Black Pilled: Exposing Propaganda with Devon Stack
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From people who are black pilled or just that are beginning to see what the world is really like is, but what can I do? They feel like as a solitary voice that the risks, and there are tons of risks when it comes to speaking your mind in today's world, very real risks that are increasing daily.
They feel like these risks outweigh the benefits.
They feel as if by speaking up, all they're going to do is invite personal attacks or in some cases, even personal ruin.
And for these people, it seems easier to just go with the flow and wait for either a savior to come and save them or a cataclysmic event to make it all come crashing down.
And then when that happens, they can finally feel safe in speaking out, even though at that point, it really won't do any good.
Now, first, I want to say, I understand these people, and I'm not here to berate them or tell them that their fears are unwarranted.
They're not.
But what I will say is they're underestimating the power of what one voice can have.
I mean, for example, I'm just one voice, but that's not even really the point.
The point is that you're not the only one that just wants to go with the flow.
You might not know it, but you're likely acquainted, maybe even closely, or maybe even surrounded by people who feel the exact same way, but they're feeling the same exact pressures you do to publicly conform to the norm.
And if you spoke out, that's all it would take for them to realize that they weren't as outnumbered as they thought they were, and it would give them the courage to speak out as well.
And this isn't just me trying to give you a pep talk.
This is established science.
In the 1950s, Solomon Ashe conducted conformity experiments at Swarthmore College in Pennsylvania.
In the experiments, he would present a room full of test subjects with a card that had one line on the left and then three lines on the right.
The line on the left would match the length of one of the lines on the right, on each card.
As you can see here, I have a number of cards, and on each card, there are several lines.
Your task is a very simple one.
You're to look at the line on the left and determine which of the three lines on the right is equal to it in length.
He would tell his test subjects that the experiment was to determine how well people could judge the lengths of the lines.
What he didn't tell them was that only one of the people in the room were actually test subjects.
The others were all in on the experiment.
They were actors.
The experiment had nothing to do with the perception of the lines.
At least not in the way that the real test subject thought.
Ash's real experiment was to see if he could get the real test subject to choose the wrong line by having all the fake test subjects, the actors, incorrectly choose first.
He wanted to see if people would go against the evidence that was literally right in front of them in order to agree with the rest of the group.
And the results were actually pretty scary.
Two. Two. Two. Two.
The subject denies the evidence of his own eyes and yields to group influence.
Ash found subjects went along with the group on 37% of the critical trials.
When the experiment was concluded, Ash interviewed the participants and found that they incorrectly chose for different reasons.
Some he categorized as experiencing a distortion of perception or a distortion of judgment.
This meant their ability to even perceive the length of the lines was affected simply because the input they were receiving from the people around them, the social input, was overriding their eyes.
Now, think of it as a type of hypnosis or suggestion.
They actually perceived the incorrect answer as the correct answer because the social pressure was more powerful than their ability to perceive reality.
Or they doubted their perception, even though they knew it was wrong.
They figured they had to be perceiving things incorrectly.
So they outsourced the decision-making to the people around them.
Think of how many people that applies to today.
The media bombards the public with fictional social norms that in no way reflect reality until the majority of the public loses the ability to perceive reality.
A good example is how Americans grossly overestimate the number of gay people in America.
Gallup did a study in 2011 that showed exactly this.
Americans polled estimated on average that 23% of the American population was gay when the real number was 3.8%.
That's a huge difference and can easily be explained by this distortion of perception and judgment.
There are four of them and one of me?
One.
This subject's yielding is based on a distortion of his judgment.
He genuinely believes that the group is correct.
Another category that conformed to the group was a category that chose, knowingly chose incorrectly.
They knew their answer was wrong, but they still picked the wrong answer.
This he called distortion of action.
Two.
Two.
I know they're wrong, but why should I make waves?
Two.
In this case, the subject knows he is right, but goes along to avoid the discomfort of disagreeing with the group.
Here, the distortion is at the level of his response.
Two. Two. Two.
They were giving the wrong answers because they just wanted to get along with the group.
So as frightening as all of this is, why do I bring this up?
Doesn't this just reinforce the idea that some people are just going to go along with the group anyway and speaking up doesn't matter?
No.
Because Ash performed a variation of the same experiment.
In this variation, the fake participants would still choose an incorrect answer, but one of the fake participants would choose correctly.
One.
One.
Two.
One.
Two.
With a partner, yielding drops to only 5% of the critical trials compared to 37% without a partner.
This tiny change made a huge difference in the results.
Just by adding one other person who gave the correct answer, the number of people who would conform to the group went all the way down to 5%.
Not only that, but in this variation, the real test subject experienced positive feelings towards the fake participant that was giving the correct answers.
That is the power that one voice has.
By speaking truth in a room full of liars, you can drop the conformity rate all the way down to 5%.
While at the same time, you're creating a bond with these people you're setting an example for.
And it's important to keep speaking the truth because Ash found that these voices were so vital to breaking the conformity that if he removed that participant that was giving the correct answers halfway through the experiment, the test subjects would go right back to conforming at a similar rate.
Now, think of how that plays into why they want to censor dissident voices.
They know they have this data.
They know that if they remove our voices, the public at large will go right back to conforming to the group.
Two.
That's why it's so important for all of us to speak out, whether it's at home, at work, with your friends.
You can be that voice that gives the others the courage to stop conforming.
Imagine the ripple effect it would have if everyone here watching this, everyone did exactly that.
They might try, but they can't censor all of us.
You can be that crack in the dam that makes it burst.
