Hollyood Book of Death



…by Jonas E. Alexis


Each year brings a smattering of new Hollywood casts (actors, actresses, directors, producers) who actually want to do just about anything to get to the top. We have already seen how people like Nicole Scherzinger admitted that:

“To be honest with you, I sometimes wish I were more slutty. I’d probably be a lot more successful if I were… This is such a tough industry, you know. To make it, you really have to sell your soul to the devil.”

We have already talked about “Caitlyn Jenner,” who is now trying to get people’s attention and getting his one-season fame. We also have a plethora of people who have metaphorically or indirectly admitted that they had to get really ugly in order to make it to the top:

But those same Hollywood celebrities never count the cost of what the top would eventually bring. They lack the vision to realize that the pleasures of this world—money, power, fame—will never be able to satisfy man’s longing for meaning and relationship with his Creator. Take for example actress Pier Angeli (1932-1971). After a promising career in Hollywood and after starring in dozens of film, Angeli attempted to commit suicide. She lamented, “I can’t go on anymore.”[1]

She committed suicide at the age of 39.

Other similar cases. Actor Pedro Armendariz shot himself with a shotgun; actor Don “Red Barry shot himself with a .38-caliber revolver; actor Scotty Beckett’s life is a sad story: Although he appeared on-screen in The Happy Years, his off-camera life had become anything but happy…The final decade of Scotty’s life was the chronicle of an increasingly desperate man involved with drugs, divorces, violence, and arrest….On May 10, 1968, Scotty admitted himself to a Hollywood rest home to receive treatment for a severe beating he had endured. Just two days later he was dead.”[2]

Actors like Richard Farnsworth, Jon Hall, Rusty Hamer, Freddi Prinze, George Sanders, Peter Duel, Gig Young have all shot themselves, complaining that the “beautiful” life they sought through the world of entertainment simply did not exist and was simply a figment of the imagination.

Lucy Gordon

Lucy Gordon, who played the role Jennifer Dugan in Spider Man 3,

“was found hanging in her Paris flat, on 20 May 2009, two days before her 29th birthday. A French police official, speaking on condition of anonymity, said Gordon appeared to have committed suicide by hanging. British actress Lucy Gordon left two suicide notes before hanging herself in the Paris flat.

“Miss Gordon detailed her last wishes regarding her estate on one piece of paper and left a letter for her parents on another. Her father Richard Gordon said a post-mortem examination proved she had died from hanging and that no other marks were found on her body. He said that ‘There is no question of foul play. Lucy committed suicide.’”

Gordon was used by “The Industry” since she was two years old,[3] and by the time she was 29, she already figured out that she could not go on any longer.

Actress Clara Blandick wrote this note before she overdosed herself:

“I am now about to make the great adventure. I cannot endure this agonizing pain any longer. It is all over my body. Neither can I face the impending blindness. I pray the Lord my soul to take.”

Entertainment historian and biographer James Robert Parish writes,

“Dressed in a royal blue bathrobe for the ‘occasion,’ and surrounded by memorabilia from her lengthy career, Clara swallowed an overdose of sleeping pills. To ensure that she would expire, she fastened a plastic bag over her head, and then lay down to wait for death. What a pathetic end for the sturdy, no-nonsense Auntie Em.”[4]

Actor Charles Boyer also overdosed himself and later died the same day. And Dana Plato’s death was not a surprise:

“To many Hollywood observers, it was no surprise when 35-year-old- Dana Plato died of a drug overdose in the fall of 1999. Her life had been going badly for years, long before she ingested a fatal mix of painkillers and Valium.”[5]

The ending of actor John Bower’s life was an interesting phenomenon:

“He ended his troubled life after attending a party one evening in November 1936 by walking into the Pacific Ocean and deliberately letting himself drown.”[6]

Actress Germaine Lefebvre, after severe depressions, deliberately “jumped from the window of her apartment.”[7]

Actress Peg Entwistle

“told her uncle that she was going to the local Hollywoodland drugstore. Instead, she walked up the nearby road that led to the big electric-light sign. Reaching the towering letters, she stopped beneath the ‘H.’

