"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

© all material on this website is written by Michael McCaffrey, is copyrighted, and may not be republished without consent

The Emotionalist Buffoonery of Charles Blow

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Estimated Reading Time: 5 minutes 22 seconds

This past Friday night, New York Times columnist Charles Blow was a guest on Bill Maher’s insipid HBO show Real Time, where Blow made a strong case for his emotionalist buffoonery. Blow then followed that up on Monday morning when he solidified those findings with an op-ed in The New York Times.

The most glaring example of Mr. Blow’s aforementioned emotionalist buffonery occurred on Real Time during a discussion on abortion and the Hyde amendment, a 1976 law which prohibits government funds from being used on abortion. It was at this point that Mr. Blow indignantly got up on his high horse, which is no doubt named Mr. Tibbs, and proclaimed that the Hyde amendment was meant to specifically target black women.

Blow said, “they knew this was about poor women…particularly on Medicaid, and that most of those women are not white women. That this is black women who are poor. And that they were cutting off access for those women because those were the ones that they could cut it off for.”

Blow’s thesis can basically be boiled down to this…that an evil “they”, which he would no doubt label white supremacists or racists, including members of the Democratic party by the way, came together in 1976 to specifically target black women and collectively punish them by not funding their abortions through the Hyde amendment.

Even a cursory examination of Mr. Blow’s premise exposes the absurd illogic of it all, and anyone with half a brain in their head can easily discern that Blow has less than half of one in his. Blow reveals himself with this thesis to be either a liar, a moron, or both.

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Let’s dissect Mr. Blow’s premise on the most basic level. If someone is a racist or a white supremacist, why would they want to limit abortions for black women which would result in more black children being born and not less? Wouldn’t the white supremacist be afraid that the more black children there are…the more whites will have to give their hard-earned money to “welfare queens” to feed and cloth these black children? Doesn’t the racist also believe that these black children will grow to become criminally inclined black adults who will either masterfully leach off of the welfare system or rape white women and rob and steal from white men? So wouldn’t a white supremacist or racist want there to be MORE abortions of black children in order to, in their mind, “cull the savage herd”, so to speak? Obviously Mr. Blow’s thinking is at odds with itself as it believes that Hyde amendment supporters hate black people so much that they want more of them.

Another major problem with Blow’s thesis is that it distorts facts in order to make its point. Blow’s claim that “this was about poor women, particularly on Medicaid, and that most of those women are not white women” is a painful contortion of statistical reality, if not an outright lie. According to a Kaiser Family study, of all non-elderly Medicaid recipients - these are the ones who would potentially be getting abortions, whites make up 43% and blacks 18%.

It is true that a greater percentage of the black population is on non-elderly Medicaid than the white population, as blacks make up 12% of the general population and 18 % of the non-elderly Medicaid recipients, while whites make up 70% of the general population and are 43% of non-elderly Medicaid users, but in terms of raw numbers, whites are by far the highest group of recipients as nearly 24 million whites receive non-elderly Medicaid, which is double the amount of blacks that do, which is 11.5 million. If the Hyde amendment is a racist weapon to hurt black women, it might be a boomerang because it hurts considerably more white women than its alleged intended target.

Another striking thing is that the foundation of Blow’s argument about the Hyde amendment is based on the idea that blacks receive far more Medicaid benefits than whites do. This assumption by Blow is contrary to the facts and is pretty blatantly “racist”, or at least Blow would think it was if a white person espoused it.

Of course, Maher’s audience, filled with sycophants and fools, cheered Blow from his opening statement solely because he used the magic word “equality”. Any lies or distortions of statistical reality that he made after that are irrelevant to these dullards and dopes who immediately shut off their critical thinking ability and mindlessly cheer every time they hear the words “equality”, “diversity” or “inclusion”.

As for Blow’s piece in the NY Times, “‘Help Us!’ The Panic at D.C. Pride”, it is a powerful display of charlatantry and psychosis in action. In the article, Blow describes how as he was getting dressed in his hotel room in Washington D.C. this past weekend, he heard a commotion in the hallway and then four young white women were banging on his door for help. The women were running away from the Gay Pride parade where a panic had ensued when there were thought to be gunshots.

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In one of the unintentionally funnier moments in the article, Blow describes the situation thus, “they were panicked, so I figured that the best thing I could do for them was to be a calming presence.” The idea of Charles Blow, a professional hysteric, being a “calming presence” at any point in time shows you how self-deluded he really is. On top of that, can you imagine being the poor soul, running for your life and looking for someone to defend you and frantically knocking on random doors and then one opens and for a split second you think you are saved and then you realize it is Charles Blow looking back at you? How deflating must that be to think Charles Blow, the man whose panties are in a perpetual bunch, is supposed to protect and defend you from some impending danger?

The sit-com level ridiculousness of Blow helping four frightened lesbians aside, what is really striking about the article is that it is at once about a panic, yet is also an an exercise in creating and sustaining a panic.

What is most unintentionally illuminating about Blow’s article is the panic it describes is based upon a non-event, as there were no threats or guns pulled or shots fired at the Pride parade in Washington, D.C. that day. This panic was ignited by our cultural mania over “mass shootings”. Blow is blind to that irony as he writes, “Those women in my room had every right to fear for their lives. It was perfectly understandable that they could believe that a mass shooter could be anywhere…”. Blow is endorsing the notion here that the boogie man of a mass shooter could literally “be anywhere”. Under these Orwellian and broad parameters that means that there is literally nowhere where you are safe from an evil mass shooter. In theory that is true, I suppose, but it is also true of other media “boogie men” through the years, like Muslim terrorists or black gang members or Latino illegal immigrants.

The reality is that the media plants lots of fears in America’s cultural consciousness, but that doesn’t mean that they are rational. Throughout American history there have been similar panics to the current “mass shooting” panic that Charles Blow endorses. In the 1950’s there were panics over switchblades. In the 1970’s panics over crimes and drugs began and continue to this day. In the 1980’s there were panics over videogames, dungeons and dragons and AIDS, and the list goes on and on and on. Hell, the summer before 9-11 the media was in a full blown panic over shark attacks.

The panic at the Pride parade came about as a result of media conditioning people to be constantly afraid, and Mr. Blow does the same thing with his article on the subject. As Blow writes in his column, “Mass shooters have become our domestic terrorists, and the possibility of their presence and threat of their carnage is an now ambient dread in the American psyche.”

This type of conditioning is standard procedure for tyrants of every stripe, an example of which was the Bush administration’s heightening of the “ambient dread in the American psyche” over Muslims terrorists in the years after 9-11. The government and the media preyed upon people’s fear and used that fear-based compliance to eviscerate civil liberties and catastrophically invade Iraq.

Of course Muslim terrorists do exist, but fear of them is inversely proportional to the threat they represent, as over their lifetime Americans are more likely to die from from their tv falling on them than in at the hands of a foreign terrorist.

The “ambient dread” of being killed in a mass shooting is equally irrational as the lifetime odds of being killed in a mass shooting are about equal to the chance of dying by legal execution in America.

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The truth is that the media and government stoke fears in order to frighten people and trigger them to act out of emotion and not reason. A perfect example of this are the four young women in Blow’s story who, even after knowing that there was no threat, still demanded that Blow escort them out of his hotel (This begs the question, what type of weak-kneed feminists are these lesbians that they need a man to defend them, and then even need him to hold their hand once the threat is gone?). When people are scared and emotional, they are easily controlled and manipulated because they are looking for someone to protect them. In the wake of 9-11 the American people acted no different than those four women in Blow’s hotel room when they embraced the Patriot Act and then the Iraq war.

The lesson that Charles Blow learns from the hysterical panic at the Pride parade is the exact opposite of what it should be. Even after time passed and the heat of the moment cooled, instead of acknowledging the over-reaction and trying to get his readers to stay calm and think logically, Blow doubled down on the mania with his article by insisting that the irrational hysteria on display at the Pride parade is deserving of dissemination and amplification.

For Charles Blow and his ilk, subjective feelings trump objective reality and emotion is more important than reason. Blow feels like the Hyde amendment is written by racists to punish black women, and won’t let facts or logic dissuade him from that subjective feeling which is very distorted from objective reality. These four women from the Pride parade were panicked and in an emotional state but Mr. Blow doesn’t try and “be a calming presence” by recognizing objective reality of the fact that there was no shooter, and there is a very slim statistical possibility of dying at the hands of a mass shooter, but instead embraces emotionalism, irrational fear and hysteria by cultivating the hysteria and stoking the flames of fear.

The conclusion I draw from Charles Blow’s work is that he is impossibly enthralled with his identity as a victim and that distorts his grasp and perception of reality. Blow is the proverbial black hammer who sees the whole world as a racist white nail. Blow’s addiction to his victim identity blinds him to the obvious gaping holes in his logic regarding racists and the Hyde amendment and the statistical reality of the impact of that amendment on white people. It also forces him to impulsively embrace an invigorating but deceptive emotionalism which leads him to be a compulsive hysteric forever on the search for his next high of indignation and outrage. This is evidenced in his writing, as his formula for his columns is one part righteous rage, one part victim hood mantra, combined with a total lack of nuance, introspection or commitment to Truth. Wash. Rinse. Repeat.

The bottom line is this, Charles Blow is a raging mediocrity as a writer and an insipidly and insidiously vapid and grotesque thinker, yet because he wears the mask of the noble and defiant victim he is a “useful idiot” to those in power and is thus given a prime spot in the esteemed New York Times. And from this lofty cultural perch he does what he was hired to do…dissemble, distort, distract and disinform his readers all in service to his own narcissistic psychological desires and the status quo, which keeps him thoroughly enslaved in a perpetual cycle of victim hood.

To be fair to Charles Blow though, he and his lack of testicular fortitude and intellectual integrity are just symptoms of the disease that is currently ravaging our culture and eating away at it from the inside out. This disease of narcissism, emotionalism and the exultation of victim hood, is like syphilis, if left untreated, it leads to insanity and then death. As evidenced by Charles Blow’s recent ramblings, we are obviously well into the insanity stage.

©2019

X-Men: Dark Phoenix - A Review

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****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 1.5 out of 5 stars

Popcorn Rating: 2 out of 5 stars

My Recommendation: SKIP IT. Absolutely no reason to ever see this derivative and dull snooze of a movie.

X-Men: Dark Phoenix, written and directed by Simon Kinberg, is the the story of Jean Grey as she comes to grips with her mutant powers and murky past. The film stars Sophie Turner as Grey, with the usual X-Men suspects James McAvoy, Jennifer Lawrence, Michael Fassbender and Nicholas Hoult along for the ride, as well as a supporting turn from Jessica Chastain. Dark Phoenix is the sequel to 2016’s X-Men: Apocalypse and is the seventh and final installment of the current main X-Men saga.

After I see a film I usually either sit in the theatre or go out to the lobby and write down my brief thoughts. After X-Men: Dark Phoenix I sat trying to think of something to write and was stumped. It wasn’t that I had no opinion about the movie, it is that I only had the most distant, passing and fading memory of what had just transpired on screen. Dark Phoenix is such a derivative, dull and middling movie that it proves to be instantly, and almost entirely, forgettable.

X-Men movies over the last 19 years have, in general, been aggressively mediocre, visually banal and dramatically mundane (the notable exception being 2017’s Logan). While some of the X-Men movies have been mildly entertaining and thematically intriguing, for the most part they have failed to live up to their extremely rich source material.

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20th Century Fox came into the superhero market with a great deal of fanfare by handing the creative keys of the franchise to at-the-time esteemed filmmaker Bryan Singer, who directed the first film, X-Men in 2000, and four of the seven main X-Men films in total. But nearly twenty years after the X-Men’s cinematic debut, Fox leaves the superhero arena with barely an audible whimper. Dark Phoenix is a continuation of the downward trajectory of X-Men movies that was undeniable with 2016’s abysmal Apocalypse. It seems as though Apocalypse and Dark Phoenix were in a race to the bottom of the X-Men filmography…Dark Phoenix wins that race by a surprisingly strong margin, and is only notable for the fact that it is indeed the very dregs of X-Men movies.

For Fox to end their X-Men run with Apocalypse and Dark Phoenix is a humiliation almost equal to everyone’s least favorite pederast Bryan Singer’s fall from grace. One can only hope that Disney, which purchased Fox and with it the X-Men, can reboot this wayward franchise with some fresh creative blood that can resurrect this moribund series.

As for the particulars of Dark Phoenix…where to begin? The movie is stultifyingly dull, thematically trite, lazily acted, dismally written, impotently directed and is as visually stale and flat as possible. Besides that how was the play Mrs. Lincoln? No doubt better than Dark Phoenix.

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What is striking is that Dark Phoenix boasts a cavalcade of really top notch actors but is riddled with insipid performances. Jennifer Lawrence is a great actress and one of my favorites, but in her turn as Raven she so lifelessly mouths her lines it feels as if she is working the graveyard shift at the 24-hour Arby’s in Podunk, Kentucky. She seems genuinely embarrassed to be in the movie and entirely disinterested in being there.

Jessica Chastain is another quality actress who sleepwalks through Dark Phoenix. You can almost see the money signs in Chastain’s eyes as she vacantly goes through the motions.

Michael Fassbender reprises his role as Magneto and try as he might he simply cannot muster any mettle/metal in his performance…pun intended.

James McAvoy suffers even worse humiliations than the rest of the cast as in one scene, that is so ridiculous it made me laugh out loud, his Professor X is forced to “walk” on his crippled legs, to hysterical affect. This scene was like a bad Saturday Night Live skit, although that is something out of the Department of Redundancy Department.