So to answer your question, yes, there is something you can do.
Now you know that one person can make a difference.
In fact, it's vital that one person makes a difference.
And it's just as vital that that person, that person is you.
For Blackpilled, I'm Devin Stack.
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If you're familiar with my channel, you know that I usually reveal the subversive nature in films that are pumping propaganda into the soft little minds of the audience.
And while in some ways this video is no different, in fact, it probably has the most effective propaganda in terms of compelling the audience to action than any other film I'm aware of.
But I hesitate to call it a subversive film.
This film, when I first saw it, I was working for a large computer company that had grown way too big, way too fast.
And the baby boomers in management in classic boomer capitalist fashion became so blinded with greed, despite record profits, they decided to put all their focus and energy on enriching themselves and the shareholders at the expense of the employees and the customers who had made the growth happen in the first place.
This would eventually lead to that company imploding in on itself, but not before they hired efficiency experts to come in and try to squeeze every penny of profit out of their employees by tracking every second of their time, literally every second, and their customers by nickeling and diming them for services that used to be free.
The working conditions became so unbearable that many of the best and brightest left the company.
And in an effort to stave off the brain drain that had begun in response to these efficiency experts, the company instituted carefully timed and condescending corporate team building activities like pizza parties and movie lunches, like an elementary school teacher would for their classroom if they would just behave.
It was during one of these movie luncheons that my manager made a fatal mistake.
She brought us into the conference room and we gathered around the TV and we watched this film we're about to talk about.
The very next day, completely independent of each other, three of the most senior employees didn't show up for work, never called in and were never seen or heard from again.
I was one of these employees and that movie, if you haven't guessed already, is the 1999 film by Mike Judge, Office Space.
I've actually spoken to several people who have their own variation of this story after watching the film.
In fact, the lead actor was interviewed about the film recently, about Office Space becoming kind of a cult classic.
And he remarked that to this day, people come up to him on a regular basis to tell him that they quit their job immediately after seeing this film.
People will come up to me from time to time and say, you know, this movie and you were the reason that I quit my job and walked away from my livelihood.
Changing jobs is one of the most stressful things a man can do.
Yet this film, after telling a story for 90 minutes, has motivated countless Americans to do exactly that and not just quit, but in many cases, just stop showing up for work completely.
So what made this film so powerful?
What was it about Office Space that could account for this phenomenon?
Well, it's because it told the truth.
It told the truth about corporate America, but also the truth about an aspect of white men that makes many people who write films uncomfortable.
You see, Office Space wasn't written by people that typically write films in Hollywood.
It was written and directed by Mike Judge, a white male who didn't come from Hollywood or money and had worked in the real world before.
He understood white men better than most of Hollywood and an aspect of their behavior that's relevant today.
Lately, I've heard people say the phrase, and I've said it myself, that white men are nice until they're not.
Now, to some people, that sounds like maybe a passive aggressive threat, but it's not.
It's descriptive of how many white men process conflict.
Some people, when they attempt to describe this behavior, will conjure up the image of a kid getting bullied and bullied and bullied until one day he snaps.
They make it seem as if this kid, who obviously is a metaphor for the white man, is like a canister of volatile material that's just getting shaken and shaken until the pressure builds up and it explodes.
But this totally misunderstands the process.
Office space walks us through the real steps of what's going on in the minds of white men when faced with conflict.
It acknowledges that the extreme reaction to the outside danger isn't something that slowly develops.
It's not the product of pressure being applied over time that makes their solution to the conflict more and more extreme as the pressure builds up until they snap.
But instead, if you really understand the process, you understand that the initial solution in the minds of these men is extreme.
And there is no snap.
There is simply a slow erosion of the self-control that's containing that initial instinct to deliver a devastating response.
The initial extreme solution is rarely acted upon because it's typically so extreme, so severe that given time to rationally weigh the consequences of carrying it out and assessing the collateral damage, the rational mind often concludes that enduring the problem and tolerating the danger seems safer than executing the extreme solution.
From the very start of the conflict, that is the equation.
These men will table what seems like an extreme solution to a problem in the hopes that the problem will resolve itself or that a less extreme solution presents itself later and they will delay, delay,
delay until the stress generated by the conflict or the problem or the perceived danger outweighs the perceived or predicted collateral damage that might come with being assertive and taking the extreme action that they have in mind.
I think a lot of you know what I'm talking about, but if this seems confusing, it'll make more sense as we walk through the film because this is at the very heart of the film.
It's white men faced with conflict who come up immediately with extreme but effective methods of resolving the conflict, but wait until they can no longer justify waiting or sense that danger might be imminent, and then they enact these extreme solutions.
So let's dive in.
The movie starts out immediately developing the ultimate problem or the conflict that the main character has, the dehumanizing conditions that existed for people unlucky enough to work in an office job in the 90s that was micromanaged by profit-centric boomers.
The first challenge of this way of life is, of course, being stuck in traffic with countless other office workers going to their various office spaces, changing lanes and then watching the lane you were just in begin to move and then changing back only to have the traffic inexplicably stop for no reason.
From the very beginning of your day, it's just frustration after frustration.
We're introduced to Peter, the protagonist, and briefly some of his coworkers.
Next, we see an establishing shot of the office space in question, a place called Inotech, a buzzwordy, generic name typical of the countless tech companies that sprang into existence in the 90s.
Peter's boomer boss, Bill Lumberg, has made sure, of course, that he has a reserved parking spot and he drives a Porsche.
The massive wealth inequality that we see today is something that's been in the making for a long time.
