Netflix and the WB Just Killed Off Movie Theaters

Summary

Podcast Summary: “Netflix and the WB Just Killed Off Movie Theaters”

Free Thinking Through the Fourth Turning with Sasha Stone
Date: December 6, 2025

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Overview

In this episode, Sasha Stone explores the seismic merger between Netflix and Warner Bros. Discovery, arguing that it marks both a climax and a coda for Hollywood’s golden era, and potentially the death of the American movie theater. Stone discusses the cultural and political forces that led to this moment, critiques the industry’s fixation on ideological messaging, and laments Hollywood's loss of connection with mainstream America. The episode weaves in critical tweets, analysis of the business, and reflections on the future of cinema in the streaming age.

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Key Discussion Points and Insights

1. The Netflix-Warner Bros. Merger: The Final Nail

[00:08-01:22]

• The $82 billion Netflix takeover of Warner Bros. Discovery signals another step in corporate monopoly and Hollywood’s self-destruction.
• Stone draws parallels to previous industry-shaking mergers, e.g. Disney buying Fox, and frames the move as ending what Hollywood once was.
• Quote:

  "Netflix will be among the most powerful corporate monopolies replacing what Hollywood used to be." — Sasha Stone [00:21]

• Cites a tweet describing the deal as “beyond catastrophic for films... the worst possible option won this bid.” [01:01]

2. Hollywood’s Alienation from America

[01:22-02:36]

• Stone contends that Hollywood lost its audience long before the merger:

  "America gave up on Hollywood because Hollywood gave up on America." [01:22]

• Streaming platforms enable content producers to ignore box office performance and audience preferences, leading to “virtue signaling paradise” and declining standards.
• The silent majority is increasingly ignored, with the industry insulated from criticism due to its new economic model.

3. Death of Movie Theaters

[02:36-03:59]

• Tweets and opinions highlight the irreversible decline of movie theaters, emphasizing box office failures and changing audience habits.
• Quote:

  "They know Hollywood can't hypnotize us into supporting contempt dripping robots, joyless Message films and $200 million vanity projects that hate the very fans who once paid the bills." — (Bile Holt, as quoted by Stone) [03:00]

4. The Two Hollywoods: Blockbusters vs. Prestige

[04:02-05:21]

• Stone delineates Hollywood’s split after early 2000s blockbusters (Harry Potter, Lord of the Rings):
  • The blockbuster lane focused on global branding.
  • The prestige/Oscar lane became more political and niche, heavily influenced by Barack Obama’s cultural engagement.
• Industry data shows a stark decline: 900 movies in 2019, down to 624 recently, with profits shrinking drastically.

5. COVID-19 and the Great Awokening: The Killing Blow

[05:59-07:20]

• The “one-two punch” of the pandemic and an industry-wide push for identity politics (“the Great Awokening”) is cited as central to Hollywood's collapse.
• Stone criticizes new Hollywood for prioritizing DEI (diversity, equity, inclusion) over storytelling and audience connection, leading to films that feel more like sermons than entertainment.
• Quote:

  "Every movie must have significant actors of color... Why would anyone want to pay money to have them shove their ideology down our throats?" [06:15]

6. Nostalgia, Decline, and the Last Hits

[07:20-08:46]

• Stone visualizes deserted multiplexes, comparing their fate to that of record stores.
• Theater-going is becoming exclusive to big cities, with the rest resigned to Netflix scrolling.
• Quote:

  "We'll never have the same cultural impact as a great movie when we're all under one roof sharing a story. It's yet more separation, more isolation, more Internet, more social media." [07:55]

• The rare exception: Top Gun: Maverick in 2022, which briefly revived the notion that Hollywood could lure audiences back.