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Sophie Turner, last seen as Sansa Stark on Game of Thrones, is the film’s lead and she does not prove herself up to the task of carrying a feature film. Turner is a beautiful women but, sadly, as my life proves, beauty can only get you so far. Turner simply does not have the skill, charisma and magnetism to command audience’s attention for a feature length film. That doesn’t mean she will never be able to do that, it just means she cannot do it now.

The overwhelming feeling I had about the cast while watching this movie was that they were simply playing out the string and cashing in while they could. This is the last X-Men movie of this cycle, and these actors will most likely never play these roles again…so they need to get while the getting is good…and these performances felt more like a heist and a getaway than commitment to acting artistry. I suppose there is nothing wrong with that, the mortgage isn’t going to pay for itself after all, but it definitely leaves a sour taste in the mouth of fans as the movie’s stars grab the money and hustle to get out of Dodge as fast as they can.

Simon Kinberg wrote and directed Dark Phoenix, proving that he is not even remotely good at writing or directing. Kinberg’s script is abominable and his miserable direction is a major reason why such a stellar cast turned in such horrendous performances.

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Kinberg’s script is so shallow and empty that the biggest feeling I had at the end of the movie is…what is the point of it? Obviously the point is to make money, which it might, but on a more philosophical level the question truly is…what is the purpose and meaning behind this movie? What is the animating philosophical/psychological/spiritual principle of this movie? Yes, the film does have some of the usual Girl Power posing and preening, which has become de rigueur lately, sprinkled throughout. Lines like “since women are always saving the men around here you should change the name to X-Women"!” and “your mind has been poisoned by men with small minds” and “you’re not a little girl anymore” and my favorite exchange where the villain (a female) says to Jean Grey, “you’re emotions make you weak” and Jean replies, “no, my emotions make me strong!” give the impression of a philosophical foundation but are nothing more than vapid and vacuous bullshit meant to appease and patronize the neo-feminists in Hollywood and no one else. In reality the film has no philosophical, logical, dramatic or narrative foundation upon which to build itself, instead it is a soulless, paint by numbers exercise in vacant big budget franchise movie making and nothing else.

In conclusion, Dark Phoenix is a flaccid, unimaginative cinematic venture that is truly unsatisfying in every single way. Even if you are a super hero fanatic, there is absolutely no reason to see this movie in the theatres or anywhere else for that matter. Sadly, this Phoenix was engulfed in the flames of its awfulness and avarice but was never able to rise from the ashes of its own failings and should be condemned to remain forever alone in the Dark…where it truly belongs.

©2019

Brief Thoughts Before the End of Game of Thrones

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Estimated Reading Time: 4 minutes 14 seconds

When Game of Thrones first appeared on HBO I admit I was skeptical. In general I don’t watch much television except for whatever sporting event that isn’t golf I happen to stumble upon, but I do usually make an exception for HBO.

I prefer to watch HBO because their shows are not suffocated within what I call the “Network Box”. The Network Box is why most network tv shows suck…they are stuck in a box of creative limitations in terms of what they can say and show, and monetary limitations in terms of how much money they must generate in order for the network to stick with them.

On network shows the language is censored, the violence muted and the nudity non-existent. Because of this it all feels so…manufactured and phony. And because the network’s demand so much ad revenue for each show, niche programs stand little chance of surviving their early years when they are building an audience and creative momentum. So why watch network TV when it is all garbage and anything worthwhile will be cancelled before there is any resolution to the story. And so…I generally give HBO shows a chance because they have more likelihood of being good and of not being cancelled if they aren’t blockbusters right away.

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That said, I watched Game of Thrones originally more out of an obligation than out of interest for that first season. Then something completely miraculous happened…at the end of season one Ned Stark got his head chopped off. Stark, who was played by Sean Bean, the biggest star on the show, was the central character for season one, and when he found himself kneeling with the executioners axe poised over his neck, I watched with a bemused detachment.

As that scene unfolded I kept trying to figure out how Ned would be saved…who would swing in, or ride by, and in typical Hollywood fashion, somehow save the star. But then they actually cut Ned’s head off and I literally jumped up from my seat. I was startled, unnerved, exhilarated, agitated, excited and shocked. I was pacing my empty living room yelling aloud, “HOLY SHIT! HOLY SHIT!!”It was at that moment that Game of Thrones made its bones! Ned’s head was gone and it was on!

I never became a Game of Thrones superfan. I never read the books or delved into the maze of online fan sites and theories and such. I did watch every episode though, but if I am being honest, I rarely knew what the hell was happening or who half the people were, but that didn’t matter. The show as beautifully shot, wonderfully acted, well-written and was never miserly with violence or nudity. As I was fond of saying to friends about Game of Thrones, “come for the blood and guts, stay for the boobs and bush”…and that is exactly what I did.

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One of the great not-so-secrets of Game of Thrones’ success was that it would take the most mundane scenes, filled with nothing but expository writing on the political machinations or history of Westeros, and turn it into interesting eye candy by setting the non-action in a brothel or bedroom with beautiful women, and occasionally men, cavorting in the background in all of their Medieval naked glory. Game of Thrones seemed to understand the most basic laws of human nature…which are, in no particular order…people like to look at beautiful people, people like to look at beautiful people naked, and people like to look at two or more beautiful people naked and simulating sex.

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Besides the naked bodies and the consequence filled violence, the highlight of the show for me were the dragons. When Dany’s three fire-breathing, winged progeny grew up and took to the world, they were the most beautiful things I had ever seen on television. When the dragons were unleashed in battle, whether it be to save Dany from an assassination attempt, or to nearly kill Jaime, or to save Jon from the wights…they were glorious. When the undead ice dragon obliterated The Wall, it was simply stunning to behold. And when Dany went full Dresden and unchained Drogon to shock and awe in the battle of Kings Landing last week, it was absolutely spectacular. Remarkably well shot, with seamless special effects, the aerial destruction of Kings Landing was one of the greatest visual sequence ever seen on television.

In addition, when Drogon’s head came out of the darkness on the beach in last week’s episode to incinerate Varys…that was a truly delicious shot. It was also an example of creation through limitation…as the darkness wasn’t just visually striking…it saved money, as they only had to do a limited amount of CGI for the dragon head and not the whole body.

Which brings us to the budget issue. Game of Thrones has an enormous budget, the equivalent of a Hollywood blockbuster, but it isn’t unlimited. As I wrote earlier in regards to the Battle of Winterfell, that episode’s dark and muddy visuals which so many, myself included, found annoying, could very well be a result of penny-pinching and cutting corners in order to save money for the Battle of Kings Landing. Sure enough, last week’s Battle of Kings Landing was everything that this season’s earlier Battle of Winterfell was not. It was crystal clear, visually coherent and cinematically gorgeous.

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Another complaint many have had, myself included, regarding the final two half seasons is that the narrative has seemed decidedly rushed, and thus less cohesive and coherent, especially in contrast with the pace of the earlier seasons. In my opinion, the story would have been better served had they done two full seasons instead of two half seasons, but again, the budget is probably the reason that didn’t happen.

If the producers had done two full seasons then the cast may have been up for significant pay raises and would have had a tremendous amount of leverage with which to get those pay raises. By doing two half seasons, the showrunners are only paying the cast for one full season, thus keeping them on their original “rookie” contracts and avoiding shelling out a big pay day.

The budget issue is a complex one and there are no doubt mitigating and complicating factors all the way around, including but not limited to people not wanting to be stuck working on this project any longer. Yes, Game of Thrones is undoubtedly the greatest thing most of these folks, be they actors, crew or producers, will ever be associated with, but working in TV is a grind, and working on a show in far off locales even more so. As successful as the Game of Thrones has been, I’m sure nearly everyone working on it is relieved it is over.

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This is just my opinion…and I am not the one writing the checks…but I would have preferred not only two full seasons but also a flipping of the Battle of Winterfell and the Battle of Kings Landing. To me, I think it makes more narrative and creative sense, at least in hindsight, to have the beautiful Battle of Kings Landing first, and then the Battle of Winterfell in the penultimate episode. Of course, I would also want to spend more money and have the Battle of Winterfell shot entirely differently and even have a different ending, as the one they went with was way to Hollywood for my tastes and out of character for the show.

Also, I would still have Jaime and Cersei die at the Battle of Kings Landing in each other’s arms, which was very poetic, but just not by being buried under rumble, which was not visually satisfying. I would have had them try to escape, then see Dany on Drogon, and Dany see them, and she and Cersei make eye contact, then Cersei and Jaime have their final goodbye conversation and hug and then…DRACARYS…and the Lannister twin’s charred remains would be frozen in an eternal embrace. But again…this is just my opinion and I am sure others have differing ones that are just as valid.

As for what will happen in the finale…I have absolutely no idea mostly because I am still not even sure what the hell has already happened. As I wrote before, the bottom line is this, we should enjoy Game of Thrones and the Game of Thrones phenomenon while is lasts because we will see nothing like it ever again. Sure, people will try to copy its success, but cultural forces will limit what other series can do in Game of Thrones‘ wake, and will no doubt make little more than cheap, watered-down, politically correct and tokenly diverse imitations on the original rather than improvements.

You only get one shot at ending something as epic as Game of Thrones. As of right now, the show’s creators, D.B. Weiss and David Benioff, have definitely faltered coming down the abbreviated stretch. That said, it is not impossible, but certainly not likely, that Weiss and Benioff could right the ship in the show’s final eighty minutes. Whether they stick the Game of Thrones landing or not, Weiss and Benioff should be lauded for having gone as far as they have with this show and having been as successful as they have been with it. Game of Thrones is a monumental television achievement and regardless of whether it ends as well as it began, we should be grateful of that fact and shouldn’t lose sight of it.

©2019

Undead Army of the Woke Will Make Sure Game of Thrones is the Last Show of Its Kind

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Estimated Reading Time: 4 minutes 04 seconds

****WARNING: This article contains some information about Game of Thrones and Avengers: Endgame that might be considered minor spoilers if you haven’t watched the series or seen the movie yet. You’ve been warned.****

The surge of political correctness in recent years all but assures that in the future, edgy shows like Game of Thrones will be strangled in their creative cradle.

In 2011, Game of Thrones premiered on HBO as an exceedingly well-acted and beautifully photographed fantasy-drama of swords and sex, chock full of palace intrigue, familial rivalry and violent conquest. The show flouted Hollywood storytelling conventions and quickly became a cultural phenomenon. Sadly, we will never be able to enjoy anything like Game of Thrones ever again.

The reason that we’ll never see anything like Game of Thrones again is because in the eight years since the television adaptation of George R.R. Martin’s fantasy novels first hit the small screen, much has changed, and not just in the mythical land of Westeros. In the real world, and the unreal one of social media, political correctness has taken the throne and vanquished all contenders, leaving the bloody head of rational thought on the end of a spike as a warning to anyone who dare speak up against the zeitgeist of neo-feminism, inclusivity and a coddling sensitivity.

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In the past few years, movements like #OscarsSoWhite and #MeToo have dramatically changed the landscape of Hollywood by weaponizing diversity and victimhood and using them to bludgeon opponents and silence dissent. The “woke”, whom Merriam-Websters defines as those being “aware of and actively attentive to…issues of racial and social justice”, have taken over the entertainment industry. Just like the Night King’s Army of the Dead broke through The Northern Wall to attempt to destroy all of humanity in Westeros, the Army of the Woke now march on our popular culture intent on obliterating all worthwhile entertainment.

A wonderful example of the vacuity of wokeness came in the form of a Game of Thrones outrage tweet from actress and high-priestess of political correctness, Jessica Chastain, where she slammed the show for the character Sansa’s claim that having survived a plethora of traumas, including rape, transformed her into a strong woman.

Chastain tweeted,

“Rape is not a tool to make a character stronger. A woman doesn’t need to be victimized in order to become a butterfly. The #littlebird was always a Phoenix. Her prevailing strength is solely because of her. And her alone.”

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Chastain’s tweet is not only an advertisement for her intellectual dwarfism, not to be confused with the intellect of a dwarf, which Tyrion proves can be formidable, but also an actual advertisement. “Phoenix” is a reference to Chastain’s new X-Men movie, Dark Phoenix, which also happens to star Sophie Turner who plays Sansa on Game of Thrones. It appears Jessica Chastain’s superpowers include self-promotion and shamelessness.

Like Chastain, the pc brigade turns everything, including popular entertainment, into a referendum on social justice issues and their own self-worth. The woke spend their time not enjoying arts and entertainment but rather policing them in search of offense or wrong-think in the hopes that they will get the joyous opportunity to vent their self-righteous rage.

Evidence of this is found in articles from major publications with headlines such as, “Game of Thrones Treatment of Women Will Tarnish Its Legacy”, “On Game of Thrones Daenerys Targaryen faces a sexist double bind – like so many women leaders”, “Game of Thrones Keeps Killing Off Entire Immigrant Populations, And It’s a Problem”, “’There are no black people on Game of Thrones’: why is fantasy TV so white?”, “Racist or just bad writing? What Game of Thrones latest shocking death says about the show”, “Game of Thrones: too much racism and sexism – so I stopped watching”, and finally “My Feminist Opinions Ruined Game of Thrones for My Boyfriend”. These stories are emblematic of the fact that the woke are social media Savanarolas perpetually in search of works of art or entertainment to throw onto their bonfire of the vanities. These people don’t just want their politically correct opinions to “ruin Game of Thrones for their boyfriend”, but to ruin all of popular culture for everybody.

