A documentary about the life of Dr. Anthony Fauci, simply called “Fauci,” started streaming on Disney+ last week.

Unlike the professional critics, who loved this sensitive and soulful portrait of one of Science’s most devout servants, the general public don’t seem too impressed by it.

Fox News:

National Geographic’s new documentary about Dr. Anthony Fauci has been ignored by audiences on Rotten Tomatoes, despite overwhelmingly positive reviews from professional critics.

Directed by John Hoffman and Janet Tobias, “Fauci” has been in select theaters since Sept. 10 and started streaming Oct. 6 on Disney+. The film features interviews with Fauci as well as his wife Christine and daughter Jenny. Figures ranging from former President George W. Bush and Susan Rice to Bill Gates and Bono also weigh in.

Rotten Tomatoes, which aggregates reviews from both professional critics and online users, was conspicuously lacking in audience reviews for “Fauci.” As of Sunday, the only audience review was from “Justin B.,” who gave the movie two and half stars out of five.

“While the film had some interesting back story regarding Fauci’s career and family history, as a documentary it is severely lacking. While it is a challenge to give a truly analytical and unbiased assessment, the producers here don’t even try,” the user wrote.

“They have some background noise of people saying mean things about Fauci and then make clear those are unfair and go about interviewing only people who fawn all over him. There are no interviews of anyone who question the quality of the job he has done. There is no real assessment of the quality his tenure during the pandemic,” the review continued.

Due to a constant influx of negative ratings, Rotten Tomatoes ended up disabling user reviews entirely.

Rotten Tomatoes us trying to hide the audience score for the biggest Clown in America Anthony Fauci
Gee I wonder why? 🤣🤣🤣👇 pic.twitter.com/1GvR3verKf

— Vince Langman (@LangmanVince) October 11, 2021

Rotten Tomatoes had to disable the “audience score” for Disney’s Fauci documentary. https://t.co/oFc1akU1xu

— Michael P Senger (@MichaelPSenger) October 11, 2021

For some reason, people just seem to really hate this man.

The curators of public opinion are mad that the masses don’t like the trash that they try to shove down their throats.

The unwashed movie-going masses have been found wanting and they must be punished.

Variety:

Rotten Tomatoes is finally fighting back against trolls who “review bomb” a movie ahead of its release.

As of Feb. 25, the reviews-aggregation site is no longer displaying the “Want to See” percentage score for a movie during its pre-release period. In addition, Rotten Tomatoes has disabled the ability for users to post comments prior to a movie’s release date.

The changes are intended to “more accurately and authentically represent the voice of fans, while protecting our data and public forums from bad actors,” Rotten Tomatoes said in a blog post Tuesday.

Rotten Tomatoes has been bedeviled for some time by teams of trolls who work in a coordinated fashion to drive down the “Want to See” scores of movies they take issue with. Most recently, the Rotten Tomatoes page for Disney’s “Captain Marvel” — set to debut March 8 — was littered with negative and misogynistic comments from users bashing the movie’s supposed feminist agenda. Before Rotten Tomatoes made the changes, “Captain Marvel” had a “Want to See” score as low as 28%.

Netflix did the same thing with the whole Amy Schumer comedy special debacle. They just stopped allowing their customers to review movies. Because a Jewish comedian was upset that no one found her funny.

They also did it for Black Panther.

Rotten Tomatoes Will Block Anyone Who Tries to Sabotage #BlackPanther Fan Score: ‘We Do Not Condone Hate Speech’: https://t.co/gOyZSOyeOf pic.twitter.com/awU3w2Nhx6

— IndieWire (@IndieWire) February 2, 2018

Yeah.

So of course, they’re giving the same protections to Captain Toe Infection.

The Jews who are promoting Captain Flat Ass are spooked by bad reviews or “Want to See Scores.” There’s an obvious profit angle here, but then, if the studios were so concerned with making a profit, they wouldn’t be pushing this complete garbage on people in the first place.

They’d stick to what works, instead of focusing on subversion.

More than profits, it’s about the Agenda. 

People fighting back against the Jewish agenda have to be shut down.

Especially now that they’ve started to kick the subversion into overdrive. 

And bad ticket sales won’t slow them down. If they start losing boatloads of money, they might even just ask the government for a bailout to continue their cultural subversion, insisting that they’re doing the moral thing – losing money to focus more on subversion.

That’s what they do in Europe.

Remember that Swedish film, Fuck You?

With the black woman with a strap on dildo?

In Sweden, the taxpayer foots the bill for this stuff. If Hollywood keeps pushing the agenda and bombing in the box office, they might start demanding tax money. And they’ll probably get it. We already subsidize the BASED nationalist Jews over in Israel every single year to the tune of billions of dollars.

Why wouldn’t we give the Jews who run Hollywood, California a couple of billion as well?

There is simply no way to stop the subversion without fixing the culture first. 

And there is no way of doing that without getting rid of these kikes.

Disney’s latest Star Wars cash grab has a huge gap between the critical reception (92%) and audience reviews (52%) on Rotten Tomatoes. It’s also bombing at the box office relative to previous releases.

According to Jews, this is part of an evil alt-right conspiracy.