7. Award Shows and Culture Wars

[11:30-14:00]

• Even as recent blockbusters (Oppenheimer, Barbie) ignited excitement, Stone argues it’s “too little, too late.”
• He critiques Oscar trends, noting the industry's preference for political or ideological content (“woke screeds”) over mainstream crowd-pleasers.
• Cites Curtis Yarvin's harsh criticism of “One Battle After Another,” describing it as “the worst movie ever made, a religious film” for progressives. [13:35-14:00]

8. In-Depth: “One Battle After Another” & Industry Meta

[14:00-18:33]

• Excerpts from Marc Andreessen and a guest discuss Paul Thomas Anderson’s One Battle After Another:
  • Film is a time capsule of 2022 “messaging.”
  • Adapts Pynchon’s Vineland with modern progressive politics, becoming “Antifa: The Movie.”
  • Quote (Marc Andreessen):

    "He clearly wants to make these people into mythical figures. And then it's just very clear at the end he's like, yes, and I completely endorse and support all of this." [17:25]

• The movie underperforms in the US, but profits overseas thanks to Leonardo DiCaprio.

9. Hollywood’s Priorities: Message Over Market

[18:33-19:15]

• Stone points out that old Hollywood prized audience and box office; new Hollywood doesn’t punish financial failure if the politics are right.
  • “New Hollywood cares less about the money and more about the message.” [18:57]

10. Critical Reflections — The Industry in Crisis

[19:15-20:10]

• Guest "Critical Drinker" summarizes 2025 as Hollywood's worst year in decades, with foreign markets overtaking, high-profile flops, and a content drought.
• Quote (Critical Drinker):

  “2025 hasn't exactly been a bumper year for Hollywood, has it? In fact, ... one of the most depressing 12 months in cinema history.” [19:16]

• Mantra “survive until 25” has failed; recovery is deemed unlikely.

11. What’s Next? Counterculture or Collapse

[20:53-22:11]

• Stone foresees AI’s looming threat to the industry.
• Hopes that Hollywood’s “extinction event” might make room for independent, countercultural filmmaking:

  “Maybe they can make movies Hollywood or Netflix never would. ... What better way to rebuild a counterculture?” [21:50]

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Notable Quotes & Memorable Moments

• On Streaming's Impact:

  “With streaming, there is no free market pressure, no quality control... Best of all, you can ignore the silent majority that has tuned you out long ago.” — Sasha Stone [01:56]

• On Wokeness & Hollywood:

  “It is religious for them. It's already won many awards and is on track to win best picture. Trust me. Hollywood has no desire to save itself.” — Sasha Stone [18:18]

• Curtis Yarvin on 'One Battle After Another':

  “Shitty people will watch this shitty film and love it.” [13:50]
  “Corrupt art is the pathognomic mark of a corrupt society.” [13:54]

• Marc Andreessen on Paul Thomas Anderson:

  “He clearly wants to make these people into mythical figures. And then it’s just very clear at the end he’s like, yes, and I completely endorse and support all of this.” [17:25]

• Critical Drinker on the State of Film:

  "A summer movie season of tired sequels and declining franchises that never really took off, and a fourth quarter that’s delivered nothing but disastrous flops and unwanted propaganda flicks." [19:32]

• On Audience Alienation:

  “We loved movies and celebrities for what they gave us, not for who they are. We don't care. We don't need them to fix us or teach us or lecture us..." — Sasha Stone [20:53]

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Timestamps for Important Segments

| Segment | Timestamp | |-----------------------------------------------------------|-----------------| | Merger Announcement & Monopoly Argument | 00:21 | | Hollywood-Alienated from Middle America | 01:22-02:36 | | Decline of Movie Theaters Discussion | 02:36-03:59 | | Box Office Trends & Prestige vs. Blockbuster Split | 04:02-05:21 | | COVID & “The Great Awokening” as Final Blows | 05:59-07:20 | | Nostalgia and Theater Experience | 07:20-08:46 | | Tom Cruise and Top Gun: Maverick Clip | 08:46-11:30 | | Oscar Trends & "One Battle After Another" | 11:30-14:00 | | Marc Andreessen on the Paul Thomas Anderson film | 14:00-18:33 | | Box Office & Awards – Message Over Market | 18:33-19:15 | | Recap of Hollywood’s Disastrous 2025 | 19:15-20:10 | | The Case for a New Counterculture and Looking Forward | 20:53-22:11 |

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Conclusion

Sasha Stone’s episode is a deeply critical, sometimes acerbic obituary for the classic Hollywood system, blaming industry insularity, progressive ideological fixation, and the streaming age for the death of movie theaters and American cinematic culture. The episode weaves together economic analysis, cultural critique, listener and pundit commentary, and select anecdotes. It ends with a wary hope: that from Hollywood’s ashes, a new, countercultural cinema might rise.