And this was kind of the beginnings of some of that.
We see the inane modern corporate art that adorns the outside of many of these office buildings.
And while I'm not positive if it was intentional, it's interesting to note that it's a square peg that is being put through a round hole, which is exactly what it felt like to work in many of these one-size-fits-all type of corporations.
Peter, wearing his security badge and business-appropriate shirt and tie, starts his day dreading opening the doors to the office thanks to the static electric shock he receives when he touches the handle.
He works in a drab, bland, gray room of cubicles that looks identical to many of the offices in the 90s, including the office where I worked.
It literally looked exactly like this room.
Each cubicle is like a little gray prison cell that features all the negative aspects of being surrounded by walls with none of the benefits.
Benefits like blocking out the voices of everyone else around you or stopping your boss, Bill Lumberg, from just dropping in.
Bill tells Peter that he forgot to include a cover sheet on his TPS report.
And we easily infer from the context that whatever that means and whatever a TPS report is, it's clearly some mundane micromanagement busy work that's likely completely pointless.
After that, we meet Milton.
Milton is the first and clear-cut example of the extreme problem resolution strategy that we discussed earlier.
Also, many people don't know this, but Milton is modeled after a cartoon character that inspired the entire movie in the first place.
Milton is also, because in some ways he's the main character, even though the film doesn't seem to be really focused on him, he is close to encountering his conflict and generating this initial extreme resolution to the problem.
But first, Peter now encounters another boomer boss, Dom, who berates him about the same TPS reports, followed by a phone call about the exact same reports.
This is highlighting the source of the real inefficiencies that existed in these offices.
All too often, micromanagement was a weapon wielded by the boomers who, despite a complete lack of tech skills, were managing these tech workers.
So what they would do, and I saw this in real life at several different companies, they would have to justify their existence and their salary, which was usually twice that of their workers.
And so what they would do is they would just micromanage the hell out of everything and just add as much paperwork and unnecessary steps to justify their existence and make it look as though they were doing something.
And Inatech, it's no different.
We now meet Samir, a H-1B visa holder back when there were so few of them, we could still kind of have a sense of humor about it.
And back when our culture was still dominant, so we could make fun of the cultural differences without anyone losing their minds.
One of those differences is happening right now.
It's important to note that Samir is reacting differently than the white characters due to conflict.
Instead of coming up with an extreme, elaborate, oftentimes solution to be acted upon later when all other options have run out.
When this printer, for example, has a paper jam or when he's driving to work, he reacts instantly with anger and violence.
This is part of the honesty of the film.
This violent reaction is the joke.
And it's funny because it's true.
It's believable.
His reaction is foreign to the wider culture.
We also meet Michael who's also frustrated with his job and hates that his name is Michael Bolton because he hates the singer Michael Bolton.
Peter, Samir, and Michael go to a chain restaurant called Chotsky's to get some coffee.
The chain restaurant is the unbearable workplace for wage-slaving corporate Gen Xers of the blue-collar variety.
The environment might seem different than the office at Inotech, but as we'll see, it's just as dehumanizing and micromanaged by the same kinds of people.
This is where Peter reveals the theme of the movie.
Everything we've been discussing about extreme responses to problems.
One of the first thing that happens after being introduced to the characters is Peter, the main character, jokes that his solution to his problems at Inotech might be just coming into work and shooting up the place.
Obviously, this is a joke, but this is what I mean by white men come up with an extreme solution first.
He didn't slowly build up to this solution.
His initial reaction to the bad day that he's having is to shoot the place up.
Now, obviously, the risks heavily outweigh the benefits, so there's no chance he'll act on this extreme solution, but it's the first one that came to mind.
His rational mind then assessed it as ridiculous, so he laughs it off and continues to endure the problem rather than act on this extreme thought, but it doesn't change the fact that he had the thought.
That was his first reaction.
And that's what we'll see again and again and again in the film.
The three office workers complain about their work, and this is where we're introduced to Michael's extreme solution to the problem that he's having at Inatech.
He mentions that he could program a virus that would rip the place off.
But just like Peter, the rational part of his mind sees this as way too risky a response given his current situation, so it's simply repressed until conditions change.
We also briefly see a young Jennifer Anniston who plays the waitress named Joanna that Peter has a crush on but is afraid to approach.
We also learn that Peter has a girlfriend who is likely cheating on him and who wants him to see a hypnotherapist to help him get out of his rut.
The three run into Tom and Tom essentially sets up the major conflict of the film.
He's another white guy who later deals with problems with extreme solutions.
He tells them that efficiency experts are coming in to streamline the office and he's afraid they're all going to get laid off.
At the end of the day, Peter comes home and we see the typical shitty 90s apartment.
After working all day in your cubicle prison cell, you go home to your IKEA furnished apartment prison cell, clumped together just as closely as the cubicles at your office.
Peter's neighbor, Lawrence, who can hear everything that goes on in his apartment through the wall, is a blue-collar worker, the kind of guy that the popular culture likes to present as uneducated, uncouth, and dirty.
You don't want to do jobs like Lawrence.
That's for people like him.
Although in a few years, those jobs will go to hordes of illegal immigrants.
This is where Peter talks about his problems with his job, and he reveals his extreme solution to the problem.
It's to simply stop participating, to stop consenting to being micromanaged.
The next day, the efficiency experts have arrived with a huge banner that reads, is this good for the company?
All the employees are gathered around Bill Lumberg to listen to his condescending corporate pep talk about not wasting post-it notes and working extra hours for free.