You see, it can’t be that professional reviewers working for mainstream Judenpress are cherry-picked for their ideology or corrupt assholes frightened by Disney’s clout as an advertiser. Instead, the disconnect between reviewer and audience is the product of Neo-Nazi bots!

The paranoid fake news kike Drew Schwarz amplified (((Matthew Jacobs’))) Huffington Blog entry making these claims and the rest of the MSM picked it up from there.

Vice:

Critics seem to love The Last Jedi, and it’s raking in cash hand over fist at the box office. But for a movie that’s apparently obscenely popular, it’s facing some pretty serious backlash from viewers—as of Thursday, its audience score on Rotten Tomatoes weighed in at 54 percent. So what gives?

According to the Huffington Post, a fringe alt-right group might be to blame. Some anonymous troll behind the Facebook group “Down With Disney’s Treatment of Franchises and its Fanboys” told HuffPo he dispatched an army of bots to flood The Last Jedi’s Rotten Tomatoes page with negative reviews. The moderator—who self-identifies as alt-right—said he went after the movie for its “feminist agenda,” arguing that Poe Dameron (Oscar Isaac) is a “victim of the anti-mansplaining movement,” Luke Skywalker (Mark Hamill) is somehow being “turn[ed] gay,” and that there are too many women featured in the film.

“I’m sick and tired of men being portrayed as idiots,” the moderator told HuffPo. “There was a time we ruled society and I want to see that again. That is why I voted for Donald Trump.”

In a Facebook post, the moderator took sole credit for The Last Jedi’s low audience rating on Rotten Tomatoes, claiming that his bots “rigged this score and still keep it dropping.” But as the review aggregator tells it, that’s a load of bunk. A representative from the site told HuffPo that if an army of bots were shitposting on The Last Jedi’s page, Rotten Tomatoes would’ve noticed.

“As a course of regular business, we have a team of security, network, social, [and] database experts who monitor all of our platforms and they haven’t seen any unusual activity,” the rep said.

So in other words, Schwarz knows this isn’t true, but you don’t get the truth until the bottom 1/4 of the article. This is the formula used by the Judenpress to lie, as they know their easy-to-gaslight readers don’t look past the title and a few paragraphs.

Any time you see a massive difference between (((critical reception))) and audience reception, it’s because there is a political factor at play.

Both Fight Club and Conan the Barbarian were revolutionary works of art when they first came out. Jew-enabled cultural Marxists like Roger Ebert gave them low reviews solely because he didn’t like exactly what resonated with the audience: the message. He famously ignored much of Fight Club’s artistic merits because of its quasi-Fascist characters.

Today on Rotten Tomatoes, we see the “professional” movie reviewers in lab coats gave Fight Club an average rating of 70%, while the audience rates it 96%!

The audience is indeed offended by the Tumblrfication of Star Wars under the expanding ear shadow of Moshe Rat Inc., but that’s just one of the many stink lines coming out of this film can.

Let’s see how all-encompassing the Alt-Right conspiracy is when the film premieres in China on January 5th and they find out the negro character’s love interest is an Asian girl.

It’s common knowledge that when a black man dates a white woman, one of the two is in danger.

I’m talking about the black man, you racist goyim. The suburban white families of these women often hunt down to torture and kill the black men on an industrial scale out of revenge for losing a race in the 1936 Olympics to Jesse Owens. But the white power structure can’t hide this genocide forever, and a new Hollywood horror film has made a positive new contribution towards our national conversation on race that white people just don’t want to have. White people are that creepy and disturbed.

Well, unless they’re female and in their 20s. They can survive the white race’s South African style just desserts at least until they can be raped first.

Jordan Peele’s “Get Out” (2017) hits the big screens nationwide on February 24th, but already is enjoying rave reviews from the professional (((critics))). In fact, this cheesy demagogic horror film has a 100% Rotten Tomatoes Review!

Did you know the black guy who plays Obama on Comedy Central is actually the second coming of Alfred Hitchcock? Could anyone have imagined that the unfunny version of the Wayans Brothers (“Key and Peele”) were capable of translating “satire” equal to George Orwell and Cervantes into a 90 minute horror film? That’s what the reviews claim.

But as with everything that doesn’t look right, split the apple and you find a nosy worm in coke-bottle glasses. The iron law of history holds: Everywhere whites are being defamed, vilified, and physically endangered, you will without fail find a Jew either creating or enabling it.

Let’s take a look at the kikes who are hyping this trashy popcorn flick up as the next Citizen Kane.

Village Voice, (((Alan Scherstuhl))):

Jordan Peele’s Get Out is the most trenchant studio release in years, a slow-building, often hilarious horror thriller built upon a dead-serious idea: that a black man walking alone through white suburbs is in as much danger as any slasher-flick teenager. Peele opens with that image, showing us, in a long and tense single take, a young man making his way down a sidewalk at night, studying the interchangeable homes for an address. A car eases up behind him, moving too slow, and the revelation — a sick joke you might choke on as you laugh — is that Get Out needs none of the phantasmagoric trappings of its genre to terrify. What’s the usual restless spirit or chainsaw maniac got on a paranoid white dude with a concealed carry?