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For more, see sashastone.com or Sasha’s Substack.

Transcript

[A]

Hi, this is Free Thinking through the fourth turning. My name is Sacha Stone.

Netflix and the WB just killed off movie theaters. But Hollywood destroyed itself and its brand long ago.

The deal is done. Netflix will purchase Warner Bros. Discovery for 82 billion. Yet another corporate monopoly drives a nail through Hollywood's coffin. It was bad enough when Disney bought Fox, Star wars and Marvel. Now Netflix will be among the most powerful corporate monopolies replacing what Hollywood used to be. Podcast listeners. The press release Netflix and Warner Bros. Discovery transaction unites Warner Bros. Iconic franchises and storied libraries with Netflix's leading entertainment service creating an extraordinary offering for consumers.

And a tweet from Thwip. This is beyond catastrophic for films. Theaters could easily be killed due to this. For series, the amount of shows being made will be drastically reduced. Oh, and as well, 10,000 plus jobs lost. Crazy. The worst possible option won this bid.

America gave up on Hollywood because Hollywood gave up on America. The result is empty movie theaters all over the country. One bomb after another. Of course, Warner Brothers knew you'd have to be an idiot not to know. Does anyone think Netflix is sweating the online memes? Accusing it of being too woke? No, they aren't. They're making too much money to care. With streaming, there is no free market pressure, no quality control. You don't have to motivate people to leave their homes. You don't need big stars to drive box office. And best of all, you can ignore the silent majority that has tuned you out long ago.

Hate the trans agenda being shoved down everyone's throat. Too bad your boycotts are a drop in the bucket at Netflix. It's the perfect solution to Hollywood's problem. They can have everything they want, a virtue signaling paradise, and never have to worry about big budgets or low box office ever again. That's the easy way out. The truth is harder to swallow. They destroyed themselves. They wrecked their brand and alienated their audience.

For podcast listeners, a tweet from Bile Holt.

Opinion. Warner Bros. Is selling out because they know the movie industry is officially dead. They're finally admitting what we've all seen coming for years. The movie and theater era are dead and they helped murder it. They know theaters aren't coming back because their subverted self hating Superman movie flopped so hard it echoed through every boardroom in Burbank. They know the boomers who showed up every Friday night are gone, chased away by girl bosses and female empowerment. They know millennials traded the big screen for the phone screen years ago. They know Gen Z would rather watch a 45 second TikTok than sit through a two hour DEI seminar pretending to be entertainment. But most importantly, they know the spell is finally broken. They know Hollywood can't hypnotize us into supporting contempt dripping robots, joyless Message films and $200 million vanity projects that hate the very fans who once paid the bills. Hollywood didn't crater because fans are racist and or sexist. It died because people refused to pay for an unending stream of woke representation and sermons on toxic masculinity and Warner Bros. Cashing out after 95 plus years of great films is just the last shovelful of dirt on the coffin. End quote.

Hollywood built a ship of failure when it split into two divergent paths around 2003 after the Harry Potter and Lord of the Rings franchises brought in ungodly profits not just here but around the world. The branding was the key, the ip. For years they dominated the global box office and brought people to movie theaters across the country.