Next we see Milton and now Milton reveals his extreme solution to his problem, Bill Lumberg, pushing him around.
He tells Peter on the phone, who is completely ignoring him, that he is going to burn the building to the ground.
That's Milton's initial extreme response to the stress he's under.
If he reaches a certain threshold where he perceives the consequences of burning the building to the ground as having less of a negative impact on him than the humiliation that he suffers at the hands of Bill Lumberg, he will execute this initial extreme response.
Again, this is not a situation where Milton is slowly pushed off the edge and then he snaps and then decides to burn the building to the ground.
His starting point is burning the building to the ground.
And he will exercise all the restraint that he has to keep from executing this solution until, of course, certain conditions are met and that solution seems reasonable.
Bill Lumberg catches Peter before he can sneak out for the weekend and tells him that he needs to work both Saturday and Sunday.
This was something that Peter was trying to avoid because he wanted to go fishing.
Dejected and depressed, he accepts these orders from Bill Lumberg and then goes with his girlfriend to see the occupational hypnotherapist later that night.
The therapist begins to hypnotize Peter.
He tells Peter to forget his worries, his cares, his inhibitions.
But before he can move on beyond that, he drops dead of a heart attack.
Peter is now stuck in a state of hypnosis.
In a way, he no longer has the ability to assess the risks of acting upon these initial extreme solutions to different situations.
In a sense, Peter's brain has been hacked and relieved of this process.
He will now just act immediately on his first impulse when faced with problems.
So the next morning he wakes up and instead of going to work, he listens to his first impulse to just go back to bed.
He also ignores the several phone calls when Bill Lumberg starts calling him to see where he's at because his initial response is to just not answer the phone.
When he does finally get up, it's three in the afternoon.
His girlfriend calls and she's complaining to him for missing work and acting strange.
So his first solution that he comes up with in his brain is to just hang up on her.
And that's what he does.
This, of course, causes her to break up with him, but he doesn't care.
He just goes back to bed where he stays for the rest of the weekend.
Monday morning comes around and they're having another soul-crushing corporate ethics meeting on how to save money for the company at Innotech.
Peter is nowhere to be found because instead of going to work, his first impulse was to go next door to Tchotsky's and ask out the waitress he had a crush on.
While that's going on, Tom and Michael are forced to defend their jobs in front of the new efficiency consultants.
Back at Tchotsky's, Joanna and Peter seem to hit it off.
The idea, of course, is that Peter is just being really direct and unflinchingly confident.
And women find that attractive because he's no longer tied up weighing the risks and consequences of every little thing that he does.
And he's just simply acting on his first impulse.
Unapologetically, he's taken on the traits of an alpha.
This is another important aspect of the film.
explains with simplicity something that connected on a really deep level with several young men who would watch this and then later model this behavior in their own lives.
Peter says very matter of factly, I don't like my job and I don't think I'm going to go anymore.
Joanna seems surprised and asks, doesn't he think he'll get fired?
And she says it in a way that really illustrates the ever-present paranoia of Gen Xers working pointless jobs, living paycheck to paycheck with no savings.
They took the humiliation for one reason and one reason alone, the fear of being fired and unable to pay this growing stack of bills.
Peter responds, I don't know, but I really don't like it and I'm not going to go anymore.
So you're going to quit, she asks.
Not really.
I'm just going to stop going.
Joanna is shocked and says, well, how are you going to pay your bills?
To which Peter replies, you know what?
I don't really like paying bills either.
I think I'm going to stop doing that too.
Joanna is so impressed with his presence that they make a date for that night.
Now we go back to Milton, who, remember, is the character that the film is based on.
He has decided that his solution to burn the building to the ground is not yet appropriate.
However, one of the boxes in favor of burning the building to the ground gets checked off when Lumberg comes and takes his favorite stapler.
Now that Peter has Joanna's phone number, he comes into the office to get his address book.
Something that probably seems weird because everyone now has an iPhone.
Michael is shocked to see him because he's been gone for two days and just walked in at noon wearing casual clothes.
He tells Peter that he's supposed to be meeting with the consultants.
Peter thinks this actually sounds kind of fun.
So he walks into the conference room where they're waiting and he behaves the exact same way he did with Joanna.
Instead of seeking their approval or constantly calculating and trying to say the right thing or what he thinks they might want to hear, he just confidently tells them the truth.
He tells them that he sneaks in late to work all the time.
He spaces out at his desk and in any given week really only accomplishes about 15 minutes of real work.
Once again, we see the power of being straightforward, of being an alpha.
The consultants respond positively to this straightforward approach as he tells them why nobody cares about their jobs at Inotech and why they work just hard enough to not get fired.
Which, by the way, as someone who worked at a company very similar to Innotech, I can tell you that's precisely what managing a business like that produced.
It produced people that did essentially just the bare minimum, just enough work to where they wouldn't get fired.
So Peter describes this phenomenon to the consultants and then he excuses himself from the meeting and ignores Lumberg on his way out.
We now go to Joanna's Demeaning Workplace and her manager complains that she only has the minimum amount of buttons on her uniform that the regulations call for.
He suggests that she express herself and use more buttons than the minimum required number of 15 buttons.
He mimics the corporate mind games that management would often play on their employees.
He wants her to wear more buttons, but instead of just telling her, wear more buttons, he wants her to make the choice to wear more buttons.
He can't just raise the minimum.
He has to make her think that it's her idea, but at the same time, shame her if she doesn't have the idea.
This is a bizarre management tactic that I often saw in the 90s.