…

Get Out is searing satire, with scary/comic riffs on slavery and assimilation, but it’s also a smashing crowd-pleaser of a horror film, complete with mad science, cult-like crazies, and a creep-out homage to Jonathan Glazer’s Under the Skin. The buildup to the big revelations can be uneven, and one tearful monologue gets plopped into precisely the wrong spot, killing the momentum after the craziest scene. But Get Out is fully surprising in both concept and craft, with the scares never coming just when you expect them and the secrets more audacious than you might be guessing. At the raucous screening I attended, the mixed-race crowd cheered the bloody third act, the violence — like its victims — all stirringly well executed. But even as Peele brings the house down with both kinds of gag, we see the serious toll of all this horror on Chris’s face and body. Neither the movie nor anybody watching can take it all as a joke.

US Weekly, (((Mara Reinstein))):

A great horror flick is supposed to prey on your worst fears. An ordinary situation — say, going to sleepaway camp or babysitting — is suddenly turned into a heart-stopping, gasping-for-air experience. It doesn’t usually also serve as a biting commentary on current race relations in America.

Enter Jordan Peele. The cocreator of the award-winning Comedy Central sketch show Key & Peele has written and directed a remarkably inventive film sure to get people talking for all the right reasons. From a genre perspective, it’s nothing short of groundbreaking in how it tackles taboos. And it’s scary good times.

Time Out, (((Joshua Rothkopf))):

A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter (They Live), Get Out has more fun playing with half-buried racial tensions than with scaring us to death. To some, that will come as the slightest letdown: The movie is a touch too in love with its big idea—that meeting your white girlfriend’s parents might be hazardous to your health (even if, as we hear, they “would have voted for Obama a third time”).

…

Get Out is sharp and cutting during its buildup—you’ll never want this section to end—and the addition of two awkwardly ingratiating adults (Catherine Keener and Bradley Whitford) makes a comic meal out of white liberal privilege with every “cool” handshake and turn of phrase (“Hug me, my man!” Rose’s dad exclaims, drawing Chris in). Meanwhile, the movie brews a fine tension between the limits of parental largesse and Chris’s own independence, while a disquieting number of black servants look on like wide-eyed zombies.

Forbes Magazine, (((Scott Mendelson))):

Get Out mines discomforting tension from everyday racial inequities and microaggressions, and it makes no bones about the useless or counterproductive bravado of would-be progressive white folks whose attempts at self-congratulating tolerance reeks of patronization and condescension. Chris is at a constant disadvantage over the course of the weekend and Peele rubs our noses in that unequal playing field even as everyone around him is jumping through hoops to proclaim their alleged indifference to, or envy of, his blackness. It adds an obvious level of tension to what is already a relatively stressful scenario, as Chris is forced to grin and bear it even as his spidey sense continues to tingle.

…

Peele has not been shy about discussing his inspirations for his directorial debut, but Get Out works as its own unique concoction. It is a true original, harkening back to the classic socially-minded EC Comics that so scandalized America by blending horror, gallows comedy and angry social commentary into a kid-targeted stew. Since it is a story of a minority experience told by a minority, it has an extra kick of personal experience and doesn’t give a crap about offending the white folks who happen to buy a ticket.

Sundance Film Review, (((Dominick Mayer))):

While the film is deliberately obvious in its shots at racism in its various forms, Get Out isn’t the kind of film that exists to let the audience clap itself on the back for being above it all. Peele is sharply perceptive about how racism is so often diminished even by people who allegedly know better, and it’s a conceit that serves Get Out incredibly well. From the passively hostile admonishment of its title onward, it’s a horror movie that feels intriguingly unique even in its more standard moments, and a reminder of the genre’s power to address the world’s most unpleasant facets and offer audiences a kind of release from them. And it’s a potent reminder that sometimes, for some, there are few things scarier than a bunch of smiling WASPs.

Screen Crush, (((Matt Singer))):

Get Out is one of the sharpest horror films about the uneasiness that comes with meeting a loved one’s parents and siblings for the first time and the subject of blended families. Unnerving and laugh-out-loud funny, its tale of an African-American man who goes home with his white girlfriend for the first time doesn’t exactly paint the most flattering portrait of the lead character’s potential new family. It does what all great horror movies do: turn real-world anxieties into the stuff of nightmares.

All of these reviews are dripping with racial hostility towards white people. You can just imagine what kind of ends these evil white people meet in this gory torture film.

“Get Out” of course was commissioned and produced by the Jew Jason Blum’s “Blumhouse,” who undoubtedly encouraged Peele to go all out on the “Smiling WASPs.” No negro would come up with this kind of trash on his own, they are being ideologically instructed through – I quote one of the reviews – “angry social commentary into a kid-targeted stew.”

That is why I always encourage people to spam Colin Flaherty’s Youtube channel with facts about Jews leading blacks against whites. Despite his interesting and useful journalism, the Shakespearean rhetorical questions he ends every video with like “What is causing all this black hostility?” get repetitive and tiring.

The answer is Jews. If whites become a physical minority in America, they will exterminate us to the last man, woman and child. Get them out of our media and out of our damn country!