Meanwhile, in the other Hollywood, in the prestige niche lane where the Oscars live, things began to get smaller, more isolated, more aligned with politics, especially under Barack Obama. His win influenced almost everything as he loves to put out his top 10 lists every year and even has a deal with Netflix. These two Hollywoods existed side by side like the first class section of the Airplane versus Coach where they let them eat Marvel. You can see the rise and fall in one image from Box Office Mojo. For podcast listeners, the very beginning 2002, when the total profits were 9 billion, through 2019 where the profits were 11 billion and in 2022 billion and in 20257 billion.

This year might mean that for the first time since 2020, China will dominate the worldwide box office rather than Hollywood. Unless Jim Cameron can bring Avatar fire and ash over the $2 billion mark.

For podcast listeners, a chart from Box Office Mojo showing the number one film in the worldwide box office N2 with almost 2 billion.

In 2019, Hollywood put out over 900 movies. Last year, just 624, and many of them bombed. So what happened? 2020 happened.

The one two punch of COVID and the Great Awokening brought Hollywood to its knees. This year's Oscar race is loaded with unwatchable movies that swirl around things. Almost no one outside the bubble of Hollywood cares about identity. Mainly.

Mothers caterwauling their oppression like Die my love, if I had legs I'd kick you. And even one battle after another feature women who seem to hate their children. The people who run Hollywood are still mostly rich white men, but they must always genuflect with women are people of color as shields to protect them from accusations of racism or sexism by the mob online. The rise of female directors who get these jobs for no other reason except that they're female, has transformed a once great industry into a DEI film school. Every couple is interracial. Every movie must have significant actors of color. The GLAAD lobby demands representation everywhere. Why would anyone want to pay money to have them shove their ideology down our throats?

Success doesn't even matter to them that they project goodness as all they care about. Now their status inside utopia.

The End As I drive across this country, I sometimes see a multiplex in a mall.

It looks as deserted to me as the old drive ins once did. And I can't help but think this really is the end for movie theaters. They'll go the way of the record store, limited to enthusiasts in big cities. Everyone else will numbly scroll through Netflix for whatever they can find. But we'll never have the same cultural impact as a great movie when we're all under one roof sharing a story. It's yet more separation, more isolation, more Internet, more social media, Less of what we all need as a society. After Covid ended for rational Americans, we all wondered whether people would return to the movies. The paranoid mask wearing liberals did not even Peggy Noonan noticed. Podcast listeners an article by Peggy Noonan, west side Story and the Decline of Movie Theaters. The new west side Story is so far a box office flop. Steven Spielberg's much anticipated remake of the landmark 1961 musical received rave reviews and has been called a masterpiece. Yet its first weekend theatrical Release yielded only 10.5 million, which Variety called a dismal result for a movie of its scale and scope.

And in 2022, a miracle arrived in the form of Tom Cruise, starring In top Maverick.

[B]

Maverick. 30 plus years of service. Combat medals, citations. Only man to shoot down three enemy planes in the last 40 years. Distinguished. Distinguished. Distinguished.

Yet you can't get a promotion, you won't retire, and despite your best efforts, you refuse to die. You should be at least a two star admiral by now, if not a senator. Yet here you are.

Captain. Why is that?

It's one of life's mysteries, sir. This isn't a joke. I asked you a question.

I'm where I belong, sir. Well, the Navy doesn't see it that way. Not anymore.

These planes you've been testing, Captain, one day sooner than later, they won't need pilots at all. Pilots that need to sleep, eat, take a piss.

Pilots that disobey orders.

All you did was buy some time for those men out there.

The future is coming and you're not in it.

Escort this man off the base. Take him to his quarters. Wait with him while he packs his gear.

I want him on the road to north island within the hour.

North island, sir? Call came in with impeccable timing. Right as I was driving here to ground your ass once and for all.

It. It galls me to say, but.

For reasons known only to the Almighty and your guardian angel.

You'Ve been called back to Top Gun.

[C]

Sir.

[B]

You are dismissed, Captain.

The end is inevitable, Maverick. Your kind is headed for extinction.

[C]

Maybe so, sir.

[B]

But not today.