You would be shamed for only meeting the minimum requirements of the pointless rules, like the number of buttons on your vest, but your only reward for exceeding these pointless guidelines was the absence of being constantly shamed.
These big corporate workplaces were completely dehumanizing and cult-like, no matter where you worked, whether it was in an office or at a chain restaurant.
Back at Inattech, the consultants tell Lumberg they need to lay off Tom.
They also inform him that Milton was actually already laid off five years ago, but has still been receiving checks through a glitch.
So they just fixed the glitch.
They have no plans to tell Milton that he's been laid off.
They're just going to let the problem work itself out.
The scene is comedic because, like most of the comedy in this film, it's just brutally honest.
The complete lack of human compassion they have for the workers is obvious.
Lumberg largely agrees with the consultants and things only get awkward when the consultants tell Lumberg they actually like Peter and want to give him a promotion.
This is followed by a montage of Peter behaving completely without fear of consequences at the office.
He parks in Bill Lumberg's reserved parking spot.
He unscrews the doorknob that shocks him every morning.
He tears down the corporate propaganda banners.
He cleans a fish at his desk and takes the walls off of his cubicle.
Because of his alpha behavior with the consultants, he's immune from interference from management who now kind of are afraid of him.
That's another truth this film reveals.
The raw power that just being honest and assertive has.
So many people, intelligent people, make the mistake of thinking that the way to success is through constantly plotting and manipulating and don't understand the power of just being unflinchingly honest.
It doesn't just attract women.
Because it's a characteristic of a true alpha, it changes your relationship with men too.
Men don't like other men that are always plotting and scheming because, quite frankly, it's kind of feminine behavior.
A man's man is someone who's honest and confident, not cocky, but sure of themselves.
And this movie does a great job of showing the difference in how people respond to Peter the beta and Peter the Alpha, as well as showing that he didn't really change who he was.
He just stopped letting the fear of consequences change his behavior.
Now we go back to Milton.
He's no longer receiving paychecks and Lumberg plans to just keep making his life uncomfortable until he stops coming in because he's too much of a corporate coward to actually fire him.
Milton, of course, is getting closer and closer to executing his extreme plans.
Next, the consultants tell Peter that they're going to lay off Samir and Michael and replace them with entry-level people that'll work for nothing and outsourced overseas labor.
This movie is 20 years old, but the current crisis in the workplace has been brewing for a long, long time.
I mean, simply because the way the capitalist system is structured, you're always going to end up with sociopaths at the top who only care about the bottom line.
That's just simply the way it is.
Peter doesn't like this, so he tells Michael that Inattack is going to lay him off.
And just like that, the conditions have now been met for the extreme solution that Michael came up with at the very beginning of the movie.
There is a virus that they can install that will slowly siphon money from each transaction their banking software makes, and it'll eventually, after years, earn them lots of money.
Peter, Michael, and Samir install the virus on the mainframe, and the extreme solution to their problem has been sent into motion.
To celebrate the execution of this extreme solution, the three are now feeling reckless and execute another extreme solution by executing the printer that kept jamming on them.
And now we get to Tom's extreme solution in response to getting laid off.
He tries to commit suicide to get insurance money for his wife, but then his wife finds him in the garage trying to gas himself.
Tom decides to change his mind, but is instantly hit by a drunk driver.
He survives and wins a big settlement and throws a party.
On the way to the party, Peter tells Joanna about their plan, and she disapproves because it's stealing.
Also, while at the party, Tom's lawyer makes Samir and Michael extremely nervous by talking about prison.
This is when Peter's friend Drew tells him that Joanna used to date and has had sex with Lumberg.
This sparks a fight and the two break up.
The next day, Peter nearly has a heart attack when he checks the account balance on the account they set up for the virus to siphon money into.
After one day, it has over $300,000 in it when there really should be closer to $3 or maybe $300.
Peter tells Michael and Samir and they close the account before it can get any bigger, but now they have to figure out what to do about this.
The company will certainly notice that kind of money missing from their accounts.
Once again, Milton is pushed even closer to his extreme solution when he is the only one to not get a piece of cake at Bill Lumberg's birthday party and they move his office into the basement.
After thinking about what he got his friends into, Peter decides once again to do the alpha thing and to take responsibility for the heist gone wrong.
He decides to return the money and take all the blame.
He tells Joanna and makes up with her and finds out that it was actually a totally different Bill Lumberg that she was dating.
And then he leaves the money along with the confession note under the real Bill Lumberg's door.
Peter is ready to accept his fate.
He's ready to face the music, but then something unexpected happens.
When Peter goes into the office the next morning, the building is on fire.
Milton has finally executed his extreme solution to his problem.
The solution that he didn't slowly form over time, but the solution he came up with immediately.
His initial solution that he placed on the back burner as he searched for another way out.
But Milton, having exhausted all of his other options, eventually he was able to justify taking his extreme action and burning the building to the ground.
Just like Michael, whose initial solution was to write a virus, he eventually got to a point where the unreasonable seemed reasonable.
This is the way these men think.
This is how they process conflict.
When faced with a problem, their initial thought is an extreme and thorough solution.
And it's only the restraint of these men that prevents this solution from being carried out.
And if the problem isn't resolved, that restraint, little by little, gets undermined.
It forms cracks like a dam until one day, that restraint is no longer strong enough to prevent the extreme from being acted upon.
With the building burning down, Peter realizes that the evidence is gone.
Through this twist of fate, he is now off the hook.
And of course, because this is a comedy, essentially everyone lives happily ever after.
In the last few moments of the film, we discover that Michael and Samir go get jobs at another tech company.
