and the excerpt about communist conversion therapy and prison camps from the documentary Improper Conduct in the hopes that Nadia and his followers will watch these documentaries and wisen up about communism. Communism was no friend of women and homos, or anyone other than the Party Elite for that matter, and if trans had been around during communism they wouldn’t have been treated any different from women and homos and any other person who wasn’t part of the Party Elite. Again, I can totally understand Americans wanting to criticize or even reject their capitalist system, but this a-historical love-affair with communism is not the way to do it.


When Josh raped Shelley (short horror movie screenplay)
by drs. Efthimia Dilpizoglou
(c) 2016 all rights reserved



All characters and events depicted in this film are entirely fictitious. Any similarity to actual events or persons, living or dead, is purely coincidental.


The upbeat tune Surfin’ USA plays.

“Inside-outside USA”
“Inside-outside USA”
“Inside-outside USA”

“Inside-outside USA”
“Inside-outside USA”
“Inside-outside USA”

POV SMALL WHITE BLONDE, standing next to her a HUGE GERMANIC-LOOKING AMERICAN-SOVIET CREEP, both in black body-hugging thermal suits, posing with their surf-boards for the camera, laughing and making peace-signs.



Animal rights posters on the walls in the background. Then ECU of SMALL BLONDE’s contorted face in the midst of a rape.

raspy NARRATOR (V.O.)

An insider’s look at
American rape culture
and online date-rape

CUT TO: zoom out from ECU rape-face to show SMALL BLONDE getting raped by the HUGE AMERICAN CREEP now dressed up like a hasbeen gothic S&M dom (EXACTLY like that elite pedo-punk in the I’m Not A Fucking Princess film) going bald with fake gothic hair extentions clipped into his receeding hairline, his black leather pants down to his knees screaming obscenities and making threats.


FAT HISPANIC WOMAN jacking off with a vibrator in the one hand and a joint in the other, laughing sadistically at the rape scene before her.

raspy NARRATOR (V.O.) (CONT’D)

Soon on a Youtube screen near YOU. BOO!



Scene from the American movie The Midnight Meat Train (2008), based on the 1984 short horror story of the same name by the British author Clive Barker, wherein the tragic protagonist has his tongue cut out by the subterranean elites he is thus forced to serve.

Mister “Ronald Vincent” or whatever your real name is,

I live in a country where it is illegal to advocate in favour of mass murder. Because of our history we Europeans know all about mass-murder, genocide and ethnic cleansing, especially when these are aided, abetted, perpetrated and promoted by America to serve its geopolitical agenda. If a European vegan had posted something similar to what you have written and posted on your WordPress blog, they would have already been home-raided, detained, indicted and jailed for criminal incitement and criminal threats.

Since you have no problem with advocating in favour of murdering a group of people simply on the basis of their diet, this diet being the diet of choice for the majority of people in Europe who are omnivores, you are banned from commenting on my blog. I am not going to let you post whatever you want just because you think that you as an American should be able to wipe your ass with what is legal and illegal in other countries around the world and assume you can do so simply because you are expressing yourself on the internet under the First Amendment. There is no First Amendment where I live, period. You might imagine yourself are above the law because you have, quote, “no respect for human law”, but you are not above the law on this blog.

Lastly, given the long and documented history of American vegan animal rights activists abusing the courts to intimidate, harass, bankrupt, violate and silence their critics (source and source), going as far as to use a faux SWAT team with fake badges as a coercion tactic against their targets (source), I feel that vegans and animal rights activists should be blanked-banned all over the internet and not be allowed to post anything anywhere. American vegan animal rights activists are the modern day equivalent of book-burners and witch-burners. They should be subjected to the exact same censorship they have forced others to endure. Don’t come around here expecting people with far less speech than you to give you a podium. And don’t fucking tell me how you are willing to die for my right to free speech and other such jingoistic American platitudes. You Americans have waged endless globalist wars and have murdered 20 million people since the 2nd WW to maintain your “freedoms”, such as the very American “freedom” to advocate in favour of mass-murder on the internet. Your American rights are penned in the blood of your victims.

drs. Efthimia Dilpizoglou