[A]

It made so much money that it wiped clean the argument that Hollywood was over and movie theaters were dying. Although it was nominated for best Picture, it lost to the woke screed. Everything everywhere, all at once. That was a sign that Hollywood was not ready for the iceberg right ahead. The following year showed promise, with Barbenheimer, Oppenheimer and Barbie becoming a cultural sensation on TikTok. The Oscars did the right thing and gave their awards to Oppenheimer. Though things seem to be moving in the right direction, it's too little, too late. Audiences don't trust Hollywood anymore and I can't blame them. Of all the Warner Bros. Movies that were successful this year, the Oscar will likely go to the anti ice, pro, antifa, anti Trump rallying cry. One battle after another. And no film in recent memory has better captured the singular worldview of the progressive left. As Curtis Yarvin wrote for the Spectator, One battle after another may be the worst movie ever made. Fundamentally, One Battle is a religious film. It is entirely set in the fantasy landscape of the great American religion progressivism, the 20th century evolution of our ancient Puritan tradition. If you are a true believer, imagine watching Battlefield Earth without being a Scientologist. For non progressives, one battle may be necessary. Viewing it displays the interior landscape of the narcissistic narrative of our world's dominant cult of power. We seldom get to strap a GoPro to the inside of a lib's forehead. And he continues. So this film is out there recruiting damaged people by presenting them as romantic heroes in a propaganda fantasy. Few will kill, but many will clap. When bad movies succeed as one battle will they diagnose something bad in the audiences they entertain? Corrupt art is the pathognomic mark of a corrupt society. Shitty people will watch this shitty film and love it. Shitty journalists have already given it a standing ovation. The politics makes them hard like lockjaw. This evil is at the very heart of our culture. As Leonard Cohen noted. I've seen the future, brother. It is murder. Murder is as old as Cain. The anonymous Internet is young. Nobody asks for the combination, but they'll get it, end quote.

And here is Marc Andreessen on the film.

[C]

And just to knock on one. And he's a brilliant filmmaker, but I just saw the new Paul Thomas Anderson movie, One battle after another. And it's literally like a time capsule. It's like a 2022 time capsule. It's literally like time froze in 2022. And in 2022, this movie would have been like, oh, my God. Like, this movie is like, got the message, right? It's just like everything about it. We could spend hours just on this movie and it lands today. And you're just watching, you're just like, wow, that was a weird time. Like, oh, my goodness.

[D]

I want to talk more about this movie because I think it was Bret Easton Ellis who came out and was the first person because it's getting all the Oscar plot. It's definitely in line for the Oscar, right? And he came out and he's like, it feels musty, right? And I should get the actual language he used because it was much worse than that. But he said, it's like a musty film. It's exactly what you said. It's 2022. Like, this was green lit at a very different time. And now it's come out and the world's moved on. And so I'm curious, do you think that we're still going to pretend these movies are great even though they don't match with our time? Or is there going to be sort of a three year period where we are allowed to say, actually that doesn't make any sense anymore and maybe that movie shouldn't have been made?

[C]

Yeah. So this is, it's a, it's a, it's. This one is a complicated. This one's a complicated scenario. So just on the movie itself, the movie itself is actually. And it's, it's quite like. I quite enjoyed watching it. I quite enjoyed watching it. Not just for ironic reasons, but just also watching it of like, how, how this happened. Like, and there's a bunch of reasons. And again, the filmmaker is one of the, you know, one of the great filmmakers of the era, Paul Thomas Anderson, you know, he made There Will Be Blood and he made, you know, Boogie Nights and like all these, you know, by the way, right there, I'll just name two movies. Boogie Nights and There Will Be Blood are two movies. That are like in the, in the, they're going to be in the hall of fame of the art form where it's like, you know, 100 years from now people are going to be like, wow, you know, that's what that culture was about. And so he is one of those guys and clearly that's what he was going for in this movie. It is a weird movie in that it's partially based on a famous Thomas Pynchon novel called Vineland, which is Thomas Pynchon's movie. Is Thomas Pynchon's novel basically about the, it's essentially, I mean it's essentially veiled through whatever, but it's basically like about the Days of Rage, you know, the Brian Burrow book or the, you know, the Weather Underground, you know, basically the, the violent social revolution, you know, basically from the far left in the 60s and then sort of what happened in the aftermath of that. And so like that's the theme of the novel, but it's very much a novel of, and about the 1960s. It's not considered, you know, most people don't consider it maybe the best pension novel but like it's a good mid tier one and it's, it's in the pantheon. And it turns out it had been Paul Thomas Anderson's favorite novel. He'd been trying to make a version of it for 20 years or whatever and. But what he did basically was he kept the, he kept the very basic kind of plot framework set up but then he completely updated it for the message. Right. And so like it has like specifically it has a whole bunch of it. Like it has this whole, basically it's a racial, you know, it has a whole racial kind of plot structure to the whole thing and sexual in ways that are fairly amazing.