But Peter has learned a valuable lesson.
He has learned that his quality of life is more important than the status of having your own cubicle.
He no longer wants to be a cog in the huge global machine, a cog that the globalist bosses view as a tool subject to arbitrary rules to be replaced on a whim when the globalists think that it might make them more money.
Peter decides he'd rather just work in construction than deal with that.
The sad irony, of course, is that in real life, the globalists will do the same thing to the construction industry that they did with everything else.
They just slowly replaced the working class, skilled American tradesmen with cheap, illegal immigrant labor, all so that they can enrich themselves at the expense of the American worker.
In the last scene, we discover that Milton must have found Peter's envelope full of money before he burned down Inotech and is now living it up on a beach somewhere.
However, he's unhappy with the service.
And once again, his mind goes straight to an extreme solution.
The solution that he mumbles to himself to the bad service at the resort is to put strychnine in the guacamole.
And the audience is left to imagine whether or not Milton's dam will burst once again if his restraint will be undermined.
The movie is a comedy and the ending is a bit formulaic and somewhat of a joke.
Nobody just lives happily ever after in real life.
But I can tell you one thing.
After watching this film, I never again worked in a cubicle or memorized a mission statement or met with an efficiency consultant.
This film made me understand the humiliating reality of being a corporate America beta cuck and prevented me from ever again becoming a wage slave for the Bill Lumbergs of the world and taught me the value of understanding your instincts.
Understanding that the mind comes up with solutions almost immediately.
And the only reason people don't act immediately is the fear of consequences.
But if you're honest and forthright with your intentions and you have nothing to hide, people will respect you.
And eventually you will learn to trust your instincts and most importantly, respect yourself.
For Blackpilled, I'm Devin Stack.
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I've made a few videos pointing out the obvious degeneracy in Hollywood films, but I think it's more important to point out the more dangerous and subtle social engineering that has been going on in Hollywood for most, if not all, of its history.
One example that I think that has become particularly relevant in the last few days is the film Falling Down.
I'm sure by now you've heard of Richard Russell, the 29-year-old airline employee that stole the Horizon Air turboprop plane from the SeaTac International Airport and after performing a few acrobatic stunts and speaking briefly with air traffic controllers, crashed the plane in an apparent suicide.
What you might not know about his discussions with air traffic control because the mainstream media conveniently failed to mention it and CNN went so far as to edit out that part of the video when they aired the conversation was when Russell asked the air traffic control if he could get a job if he successfully landed the plane.
After the controller said that he would probably get any job if he could pull off the landing, Russell simply replied very matter-of-factly, nah, I'm white.
That simple statement has a lot of people looking at Russell as kind of a symbol of the frustrated, disenfranchised white male in America and a symbol of a man who wanted to show the world what he was capable of doing before going out in a blaze of glory.
I'm not going to comment on whether or not I think it's appropriate to lionize what Russell did, especially when we'll never really know for sure what motivated him to do what he did.
But I would like to discuss a film that has some similar aspects.
A film that many view as the same kind of a symbol.
A metaphor for the disenfranchised white male trying to live in a country that their ancestors would no longer recognize.
A country that's undergone changes that make the descendants of the country's founders feel like unwanted foreigners in their own land.
That film is Joel Schumacher's 1993 film, Falling Down.
Because who better to express the plight of disenfranchised white Christian males in America than a wealthy gay Jew from New York?
Now before you start commenting that I'm being anti-Semitic for mentioning that he's Jewish or homophobic for mentioning that he's gay, I do want to read a quote from Schumacher from an interview he gave BBC to kind of give you some context.
Quote, I don't like to use the word God because it's overused in the United States.
Not so much in Europe, but it's become politicized and has this ugly meaning now.
Like asking someone if they believe in God has become an attack.
Like if you don't believe in Jesus, you're not one of us.
So clearly, like most people in Hollywood, he has a bias, and it's a bias that's repeated throughout the film Falling Down.
Oh, and by the way, Schumacher is also the guy who put nipples on Batman's costume and ruined Batman for a decade.
But anyway, Falling Down begins with William Foster, who's a middle-aged white man played by Michael Douglas, who, just for full disclosure's sake, is also Jewish.
His father, Kirk Douglas, his real name was Ishur Danielovich.
Foster is stuck in traffic in LA, surrounded by several symbolic threats or annoyances.
First, we see a Hispanic girl holding a blonde white baby doll.
Then we see a white woman who's completely disengaged from her surroundings but focused on doing her makeup.
Then we see a busload of misbehaving and diverse children, kind of a symbol of the next generation of Americans.
After that, we see two rude rich guys arguing loudly on a cell phone in a time where having a cell phone was very much a luxury.
Then we see a plush Garfield cat suction cup to the window, which could be taken as a symbol of the shallow commercialized culture of the United States at the time.
We see symbols of debt.
We see symbols of Christianity, possibly the same Christianity that Schumacher himself saw as a threat.
This montage of imagery drives William Foster out of his car and into the concrete jungle of LA.
While getting out of his car and just leaving it on the freeway could very well be seen as the breaking point, it's not where William Foster goes completely off the rails.
What sends Foster into a tailspin in which there's no coming back from is his first encounter with the various people he will meet throughout the film.
This is where the bias really begins to show up.
The theme of debt, of economic hardship, is repeated throughout the film.
It is the outside pressure that drives Foster over the edge, and it's the fundamental pressure that the demographic that this film was made for was meant to relate to.
Foster goes into a convenience store to get change so that he can use a payphone.
