God’s Children Are Not For Sale. —

It was dead silent. Not a stir, nor a whisper.

“Do you hear that?” said Vampiro. “That’s the sound of freedom.”

I won’t give away what that sound was. If you haven’t seen it, I strongly encourage you to do so, and to support it here. Buy a ticket for yourself and someone else, if you can. This story needs to be seen. I mean seen. It is easy to look away. It is even easier to know it’s happening but not want to think about it. But now, more than ever, we really need to digest the world we’re living in, and the world we’re quickly becoming. We need to see real evil—for our own good.

Sound of Freedom (2023), directed by Alejandro Monteverde, is the premier film of the year. It’s not just well done, it is a reality check. Rarely am I so absorbed in a film that I forgo analyzing the dang thing, but the deep emotional perpetuity and moral conflict of the story is too visceral to set aside. It’s real. And it’s happening now. Mel Gibson’s Hacksaw Ridge (2016) was the last visually rich and emotionally powerful Christian film I can remember, and for entirely different reasons. These kinds of films don’t come out every day. Heck, they don’t come out every year. This film may not be a timeless cinematic masterpiece like, say, The Passion of the Christ (2004)—not that the average person need care about that anyways—but it is vital and imperative for our time. It is a must see. And God knows we all hope this film is not timeless. It is a true story from deep within the trenches of the darkest cesspit of human evil—the global network and bureaucratic recesses of child sex trafficking, trade, and slavery. We should all want this story to be timestamped.

But that didn’t stop some people for smearing it.

Smear Campaign

What is very disconcerting, to put it conservatively, is just how close to home industrialized pedophilia actually is—United States, Canada, and Europe dominate the online stage with high-rolling Californians leading the charge. Legacy media outlets like CNN, NBC, Vice, The Guardian, The Washington Post, Rolling Stone, and other politically Left leaning news outlets have all but snuffed this film as a ‘4Chan’ or ‘QAnon conspiracy theory,’ discouraging people from googling the film let alone seeing it, advocating that “decent people who wish to live good, happy lives should under no circumstances actually do this” and that it is a myth “conflating consensual sex work with sex trafficking”. Yet both Tim Ballard, the former Department of Homeland Security special agent and CEO of Operation Underground Railroad, and Jim Caviezel, who played Tim Ballard in the film, have testified on the Jordan B. Peterson podcast that this is fake news—a completely false narrative. Jim, Tim, (and Angel Studios) do not hold QAnon beliefs, nor is any of Tim’s life-saving work fabricated. The script was written, locations chosen, actors decided, and production shot long before 2017 when QAnon first popped on the scene. The film also contains real footage from a high-stakes sting operation. Why lie?

In the interview, Disney reportedly purchased the film, sat on it, and then shelved it for nearly five years after they acquired 20th Century Fox in 2018, the film’s original studio. The film would have been shelved indefinitely if not for their painstaking, laborious efforts to retrieve it, if I recall correctly. It makes you wonder—why do that? There is no graphic imagery in the film. No graphic sounds, either. No ‘alt right wing’ suggestive themes. It is brutal in context, but clean in execution. Imagination is enough. There are no big business execs or political groups or Hollywood stars mentioned in the film. It was relatively neutral, if not, vague in its accusations—no finger-pointing or name-calling—apart from revealing footage of the presently detained psychopathic pedophiles who ran the ring, and that America is the top consumer of such “chicken”, a hub hosting about 60% of the world’s pedophilic excremental sludge in a $150 billion sexual exploitation industry (or, at least, it was five years ago). Since then, child pornography has increased by 5000% (that’s tens of millions of child rape videos every year) and America has been surpassed by Europe (Netherlands, predominately) as the largest consumer of child pornography on the planet. It should come as no surprise, then, that these first-world nations also consume the most adult pornography at an early age, as well. This is a statistical fact, not misinformation. So, why oppose it?

To be clear, I don’t mean the opposition fairly critiqued the production quality for its directional merits, acting, or what have you. I mean they publicly slander and libel Jim Caviezel and Tim Ballard, as well as Angel Studios, as radical far right extremists. These big corporations and media outlets are against the intent of the film, not the production quality or how it is written/executed. The film’s central focus and theme was entirely on saving sexually abused children from trade and slavery. It was a raw thriller that tugs at our primordial vocation to protect children. No 4Chan or QAnon suggestive themes whatsoever. To suggest such is total nonsense, a fact even Variety acknowledges. The only non-diegetic intent that can be drawn out of the story is that the global pedophilic black market of child sexual exploitation includes, but is not limited to, wealthy Americans (who remain nameless). So I ask again: Why oppose it?

You could say, for instance, that the big execs at Walt Disney Co. were concerned about profit margins. The film is about a very unappealing topic—it is not something that I would want jump into—so I would imagine many a people, including conservatives who just want to be left alone, would most likely not want to see it let alone think about it. Then again, it does stand against the evidence. The last several years has shown Disney is not really interested in earning a profit (losing $900 million in box office flops, excluding toy and merchandise losses), and much like Bud Light, would rather lose hundreds of millions and propagate woke sexual liberalism to children, like The Fabulous Show with Fay & Fluffy, than produce content holding traditional family values (their biggest market).

If you have a Disney+ account, here’s the link to cancel your subscription.

Pleasure Island is not a fantasy, it is a reality.

And their hands reek of red.