Oily Maniac

Oily Maniac: No, this isn’t a Laura Loomer biopic, it’s a 1976 Hong Kong Grade B exploitation/revenge/folk horror flick.  The story follows Shen Yuan (portrayed by the prolific Hong Kong Action/Martial Arts actor Danny Lee, probably best known to American audiences from John Woo’s 1989 The Killer), a gentle legal assistant whose life is defined by the limitations of a leg crippled by polio.  Indeed, Shen shuffles around with forearm crutches in much the same fashion as Breaking Bad’s Walt Jr.  But anyways, Shen’s world collapses when his paternal figure is wrongfully sentenced to death for a crime committed in self-defense. Before his execution, the elder reveals a secret: a magical tattoo that grants the power of the Orang (the Oily Man).

Driven by a thirst for justice, Shen Yuan performs the ritual, plunging into a pool of oil that springs up from the hole he has dug in his living room (?!?!) and emerging as the titular Oily Maniac—a hulking, slime-covered monster with glowing yellow eyes and a cheesy-looking beating red heart. Initially, Shen’s maniac alter-ego acts as a supernatural vigilante, using his ability to dissolve into a liquid puddle to bypass locked doors and avenge his family. However, the power quickly corrupts (with great power comes great. . .well, you know).

As the loopy film progresses through various stages of plot and subplot illogic, Shen’s *justice* becomes increasingly erratic. Between protecting his unrequited love, Yue, from gangsters and a corrupt lawyer, the crippled oriental incel embarks on a goofily charming misogynistic killing spree—targeting everything from negligent plastic surgeons to women in their bathtubs. The film reaches a fever pitch as the authorities and his own moral decay close in. Ultimately, the very substance that granted him power becomes his undoing: he is cornered and set ablaze, meeting a fiery, inevitable end.

Supposedly inspired by a Malaysian legend, Oily Maniac seems like an British Petroleum-sponsored remake of The Blob, or an Exxon prototype of The Toxic Avenger.

Shot in Malaysia, I can’t tell whether the sallow-skinned thespian cast is Chinese or Malay or a mongrel mix of both. What I do know is that most of the female cast, at one point or another, is topless and bottomless, though sans frontal genital nudity.  The bodies of the jaundiced girls aren’t bad, though some of their faces are pretty rough.  The film’s most memorable dumb subplot depicts a pallid prostitute getting her hymen reattached so customers will think she’s a virgin.

All in all, Oily Maniac is kOOky (and literal) crude fun.

Trump just gave himself 10 billion dollars, LOL!  Took taxpayer money and *donated* it to his Peace Board.  How much money has Trump’s criminal enterprise stolen since he began his second term as Bandit-In-Chief?  Here’s a list of just the admitted known thefts:

World Liberty Financial (Crypto): Perhaps the most prominent venture is the family’s cryptocurrency platform. Reports suggest the venture has netted the family roughly $1 billion since its inception. This is particularly scrutinized as the administration has simultaneously pursued pro-crypto legislation.

International Real Estate Licensing: Recent deals for luxury towers and golf courses in Oman, Vietnam, and Riyadh have reportedly brought in over $50 million in licensing fees alone.

The Emirati Investment: Shortly before the second inauguration, a member of the Emirati royal family purchased a 49% stake in a Trump-affiliated company for $500 million, which reportedly netted the family roughly $187 million.

Media & Documentaries: The rights to a Melania Trump documentary were reportedly sold for $28 million, part of a larger $93.5 million windfall from various media companies since the 2024 election victory.

Net Worth Increase: The Brennan Center and other analysts estimate the President's net worth has grown by approximately $3 billion since returning to office, driven by these ventures and the surge in "Trump" branded digital assets.

Remember, these are the just *legal* thefts, we don’t know all the details of the May 2025 trip to Saudi Arabia and the deals the Trump Criminal Enterprise forged with Saudi Arabia, Qatar and the UAE.  That was a heist of potentially tens of billions of dollars.  It is not outrageous to suggest the Trump Criminal Enterprise has stolen 100 billion dollars in a little over a year, LOL!

Of course, Trump’s most disgusting and depraved crimes revolve around the Jeffrey Espstein Criminal Syndicate, which survives even after the death (or disappearance of) Epstein.  Epstein lieutenants such as Howard Lutnick have been installed by Trump in key government positions, Les Wexner continues to operate freely, Trump put Ronald Lauder’s son-in-law in charge of the Federal Reserve.  The thievery and ceding control of the US economy to foreign interests should get Trump charged with treason, and yet none of this is covered by any media, except perhaps Nick Fuentes, and I don’t know if even Fuentes is bothered by Trump’s thefts.  It’s incredible how little anyone cares about the vast Trump Criminal Enterprise. 