“Peg removed her coat and placed it neatly next to her purse. Then she slowly climbed up the electrician’s ladder on the 50-foot-high ‘H.’ Partway up, one of her shoes fell off. Finally reaching the top of the giant letter, Peg jumped from it and plunged to her death.”[8]

Peg left a suicide note which read,

“I am afraid I am a coward. I am sorry for everything. If I had done this a long time ago, it would have saved a lot of pain.”[9]

A similar situation happened to actress Carole Landis. She wrote in her suicide note:

“‘Dearest Mommie, I’m sorry, really sorry to put you through this. But there is no way to avoid it…’ Having written this deeply touching farewell note, the pretty, 29-year-old actress Carole Landis, who had attempted suicide several times before, finally got her death wish through an overdose of sleeping pills.”[10]

Actor Freddie Prinze is another classic example:

“He was arrested for driving under the influence of drugs. He relied on psychotherapy, liquor, cocaine, and Quaaludes, but nothing seemed to put his chaotic existence back into order. He told his pals, ‘Life isn’t worth living.’

“Freddie would shock them by pulling out an unloaded .357 Magnum revolver, pointing it at his temple, and squeezing the trigger. (He had first attempted suicide at 17, when he and a girlfriend split up.)”

Finally, Prinze shot himself, and left the following note: “I must end it. There’s no hope left…”[11]

The trail has no end: “David Strickland hung himself at age 29 when he decided that life was too much to bear.” Actress Lupe Velez wrote: “I am getting to the place where the only thing I am afraid of is life itself….People think that I like to fight. I have to fight for everything. I’m so tired of it all….”

Velez, then, decided to put an end to all of this: “Putting on her favorite blue silk pajamas, she sat down on her oversized bed and swallowed an overdose of sleeping pills. The next morning, when her housekeeper couldn’t awaken her, a physician was summoned; he pronounced Lupe dead.”

Does that ring a bell? This is very similar to the death of Heath Ledger. After actor Gig Young took his own life, one friend declared, “I think he probably had his own private hell going on inside him.”[12]

In 2009, well-known actor David Carradine

“was found hanging by a nylon rope in a Bangkok hotel room closet Thursday morning… the actor’s neck and genitals were found bound with rope.”

Perhaps Marilyn Monroe was right when she noted that

“Hollywood is a place where they’ll pay you a thousand dollars for a kiss and fifty cents for your soul.”

Michael Jackson, known as “the king of pop,” was obsessed with death long before his untimely death in 2009. His ex-wife, Liza Marie Presley, daughter of Elvis Presley, remembered “a deep conversation” she had with Michael about Elvis’s own death:

“At some point he paused, he stared at me very intensely and he stated with an almost calm certainty, ‘I am afraid that I am going to end up like him, the way he did.’ I promptly tried to deter him from the idea, at which point he just shrugged his shoulders and nodded almost matter of fact as if to let me know, he knew what he knew and that was kind of that.”

Lisa suggested that Michael’s death was

“inevitable, which is what has just happened… A predicted ending by him, by loved ones and by me, but what I didn’t predict was how much it was going to hurt when it finally happened. As I sit here overwhelmed with sadness, reflection and confusion at what was my biggest failure to date, watching on the news almost play by play the exact scenario I saw happen on August 16, 1977 [the date of Elvis’s death], happening again right now with Michael (A sight I never wanted to see again) just as he predicted, I am truly, truly gutted.

“I wanted to ‘save [Michael].’ I wanted to save him from the inevitable, which is what has just happened. The hardest decision I have ever had to make, which was to walk away and let his fate have him, even though I desperately loved him and tried to stop or reverse it somehow.”

On her blog, Lisa said,

“The World is in shock but somehow he knew exactly how his fate would be played out some day more than anyone else knew, and he was right.”

These celebrities have died and are dying miserably and tragically, while giving the world and particularly their fans a false sense of hope and security that they are doing fine. In an interview with CNN shortly after the death of Michael, Uri Geller, a close friend of Michael Jackson, told the interviewer,

“I remember once asking him, ‘Michael, are you a lonely man?’ He looked up for ten seconds and stared at me and said, ‘Uri Geller, I’m a very lonely man.’”

Jewish actor Jake Gyllenhaal, who plays in homosexual movies such as Broke Back Mountain with Heath Ledger, lamented,

“I haven’t really found happiness in material success — wanting more hasn’t brought me happiness. Now I realize that whenever I want something more, it’s not going to make me happy.”[13]

Fame, material success, and the pleasures of this world can never blot out the guilt which begins to manifest itself when man becomes to deviate from the moral and social order. So when people build their career attacking the very essence of the moral order, they are indirectly attacking the very essence of their being.