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The feminist criticisms of Game of Thrones are particularly vapid because they are so demonstrably wrong, as women are the most pivotal and powerful characters on the show. The most formidable and effective rulers on Game of Thrones have been Queen Cersei and her nemesis Daenerys, Mother of Dragons. Arya Stark has gone from a little girl to the deadliest warrior in all of Westeros, who became a legend when she killed the Night King. Ser Brienne of Tarth, the first women to ever become a knight, is the most noble and honorable knight in all the Seven Kingdoms. And last but not least is Sansa Stark, who has suffered brutally but whose resilience has allowed her to become the ruler of the North and, who knows, maybe even sit on the Iron Throne when all is said and done.

All of these women have faced great difficulties and horrendous challenges, but they have prevailed not only in spite of them but because of them. In Game of Thrones as in life, what doesn’t kill you only makes you stronger, but the woke warriors either lack the interest or ability to interpret the show in any other way than to see women and minorities as victims.

If you want to see the future of popular entertainment in the wake of Game of Thrones, look no further than the corporate behemoth Disney and their Marvel and Star Wars franchises. The first phase of the twenty-two film Marvel Cinematic Universe just concluded with Avengers: Endgame, and the woke contingent’s victory is obvious with Captain America now a black man and Iron Man replaced as the center of the story by an all-powerful female character, Captain Marvel.

The Star Wars films too have devolved into a politically correct mess where diversity and inclusivity trump narrative cohesion and dramatic coherence. And if you publicly voice displeasure about the direction of Marvel or Star Wars…you are labeled a misogynist and racist troll.

Game of Thrones warned us for years that “Winter is Coming”…well, winter is now here, and hordes of woke zombies have descended upon us to suffocate all but the most sterile of entertainment. Just like Varys and The Unsullied were castrated on Game of Thrones, so our popular entertainment is being neutered, except this time with the dull blade of politically correct utopianism.

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A version of this article was originally published on May 17, 2019 at RT.com.

©2019

Avengers: Endgame - A Review

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****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2.5 out of 5 stars

Popcorn Rating: 3.5 out of 5 stars

My Recommendation: SEE IT. If you like Marvel movies you’ll love this one. A satisfactory conclusion to the epic twenty-two film run of this phase of the Marvel Cinematic Unvierse.

Avengers: Endgame, written by Christopher Markus and Stephen McFeely and directed by Anthony and Joe Russo, is the story of the Marvel Avengers as they do battle with super villain Thanos. The film stars Robert Downey Jr., Chris Evans, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, Paul Rudd, Chris Hemsworth, Josh Brolin and a plethora of other movie stars.

Avengers: Endgame is the fourth Avengers film and is the direct sequel to last years smash hit Avengers: Infinity War. Endgame is also the twenty-second film in the Marvel Cinematic Universe and marks the conclusion of this cycle of Marvel movies.

Just as super villain Thanos became a de facto god by acquiring the infinity stones, Disney, under the leadership of my dear friend Bob Iger, has turned into an all powerful entertainment industry god by acquiring over the years Pixar, Marvel and Lucasfilm. Now, with the additional purchase of Fox, Disney will hold an astonishing 40% market share of the box office.

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The crown jewel, at least right now, in Disney’s empire is the aforementioned Marvel behemoth, which Disney bought in 2009 for $4 billion and which has brought in around $20 billion in box office gross alone over the last ten years. I have not always liked the Marvel movies, in fact, I’ve downright loathed a good number of them, but I readily admit that what Disney has pulled off with their Marvel Cinematic Universe is a stunning achievement in popular entertainment that will never be duplicated. To be able to roll out twenty-two different movies over a decade and weave all of the characters and story lines together into a coherent and cohesive whole that culminates in two gigantic movie events, Infinity War and Endgame, is a Hollywood miracle. One need look no further than the shitshow over at Warner Brothers and their inept handling of the DC Cinematic Universe (Batman, Superman etc.) post Christopher Nolan’s Dark Knight trilogy to recognize how remarkable Disney’s efficiency and acumen regarding the Marvel properties has been. No doubt Disney will be further rewarded for their corporate diligence by Endgame’s box office which will break all sorts of records as it rockets past the two billion dollar mark in two weeks with ease.

As previously stated, I have disliked some of the Marvel movies, the first two Avenger movies in particular were quite dreadful. The Marvel movie formula has always been geared more toward adolescent boys…even the middle-aged ones, with lots of light-hearted action, noise and destruction all with some witty one-liners and comedic self-consciousness thrown in. The Marvel universe is decidedly fictional, a piece of escapist fantasy…whereas something like Christopher Nolan’s Dark Knight trilogy for example, is more grounded in a recognizable, but very dark, “reality”. Marvel’s lack of grit has always irked me because their line up of characters is chock full of archetypal riches which are begging to explored in a psychologically and culturally serious way.

But with that said, I have also loved a few of Marvel’s formulaic films, with Infinity War and Thor: Ragnarok being prime examples. Infinity War is easily the best film in the MCU and that is because its narrative is the darkest and most consequential of all the movies. While Endgame has a certain darkness to it, is not as nearly as good as Infinity War, but it isn’t awful either.

Endgame is really more an event than a movie, a culmination of the franchise that is the perfect embodiment of everything good and bad in the Marvel Cinematic Universe. On the plus side it has fascinating archetypal characters and great moments of poignancy and levity, but on the downside it also has some narrative incoherence, sense-assaulting battle scenes that are relentlessly vapid, and a heavy dose of cringe worthy “wokeness” and political correctness that is shameless in its corporate human resources level pandering.

All of that said, Endgame succeeds because it ultimately satisfies on an emotional, psychological and narrative level as a conclusion to the twenty-two film Marvel epic that has dominated popular culture for the last decade. The story leaves no loose ends or arcs unfulfilled, and that is really all you can ask from a movie like this.

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The sun at the center of this cinematic universe is Robert Downey Jr, whose skill, charisma and charm have propelled the MCU forward from day one. Without Downey Jr as Iron Man, none of this stuff works…none of it. Chris Evans, Chris Hemsworth, Chris Pratt, Mark Ruffalo and all the rest do solid work as their respective super heroes, but none of them could carry this franchise like Downey Jr. has. When Downey Jr. stops being Iron Man, and that day will eventually come, Marvel/Disney is going to take a big hit…I promise you that.

The ensemble of Endgame all do decent if unspectacular work with a few notable exceptions. On the plus side, Paul Rudd and Chris Hemsworth are fantastic, as both of them fully commit and have impeccable comedy chops (who would’ve thought that Thor would be the comedy gold in the Marvel universe?). As for the negative side…good lord…Brie Larson is just dreadful. Now to be fair, I have not seen Captain Marvel…so maybe she is great in that, but in Endgame you could’ve replaced her with a cigar store wooden Indian and it wouldn’t have made the slightest bit of difference. Larson is so dead-eyed it seems like she died on the table while undergoing a charisma bypass and we are left to watch her corpse be animatronically maneuvered throughout the movie.

There are also some issues with narrative incoherence in the film, mostly dealing with the topic of time travel. The lack of “time travel rules” clarity makes the whole enterprise pretty confusing and logically unstable if you try and follow it too closely. The best approach is to leave logic at home, where it is hopefully safe and sound, and just go with where the movie takes you. The logic/time travel issue though is a big reason that the film doesn’t soared like Infinity War did, which had a very clear and concise plot from which all of the action seamlessly flowed. In Endgame the plot feels more like a manufactured way for Disney to escape any commitment to what took place in Infinity War that could dare harm the corporate bottom line by taking away some cash cows.

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While Endgame is the end of this phase of the MCU, Disney has a plethora of Marvel movies lined up for the next few years as they keep the assembly line going. As stated, the next phase is going to have a bumpy time of it as Disney is trying to transition to younger and more diverse stars to refill some roles. Disney is betting big that Brie Larson and Captain Marvel will be the female equivalent of Robert Downey Jr. and Iron Man, the new sun at the center of the Marvel universe. That is a bad bet, as Larson has big shoes to fill and very little feet with which to fill them.

Disney’s desire for more diverse Marvel movie characters, like a Black Captain America or a Latina Hulk, may (or may not) be a noble idea, but just as it did in comic book sales, it will negatively affect the bottom line at the box office. In my opinion it will also affect the artistic and cultural value of the films, for as I keep saying, “wokeness kills art”….but that is a painful discussion for another day.

In conclusion, Avengers: Endgame is a worthy finish to this phase of the Marvel Cinematic Universe franchise. The film has its ups and downs but ultimately is a satisfactory ending for the long journey we’ve all been on with these characters over the last decade. If your a fan of super hero movies, you should plunk down your Disney tax and help pad Bob Iger’s bank account by seeing the movie in the theatre. If you have just a passing interest in super hero movies, then wait for it to come out on cable or on Disney’s soon to be active streaming service, which will no doubt bring in even more gobs of money for Mickey Mouse. But Mickey should enjoy this ride while it lasts, because it won’t last forever. Just over the horizon there could be some some stormy weather waiting for Disney.

©2019

United Sheep of America: Assange, Fascism and Liberal Hypocrisy

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Estimated reading Time: 3 minutes 48 seconds

LIBERALS BETRAYING ASSANGE EMPOWER FASCISM

 Establishment liberal’s loathing of Julian Assange has emboldened fascists across the globe.

Fascism, which the Oxford dictionary defines as “extreme authoritarian, oppressive, or intolerant views or practices”, is a relentless force that, whether it be out in the world or in our own hearts, is always on the march. The world is, as they say, full of little men (and women) in search of a balcony, and we are all iron-fisted, tiny tyrants-in-waiting.

Proof of that was easily observable this past Thursday, April 11th, 2019, which is a date that will live in infamy, as it is the one where any pretense of liberal resistance to fascism finally crumbled and chose to live on its knees rather than die on its feet.

On that date, the founder of Wikileaks, Julian Assange, was dragged out of the Ecuadorian embassy in London by British police after the U.S. unsealed an indictment for “conspiracy to commit computer intrusion” against him in the Eastern District of Virginia and sent an extradition request to the British government.

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The vindictive actions of the authoritarian U.S., British and Ecuadorian governments are not what will taint this date in history though, as their behavior is entirely predictable in terms of its immoral and despotic nature, instead what will echo throughout history regarding Assange’s arrest will be the gleeful reaction by my fellow liberals to the thuggish behavior from their government.

The liberal cries of delight at the sight of Assange being manhandled by British police are a turning point in the war for America’s soul, just as symbolically significant and crucial as Winston Smith’s spirit being broken when he finally relented and declared that “2 + 2 = 5” in Orwell’s 1984.

The acquiescence of many liberals to the establishment narrative regarding Assange, that he is a rogue, narcissistic hacker, rapist and cyber-terrorist, is the death knell for any serious intellectual or political resistance to the powerful and brutish beast of American fascism, corporatism, oligarchy, plutocracy, aristocracy and the totalitarianism of the military and intelligence industrial complex.

You would think that the mainstream media, usually so adversarial toward Trump, would furiously condemn him for arresting Assange, but that is not the case. The majority of the corporate media are in lockstep agreement with Trump regarding the Assange indictment.

The New York Times stated, “The administration has begun well by charging Mr. Assange with an indisputable crime”.

The Grey Lady aided and abetted the Bush administration’s Iraq War lies as well as their surveillance and torture programs, so their support of Trump’s assault on the First Amendment via Assange is in keeping with their boot-licking character.

The Washington Post claimed, “Julian Assange is not a free-press hero. And he is long overdue for personal accountability.”

The Washington Post’s current position on Assange’s is curious since the underlying evidence in the case has not changed since Bradley Manning was court-martialed for espionage in 2013 and sentenced to 35 years in prison. In 2013, The Post reported the Obama administration considered indicting Assange for the Manning leak, but decided against it because,

“If the Justice Department indicted Assange, it would also have to prosecute the New York Times and other news organizations and writers who publish classified material, including the Washington Post…”

As former Bush Assistant Attorney General Jack Goldsmith opined in 2011 in The Post, “A conviction would also cause collateral damage to American media freedoms. It is difficult to distinguish Assange or Wikileaks from The Washington Post.”

It seems that time has not healed the corporate media’s old Assange wound but rather has made it fester, so much so that they would prefer to cut off their nose to spite their face.

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The media and liberal reaction to Assange arrest proves that American fascism’s ruthless march to total victory won’t just be televised, it will be greeted with approval by those who claim to be fearless and tenacious opponents of it.

The liberals who responded to Assange’s arrest with the most craven and ignorant cheers are the same ones who decry Trump at every turn, frantically raising the alarm over press freedoms when he attacks the media and labels journalists the “enemy of the people”. These supposedly devout anti-fascists and anti-Trumpists love to compare Trump to Hitler and vociferously decry his assault on the press, yet they shriek with joy when their nemesis arrests Julian Assange, an actual, and extremely effective, journalist.

To further highlight the hypocrisy, the fact that with the Manning leak, Assange and Wikileaks exposed a cavalcade of war crimes committed by the U.S. military in Iraq and Afghanistan, which included the murder to two Reuter’s journalists, apparently holds no water with these charlatans, as it is never mentioned when they boldly assert that Assange “is not a journalist”.

Assange and Wikileaks have routinely pulled back the veil of respectability and revealed the duplicity and depravity of the American government, and yet, the damning truth is that the criminals they exposed walk free and Assange and Manning sit rotting in jail. Liberals who disgustingly celebrate this fact are entirely devoid of any moral authority whatsoever.