Remember how outraged the right wing media was by the Clintons’ pathetic little Arkansas real estate grifting?  When we compare their outrage at the Clintons compared to their enabling of Trump, we can surely conclude the right wing have strained out a gnat and swallowed a camel.

Experiment In Terror

This 1962 neo-noir thriller has a pretty good reputation, and I saw it for the first time a couple days ago.  Until its absurd, almost comical Candlestick Park ending (which seems, in retrospect, to signal director Blake Edwards’ future success in comedy films such as the Pink Panther series), it lives up to its 7.3 IMDb rating.

The Experiment In Terror begins in the San Francisco Twin Peaks (yes, inspiring David Lynch) neighborhood. Bank teller Kelly Sherwood (played by a then ripe 27-year-old Lee Remick) returns home late one evening. After pulling into her dark garage, she is ambushed by a man hiding in the shadows. He does not reveal his face, but his presence is marked by a heavy, wheezing asthmatic breath. The menacing lung-challenged stranger reveals he has been stalking Ms. Sherwood for some time (he knows her routine, her measurements (which he reveals to her while stroking Remick’s tasty fat-free frame), and her 16-year-old kid sister with a boy’s name, Toby (played by a not ripe 20-year-old Stefanie Powers, one of the few actresses who looked better in her thirties than in her twenties). The stranger delivers a brutal ultimatum: Kelly must steal $100,000 from the bank where she works and deliver it to him. If she contacts the police or the FBI, he will kill both her and Toby, and maybe even rape them, too (just because he’s that kind of guy).

Perhaps subconsciously wanting to be raped and murdered, or perhaps just to drive the plot of a “not a whodunit” but a “how will they catch him,” Kelly calls the FBI, specifically, Special Agent John "Rip" Ripley (played, not particularly well, by Glenn Ford, who gives the character an odd, arrogant indifference to almost everything and everyone around him). The rest of the movie is fairly standard “how will they catch him” fare until the bizarre Candlestick Park ending (and you’ve never seen a stadium empty so fast), broken up with three memorable sequences:

The first is a creepy scene in which a woman (played by beatnik Patricia Huston) who had contacted the FBI regarding a suspicious man, (who is, of course, the stranger) and then became instantly thirsty for Glenn Ford, is murdered (by the stranger) in her mannequin workshop, and left hanging among dozens of lifeless dummies.

The second is a classic scene of cruelty, perversion and degeneracy.  The stranger (played by Ross Martin, best remembered, if at all, as Artemus Gordon in The Wild Wild West) abducts Toby and orders her to strip.  This being 1962, Stefanie Powers does not strip naked, but down to her bra and slip. . .alas.  Ross Martin seems genuinely tempted to rape the nubile girl, and Stefanie Powers seems genuinely afraid she will be raped (her fear, as they say, is *palpable*).

The third is an interesting nod to Psycho, a prediction of Ross Martin’s future role in The Wild Weld West as a master of disguise, and a precursor to our current transsexualism.  Kelly is in a restaurant lady’s room, doing lady stuff, and thinking she is safe with her FBI protection.  An old woman enters the shitter.  She seems feeble and harmless.  Until Kelly hears the same wheezing, asthma-like breath that has been terrorizing her throughout the film.  Yup, it’s the stranger in drag, proving to Kelly she can never be safe unless she goes through with his demands. 

Ross Martin’s performance is the highlight of the film.  His character is a mix of calculating cruelty and unpredictable degeneracy, along with a dash of humanizing paternal concern (shown in the film’s quaint 1960s subplot of interracialism).  With his wheezing voice and unnerving delivery, Martin’s chilling, unsettling portrayal makes his character one of noir’s best villains.

Lee Remick is her usual cute, competent but not particularly interesting self.  At least she is spared the failure she was to experience in her other 1962 Blake Edwards’ film, Days Of Wine And Roses, where she was wholly unconvincing as a cute, competent housewife who descends to the gutter of alcoholism and prostitution.

If it hadn’t had such a dud of an ending, Experiment In Terror would be in the Top Rank of Noir. As it is, it’s still more than decent entertainment 64 years after its initial release.

The Epstein Noise

There’s a lot of noise right now about the *Epstein files.*  These files being the little shred of the most innocuous hints of organized pedophilia and organized Mossad activity and organized funding and promotion of Zionism. What are we supposed to make of this noise? What are we supposed to filter out of this noise? Does any of it reveal anything? Here are four revelations I picked up on:

1. The MAGA kOOk, the right wing white self-proclaimed Christian kOOk, has become so possessed by anti-Christ, demon possessed, defiled, corrupted, perverted that his entire Zionist anti-Christ faux-pro America worldview now dangles over the burning Lake of Fire by the thinnest of fraying threads: Trump is still the Right Hand of God because there is not a video showing him forcing a 15 year old girl to suck his righteous cock. 