Shia LaBeouf—who played a sex addict in Lars von Trier’s Nymphomaniac, who admitted that Trier is “the most dangerous dude,” who said that he was “terrified” about where Trier took the movie,[14] and who actually walked out of a Nymphomaniac press conference in Berlin[15]—declared:

“Sometimes I feel I’m living a meaningless life, and I get frightened… I know I’m one of the luckiest dudes in America right now. I have a great house. My parents don’t have to work. I’ve got money. I’m famous. But it could all change, man. It could go away. You never know.”[16]

LaBeouf further declared that he became an actor because of the money business, but now, “I don’t give a damn about the money anymore.”[17]

LaBeouf continued, “The good actors are all screwed up. They’re all in pain. It’s a profession of bottom-feeders and heartbroken people.”[18]

Parade magazine says that “LaBeouf is among the latter.”  LaBeouf then asked a fundamental question and answered it for himself,

“What is life about? I don’t know. What I do know is, I screw up, and I know that I’m working on myself to be a better person.”[19]

Actor Matt Damon is confronted with a similar situation about what it means to be happy:

“I remember the night of the Academy Awards and going home after having been given this great prize [for his role in the movie Good Will Hunting] that was supposed to make me happy. I was alone, and I looked at this thing, and I heard myself say, almost out loud, ‘Thank God I didn’t screw over anybody for this,’ because it wouldn’t have been worth it.

“People go their whole lives chasing after this thing,” he added, “thinking it will give them happiness, when it isn’t true. It doesn’t. For me, the next few years were a process of learning what does.”[20]

Damon went on to say, “Loneliness, the need to belong —some of that drove me [to acting].”[21] This also drove Damon to “do just about anything to succeed.”[22]


What we are seeing here is that the moral law—the universal principle which binds all human beings together, which can be apprehended by any individual, but which has been suppressed directly or indirectly by Neo-Darwinian ideology[23]—cannot metaphysically be broken. The moral law will eventually break anyone who ends up denying it. It broke John Boswell. It broke Oscar Wilde. It broke Gustave Flaubert. It broke Michel Foucault. It Broke Friedrich Nietzsche. It broke Arthur Schopenhauer. And it will continue to break any individual who attempts to willingly ignore.

In short, once a person rejects or attacks the moral law, that same person indirectly has picked up his own casket. As the book of Proverbs puts it,

“But those who fail to find me harm themselves; all who hate me love death.”

One director who ended up carrying his own casket was Rainer Werner Fassbinder. Fassbinder used his anarchic imagination to destroy the minds of millions of his generation. Fassbinder was Freudian. Christian Braad Thomsen, one of his biographers, wrote:

”It is manifested in virtually programmatic terms in his lifelong dream of filming Freud’s critique of religion, his last great and contentious book Moses and Monotheism.”[24]

At the end of the day, however, Fassbinder could not be satisfied with his own work. He therefore slipped into the world of cocaine and eventually died at the early age of 37. He earlier declared that

“There’s no reason to exist when you don’t have a goal anymore.”[25]

In other words, suicide is a great escape if one cannot find meaning in this world. Surely this was one Fassbinder’s motives for making movies such as Querelle. In fact, Fassbinder played with his own death at the end of his life:

“Death seems, literally, to have been a trip for Fassbinder, and not only towards the end of his life. Kurt Raab has related that in 1970, during a Spanish trip, he was sitting in a car driven by Fassbinder. They were racing along beside a beach. When they caught sight of a concealed crossroads, Fassbinder increased speed and shouted out, ‘If a car comes now, I’ll die like James Dean.’

“Fassbinder’s obsession with death is also reflected in the fact that among his favourite contemporary films was Robert Bresson’s Le Diable Probablement (1977), whose closing scene he quoted in the Third Generation: Bresson’s principle character has decided to commit suicide, but arranges it by persuading a friend to shoot him.

“As the friend, revolver in hand, steps behind him, the suicide suddenly beams with happiness and begins a sentence, perhaps in a kind of divine inspiration at the moment of death. But the words are drowned out by the shot that ends his life.

“Friends of Fassbinder were present when he conducted an equally grotesque and dangerous flirtation with death by swallowing an almost fatal amount of pills and then mocking his friends, saying they certainly couldn’t swallow as many pills without falling down dead. No one dared take up the challenge….

“In the last month of his life Fassbinder had got into a bizarre state. He had discovered what an incredible effect could be achieved by combining cocaine with sleeping pills. Even with drugs he had to double himself….