These liberal resistance ne’er-do-wells are so intellectually, politically, philosophically, spiritually, morally and ethically emaciated that their only animating principle is an outrage fueled emotionalism born of tribalism that blinds them to the fact that with their subservience regarding Assange’s (and Manning’s) persecution, they have handed Trump and their other enemies a powerful weapon which will certainly be used against them.

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Anti-Trump resistance poseurs like to talk about “Russia-gate” and Trumpists being Putin’s “useful idiots”, well, there may be no more useful an idiot than the one who doesn’t sell you the rope with which you intend to hang them, but just gives it to you as a gift, like establishment liberals just did by supporting Trump’s prosecution of Assange.

These supposed stalwarts of liberal values in the anti-Trump resistance have repeatedly revealed their true nature by slavishly sanctifying and deifying insidious intelligence community criminals like John Brennan, James Clapper, Michael Hayden and Robert Mueller. Now, with Assange’s arrest, they once again align with the evil establishment against those who would expose the mendacity, criminality and corruption of those in power.

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I would say that Assange’s arrest and the liberal reaction to it is a case of American fascism crossing the Rubicon, but the truth is the Rubicon is so far in the rear view mirror the next river crossed will be the Congo. We are now deep into the heart of darkness and Assange’s incarceration (and the liberal joy over it) is akin to the extinguishing of our last light source as the long, cold night of tyranny descends.

It is clear to see that these Assange-loathing liberals and resistance dilettantes are just as totalitarian and fascist as Trump. The cold, hard reality is that you cannot both cheer Assange’s arrest and also believe in transparency and accountability and you also cannot both advocate for Assange’s prosecution and also for a free press. Silencing Assange is the silencing of any true resistance, but obviously these self-anointed and self-reverential liberal “resistors” are not really interested in actually resisting authoritarianism, only in posing and preening.

Liberals who believe and propagate the establishment’s narrative about Assange are nothing but shills, dupes and dopes complicit in empowering fascism. Those that cheer Assange’s detainment are enemies of freedom and liberty and they will get the fascist, tyrannical, authoritarian government they have earned. And when that totalitarian beast comes for them like it did for Julian Assange, they will have no one to blame but themselves.

©2019

The Inventor: Out for Blood in Silicon Valley - A Review

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****THIS REVIEW REVEALS SOME MINOR INFORMATION FROM THE DOCUMENTARY!! NOTHING MAJOR - BUT YOU’VE BEEN WARNED!!****

My Rating: 3 out of 5 stars

My Recommendation: SEE IT/SKIP IT. This documentary is mildly entertaining but lacks insight and depth. Not awful, but not transcendent either…if the subject matter intrigues you then check it out.

The Inventor: Out for Blood in Silicon Valley, directed and produced by Alex Gibney, is an HBO original documentary film that examines the meteoric rise of “inventor” Elizabeth Holmes and her health technology company Theranos.

There is nothing quite as enjoyable to me as a great documentary. I can watch truly great documentaries over and over as they feel like miniature master degrees in whatever subject they dissect. Film’s like Charles Ferguson’s Inside Job, Errol Morris’ The Fog of War or just about anything by Adam Curtis are films I revisit nearly every year and never regret it.

I was excited to see Academy Award and Emmy Award winning director Alex Gibney’s new documentary The Inventor, as he definitely has a knack for choosing fascinating topics. That said, Gibney, who won his Oscar for the profound Taxi to the Dark Side (2007) and multiple Emmys for the stunning Mea Maxima Culpa: Silence in the House of God, can be an uneven filmmaker who often explores intriguing topics in his movies but at times fails to adequately document his subjects to a deep enough degree to satisfy beyond a passing and surface interest.

The Inventor is one of those type of Gibney films that tackles an interesting topic but fails to do so in an in-depth enough and compelling enough way. The Inventor reminded me a little bit of his highly praised (it won 3 Emmy awards) film about Scientology, Going Clear. I liked Going Clear and found it to be engaging to a certain degree, but ultimately it fell well short of being an earth-shattering revelation. Similar to Gibney’s film on Wikileaks and Julian Assange, We Steal Secrets, a pretty shameless and embarrassing hatchet job on Assange, with The Inventor Gibney seems to be seeing his subject through a biased lens. With We Steal Secrets, Gibney’s was decidedly against Assange, but inThe Inventor he is most definitely biased in favor of Elizabeth Holmes….but more on that in a bit.

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With The Inventor, Gibney once again dives into a riveting subject, but only swims in the shallow water of it and fails to give viewers much to sink their teeth into beyond the headlines. Elizabeth Holmes is a character for the ages, but Gibney barely scratch the surface of who she REALLY is in this film. On top of that Gibney never gets deep enough into the weeds of what exactly Holmes was trying to create at Theranos and how she planned to do it, to ever make viewers feel like anything more than just another mark for her con.

The film, while entertaining to a certain degree, is problematic for a variety of other reasons as well. The most glaring of which is the blind spot the filmmaker has in regards to his subject. Yes, Gibney exposes Holmes’ fraud, but he never exposes HER for being a fraud. Instead, what Gibney does is cloak Holmes in a protective blanket which imbues on her with only the best of intentions and the inability to be consciously or maliciously deceptive.

In this way Alex Gibney is recreating the same psychological, mental and emotional gymnastics that Elizabeth Holmes’ targets did when they fell under her spell. Holmes weilded her femininity like a martial art against the patriarchal system within she worked. Holmes’ juijitsu turned the unconscious sexism and paternalism of the men she targeted against them. The paternalism, sexism and soft misogyny of the powerful men she conned, who are a Murderer’s Row of Hall of Fame assholes that include men like Bill Clinton, General Mattis, David Boies, Henry Kissinger and George Shultz (who proves what a ass he is by siding with Holmes over his own grandson) among many others, caused them to fall for Holmes’ lies for two reasons. The first is that they overestimated her intellect and value because, ironically, they wanted to be seen supporting a women in order to quell their fear of being labelled sexist. The secondly, due to their paternalism and sexism, they underestimated Holmes’ ability for villainy, and she exploited the weakness of these men to her benefit.

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The irony of Holmes’ epic story is that these powerful men treated Holmes different and held her to a different standard BECAUSE she was a women. The reporters and writers who aided her rise to the status of media darling and science and business genius did the same thing, failing to adequately doubt and question her simply because they never considered she was capable of straight out lying to them. Even the reporters who spoke with her AFTER her scam became public, men like Sanjay Gupta and Jim Cramer, didn’t hold her feet to the fire like they would have with a man. Holmes was able to keep her scam alive for so long because these men treated her with kid gloves.

Interestingly enough, Holmes’s scam almost never got started because of a women, Professor Phyllis Gardner, her advisor at Stanford, who basically told Holmes her idea was scientifically impossible. Instead of trying to change her advisor’s mind, Holmes changed advisors…which is a perfect encapsulation of Elizabeth Holmes approach to life. In my eyes, at best, Holmes’ suffers from a the most acute case of cognitive dissonance on the planet, at worst she is a conniving and manipulative criminal mastermind. For director Gibney, who refuses to consider that Holmes was driven by greed for money, power and fame, Holmes is earnest in intent but misguided in execution. According to Gibney, Holmes’ greatest sin is being too much of a zealot for her noble cause.

The reality is that if Holmes were a man, the idea that she wasn’t anything but a greedy and evil con artist would never even remotely be considered…and rightfully so. Think of all the Wall Street snakes who scammed Americans out of their savings with the housing bubble, nobody thinks, “oh gee…they just wanted everyone to be able to own a home”…no…people think that those pricks were trying to get rich off the backs of working people…because that is exactly what they were doing.

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In the case of Alex Gibney’s film, he seems to suffer from an unconscious bias that makes him hold Holmes to a very different standard and lets her off the hook for her nefariousness activities. An example of this is that besides lowering Holmes intent and responsibility regarding fraud, he also lowers the standard for her regarding her sexual relationship at work. Holmes started dating Sunny Balwani, a tech entrepreneur twenty years her senior, when she was 19 and he was married to another woman. Balwani was a key advisor to Holmes in the early development of Theranos and after he got divorced from his wife, Holmes moved in with him. Balwani eventually became second in command to Holmes at Theranos but when the sham was exposed and things went bad for the company, she broke up with him and fired him. If a man had behaved the way Holmes did in her personal life, it would have been a much greater focus of the story of The Inventor, and would have been used to establish the lack of moral and ethical fiber of the person running the company. But in The Inventor, the fact of Holmes questionable conduct with Balwani is reduced to nothing more than a throw away line near the end of the film.

At the end of the day, Holmes captivates our imagination because she is so representative of the surreal age in which we live. Holmes is emblematic of our scam culture where style overwhelms substance, the subjective trumps the objective, where shortcuts are the only way to travel and truth is a punchline.

Holmes is similar to Trump in that her con is so obvious that it is stunning that anybody falls for it. Like Trump with his signature (and ridiculous) hair-do and his never buttoned blue suits with long ties, Holmes literally wore a costume, all black with a black turtleneck, a cheap imitation of her hero Steve Jobs.

Her use of story and language was also absurdly obvious as to her dishonesty as she simply regurgitated and repeated the same origin story over and over again and then used pseudo-scientific/tech marketing talk to cover her lack of any substance. Words like “inflection point” and “paradigm shift” or the use of “chemistry” as a verb were dead giveaways to her deceitful intent.

The most glaring giveaway though was her voice. Good Lord that voice. Her voice is so phony and put on it is remarkable no one did a spit-take in her face upon hearing it. But the voice gives away the game that she is an obvious fraud and walking lie…and those that fell for scam did so BECAUSE THEY WANTED TO FALL FOR IT. These people, and they were mostly men, wanted Holmes’ story to be true so they convinced themselves that it was.

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In this way Holmes is also the symbol for today’s neo-feminism, which alleges to want equality but only accepts the diminishing of standards and the lowering of bars for women. Neo-feminism loves to demand equal opportunity but also loves to shirk equal responsibility. That said, it is pretty amusing that Holmes used the patriarchy’s literal and symbolic desire for her and their shameless politically correct yearning to be seen as “allies” to women, to advance her scam and sucker investors and big names to support her fraudulent project.

None of these types of subjects, like Holmes as symbol for modern feminism, or the ingrained sexism of the men who fell for her, or the soft treatment she got because she was a women being integral to her scam flourishing, are ever broached by Gibney in his film. Instead Gibney sticks to a very straightforward and very forgiving narrative that never gets too deep or too insightful and the film suffers because of it.

According to Gibney’s movie, Holmes’ scam is just something that happened that is not indicative of anything else and is not symbolic of the age of fraud in which we live. The reality is very different, as one glance at the news will tell you that Elizabeth Holmes is the poster girl for our times. Our charlatan president, the Russiagate hysteria, the Fyre Festival nonsense, the college admission payola scam, Jussie Smollett’s shenanigans and on and on and on including our fraudulent economy and political system…are all hoaxes, scams and frauds. This is why Elizabeth Holmes is the poster girl for our times and it is a shame that Alex Gibney did not have the insight, self-knowledge and skill to bring that much deeper and more important story to light.

In conclusion, while The Inventor is entertaining on a certain gossipy level, it lacks the insight, depth of subject and profundity to be considered a great documentary. The film is currently airing on HBO, so if you want to spend two hours being mildly amused at the absurdity of it all, then you should check out The Inventor, just don’t expect transendance.

©2019

Russiagate: Puzzlements and Lost Causes

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Estimated Reading Time: 9 minutes 11 seconds

On Sunday, March 24, 2019, Attorney General William Barr released a brief summary of Special Prosecutor Robert Mueller’s findings regarding the Russiagate matter. According to Barr’s summary, while Mueller makes no determination regarding obstruction of justice, the special prosecutor does declare that there was no collusion or conspiracy between Trump, his campaign, and the Russian government during the 2016 election.

This finding came as a great shock to the mainstream media and many Democrats who had been touting Russiagate as a weapon to bring down Trump’s presidency. It would seem, at least according to Barr’s summary, that these folks were wrong.

The reality appears to be that Russiagate was a ruse, a hoax perpetuated by the establishment media over the last two and half years and swallowed whole by the vast majority of liberals. This Russiagate fraud came about through the perfect combination of mendacity and greed on the part of the media and Democratic elites and confirmation bias, cognitive dissonance, denial and delusion on the part of the #Resistance, liberals and anti-Trumpists.

Not everyone was wrong about Russiagate though, as people like Glenn Greenwald, Aaron Mate, Michael Tracey, Matt Taibbi, Caitlyn Johnstone, Jimmy Dore and others maintained a healthy and accurate skepticism regarding the Russiagate claims being made by the establishment press and Democrats. You know who else didn’t buy into the Russiagate hype? Me.

My first comments on the Russiagate story came in December of 2016 after Donald Trump’s upset win in the presidential election, when I wrote an article about how Democrats, liberals and progressives should proceed in the age of Trump. This article, the contents of which led to me being ex-communicated from the Church of the Woke and expelled from the Society of the Right Thinking, was titled “A Practical Handbook to Survive and Thrive in the Age of Trump”. Here is an excerpt from that piece.

The final point I will make to you is this...I know this story circulating lately about Russia interfering with the election in Trump's favor is tantalizing, but please do not embrace it. I am telling you, the more you want a story to be true the more skeptical you should be of it. This "Russia hacked our election" story…is fools gold. These stories being breathlessly reported by the establishment media are all based on unnamed official sources. Please just wait until there is actual, tangible evidence put forth, and even then be very, very skeptical. This whole Russia hacking episode reeks of the wishful thinking that was going around (especially in establishment media circles) in the build up to the Iraq war. There was no evidence then either, but people wanted those stories to be true so they gave them the benefit of the doubt. This Russia story is even less credible at the moment and even more dangerous…Do not fall for this Russia story trap. Don't do it, one way or another you will live to regret it. I promise you that.