The store is run by a Korean immigrant that demands that he buy something in order to get change.
When he discovers that a can of soda has been so overpriced to the extent that it wouldn't leave him enough change to even use the payphone, this is the straw that breaks the camel's back.
I think this is the most crucial scene in the entire movie.
And the subtle blame shifting that is performed is done to perfection.
You see, Europeans have a history, and you might say even a natural dislike, of usury.
And by this, I mean anything from predatory loans to price gouging.
Anytime people use their position of authority to extract money from the people around them or extort money from people, not by providing value, but by exploiting people who have no other choice.
This behavior, you have to remember, this behavior was seen as so reprehensible to the Europeans who founded this country that it was exactly what led to the Revolutionary War.
People often forget it was financial exploitation of the American settlers by the royal family who lived half a world away and did nothing to earn the treasure they were demanding.
It was this that led to the violent uprising and eventual independence of this country.
The entirety of the American culture is built on the idea that you earn what you get and you earn it by adding value to society and that anything less than that is extortion and it justifies violent revolution.
And that's what happens in falling down.
However, the catalyst isn't the bankers.
It's not the politicians or even a common thief robbing the protagonist at gunpoint.
Instead, it's a Korean immigrant charging too much for a can of soda.
And in the midst of his violent outburst, William Foster mentions that prices have skyrocketed out of control since the 1950s.
But instead of blaming any of the real causes or people behind the inflation and the rising prices, the blame is inexplicably placed on a small business owner in a bad part of town.
So rather than tackle the real economic concerns of the audience this film was designed to attract, Schumacher makes a bet on bigotry and makes the Korean shop owner as unpleasant as possible to shift the blame away from the ruling class and then further muddies the waters by throwing in a line about foreign aid going to Korea, hoping that the audience will take the bait.
Any idea how much money my country has given your country?
And I think most of them did.
So now that the A story is in full swing, the film shifts over to the B story.
The B story has many parallels and it follows another white male who is dealing with the end of his usefulness.
Robert Duvall plays a cop who is retiring.
It's his last day on the job, and he's being replaced by a strong, independent Hispanic woman, played by Rachel Takotin.
Now, we learn that Duvall's character is retiring and moving to Arizona, and his character represents the older generation of white men who faced with problems or maybe just the new reality, which was represented in this character's case as the loss of his daughter and his unstable wife.
They've decided just to check out of society voluntarily.
And at first, this is kind of presented as a type of impotence.
And his character is ridiculed, all in good fun, of course, and he seems to have accepted his fate.
At any rate, we go back now to Foster, who is calling his ex-wife on his daughter's birthday.
We never learn the details of their separation, but what's interesting is how the blame is implicitly placed on Foster, that his ex-wife admits in the movie that he has never been violent, but still has a restraining order on Foster and doesn't allow him to see his daughter.
And in true 1990s fashion, Foster is an obsolete father, and his single mother ex-wife is the blameless victim who fears his toxic masculinity.
Robert Duvall's character is similar in that he's powerless against women when it comes to the power of his wife when she calls him up hysterical and he submits to her irrational behavior because it's their maleness that is also obsolete.
So Foster, having decided to take a load off after freaking out in the Korean corner store, sits down in the wrong neighborhood and is confronted by two Hispanic gangsters that tell him he needs to pay the toll for being in their hood.
And Foster first attempts to reason with his assailants.
Now, much in the same way he tried to reason with the Korean shopkeeper before he flipped out.
And this is an important and honest aspect to his character.
And I think the demographic he's meant to represent.
His first response is always to reason with people.
He doesn't resort to violence right off the bat.
It's not until negotiations collapse.
Now, when they do collapse, however, he reacts disproportionately and devastatingly.
Plan B, as reluctant as he seems to resort to it, is always excessive force.
And that's exactly what he uses against the gangsters.
We now go back to Robert Duvall's character, who humbly accepts being rebuked for not knowing the exact ethnicity of another one of the younger officers.
Mr. Lee is Korean.
I have to be Japanese in case he never bothered to notice.
You know, this scene, this scene is a contradiction of itself that openly chastises Robert Duvall's character, the old white man, for not knowing exactly what type of Asian that the Japanese guy is.
While at the same time, it's making this racist mockery out of the Korean guy, the scapegoat from earlier in the film.
The hypocrisy is amazing.
It's not the last time it'll happen.
This is also where the A and B stories begin to merge as the caricature Korean shopkeeper tells Robert Duvall's character about Foster and the investigation kind of starts.
So then we go back to Foster, who's once again trying to call his ex-wife, but the Hispanic gangsters from earlier in the film have tracked him down and opened fire on him in a drive-by shooting.
They managed to shoot several people, but miss Foster and then crash their car.
Foster then goes to the crashed car and has the motivation and the opportunity to eliminate his enemies.
And once again, in what I feel is an honest, if maybe unintentional portrayal of what Foster represents, he doesn't react out of vengeance.
He doesn't kill him when he has a chance, but instead he inflicts a non-fatal injury, simply takes their weapons, and then leaves.
He walks away and then he goes to a bus stop where he appears to be dismayed by all the diversity in this part of town.
And then in a really effective visual metaphor, he tries to get on the bus but is pushed out of the way by all the minorities and eventually just gives up.
He's then stopped by a government worker who tells him he can't go that way either.
These are the nuggets of truth that really make this film so appealing to its audience.
The director masterfully presents scenes like this that will resonate on a visceral level before really layering in the propaganda.
