Genocidal Maniacs on the Loose!

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It’s like a horror movie. Crazed killer zombies are butchering men, women and children. They rape and torture with impunity. Hearts and souls dead to any semblance of humanity, they lust for fresh blood and vow to “erase every living being.” Though the worst mayhem is mainly limited to a 141 square mile strip on the Mediterranean, the catastrophe appears to be on the brink of escaping containment.

If Zionism is like a zombie movie, why not make a zombie movie about Zionism? Wait—that’s already been done. It’s called World War Z, and it came out in 2013, ten years before the Zionist genocide of Palestine shifted into overdrive.

Whether through serendipity or predictive programming, World War Z prefigured two colossal disasters that hadn’t yet happened at the time the film was made: the COVID pandemic and the post-October-7 genocide of Gaza. The plotline revolves around a virus-instigated global pandemic and the World Health Organization’s efforts to fight it. And the heart of the film is its Jerusalem sequence, in which the heroic Jewish State saves itself from the zombie virus by building a gigantic wall—until the wall is horrifically breached in scenes that seem to prefigure the phantasmagoric Israeli propaganda version of October 7th.

MondoWeiss’s Jesse Benjamin ably deconstructs the film in “Zombie Hasbara: ‘World War Z’ and Hollywood’s Zionist embrace.” Excerpts:

The Times of Israel may be only slightly exaggerating when it calls this “the greatest piece of cinematic propaganda for Israel since Otto Preminger’s “Exodus.” Not only is Israel’s fanatical Wall Building proven to be justified, against the hordes of undead invaders, and not only are Jewish victimizations paraded to justify the aggrandizement of Israeli military prowess, but it’s Israel’s supposed humanism, and multicultural inclusiveness, which in the end weakens the fragile post-apocalyptic state and allows the zombies to overrun everything….

Gerry (Brad Pitt)…picks up vital intel from a deranged CIA officer who suggest that answers lie in Israel, which has somehow managed to wall itself off from the plague, and also mysteriously seems to have known in advance that it was coming. Gerry says something about “they’ve been building walls for two millennia,” and then he’s off. Before the viewer can process whether the film is about to go down some post-9/11 Jewish conspiracy path, Gerry is landing in the Holy Land fortress-state to the site of slowly fluttering Israeli flag close-ups, triumphant marshal music, and confident IDF soldiers speaking in Hebrew, rushing around, smiling in soft filtered light close-ups…

…Gerry’s already informed the audience that wall building is natural to Israel, so the reinforcement of ancient and Separation Walls is plausible, and comes as not at all veiled justification of Israel’s current and widely condemned Apartheid Wall. He questions the Mossad chief on how he knew the threat was coming, and gets a lesson in revisionist Zionist history, starting with the legitimate failure to take the threat in 30s Germany seriously, and then the same failure from similar or greater threat in 1973, when “we were almost washed into the sea,” and at the 1978 Olypmics, both of which “we did not see coming.” It’s the classic, and academically disproven myth that Israel was always on the defense in its wars, and also the conflation of Palestinians and Arabs with Nazis, as ever-present existential threats to peace-loving Jews.

World War Z, like its predecessors, uses zombieism as a metaphor. George Romero pioneered the genre with Night of the Living Dead, whose zombies evoked 1960s political violence and cultural upheaval. He followed it with Dawn of the Dead, in which shopping-mall zombies hilariously parody consumer culture.

So what do World War Z’s zombies stand for? “Palestinians” or “goys” would be an overly simplistic answer—though Max Brooks, Mel’s son, who wrote the novel on which the film was based, probably was thinking along those lines.

Since films are dreamlike and can carry hidden meanings that their makers did not consciously intend, meanings that often directly oppose conscious ones, I submit that we put Max Brooks on the couch, call in Dr. Freud, and start poking around into what World War Z’s zombie virus really represents. The first thing we notice as we pry into the film’s unconscious is that it’s obviously no coincidence that the Z in World War Z stands for both zombie and Zionism. Though at the conscious level (the film’s overt plot) the Zionists are anti-Zombie, the unconscious connection through the letter Z reveals that at the deeper, unconscious level of the film’s real meaning, the Zionists are the zombies.

Once we notice that, everything snaps into place. Why did Max Brooks radically change the zombie archetype from its individualist precursors, in which zombies are too brainless to cooperate or do much of anything other than lurch around looking for people to bite, and instead offer zombies who swarm together in cooperative packs or tribes? The answer, I submit, is that the zombie virus in World War Z is Zionism— specifically, the propaganda memes that cause it. These propaganda memes cause Zionists to unite in tribal fanaticism against perceived outsider threats, just as the zombie virus in the film causes zombies to band together and attack non-infected humans.