That was published in December of 2016. For nearly two and a half years now I have consistently preached skepticism regarding the Russiagate story, and for nearly two and a half years I and other Russiagate skeptics like Greenwald, Mate, Taibbi et al, have been persistently attacked for that position and have had such slurs as Putin shill, traitor and the worst of all…Trump supporter, thrown at us.

Yul Brenner sums up my feelings toward Russiagate best with a song…and yes…I am aware that Yul Brenner was Russian.

It would seem, at least on the surface, that in regards to Russiagate I was right and my numerous detractors were wrong. Of course the possibility certainly exists that Barr’s summary is directly at odds with Mueller’s findings, and I have no doubt that Mueller’s report contains much more damage to Trump than Barr lets on. But with that said, it seems highly unlikely that Mueller would quietly sit by and let Barr distort his work without speaking up*. Proof of this is that this past January Mueller broke his silence to shoot down a Buzzfeed story claiming that Trump ordered Michael Cohen to lie to Congress, so he is obviously comfortable pushing back against falsehoods being disseminated in the public sphere. (*Please see Addendum at the bottom of this article)

Even though Mueller has found “no collusion or conspiracy” regarding Russiagate, it is also worth noting that from day one I have never trusted Robert Mueller and have repeatedly warned Democrats about embracing him (it should also be noted that I don’t trust Barr either, as both Barr and Mueller are creatures of the deep state who are right at home in the swamp) . I have often reminded liberals of Mueller’s long list of “problematic” behavior, such as his pushing the Iraq/WMD lie, his abuse of civil liberties and rounding up of Muslims after 9-11 and his botching of the post 9-11 Anthrax investigation. But instead of being wary of Mueller, the #Resistance deified and sainted him, putting him on a pedestal like some golden calf they could worship. St. Mueller was, to mix various horror story metaphors, the noble Van Helsing who had the silver bullet that would bring down the Trumpenstein monster. The #Resistance believed in him faithfully and fully…and since he hasn’t given them Trump’s head on a platter as they expected, they are left with egg on their faces.

Obviously, I was not shocked by Mueller’s alleged findings as I have been saying all along that it was clear there has not been any evidence brought forth that would substantiate the “collusion” claim. Sure there have been a lot of news stories and pundits claiming to know for a fact that Trump did “collude” with Russia, but there was never any solid evidence to back up this speculation. I was certainly always open to the possibility of collusion and open to any evidence brought forth, but none ever was.

CONSPIRACY THEORY

One big indicator that the media was more interested in conjuring Russian boogey men in order to knee-cap Trump and less interested in the Truth, was the language they used regarding Russiagate. The term “collusion” is a non-legal word that was continuously bandied about but is so amorphous that it could mean just about anything. The proper term for what was alleged in Russiagate is Conspiracy. Conspiracy is not only an accurate descriptive term but also a clearly defined legal term.

When the media refused to call Russiagate a conspiracy, it was a strong hint that there wasn’t much evidence underlying their conjecture. The reason for this is that you can twist “facts” to fit a nebulous charge like “collusion”, but it is much harder to do the same thing to a specific legal charge like conspiracy.

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The other, and maybe more telling, reason that the word conspiracy was never used is that the media has spent the last sixty years or so denigrating the term and turning it into a cudgel to be used against enemies of the establishment. From the JFK assassination to 9-11 and beyond, anyone who deviates from the establishment narrative is labelled a “conspiracy theorist” in order to destroy their credibility without ever engaging their actual arguments. The problem for the media now though, is that Russiagate was an alleged conspiracy, and media speculation on Russiagate is the definition of a CONSPIRACY THEORY…because it theorizes a conspiracy.

As I wrote in September of 2017 in an article titled “The Media Hates Conspiracy Theories…Except When They Don’t”,

If the Russians did collude with Trump and interfere in the election, than that is most definitely a...conspiracy, but interestingly enough, the news media are very careful to not ever call the Russia story a "conspiracy". The establishment has so systematically and thoroughly degraded the word conspiracy that they cannot even use it when they are alleging an honest to goodness conspiracy in which they themselves actually believe. 

The failure of the corporate media to call Russigate what it is/was…a conspiracy theory…was a giant red flag that the story was at best being manipulated and at worst manufactured. The semantics used by the corporate media around certain stories, like Russiagate, is extremely enlightening as the choice of words they use, and don’t use, reveals a great deal about motive and intent. For instance, since Attorney General William Barr’s letter regarding the Mueller report came out declaring “no collusion”, the establishment press has referred to Barr as Trump’s “hand-picked” Attorney General. This indicates an intent to deceive the viewer/reader as anyone who has a rudimentary understanding of civics knows that ALL ATTORNEY GENERALS ARE HAND-PICKED…that is how you get the job. By adding the qualifier that Barr is “hand-picked” you can quickly deduce that the person saying that phrase is not an honest broker and is twisting facts to fit an agenda.

In terms of the “conspiracy theory” idea, another blurb from my September 2017 article,

As a result of the distinction between official and alternative conspiracies, we get Rachel Maddow whole-heartedly embracing the Russian election conspiracy theory to the point that she makes Glenn Beck look like Walter Cronkite and Sean Hannity look like Edward R. Murrow. Maddow sees Russians behind every single thing that happens and furiously reports it as though she's found the Lindberg baby in the arms of Jimmy Hoffa. This should not be surprising though, as when it comes to the "officially" sanctioned Russian conspiracy theory, anything goes. Even the most stodgy of old school media entities have embraced the most batshit conspiracy peddlers in regards to the Russian story, one need look no further than the New York Times op-ed page where the certifiably insane Louise Mensch was allowed to write a pieceas proof of that.

Maddow may end up being totally right about Russia, and everything she is reporting true, but there has not been any solid, tangible evidence put forward to date to corroborate the claims of Russian interference she embraces. None.

What is ironic is that the same media that refused to describe Russiagate as a conspiracy theory, were quick to equate it with two events that attract quite a bit of conspiracy theories. Many in the establishment pundit class described the alleged Russian election interference as the modern day equivalent of “Pearl Harbor” or “9-11” and as an “act of war”. Of course, thousands of Americans died heinous deaths at Pearl Harbor and on 9-11, so the analogy was always painfully hyperbolic as well as very extremely dangerous since if it were an “act of war” that would mean we would be obligated TO GO TO WAR WITH RUSSIA. Once again, these sorts of semantic flourishes such as relating Russiagate to 9-11 or Pearl Harbor and calling the alleged interference an act of war, reveal a stark dishonesty and lack of credibility.

Regarding Russiagate and 9-11 comparisons, it is interesting that in terms of evidence, there is considerably more evidence in the public domain that 9-11 was an “inside job”, which is another amorphous term like “collusion”, than there is that Trump conspired with Russia or even that Russia ever hacked the DNC or interfered in the election at all.

Even though that is the case, the media would never in a million years allow people to come on cable networks and espouse the belief that 9-11 was an “inside job”, and they sure as hell would never make that the official position of their networks and dedicate years of coverage to it like they did with the conspiracy theory of Russiagate. The New York Times would never grant a “conspiracy theorist” like Alex Jones the prestigious position of space on their op-ed page to speculate on Bush being involved with the 9-11 hijackers through his family’s connection with the House of Saud…but they did basically the same thing when they let certifiable conspiracy loon and fantasist Louise Mensch write an op-ed about Russiagate.

RUSSOPHOBIA, MICROWAVE WEAPONS AND CRICKETS

The truth is that the establishment media loathes all “conspiracy theories” except for the ones they love. And when they love a conspiracy theory they don’t call it a conspiracy theory…they simply call it news. Russiagate is obviously one example of that, but there are a plethora of other Russia related stories that fit the bill as well.

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Remember the story that broke this past September where both the New York Times and NBC News breathlessly reported that the reason that a group of U.S. “diplomats” in Cuba had fallen ill was because the Russians had attacked them with a mysterious microwave weapon? I wrote an article for CounterPunch in September titled “A Curious Case of Mystery Attacks, Microwaves and Media Manipulation”, shredding those “microwave attack” stories as being obvious nonsense and anti-Russian propaganda.

After meticulously dismantling the outrageous claims made in these news reports about a “Russian mystery microwave attack”, I ended my piece with this,

These incidents may very well be proven to be attacks, and Russia may ultimately be responsible for them, but we should wait for actual evidence and not accept whispered innuendo wrapped in a slavish deference to intelligence agency authority as proof…

Similar to the delirious fever for war in the lead up to Iraq, the media are currently suffering from a virulent hysteria, this time of the anti-Russian variety. Now more than ever it is imperative to maintain a healthy and vigilant skepticism whenever Russia is blamed for misdeeds but there is a dearth or absence of concrete evidence. If we succumb to the corporate media’s Siren’s call of compulsive Russia blaming, our new Cold war may just turn very hot, and that will be a catastrophe for all of us.

Months later it was reported that scientists studying the incidents and illnesses that sparked the
”microwave weapon” speculation, now conclude that they are not the result of a “microwave attack”, but rather a reaction to the noise made by a particular type of cricket during mating season.

The “collusion” claims made by the media seemed to me to be very similar to the “microwave weapon attack” story in that they fell flat on their face upon closer inspection. There is a long list of similarly dubious anti-Russian stories in recent years and they all crumble upon even the most rudimentary examination. There was “Russia hacked the Vermont electrical grid”, “Russia hacked C-Span”, “DNC emails were altered”, “Russian spy-harlot used sex to infiltrate America”, “Russia could turn off the heat in the U.S.”, “Michael Cohen went to Prague”, “Manafort visited Assange” and on and on and on. These stories all garnered lots of attention and lots of headlines and then a few days or weeks later had to be retracted or amended because they were at best misleading and at worst outright fabrications.

ASSESSING THE ASSESSMENT

Just like these other fabulist anti-Russia stories, Russiagate was bound to collapse because it was built on an unstable foundation that was devoid of facts and evidence and rife with innuendo and assumption. The founding document of Russiagate is the aptly titled “Assessing Russian Activities and Intentions in Recent U.S. Elections”. This assessment, which was published on January 6, 2016, was such a flimsy, tenuous and superficial document that it was utterly startling, and frankly alarming, to witness it being taken so seriously.

The document contains not a single shred of hard evidence of Russian interference in the election, and only uses outdated and specious claims against the Russian news channel RT as proof of Russia’s nefarious actions and intents during the 2016 election. For example, here is a quote from an article I wrote in January of 2017 titled “Through the Looking Glass” where I describe the case made in the assessment for Russia’s guilt regarding election interference. (FULL DISCLOSURE - While I was not a contributing writer for RT at the time I wrote “Through the Looking Glass”, I am now.)

Another section…will come as quite a shock to liberals and Democrats…in the lead up to the 2012, again, to be clear, this is not the 2016 election but the 2012 election, RT aired a documentary on Occupy Wall Street that the report described like this…"RT framed the movement (Occupy Wall Street) as a fight against the ruling class and described the current US political system as corrupt and dominated by corporations". Is there any rational and uncompromised human being on the planet who would describe the US political system any other way?

…other parts…of the report say that RT "alleges widespread infringements of civil liberties, police brutality and drone use" in America. Another part says that RT is attacking the US by criticizing "alleged Wall street greed." Let that one sink in for a minute. I hope liberals and Democrats are starting to understand how this report, and the intelligence community that prepared it, are not your friends, not by a long shot. Neither are they friends of Truth. 

Every single liberal I spoke with about the assessment agreed with it fully…but not surprisingly none of them had ever laid eyes on it. I encouraged everyone to read it but most never did. I would ask these liberals if they were against fracking and police brutality and supportive of Occupy Wall Street and to a person they all said they were…and when I informed them that the assessment asserted that RT covering those subjects was evidence of a nefarious Russian plot to undermine American democracy, they were left befuddled. To me it was obvious that the intelligence community was using anti-Trump hatred and fervor among the #Resistance as a way to surreptitiously criminalize left wing political beliefs through this assessment. Of course people thought I was crazy and ignored my warnings and instead put their faith in the intel community and eventually in St. Mueller.

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Without fail, the media and Democrat talking point regarding the assessment was that it was “all 17 intelligence agencies” that declared that Russia interfered in the election. This establishment media talking point of “all 17 intelligence agencies” quickly became the chorus of the hit song “Intel Assessment”, the first single off of the album Russiagate, and was meant to stifle dissent, debate or questioning of the assessment and its findings. Everybody sang this tune…from establishment court jesters on Late Night TV to the journalists at tony institutions like the New York Times to the blathering buffoons of cable news and cocktail party goers who wanted to sound informed. Of course, the problem was that the talking point was patently false. It wasn’t “all 17 intel agencies”, it was parts of four intel agencies…the Office of the Director of National Intelligence with specifically selected analysts from the NSA, CIA and FBI. This is just one of many false narratives that were implanted into the public consciousness by the media and that became ingrained in individual’s minds and solidified as “fact”.

CONFIRMATION BIAS

Speaking of people’s minds, this might be a good time to examine why it was that so many people, in the media and out, fell for the Russiagate hoax hook, line and sinker. I believe that the main reason for this is our old nemesis confirmation bias.