Every other proof of Trump’s unrighteousness has been presented. The MAGA buffoon, who embraced MAGA because of emptiness, because of the hollowness of his life, the meaninglessness of his life, the lack of individual authentic identity, the white boob grabbed MAGA as an identity crutch, and this crutch was manufactured by Trump. So how can the MAGA boob admit Trump is a criminal anti-Christ, a liar, a thief, a cheat, a rapist, a murderer? He can’t. He can’t deny his creator, or else his entire justification for living is taken away. For a MAGA boob to deny Trump is to commit suicide.  MAGA was created in the era of the QAnon pedophile hysteria. Trump was viewed as the enemy of Democrat pedophile elites. As every evidence of Trump‘s corruption and perversion was revealed, the MAGA boob excused it all by likening Trump to a filthier, more carnal David, a flawed man chosen by God, warts and all. But the one genital wart that would cause the MAGA boob to spit Trump out of his mouth would be the revelation that he is a pedophile.

Make no mistake, the release of the Epstein files is a very carefully staged exercise in distraction and obfuscation. Just enough has been released to show that other people are pedophiles, but nothing to show that Trump is. This satisfies the shallow, uncurious mind of the MAGA boob who will scurry from truth of Trump like a cockroach scurries from light, because both the MAGA boob and the cockroach can only live in darkness.

2. All the horrors of the Zionist mind are evident, even in these Epstein matzah crumbs. All the horrors of their self-assumed supremacy, their disdain for the goyim, their conviction they are allowed dominion over the goyim, that they have been granted immunity, it is shouted loud and clear from the matzah crumbs.

3. There will be no justice for the victims, the little girls who had to suck Donald Trump’s cock and all the other cocks. They will not be avenged, they will not see their tormentors punished, they will continue to live out their days weak and utterly defeated.

4. For those who believe the *Epstein files* somehow exonerate Trump because no videos were released showing him with his cock in a little girl’s mouth, REMEMBER, or BE ADVISED: the vast majority of the emails were written after 2008, which is when Epstein pleaded guilty to soliciting prostitution from an underage girl—and AFTER the halcyon days when Trump and Epstein were together sexually active with little girls. The vast majority of the *Epstein files* are from a time AFTER Epstein significantly scaled back social/sexual relations with Trump after discovering Trump was swindling him in a business deal.  Trump’s rapes of female (and perhaps male) children almost certainly occurred prior to 2008.

THE DECLARATION OF THE NEW REMNANT

A Restoration of the Scriptural Map of the End Times

I. The Identification of the True Seed

II. The Unmasking of the Counterfeit

III. The Indictment of the Beast

IV. The Testimony of the Two Witnesses

V. The Decree of the Last Trumpet

We hereby declare that the "Israel" of promise is not a modern geopolitical construct founded in 1948, but the indigenous people of the Levant—the Palestinians. They are the "Stump of Jesse" (Isaiah 6:13), the biological and cultural descendants of the ancient Judeans who remained on the land, transitioned through the era of the Apostles, and have been "refined in the fire" of history.

The Verdict: They are the ones who suffers on the ancestral soil, not the one who occupies it by the power of the Beast. The current catastrophe in Gaza is the Refining Fire of Zechariah 13, separating the "holy seed" from the dross of worldly empires.

We recognize the entity currently calling itself "Israel" as the Great Whore of Revelation 17. She has traded the spiritual heritage of the prophets for the "gold and precious stones" of military technology and global political leverage. By shedding the "blood of the saints"—the indigenous descendants of the early church in Gaza and the West Bank—she has filled the cup of her own judgment.

We identify the United States of America as the Scarlet Beast of the Apocalypse. It is the engine of "Lawlessness" (2 Thessalonians 2) that carries the Whore, providing the "horns" of military might and the "sorcery" of media deception. This unholy alliance has "deluded" the nations into believing that a genocide is a divine fulfillment, when in fact, it is the Abomination of Desolation standing where it ought not.

We acknowledge Gaza and the West Bank as the Two Witnesses of Revelation 11. Clothed in the "sackcloth" of blockade and occupation, they have stood for decades as a testimony against the global order. Though their "bodies lie in the street" under the rubble of bombed hospitals and homes, the "Breath of Life" from the Nazarene is entering them. Their suffering is the "Trumpet Call" that awakens the conscience of the world.

The "Rapture" is not an escape, but the Great Return (Jubilee). As the Beast inevitably turns on the Whore and the "Great City" of Babylon (the global financial/military system) collapses, the "Last Trumpet" shall sound. This is the divine command for the displaced, the refugees, and the "dead in Christ" to rise and reclaim their ancestral heritage.

The Final Word: The "Turning to Jesus" predicted in Zechariah 12:10 is the recognition of the Palestinian people that the Christ who was "pierced" is their own kin—the indigenous Nazarene who walked their hills. In their vindication, "All Israel shall be saved," and the true Kingdom of Peace shall be established upon the ruins of the counterfeit.