Richard Dawkins, whose reductionist view of evolution is unconvincing, has offered an even more reductionist view of religion, according to which religious texts and rituals are memes that seek to replicate themselves in much the same way that genes do. Though Dawkins’ view of religion in general is overly pejorative, his notion that religion is a virus that causes its hosts to act badly toward the non-infected is not entirely inaccurate when applied to Judaism, the religion that birthed genocidal Zionism. Unlike the major world religions, which are all universalist, Judaism has never fully transcended its origins in tribalist supremacism. Human beings whose minds are infected by the virus of tribalist supremacism are liable to band together with other virus victims and treat the non-infected the same way that the zombies in World War Z do.

Once we understand World War Z’s “zombies = Zionists” equation, the real meaning of the plot swims into focus. The virus-crazed zombies are trying to eliminate all of the non-infected people and take over the world. Where have we heard that before? It’s right out of Jewish eschatology, which awaits a Jewish messiah who will lead the Jews in conquering, exterminating, and/or subjugating all non-Jews. The questions that messianic Zionists in Netanyahu’s cabinet debate—“should we eliminate all Palestinians, or keep a few as second-class citizens to hew wood and draw water”—will be applied to the world’s entire non-Jewish population when the time comes, according to Jewish messianic-millenarian prophecy.

Our interpretation of World War Z casts a new light on the film’s pivotal scenes of zombies swarming over the wall around Jerusalem. Those scenes are actually dream-disguised depictions of what happened in 1967, when the previous (Muslim) regime proved overly tolerant, a weakness that exposed it to genocidal conquest by the zombie Zionists, who had murdered JFK and installed their puppet LBJ in power to enable their unholy land grab.

Brooks depicts Israel as a tolerant, multicultural paradise that survives for some time by building an impregnable wall, which finally collapses in the end times under the weight of the zombie hordes. But our interpretation of the film’s unconscious meaning, in which the Zionist-zombie conquest of Jerusalem in 1967 is a major step towards world conquest, resonates not only with Jewish-Zionist messianic millenarianism, but also with Islamic eschatology. Sheikh Imran Hosein explains that the Zionist conquest of the Holy Land seems intimately connected with the prophecies in the Qur’an’s Surat al-Kahf, which foretell a time when Gog and Magog, presumably in alliance with the Zionist Antichrist (Dajjal), finally break through a gigantic wall or barrier and overrun and destroy civilization. The Zionist zombies of World War Z breach the wall in a manner reminiscent of the Qur’an’s Gog and Magog.

World War Z is, at its first (superficial) level of meaning, an agent of Zionist propaganda—indeed, “the greatest piece of cinematic propaganda for Israel since Otto Preminger’s “Exodus.” That makes the film itself a kind of Zionist zombie virus. Like all of the other thousands or millions of Zionist propaganda films, books, articles, images, and so on, it is designed to take over the minds of the unwary and use those minds, and the bodies they control, in service to its own ends. But, as we have seen, the film also conveys a deeper meaning, based on the identity of zombies and Zionists, that is in strong tension with the surface meaning. The Zionist mind virus, which is supposed to take over the victim’s brain surreptitiously, seems to be unconsciously confessing to the multiple crimes it is committing, in much the same way the protagonist of Poe’s “The Tell-Tale Heart” unintentionally confesses to murder.

But is that “confession” necessarily unconscious? Another, even weirder possibility is that the filmmakers are deliberately putting the truth—that the Zionists are the zombies—right out there where everyone can see it…if they want to. That most people don’t want to, and indeed will shy away from the awful truth that they are enslaved to sheer evil, and utterly compliant with it, is a cynical but not-entirely-inaccurate take on humanity that the Zionists have long been betting on. (Some believe that the Zionists deliberately commit their worst crimes out in the open, or deliberately fail to adequately conceal them, either to inculcate learned helplessness, or out of a strange belief that if the victims know about the crimes but fail to stop them then the bad karma falls on them.)

When World War Z came out in 2013, most of its Western audience was so drenched in MSM Zionist propaganda that there was little chance of the masses fully awakening to the fact that the Zionists are the zombies. Eleven years later, the genocide of Gaza has changed the equation. Today, an ever-increasing segment of young well-educated Westerners knows the Zionists are monsters. And the Global South, which has always known it, has been galvanized by Gaza in such a way that it can no longer avert its gaze from the genocide of Palestine. This mass awakening spells Zionism’s doom. After the world awakens from its Zionist nightmare, World War Z may eventually become a cult classic in which audiences gather to laugh at its ludicrous propaganda, while relishing the irony of the film’s Zionists-are-the-zombies subtext.

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