That are completely based on the current moment, you know, circa 2022. And so it's a little bit like the 1960s. It's like the, it's like the, it's like the, it's like the early 2000s fil filtered through the 1960s. And so it's just a little bit odd with that. Arguably it is kind of salient to our times because I think if you were to retitle the movie you would just title it Antifa the movie. Like it's like, it's like a full throated celebration of basically violent social change. Violent social revolution. Like and it's, it's completely unapologetic. Like I'm gonna spoil, I'm gonna spoil, I'm gonna spoil it. I'm just gonna Spoiler alert by the end.

[D]

Spoiler alerts for monitoring the situation. Everyone's already seen it here.

[C]

So. So it's a 2 hour and 45 minute movie that I went, by the way, and I went to the theater and I paid full price and like I smuggled in my snacks and like the whole thing, I go through the whole thing and I'm like, oh, he's such a brilliant filmmaker. I'm hoping it's a subversive movie, right? And so I'm kind of hoping that the whole thing is like, by the end, he's like, really like, he's like, okay, like these Weather Underground people who like went on the run for 20 years and destroyed their lives. And like, you know, we're always, you know, basically just like, you know, crazed privileged children, like, raging out against their, you know, they're basically their parents and blowing shit up and killing people and just the whole thing was a giant mistake. And I was kind of hoping that that would, you know, that would be kind of the way that you could tell the story. No, no, he's just like, oh, no, that was great. That was fantastically good. These people are amazing. These are the myths and legends of our time. He clearly wants to make these people into mythical figures. And then it's just very clear at the end he's like, yes, and I completely endorse and support all of this.

[A]

So of course the critics have gone nuts for it. It is religious for them. It's already won many awards and is on track to win best Picture.

Trust me. Hollywood has no desire to save itself.

One battle after another cost upwards of 140 million and only made 70 million in the US with the bulk of its profits made overseas on Leonardo DiCaprio's name.

Which is why it's assumed he demanded his usual fee of 20 million.

Old Hollywood understood that you don't reward failure with film awards. New Hollywood cares less about the money and more about the message the public used to matter because the box office did. No wonder WB is selling out after watching one bomb after another this past year. Why wait for bankruptcy? Why not cash out on a high note? Heroes, Critical drinker.

[E]

Oh dear. 2025 hasn't exactly been a bumper year for Hollywood, has it? In fact, the recent news that they just recorded the lowest October box office in 20, 30 years caps off what's shaping up to be one of the most depressing 12 months in cinema history.

[A]

Yes, Yes.

[E]

A year marked by a drastic downturn in new productions in la. Even as Foreign markets start to take over. A summer movie season of tired sequels and declining franchises that never really took off, and a fourth quarter that's delivered nothing but disastrous flops and unwanted propaganda flicks. Damn, man. Even Sydney Sweeney couldn't save the day. So how the hell did it come to this? We were all told that survive until 25 was the mantra going around Hollywood. That after years of lockdowns and strikes and pandering to the message, this was the year that Tinseltown was finally gonna get back on track.

[A]

You sure about that? You sure about that?