“During the night from 10 to 11 June 1982, Juliane Lorenz found Fassbinder dead in front of the television, which was still switched on. A thin ribbon of blood trickled from one nostril.”[26]

The moral of the story? Once Hollywood was taken over by the Dreadful Few, the war against morality, decency, and ultimately the war against Logos was unleashed at an astronomical rate. In the process, Hollywood ended up slashing some of its best and brightest children. Many of those children are still prostrating before their masters to get a piece of power, fame, and money. British journalist William Cash remembered:

“Bill Stadiem, a former Harvard educated Wall Street lawyer who is now a screenwriter in LA, told me that he recently came across an old WASP friend in an LA restaurant who had been president of the Porcellian at Harvard—the most exclusive undergraduate dining-club. His friend—a would-be producer—was dressed in a black nylon tracksuit and had gold chains on his wrists; dangling around his neck was a chunky Star of David. Stadiem asked: ‘Why the hell are you dressed like that?’ The WASP replied: ‘I’m trying to look Jewish.’”[27]

So, when I see Jet Leto in the Suicide Squad trailer, I see another Heath Ledger who is struggling to make a name for himself. Ledger, who got the idea of the joker from Satanist Alan Moore’s Batman: The Killing Joke, “upsets the established order” and ended up being “an agent of chaos.” But by upsetting the established order, the Joker didn’t know that he was carrying his own casket. The established order is still in existence. But Ledger, who literally prostituted himself in Brokeback Mountain, is not.

[youtube MsLYoqjgl_Y]

Jet Leto seems to be  sort of reincarnation of Heath Ledger:

In what can be termed as pretty much a first of sorts, ‘Suicide Squad’ director  David Ayer has hired a therapist to council the film’s actors on set in case they lose their focus and cross the line between fantasy and reality…

“Some say the team may indeed need a therapist since Jared Leto who plays the Joker  in the film has sent amusing yet frightening gifts to his co-stars. One of the “gifts” that was in for quite a talk recently was a live rat to sent to Margot Robbie who plays the character Harley Quinn.”

Business Insider itself commented: “Inhabiting the mind of a supervillain can take its toll on an actor or actress, as we tragically saw in the aftermath of Heath Ledger’s iconic Joker role in 2008’s ‘The Dark Knight.’

“Perhaps that’s why the new superhero film ‘Suicide Squad’ — which features a number of heavy, violent performances, including a new Joker played by Jared Leto — finds director David Ayer taking no chances with the mental health of his villainous cast.”[28]

What is fundamentally essential to our discussion here is that art (which now includes movies) is a form of intellectual enterprise which requires moral principles and practical reason. In other words, art needs logos in order for it to work. As E. Michael Jones brilliantly puts it,

“The intellectual life is a function of the moral life of the thinker. In order to apprehend truth, which is the goal of the intellectual life, one must live a moral life. One can produce intellectual product, but to the extent that one prescinds from living the moral life, that product will be more a function of internal desire—wish fulfillment, if you will—than external reality.

“This is true of any intellectual field and any deeply held desire. In the intellectual life, one either conforms desire to truth or truth to desire.”[29]

What we have seen over the history of Hollywood is that the Dreadful Few have conformed truth to desire, which always produces chaos, misery and sometimes death. What actors and directors need to know is that you cannot produce a serious work of art without morality—or Logos. Israel Shamir has said the same thing. Logos is “the main foundation of creativity…There is no visual art or poetry outside of God; at best, a godless person can imitate art.”[30]

Once the Dreadful Few deliberately abandoned metaphysical logos, they abandoned the moral principles upon which art has to be based. It was only a matter of time before the art world was used as a weapon against Logos:

“A photograph of a crucifix in a container of urine, entitled Piss Christ, was exhibited in the Whitney Museum, which is headed by a great friend of [former Israeli Prime Minister] Ariel Sharon, a member of Mega, Leonard Lauder.”[31]

It was also a matter of time that people like David Cronenberg began to use films to literally humiliate and denigrate the Goyim and corrupt the culture. Listen again to Cronenberg:

“Nothing is true. It’s not an absolute. It’s only a human construct, very definitely able to change and susceptible to change and rethinking. And you can then be free. Free to be unethical, immoral, out of society and agent for some other power, never belonging. Ultimately, if you are an existentialist and you don’t believe in God and the judgment after death, then you can do anything you want: You can kill, you can do whatever society considers the most taboo thing.”[32]

The interviewer continued, “Does the artist have any moral or social responsibility?” Cronenberg:

“No…Your responsibility is to be irresponsible. As soon as you talk about social or political responsibility, you’ve amputated the best limbs you’ve got as an artist. You are plugging into a very restrictive system that is going to push and pull and mold you and is going to make your art totally useless and ineffective.”[33]

When asked again about certain aspects of his work, Cronenberg summoned Freud as one of his authorities: “I think we start off with what Freud called a polymorphous perverseness.”[34] Yet Cronenberg, when asked about why he was attracted to sexual violence, was still in denial, “I don’t think I am…I’m definitely not.”[35]

In other words, there is no sexual violence in films such as Videodrome, Crash, Eastern Promises, A Dangerous Method, Cosmopolis, and more recently Maps to the Stars, featuring Robert Pattison and Julianne Moore. Those movies are just plain art. Cronenberg, the quintessential figure for producing blatant pornography in Hollywood, is in denial, which is another way of being in intellectual and spiritual bondage.