The reason the #Resistance embraced the assessment (even when they never read it) is because the assessment told them what they wanted to hear, and since the assessment made them feel better they didn’t want to dig deeper into it out of the fear they may find out it wasn’t the truth. This is how confirmation bias works.

The intel assessment in particular, and Russiagate in general, confirmed all of the biases of the #Resistance and the establishment. It allowed these folks to believe that Trump didn’t legitimately win, Hillary didn’t lose and more importantly, that they weren’t so spectacularly wrong.

Russiagate had a convenient scapegoat for all that ailed the #Resistance and the establishment…namely Russia. Russia had put Trump in office and Russia had denied Hillary her rightful place on the throne, because of this belief any and all stories and speculation about Russia (and Trump) were immediately assumed to be true. All Russia related claims weren’t taken as truth because after a reasoned weighing of the evidence conclusions were drawn, but rather because those claims on their face simply made people feel better.

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Declaring that Russia hacked the election, the DNC, C-Span, Vermont, American diplomat’s brains and all the rest, made people feel good…or at least gave them a brief reprieve from their Trump induced anxiety, fury or depression from which they suffered. That is what confirmation bias does, it excludes negative information that challenges your bias and heightens positive information that confirms it in order to buttress your belief system.

Confirmation bias is radioactive to the critical thinking function. This is why it is so dangerous for the #Resistance. Immediately after Trump’s victory there was a tsunami of “unfriending” in liberal circles where anyone who disagreed with Clinton supporters was exiled, I know this because it happened to me and some of my compatriots. Instead of self-examination in the wake of Hillary’s loss, Clinton supporters doubled down on their confirmation bias and tightened the lock on their echo chamber…which is part of the reason why they lost in the first place. It was in this echo chamber that Russiagate was born and prospered, like a fungus thriving in the darkness of intentional ignorance.

It is in these hermetically sealed echo chambers where “conspiracy theories” and “conspiracy thinking” flourish because ideas are never challenged and sharpened but rather are coddled and grow flaccid. The echo chamber insidiously replaces critical thinking with a proud and defiant emotionalism.

The lesson of all this is quite clear…allegedly ”serious” people love to denigrate conspiracy theories…except when those conspiracy theories confirm their biases. If a conspiracy theory tells people what they want to hear then it will gain traction in whatever community needs for it to be believed regardless of how tenuous the supporting evidence for it may be. In the case of the Russiagate conspiracy theory, it told millions of Democrats and establishmentarians exactly what they wanted to hear….that Trump was the lowest of the low, a traitor who only won by cheating…which made them feel good and allowed them to ignore their responsibility in his victory.

MEDIA MALPRACTICE

Media con artists and grifters, like the vacuous and repugnant frauds Luke Harding, Malcolm Nance, Jonathon Chait and David Corn or the coterie of professional liars from the intelligence community like John Brennan, James Clapper and Jeremy Bash or the journalistic poseurs at CNN or MSNBC, like the ridiculous Rachel Maddow. Nicolle Wallace, Chris Hayes and Chris Matthews, and at The New York Times and the Washington Post, pushed a plethora of Russiagate bullshit stories and narratives for all they were worth and made millions and billions by doing nothing more than making anti-Trumpists feel good by confirming their biases.

Harding, Nance and Corn all wrote books about the Russiagate story that alleged to show the “truth” but were little more than shallow and shameless attempts to pad their bank account at the expense of their #Resistance marks. The Mueller report has decimated the credibility of these men and their books, but that has only forced them to double down on their extravagant claims. And of course, no one in the media is being held accountable for their journalistic malpractice and malfeasance.

Speaking of malfeasance, former head of the CIA John Brennan was lionized by the corporate press as a paragon of truth and honor when he declared Trump a traitor. When Trump revoked Brennan’s security clearance last year, the media reacted as if Trump had sodomized Brennan on national television and excoriated the president for being so petty to a “true American hero”.

As I wrote in regards to the media and the #Resistance (in this case at a taping of Bill Maher’s HBO show) fawning over Brennan in an article last August titled “In a Fit of Anti-Trump Pique, Liberals Shamelessly Embrace Deep State Criminals”,

The nadir for the #Resistance occurred shortly thereafter as Brennan rumbled on stage and was greeted by the eruption of a raucous standing ovation by the liberal audience, with Little Bill calling it a "well-deserved standing ovation". Only in the bizarre universe where a silver-spooned, multi-bankrupted, reality television star is president does a former CIA director who has committed crimes and war crimes such as implementing and covering up Bush's rendition and torture regime, spying on the U.S. Senate and masterminding Obama's deadly drone program, get a delirious ovation from those on the left.

Brennan was deeply involved in Russiagate, as he was Director of the CIA when the alleged election meddling occurred. Brennan then used his “intel insider status” to get a job at MSNBC as a talking head and then spent his time on air making outrageous claims about Trump and the devious Russians. Now that Mueller has cleared Trump of collusion, Brennan says he must’ve gotten “bad information”…or as I have been warning for years now, maybe he is just a bad guy who is prone to lying…his history seems to back my assertion. Of course, liberals ignored my warnings on Brennan (and Mueller) because what Brennan told them confirmed their bias and made them feel better.

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MSNBC’s Rachel Maddow was the ringmaster of the cable news circus that was Russiagate. Maddow peddled any and all Russophobic conspiracy theory she could get her hands on and her audience ate it up. Maddow’s ratings shot to the penthouse as her integrity went to the bottom of the septic tank. Maddow exploited her audience’s desire for denial by going full Glenn Beck…and you never want to go full Glenn Beck. It is obvious that Maddow made the business decision to tell people what they wanted to hear (confirm their bias) as opposed to the journalistic decision to tell people the Truth.

What is so repugnant to me is that Maddow, Nance, Corn, Harding, Brennan and the rest of the corporate media lap dogs all preyed upon the grief of hurt Democrats in the wake of Trump’s election and sold them a bill of goods regarding Russiagate. MSNBC, CNN, NY Times, Washington Post and the rest of the corporate media exploited vulnerable people who were in pain for their own aggrandizement and monetary gain. These media con-artists did what all con-artists do, they told their marks exactly what they wanted to hear in order to bilk them and enrich themselves.

RUSSIAGATE AUTOPSY - HOW AND WHY

The foundation from which this perfect storm of fraud called Russiagate took root, grew and raged among the elite as well as the rank and file Democrats and liberals was the deep, profound and disorienting grief that staunch supporters of Hillary Clinton fell into after Trump’s 2016 election victory.

Some liberals (women in particular), with a large assist from the media, projected a great deal of cultural, political, psychological and personal meaning onto Hillary Clinton and her 2016 candidacy, understandably so considering she was the first woman to be a presidential candidate from a major party. These supporters projected themselves onto Hillary and she became an avatar and an archetypal symbol for their hopes, dreams, struggles and lives.

These projections fostered a deeply personal and powerful emotional attachment to Hillary among some voters (most particularly, but not exclusively, female Democrats). The problem with this type of projection and archetypal emotional connection is that it often breeds an emotionalism that leads to a crippling of the critical thinking function…and so it was with these particular type of Clinton supporters. The simple idea that Hillary could lose to, in their eyes, such a repugnant, sexist pig as Trump, was entirely inconceivable to these type of Hillary supporters (in the media and the public) because their projections and emotional attachment, and its accompanying emotionalism, caused a myopia and historical amnesia that led them to be blinded to reality on the ground.

TRAUMA

Due to this emotionally induced blindness, when Clinton lost the electoral college to Trump it wasn’t just a defeat or disappointment or shock to these Clinton projectors/supporters…it was a trauma….and I do not use that term lightly. Trauma is derived from the Greek word trauma, which means “ a wound, a hurt; a defeat”, and Clinton projectors/supporters suffered a trauma in every sense of the word as they were “wounded”, “hurt” and “defeated”.

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In psychological terms, Hillary’s defeat to Trump felt like an actual physical or sexual assault upon these Clinton projectors/supporters. I know that sounds crazy, but it is true, and proof of it is that Clinton projectors/supporters have been suffering from post traumatic stress for the past two and a half years.

If you look at the symptoms of PTSD they read like a perfect descriptor of Clinton projectors/supporters behavior since Trump defeated Hillary.

1. IRRITABLE OR AGGRESSIVE BEHAVIOR - Since Trump’s victory and Hillary’s defeat, Clinton projector/supporters have ranted and raved incessantly, called all Trump voters racist and misogynyst, advocated the punching of alt-right members and cheered when it happened, and also shouted at and banned right wing public figures from restaurants and certain spaces. Russiagate was also a form of this symptom of PTSD as evidenced by the wildly aggressive charges and conspiracies being bandied about by supposedly serious journalists.

2. RECKLESS AND SELF-DESTRUCTIVE BEHAVIOR - This is Russiagate in a nutshell. Instead of being rational and logical, Clinton projectors/supporters in the media and the general public threw ever more wild accusations at Trump thinking that Mueller would be the tool by which to remove him from office. The story was a nothing burger from day one…a total farce…but Clinton projectors/supporters were blind to it…and now they have handed Trump a powerful weapon for his reelection. Russiagate is a wonderful example of reckless and self-destructive behavior and cutting one’s nose off to spite one’s face.

3. HYPERVIGILANCE - This again took the form of Russiagate, as the media and Clinton true believers saw Russian boogey men and women around every corner. Rachel Maddow and her fans are the poster children for this form of nonsensical and hysterical hypervigilance.

4. EXAGGERATED STARTLE RESPONSE - Again…this is Russiagate in a nutshell as it is an entirely exaggerated startle response. See Rachel Maddow and her co-”conspirators” in the establishment press who are so quick to turn everything Trump does into a Russian conspiracy and the apocalypse. Clinton supporters also pretend like everything was fine before Trump and have an exaggerated startle response when he acts just like every other asshole president we’ve had.

ON DEATH AND DYING

Besides suffering from Trump related PTSD, Clinton projectors/supporters are also suffering from grief. All losses are accompanied by grief of one form or another, and political losses are no different. When reality does not conform to your dreams, then there is a grieving that occurs…but in the case of Hillary projectors/supporters, that grief was much, much more intense than usual. A female candidate didn’t just lose, which would be bad enough as it would signal or reinforce feelings of personal unworthiness among Hillary’s projectors/supporters, but she lost to a man deemed to be not just a misogynist but an abhorrent sexual predator and racist monster. Hillary’s loss seen through this lens, which is the lens that the Hillary projectors/supporters used, was a catastrophic political, moral and ethical defeat, a personal repudiation and a trauma.

In the wake of Hillary’s loss, these projectors/supporters dove into the deep end of the grief pool with the added complication of the burden of PTSD, and the result was that they frothed and flailed and raged about desperately looking for something for which to grasp. The Clinton campaign and the media tossed them a lifebuoy with “Russiagate” written on the side of it and these projector/supporters grabbed on to it with a maniacal fervor.

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According to the Kubler-Ross model, there are five stages of grief that in chronological order are denial, anger, bargaining, depression and acceptance. These stages of grief never quite go in as linear a fashion as one might expect. Grief is usually a one step forward, two steps back type of process where the stage you are in can change from moment to moment and day to day, sometimes moving forward, sometimes moving back.

In the case of Clinton projectors/supporters, Russiagate short-circuited the grief cycle and created a grief vortex where they repeatedly vacillate between denial and anger. Russiagate allowed these wounded, confused, traumatized and grieving Clinton projectors/supporters to cling to the hope that none of it had happened, that none of it was real and that they had been “right” all along. The problem is that reality and time inevitably transform an open system of hope into the closed system of denial. Some of these Clinton projectors/supporters became such dead-enders that they still defiantly declare that Hillary should be sworn in because she is the rightfully and duly elected president…which is a very clear indication of denial winning the day.

HELLO, COG DIS MY OLD FRIEND

The bottom line was this, that Clinton projectors/supporters were in such pain in the wake of Trump’s victory that they would do anything to alleviate that pain. One way to alleviate that pain was through confirmation bias, another was through outright denial, and yet another was through our old friend cognitive dissonance.

As I wrote in my article “Truth, Justice and the Curious Case of Chris Kyle” back in 2014,

Cognitive Dissonance is "psychological conflict resulting from incongruous beliefs and attitudes held simultaneously". People will contort in all sorts of ways to avoid seeing the uncomfortable truth that is right in front of their eyes and facing that conflict.

In the case of Chris Kyle, his supporters vociferously attacked me for pointing out the incongruity of his tall tales regarding his shooting of two carjackers, his “discovery” of WMD’s in Iraq and a plethora of other lies. These Kyle supporters were struggling with the discomfort of reading information that was at odds with their previously held belief. In order to alleviate that discomfort, they ignored the new information and attacked the source of it…me.

In the case of the 2016 election, Clinton supporters suffered from a similar malady where they simply could not accept that Hillary lost the election, and maybe even more importantly, that Trump actually won it. They were so emotionally attached to Clinton and their dream of a female President that the new information, Trump’s win, caused tremendous psychological discomfort…and in order to alleviate that discomfort they simply denied the new information with the delusion of Russiagate.

Clinton projectors/supporters simply cannot accept the reality of Trump as president and Hillary as defeated because it is so damaging to their identity and their cosmology. So instead they suspend their disbelief by short circuiting their critical thinking, and embrace the delusion of Russiagate.

When news stories appeared that alleged to show Trump’s guilt regarding collusion, liberals would celebrate like it was Christmas morning and pass the stories around like gifts. Days, or even hours later, when those stories were shot down, liberals simply ignored the new information, preferring to live in the delusion upholding grandeur of the original story.