[E]

Yeah. So that didn't happen. If anything, their situation seems worse than ever. And there's not much on the horizon that's going to turn that around. So let's take a little look at that October headline.

[A]

This is the kind of thing Hollywood pumps out. Now for podcast listeners, an interview with Kristen Stewart. I don't self censor. Kristen Stewart wants to show us a different kind of sex scene.

And therein lies the problem. They forgot it wasn't about them. They believed their own publicity. They fell in love with their own image. Like Narcissus, they began to believe they were important.

We loved movies and celebrities for what they gave us, not for who they are. We don't care. We don't need them to fix us or teach us or lecture us or scold us. We just need them to entertain us. Well, now the billionaires have arrived to prove to them how little they matter when it comes to the bottom line. And if you think that's bad, wait until the AI tsunami wipes out half the industry. The audience was always their best hope for survival. As long as we showed up, Hollywood and its stars had power. Now that audiences have vanished, well, the ship is made of iron and it will sink.

Who knows, maybe Congress or Trump can stop the merger. That still won't fix the fundamental problem of what Hollywood has become and why the public turned away. On the upside, the giant hole Hollywood leaves behind, like the asteroid that killed the dinosaurs, might open up movie theaters to a new breed of filmmaker. Maybe they can make movies. Hollywood or Netflix never would. Trashy comedies, cheap horror, romantic comedies, Dirty Harry movies. Who knows? We can perhaps make Hollywood great again. What better way to rebuild a counterculture?

Altamont, Illinois 9:30am.

Thank you for listening to my podcast, sashastone.com I apologize for not putting out as many as I'd like to, but it's been a busy trip. Hope you're having a great week and a great weekend. And if you like my work, you can Always write a review or become a paid subscriber. Or leave a tip in the tip jar, which is on the main page. And remember to thine own self be true.

[F]

My mirror room, my secret life. It's lonely here. There's no one left to torture.

Give me absolute control over every living soul. And lie beside me, baby, that's an order.

And give me crack. Intersect, take the only tree that's left. Stuff it all, the hole in your culture.

Give me back the Berlin Wall. Give me Stalin and St. Paul. I've seen the future, brother. It is murder. Things are gonna slide.

There won't be nothing.

You can measure anymore. The blesser, the blessing of the world has crossed the threshold and overrun the order of the soul.

When they see said repent, repent.

I wonder what they meant when they said repent, repent, repent, repent. I wonder what they meant when they said repent, Repent.

You don't know me from the wind, you never did, you never will. I'm the little Jew who wrote the Bible.

I've seen the nations rise and fall. I've heard their stories, heard them all. But love's the only engine of survival.

Your servant here, he has been told to say it clear, say it cold. It's over, it ain't going any further.

And now the wheels of heaven stop. You feel the devil's riding crop. Get ready for the future. It is a murder.

Things are gonna slide.

There won't be nothing, nothing you can measure anymore. The blizzard, the blizzard of the world has crossed the threshold and overthrown the order of the soul.

When they said repent, repent.

I wonder what they meant. When they said repent, repent.

I wonder what they meant one day said repent, repent.

There'll be the breaking of the ancient western cold.

Your private life will suddenly explode.

There'll be phantoms. There'll be fires on the road.

The white man dancing.

You'll see a woman hanging upside down.

Her features covered by her falling gown.

And all the lousy little poets come around trying to sound like Charlie Manson.

The white man dancing.

Give me back the Berlin Wall. Give me Stalin and St. Paul. Give me Christ. Give me Hiroshima.

Destroy another fetus now. We don't like children anyhow. I've seen the future, baby. It is murder.

Things are gonna slide.

There won't be nothing, nothing you can measure anymore. The blessing, the blessing of the world has crossed the threshold. It's overthrown the order of the soul.

When they said repent, repent.

I wonder what they meant. When they said. Repent.

[B]

Repentance.

[F]

Repent.

I wonder what they meant.

I wonder what they meant. I wonder.

Repent. Repent.

Whatever they said Whatever they say.