Now, for brevity's sake, I'm going to kind of skip through some of the more repetitive aspects of the film, like this scene where the two young minority cops once again are dismissive of Robert Duvall's character as he begins to kind of figure out who Foster is.
And the scene where Foster is upset that the burger joint is no longer serving breakfast.
And after trying to negotiate once again, he overreacts and threatens the manager.
And the scene where he shoots up a phone booth because someone complained that he was using it too long.
These are the scenes that show that he feels disconnected with society itself.
That everything's very impersonal now.
That the cohesiveness of the culture and the basic humanity seems to be gone.
But then that's when we get into the real predictable Hollywood propaganda.
Foster goes into a military surplus store run by the most cartoonish skinhead imaginable who inexplicably chases a painfully out of place gay couple out of the surplus store.
Turns out the cartoon skinhead guy has been listening to the police scanner and knows who Foster is.
And once again, in a stunning lack of self-awareness, this film that is supposed to be sympathetic to disenfranchised white men gives us the most exaggerated caricature of an evil white man in Hollywood history who in addition to hating gays, minorities, and women, has a secret Hitler room.
Yeah, a secret Hitler room complete with a can of Cyclon B. not even kidding you know what was in this cyclone B you remember what the Nazis had he has a can of cyclone B So now in this movie that white men are supposed to identify with, Foster, the disenfranchised white man, kills the cartoon character evil white man with the secret Hitler room with bazookas and cans of Zyklon B.
And after murdering the Nazi, Foster takes the bazooka, dresses up in tactical gear, and then after a little black kid shows him how to use the bazooka because he's too stupid to figure it out, he blows up some government property, scares some rich guy into having a heart attack, and begins to head home.
Meanwhile, Robert Duvall's character and his strong independent Hispanic woman character friend cracks the case.
And by the way, just as a side note, as to how much our culture has changed, and you can make of this what you will, but just to give you an idea of how much things have changed since 1993, for his retirement party, the other officers hire a stripper to come down to the station.
Again, think of that what you want.
I just think it's important to know that when they made this movie, the filmmakers thought that was totally normal behavior.
So anyway, we get to the showdown at the end.
Foster has a gun and is with his ex-wife and daughter at the end of the pier.
Robert Duvall's character tells him he can relate to all the changes.
He's seen everything go to shit too, but he just needs to accept it.
Foster realizes that there's no way to get out of this situation.
He'll never have the life that he wanted.
He'll never have his wife and daughter again.
That the world itself is no longer for him.
He then tells Robert Duvall's character that he has a life insurance policy that will all go to his daughter if Robert Duvall's character will just shoot him.
In order to force the situation and commit suicide by a cop, he pulls out a toy water pistol and is shot dead on the spot.
And that's not even the depressing end of the film.
The depressing end is after all this, Foster's worst fears are realized.
The filmmakers smoothly end the film with Foster's daughter, despite her father's body being fished out of the ocean just a couple of blocks away.
And Foster's ex-wife, despite having watched the father of her only child shot dead just moments ago, they don't even postpone the birthday party they had planned for that evening.
It's her birthday.
What should I do?
Tell her tomorrow.
Let her have her little party.
And they carry on as if Foster never even existed.
None of the things that pushed Foster over the edge will ever get resolved, either in the movie or in real life.
This movie was made over 25 years ago.
It's certainly worth watching.
And you certainly wouldn't be allowed to make this movie today, even if you killed even more Nazis in it.
But it's also not the red pill movie that people think it is.
It's cleverly dressed up propaganda that, in my opinion, defends the status quo and in many ways, told us that even if we try to reason, and even if after that fails, we react with overwhelming force, in the end, once we're gone, nobody, not our women, not our children, will even remember that we existed at all.
For Black Pilled, I'm Devin Stack.
If you like my videos, make sure you like and subscribe and share.
You can donate at patreon.com forward slash blackpilled or donate to the crypto addresses below.
Stress?
Anxiety?
Feeling out of alignment?
You don't have to live this way.
At Ezra Healing, we guide you back into balance with our new health paradigm, personalized options, and soul-centered practices.
It's not about quick fixes, it's about true transformation.
Our philosophy is do no harm model of care, and we are really focusing on people with vaccine injuries.
Our mission is to help people understand what cancers are and bring solutions and relieve pain and suffering.
No waiting rooms, no gaslighting.
The ivermectin is a moment in time in your life to get rid of parasites.
And if you're struggling with cancer, we get rid of cancer.
If we have a vaccine injury, we're going to alleviate that.
But the goal is to, you know, eliminate, you know, anything, you know, foreign in your body.
So we use these supplements, these medications for a point in time in our life, eliminating anything that lowers your vibe.
What these researchers found was that vaccinated children had 4.29 times the rate of asthma, 3.03 times the rate of atopic disease, 5.96 times the rate of autoimmune disease, and 5.53 times the rate of neurodevelopmental disorders.
A number of different diagnoses, including diabetes and ADHD, and a number of them.
In the unvaccinated group, there were zero.
In other words, all these chronic diseases that we're accepting, the reality is maybe 99% of them don't have to exist in children.
That's not the way God made us.
They looked at over 47,000 Medicaid claims between 1999 and 2011.
Those who are vaccinated versus unvaccinated, I say an odds rate should be like 2.81.
2.81 to 1.
So that would be 181% increase.
Epilepsy seizures, 252%.
Learning disorders, 581%.
If you look at all these different diagnoses, they're all higher.
For example, I'll just give you one example.
Learning disorders in the full term is 581%.
In the preterm, the ones who are vaccinated, 884% increase.
Every single vaccine has an excipient that is a human toxin.