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The most glaring example of this is the infamous Steele Dossier, which alleged all sorts of suspicious activity on the part of Trump…the most embarrassing being the supposed “pee tape”. The Steele Dossier has been thoroughly debunked, so much so that even establishment shills like Michael Isikoff, who wrote an entire book with David Corn based upon the presumption that the Steele Dossier was accurate, have now declared it to be totally false. But liberals still cling to the Steele Dossier as if it is the gospel truth, and most believe that Trump is “compromised” (and in attempts to sound sophisticated use terms like “Kompromat”) by the Russians who have “pee tape” or something much worse on him.

The Steele Dossier claimed that Trump lawyer Michael Cohen went to Prague to collude with Russians and the media and liberals clung to this story as damning evidence of collusion. But when Cohen flipped on Trump he testified under oath before Congress he swore he had never been to Prague. Instead of accepting and integrating this new information, liberals and the corporate media instead posited that Cohen was telling the truth in his testimony about everything except the Prague stuff…this is what cognitive dissonance looks like in action.

More from my Chris Kyle article,

What usually occurs when people are presented with new information that clashes with their strongly held belief, is that they "seek to preserve their current understanding of the world by rejecting, explaining away, or avoiding the new information or by convincing themselves that no conflict really exists."

Russiagate was the magic bullet for Clinton projectors/supporters and the #Resistance because it allowed them to alleviate their cognitive dissonance through confirmation bias, which allowed them to live in a state of denial and delusion.

Russiagate may have felt like a lifesaver at the time for these traumatized and hurting Clinton projectors/supporters, but as I pointed out right after the election, it was not a life jacket but an albatross. Denial is normal and natural when grieving, but if you stay in it too long you never evolve and heal from the wound. In the case of Russiagate, the #Resistance and the Clinton projectors/supporters, denial became an addiction that needed to be fed to be maintained in order to keep the pain of reality at bay. This addiction, like all addictions when they are so acute, was accompanied by hysteria, mania and delusion.

NEO-CONNING

The biggest winners in the Russiagate fiasco are not the Trumps, but the neo-cons, who have long wished for a revived war with Russia, be it cold or hot, and now they have not only their conservative cohorts on board but a plethora of supposed liberals who have been duped by Russiagate.

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In a fevered attempt to take down Trump through Russiagate, the #Resistance made the calamitous mistake when they whole-heartedly embraced and rehabilitated the neo-cons from the Bush administration who lied us into Iraq and who were aided and abetted in that crime by the same corporate media that has been pushing Russiagate. The Decider himself, George W. Bush, has even been rehabilitated and transformed from being a war criminal and worst president ever to being hailed as a man of great principle and deep character all because he gave a candy to Michelle Obama at a funeral.

Other neo-cons, such as the reprehensible Bill Kristol and David Frum, are now held in the highest esteem by those who should know better just because they oppose Trump on stylistic grounds. Besides reviving the neo-cons and exorcising their Iraq ghosts, the #Resistance also warmly embraced the neo-liberals and their economics which gave us the 2008 housing collapse and the big bailouts among other notable disasters. Russiagate makes for strange bedfellows…but the #Resistance is going to find out that when you sleep with war criminals and banking fraud pigs, you wake up with blood on your hands and smelling like shit.

CONSEQUENCES

The long-term consequences of going all in on Russiagate for the #Resistance, Clinton projectors/supporters and the media are dire.

In their fever and fervor to bring down Trump, the media have handed him a gift of epic proportions by stripping themselves of any last vestiges of credibility they had left. Trump’s favorite claim is that of “fake news”, and when something comes out that makes him look bad, he labels it “fake news” and the media and #Resistance goes crazy. Now with Russiagate, the media have propagated the motherload of “fake news” and have legitimized Trump’s future claims of “fake news”, thus neutering themselves as a functioning and vital part of our Republic.

The Russiagate fiasco is a weapon that Trump will now use to bludgeon his enemies and to protect himself from any further charges of wrong doing (of which, I am sure, there are a lot), and it is entirely the fault of the fourth estate and the #Resistance for having gotten out ahead of themselves and the evidence.

Sadly, just as with their utter failure regarding the Iraq War and WMD’s, the media will face no consequences for their miscarriage of journalism in the case of Russiagate. The loudest media voices that got it wrong…AGAIN…will simply fail upwards and maintain their standing as guardians of the establishment just as they did after the Iraq/WMD mess. The corporate media in America is so tainted and so toxic that it is a cancer on our culture and simply cannot be trusted at all anymore…and that is dangerous for our Republic.

LOOKING IN THE MIRROR

While the media is certainly to blame for this Russia-Gate fiasco, at some point people need to take responsibility for their own thinking, or lack thereof. How many times does the media have to reveal itself to be a mendacious propaganda machine before people wake up and push back? The media malpractice in their coverage of the Iraq War/WMD lies, the housing collapse, the Chris Kyle fabrications, the cavalcade of anti-Russian misreporting, the Jussie Smollett nonsense, the Russiagate fraud, how many more times does the media have to prove itself to be untrustworthy before people start holding them accountable?

And this is not some frivolous question, this is crucial for the survival of the Republic. If the press cannot function with some semblance of impartiality, journalistic quality and professionalism then an authoritarian will simply use the public’s distrust and disgust with them to his advantage and will further erode our already tenuous civil liberties….oh wait…that is already happening!

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That is the most frustrating thing about the Russiagate horseshit…it has aided, abetted and emboldened Trump. This shouldn’t be surprising since the corporate media were already complicit in getting Trump elected the first time, but now with their incessant shrieking about the Russiagate “collusion” hoax they have given Trump a great boost for 2020.

At this point in the Russiagate story It isn’t about people having more knowledge in regards to Russia, or Trump or the media, it is about knowledge of oneself. Why do you believe what you believe…and where does your loyalty lie? If it lies anywhere besides the Truth, you are bound to be suckered by something or someone. Remember…if you desperately want something to be true, you should be particularly wary of those who you tell it is.

Regardless of how things go forward from here and whether the report gets released (which I hope it does) or if it gets buried, I ask the #Resistance to listen to me now. I warned you two years ago and you ignored me. Don’t make that same mistake again. My advice to you now is to stop being so God-damn emotional and weak. Get tough. Get rational. Get logical. Get strategic. And most importantly pledge your loyalty not to your party, ideology, country or identity but rather to the Truth. It will serve you and America much better in the long run.

ADDENDUM

As I was writing this piece this week a story titled “Some on Mueller’s Team Say Report Was More Damaging Than Barr Revealed” broke in the New York Times that claimed that people from the Mueller team were frustrated over Attorney General Bill Barr’s summary of their findings, and claimed that Mueller’s report is much more damaging to Trump that Barr makes it seem.

Well…that isn’t really what the New York Times article says…but that is how it is being “reported” in its headline and by cable news outlets like MSNBC. In fact, in an odd confluence of events, I was watching MSNBC when the story broke and got to see in real time how dubious their journalism really is as Chris Matthews “paraphrased” the Times article by saying that Mueller’s team is finally speaking up after two years of silence.

Here is the first paragraph of the Times article which caused such a stir.

Some of Robert S. Mueller III’s investigators have told associates that Attorney general William P. Barr failed to adequately portray the findings of their inquiry and that they were more troubling for President Trump than Mr. Barr indicated, according to government officials and others familiar with their simmering frustrations.

That is one hell of a paragraph…so let’s break it down.

Cable news and other media have declared that this story is really bad news for Trump because Mueller’s team is finally speaking out and is saying the report will be damning of the President. Of course, upon closer inspection, virtually none of the cable news pontification is even remotely backed up by the facts stated in the article.

For instance…even though the media is claiming this is Mueller’s team breaking their monk like silence…they aren’t. This isn’t Mueller’s team speaking out…these claims are allegedly being made by “associates” of Mueller’s investigators, not the investigators themselves. Beyond that, in that opening paragraph the Times also makes it clear that the sources for the story are “government officials and others familiar with their simmering frustrations”.

So let’s be perfectly clear as to what this story claims…that “government officials and others” have heard from “associates” of members of the Mueller team, that said Mueller team members believe that the Attorney General “failed to adequately portray their findings”.

This is like a bad game of telephone where the esteemed New York Times reports on third and fourth hand information that was allegedly told to “associates” of investigators on Mueller’s team, and then those “associates” told associates of theirs who are “government officials and others” who then told the New York Times who are now telling us.

Not surprisingly, MSNBC, CNN and the Washington Post all followed up the Times story with equally explosive claims but with similarly distant and dubious sourcing.

It is absolutely stunning when you break down the story and its sourcing and then consider the shock waves of glee this report sent through cable news and the #Resistance. Bill Maher, who is the id and village idiot of the center left, just last night was touting on his HBO show that treason is back on the table and so is collusion, all based on this extremely vacuous and flimsy report in the Times…which clearly states that the finding of “no collusion” is not in contention.

Maher is the hackneyed comedy version of cognitive dissonance with bad skin as on his show last week, the first since the Mueller Report was submitted and the Barr synopsis came out, he declared that he doesn’t need Mueller’s report because he KNOWS Trump is a traitor! This is textbook Cognitive Dissonance, where people “seek to preserve their current understanding of the world by rejecting, explaining away, or avoiding the new information or by convincing themselves that no conflict really exists."

This story and the media and the #Resistance’s rapturous response to it proves once again the seriousness of the maladies from which they suffer. This report and the liberal response to it highlights the conformation bias, cognitive dissonance, denial and delusion which I wrote about above. It is also emblematic of the media’s blatant dishonesty and unprofessionalism. This story is just one more piece of evidence for the thesis I laid out in the above article.

It is also a damning indictment that the #Resistance and its media cohorts like Bill Maher and MSNBC are irredeemable and a hopeless lost cause.

MY BEST GUESS

When discussing my skepticism regarding this whole issue, I am often asked what it is that I believe regarding Trump, Russia, collusion and the rest of it. Well, what I think is this…and this is entirely and purely speculation…that Trump is certainly “guilty” of obstruction of justice. I mean, Trump is a walking obstruction of justice…but the problem is that if there is no underlying crime, that makes both the legal and political case for obstruction much more difficult.

In addition, I have yet to see any clear evidence of the underlying claim that Russia hacked the DNC server and the Clinton campaign emails. In fact there has been no evidence released that even shows that the DNC server was hacked at all. Now that doesn’t mean the server wasn’t hacked, it may have been, it just means I haven’t seen any evidence of it. It also doesn’t mean that if it was hacked, that Russia hacked it, it just means I haven’t seen any evidence of those claims. I am not alone in my skepticism regarding the alleged hack, as the Veteran Intelligence Professionals for Sanity (VIPS), a group which includes Ray McGovern, Colleen Rowley, Mike Gravel, Philip Giraldi, Larry Johnson, John Kiriakou and Lawrence Wilkerson among many others, have stated their skepticism as well regarding this claim of a hack that is now assumed to be true despite the paucity of evidence for it.

And finally, in regards to the charge that Russia “interfered” in our election, I would say that the evidence put forth thus far is woefully inadequate to the point of absurdity. The Facebook and Twitter meme operation allegedly run by Russia is an absolute joke and is not proof of Russian interference in anything at all.

If people are serious about identifying and punishing nations for interference and meddling in our electoral and political process, then there are two criminal states that should be the entire focus of attention…Israel and Saudi Arabia, both of which a nefarious actors in our political process with tentacles into the highest echelons of power in America.

As I stated earlier and as I stated throughout the last two and half years in all of my writing…I am open to evidence of Russian interference in the election and any conspiracy with Trump or anyone else…and will gladly scrutinize that evidence if and when it comes forward, and accept it if it is credible. But until it comes forward I maintain the only logical and rational position there is, and that is of maintaining a pronounced skepticism towards these and all evidence-free claims.

For a glance at my previous writings on Russiagate over the last few years, here are some links.

Joe McCarthy Was Right!! Shocking Revelations From a Manchurian Op-Ed Writer

Deconstructing Criticism of Oliver Stone’s The Putin Interviews

The Media Hates Conspiracy Theories…Except When They Don’t

Stephen Colbert Goes to Russia Looking For Laughs

Has the Fear of Putin Seized Hollywood?

Echoes of Totalitarianism in #MeToo and Russia-Gate

Hollywood’s Malicious Propaganda Dehumanizes All Russians

Captain America v Trump in Battle of the Useful idiots

In a Fit of Anti-Trump Pique, Liberals Shamelessly Embrace Deep-State Criminals

A Curious Case of Mystery Attacks, Microwave Weapons and Media Manipulation

©2019

Leaving Neverland: A Review

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****THIS REVIEW CONTAINS ZERO SPOILERS!! THIS IS A SPOILER FREE REVIEW!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. See it to see and hear the truth regarding one of America’s most famous icons.

Leaving Neverland, produced and directed by Dan Reed, is a documentary that tells the story of Michael Jackson’s child sexual abuse of James Safechuk and Wade Robson from the late 80’s to the mid-90’s. The film is four hours long and is broken down into two, two-hour segments, which originally aired on HBO on March 3rd and 4th and are currently still available on that channel.

Leaving Neverland is one of those documentaries that takes a nebulous perception and turns it into an unavoidable reality. Michael Jackson, who settled a child sexual abuse lawsuit for a rumored $25 million in 1993 and was acquitted of child sex abuse involving another boy in a separate case in 2005, has long been assumed to be a pedophile…Leaving Neverland removes all doubt from that assumption.