If Cronenberg is in denial, Eli Roth is not. Roth, as we have seen repeatedly, made it very clear that his movies are going to “fu$k an entire generation.”[36]

In that sense, St. Athanasius would have no problem labeling people like Roth Satanists. As Professor David Hawkes puts it,

“St. Athanasius established the principle that being against Logos is synonymous with being Satanic…. As a result of Athanasius’s identification of logos with the Messiah, anti-logocentrism becomes opposition to Christ, and by the early modern period, such opposition was deemed to involve an active allegiance to Satan”[37]

Whether they like it or not, people like Cronenberg and Roth are directly or indirectly engaged in “an active allegiance to Satan,” which is one reason why they want to corrupt the culture and any society that is docile to the moral order with their filth.

[1] James Robert Parish, The Hollywood Book of Death: The Bizarre, Often Sordid, Passing of More Than 125 American Movie and TV Idols (New York: Contemporary Books, 2002), 290.

[2] Ibid.

[3] “Spider-Man actress Lucy Gordon left two suicide notes before hanging herself in Paris flat,” Daily Mail, May 29, 2009.

[4] Parish, The Hollywood Book of Death, 294.

[5] Ibid., 315.

[6] Ibid., 295.

[7] Ibid., 298.

[8] Ibid., 305.

[9] Ibid., 306.

[10] Ibid., 312.

[11] Ibid., 320.

[12] Ibid., 335.

[13] “Jake’s Progress,” Times, May 23, 2004.

[14] “Shia LaBeouf: ‘Nymphomaniac’ Explicit Scenes Will Be Real,” Huffington Post, August 18, 2012.

[15] “Shia LaBeouf walks out of Nymphomaniac press conference at Berlin film festival – video,” Guardian, February 10, 2014.

[16] Dotson Rader, “The Mixed-up Life of Shia LaBeouf,” Parade Magazine, June 14, 2009.

[17] Ibid.

[18] Ibid.

[19] Ibid.

[20] Dotson Rader, “My Goals Have Changed,” Parade Magazine, November 30, 2003.

[21] Ibid.

[22] Ibid.

[23] Michael Ruse, The Darwinian Paradigm: Essays on its History, Philosophy, and Religious Implications (New York: Routledge, 1989), 268-269; Richard Dawkins, River Out of Eden: A Darwinian View of Life (New York: Basic Books, 1995), 133.

[24] Christian Braad Thomsen, Fassbinder: The Life and Work of a Provocative Genius (London: Faber and Faber, 1991), 10.

[25] Rainer Werner Fassbinder, The Anarchy of the Imagination: Interviews, Essays, Notes (Baltimore: The Johns Hopkins University Press, 1992), 21.

[26] Ibid., 42, 43.

[27] Cited in E. Michael Jones, The Jewish Revolutionary Spirit and Its Impact on World History (South Bend: Fidelity Press, 2008), 1035.

[28] John Lynch, “The cast of ‘Suicide Squad’ has an on-set therapist for when things get too real,” Business Insider, July 7, 2015.

[29] E. Michael Jones, Degenerate Moderns: Modernity as Rationalized Sexual Misbehavior (South Bend: Fidelity Press, 2012), 15.

[30] Israel Shamir, Cabbala of Power (Charleston, SC: BookSurge, 2007), 153.

[31] Ibid., 150.

[32] David Breskin, “David Cronenberg: The Rolling Stone Interview,” Rolling Stone, February 6, 1992.

[33] Ibid.

[34] Ibid.

[35] Ibid.

[36] Quoted in Stuart Dredge, “Netflix series Hemlock Grove: ‘People want their horror horrific,’ says Eli Roth,” Guardian, April 10, 2010.

[37] Cited in E. Michael Jones, “The Great Satan and Me: Reflections on Iran and Postmodernism’s Faustian Pact,” Culture Wars, July 2015.


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Jonas E. Alexis has degrees in mathematics and philosophy. He studied education at the graduate level. His main interests include U.S. foreign policy, the history of the Israel/Palestine conflict, and the history of ideas. He is the author of the new book Zionism vs. the West: How Talmudic Ideology is Undermining Western Culture. He teaches mathematics in South Korea.