The film is basically a collection of very long interviews with Safechuk and Robson where they describe in extremely explicit detail their sexual interactions with Jackson when they were minors, in Robson’s case as young as 7 years old. While the explicitness of their stories is uncomfortable to hear, it is very effective in shattering any illusions that might cloud the cold-hard reality of Jackson’s perverse sexual predilections. The explicitness of the language used is very beneficial, as terms like “molested” or “fondled” sound less damning and less evil than hearing the precise descriptions of what Jackson was doing to these little boys.

Director Reed wisely cuts back and forth between the explicit interviews of the grown men and footage of when they were young boys at the age when they were abused. This approach is highly effective in bringing home the point of Jackson’s disturbing depravity and the scope and scale of his evil.

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Safechuk and Robson come across as forthright and believable in the interviews. If they are lying about the nature of their relationship with Jackson then they are two of the greatest actors to have ever walked the earth. Robson is much more camera friendly and articulate than Safechuk, but Safechuk’s pure being, his posture, his energy, the look in his eye, is devastating testimony in and of itself, and is a searing indictment of Michael Jackson.

The film does not have any interviews from members of the Jackson family or any counter arguments to Safechuk and Robson, and some may see that as unfair, I do not agree. For thirty years we have heard the Jackson story while the children he abused have been silenced due to his wealth and power. We’ve heard enough from Jackson and company, and Leaving Neverland gives the side of the story we haven’t heard yet and that is what makes it so valuable.

What is so striking about the documentary is the news footage from the height of Jackson’s fame in the late 80’s and early 90’s. Jackson’s pedophilia was hiding in plain sight for all of us to see…in fact he was even flaunting it. The footage of Jackson gallivanting around the globe hand in hand with little boys is disgusting as he acts like a rock star parading around in public with a super model as arm candy and trophy girlfriend. And just like some rock star would want the status symbol of being seen in public with the latest and hottest Hollywood ingenue, Michael Jackson did the same thing with little boys, going public with his “friendship” with first Emmanuel Lewis (of Webster fame) and then later with Macaulay Culkin.

Jackson is just a despicable and deplorable human being, but his staff, family and enablers are equally repugnant for aiding and abetting his blatantly obvious sexual predation. As the documentary shows, Jackson’s staff members were actively recruiting boys to be Jackson’s companions and were complicit in keeping parents away while the abuse was happening.

Leaving Neverland is not just an indictment of Jackson, but of us all. His fans, the media and the public in general refused to see or believe what was right in front of our eyes because it was easier to ignore it, laugh about it or pretend it wasn’t happening. How Jackson did not get his head caved in by either a raging father of an abused child or by a security staffer with a conscience, is beyond me.

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The documentary is very effective in revealing how Jackson didn’t just seduce little boys but also their entire families. The interviews with Safechuk’s and Robson’s mothers are very enlightening and at times infuriating. These women, whose job was to protect their kids, fell for Jackson’s schtick hook, line and sinker and their boys paid the price for it. The mother’s, especially Ms. Robson, inability to take responsibility for their failure is mind-boggling, and the fact that Ms. Robson STILL doesn’t want to hear what happened to her son is astonishing. But this is what the allure of fame does to people, it distorts and compromises their soul, and they end up selling their son’s youth and innocence for a shot at the brass ring.

After the airing of the second part of the documentary, HBO aired a special interview with Oprah Winfrey and James Safechuk and Wade Robson. Considering Oprah herself has talked publicly about being sexually abused as a girl and the intracicies of that, you would think she’d be a good choice to host program…but you would be wrong.

Oprah is a terrible interviewer as she always makes everything about her and her opinion…but she is an even worse human being because she is so devoid of self-awareness yet is delusional enough to think that she is entirely self-aware. During the post-doc interview Oprah has the temerity to tell Safechuk that he hasn’t evolved as much as Robson, which if Oprah were half as “evolved” as she thinks she is she would understand is a really vicious thing to say to a survivor, especially one in such a vulnerable state as Safechuk.

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What was stunning to me is that Oprah spent the hour pontificating on how wise she is about abuse and how it is really seduction, but she fails to ever mention that she interviewed Michael Jackson in 1993…and it was a patty cake interview if there ever was one. During that interview Oprah never held Jackson to account or held his feet to the fire for his “bizarre” and curious behavior with boys. Oprah…like the rest of America and like Safechuk and Robson and countless other boys and their families…was seduced by Michael Jackson and the allure of his fame and power, which is saying quite a lot considering Oprah’s fame and power…and it would have been interesting for Oprah to talk about HER experience of that seduction and how she was either wittingly or unwittingly blind to Jackson’s depravity…instead of doing what she did and giving her opinion on other people’s experience of that.

The enormity of Michael Jackson’s fame and celebrity, especially back in the 80’s and early 90’s is difficult to fathom in this day and age of such a fractured and fragmented popular culture. Michael Jackson wasn’t just a superstar, he was a supernova. Jackson was the most famous and identifiable person on the planet back then and more people knew his name than any other person’s in the whole world.

When you look at Jackson’s discography and album sales it is unbelievable. Jackson was considered a performing prodigy and was a superstar with his family band The Jackson Five at the age of 11. After an awkward adolescent transition, Jackson returned to glory as a 21 year old with his 1979 hit album Off the Wall, which is a terrific album that sold 20 million copies.

The follow up to Off the Wall was Thriller, which sold an estimated 66 million copies and is the greatest selling album of all-time. Thriller undeniably made Jackson the biggest pop star in the world. No one has ever or will ever surpass Thriller’s sales numbers.

After Thriller Jackson could have sold 20 million copies of any piece of crap he threw out there, and that is kind of what he did with the awful Bad (1987) and the even more abysmal Dangerous (1991), which sold 35 and 32 million copies respectively.

The success of Off the Wall, Thriller, Bad and Dangerous gave Jackson enormous amounts of wealth and power and with that money and power Jackson could do whatever the hell he wanted…and sadly…what he wanted to do most of all was to have sex with young boys.

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After watching Leaving Neverland and the Oprah special I sat contemplating what I had just seen and I had two thoughts. The first thought was how striking it is to me that in the 1980’s, a decade of America’s alleged rebirth and renewal under Ronald Reagan, the biggest and most beloved music star was Michael Jackson and the biggest and most beloved television star was Bill Cosby. These two men were very similar in a lot of ways in that they were two Black men whose success crossed color lines, who cultivated personas that exuded a gentle kindness and moral purity, and who were sexual predators who preyed upon the defenseless, in Jackson’s case young children and in Cosby’s case drugged and unconscious women. I have no idea what that observation means in a broader sense, maybe something about masks and facades and how to succeed in America, I don’t know, I just thought it was very curious that these two men were so successful in their careers at that time period but also so successful at getting away with their sex crimes for so long.

The second thought I had was about Conrad Murray, Michael Jackson’s personal physician, who was found guilty of involuntary manslaughter in Jackson’s 2009 death from an overdose of propofol. Murray served two years in prison and was pilloried by the media for being responsible for “killing” Michael Jackson. After watching Leaving Neverland, I think Conrad Murray deserves a fucking medal.

In conclusion, Leaving Neverland is a difficult documentary to watch, but I highly recommend you do watch it because we must never look away from the truth, no matter how ugly it is or how uncomfortable it makes us.

©2019

Transit: A Review

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****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.75 out of 5 stars

My Recommendation: SEE IT/SKIP IT - Cinephiles should definitely check out this meditation on fascism, but be forewarned, this is a very “foreign” film so those not accustomed to such unconventional storytelling might want to skip it.

Language: German and French with English subtitles

Transit, written and directed by Christian Petzold and based upon Anna Segher’s 1942 novel of the same name, is set in modern times and follows the journey of Georg, a German trying to escape Fascists as their totalitarian reach stretches out of the Fatherland and across France. The film stars Franz Rogowski as Georg, with supporting turns from Paula Beer, Godehard Giese, Barbara Auer, Maryam Zaree and Ronald Kukulies.

Transit is a fascinating and politically prophetic and potent film that masterfully creates the visceral experience of modern world where fascism reigns supreme. The film is based upon Anna Segher’s novel about the Holocaust, but in its more modern setting it is equally chilling. The suffocating sense of impending and unstoppable doom that permeates this movie makes setting this story in modern times all the more chilling because it seems so effortlessly believable. The archetypal energy currently on the rise across the globe (and whether we want to acknowledge it or not, in our own hearts) is that of the fascist, and in the long shadow of the fascist, fear, isolation and resignation grow like poison mushrooms. Transit tells the story of those under the boot of fascism and the attempt to balance primal instincts to survive against the spiritual need for human connection and love.

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Director Christian Petzold’s strength in this film is in making fascism feel tangible and palpable. The ominous sense of danger that Petzold conveys in this film, be it with a simple siren, screeching tires, a women on a street corner pointing or refugees refusing to look each other in the eye, is electric.

Petzold’s minimalism in respect to creating this menace is magnificent. By not physically transforming the world in which we live, but simply distorting our perception of it, Petzold makes the fascist threat feel immediate, intimate and personalized.

On one level, Transit reminded me of Michelangelo Antonioni’s intriguing film The Passenger (1975), in that it deals with a man stealing the identity of a dead man and having to face the repercussions of that act. In Transit, Georg assumes the identity of a dead writer in order to escape Paris as it comes under the perilous grip of the fascists.

Georg’s escape out of Paris leads him on a odyssey that reveals his external desperation to survive and his internal yearning to maintain humanity at all costs. The fascist menace forces Georg to fight this battle between his instinct and his humanity, where he must choose what kind of man he is and what kind of life he will lead.

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Transit, which is in French and German with English subtitles, is a decidedly foreign film in that it does not conform to Hollywood conventions. This eschewing of storytelling convention can be somewhat frustrating for the uninitiated or for those not prepared for it, so consider yourself warned. Understand that this film is really about the pressures of living, or trying to live, under the toxic cloud of fascism, and how the existential fear of obliteration at the hands of totalitarians turns people upside down to the point where they behave emotionally and in ways that seem irrational to those on the outside. Seeing the film through this lens will hopefully help make any moments in the film that seem unclear or unrealistic much more palatable.

As for the cast, Franz Rogowski does stellar work as the conflicted Georg. Rogowski is Joaquin Phoenix’s German doppleganger, cleft lip scar included. Rogowski even has the same energy as Phoenix and he carries that burdensome darkness and despair with him through this film like an iron cross on the road to his Golgotha. Rogowski’s intensity is heightened by his silence and stillness, which are filled with a vibrant intentionality that acutely convey his internal struggle.

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The ever luminous Paula Beer (last seen in the Oscar nominated Never Look Away) plays Marie, a mysterious beauty who keeps stumbling into Georg on his journey. Beer is a captivating and dynamic screen presence whose Maria is a compelling cauldron of regret, determination and despondency that never falls into caricature or fails to surprise.

The rest of the cast all do solid work, particularly Barbara Auer as a steely architect turned maid, in creating the atmosphere of maddening, dehumanizing and frantic fear that descends upon those under the thumb of a fascist threat.

In conclusion, Transit is not for everyone as its unconventionality can be at times unsatisfying, but for those who make the leap, they have the chance to be rewarded with a film that isn’t perfect but that is rich in psychological drama and political poignancy. My recommendation is for cinephiles who enjoy foreign film to definitely see Transit in the theatres. For those with less sophisticated film tastes, maybe start by watching Antonioni’s The Passenger, it stars Jack Nicholson and can be pretty challenging but is a good place to dip your toe into the water. If you like that then it is worth giving Transit a shot when it becomes available on Netflix/Amazon or Cable because even if you end up thinking the movie fails as entertainment, you may find that it succeeds as prophecy.

©2019

5th Annual Slip-Me-A-Mickey™® Awards : 2018 Edition

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Estimated Reading Time: 4 minutes 12 seconds

The Slip-Me-A-Mickey™® awards are a tribute to the absolute worst that film and entertainment has to offer for the year. Again, the qualifying rules are simple, I just had to have seen the film for it to be eligible. This means that at one point I had an interest in the film and put the effort in to see it, which may explain why I am so angry about it being awful. So any vitriol I may spew during this awards presentation shouldn't be taken personally by the people mentioned, it is really anger at myself for getting duped into watching.

The prizes are also pretty simple. The winners/losers receive nothing but my temporary scorn. If you are a winner/loser don't fret, because this years Slip-Me-A-Mickey™® loser/winner could always be next years Mickey™® winner!! Remember…you are only as good as your last film!!

Now…onto the awards!

WORST FILM OF THE YEAR

Aquaman - A garbled and muddied mess of a film that both scales the heights of Mount Ridiculous and dives to the bottom of the Sea of Inane, this movie is the equivalent of watching a toddler play with action figures in a puddle.

Mary Queen of Scots - If a corporate human resources department had the budget to make a period piece training film that espoused the virtues of diversity, inclusion, political correctness and woke culture…that movie would be Mary, Queen of Scots. An abysmal butchering of history and cinema, this movie is proof of my maxim “Wokeness kills art”.

Mission Impossible - Just when you think Tom Cruise and the Mission Impossible franchise can’t get any worse, the Scientology Messiah kicks it into high-flying gear and barfs out yet another stupid, unrelenting and unrelentingly stupid piece of action crap. This movie is a two and a half hour cinematic lobotomy.

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AND THE LOSER IS…MARY, QUEEN OF SCOTS - Congratulations to Mary, Queen of Scots for completely fucking up what could have and should have been a very good if not great movie. As a Scotsman (and Irishman), this movie was so irritating and abysmal I would rather dive head first into the Worst Toilet in Scotland than sit through this shitshow again.

WORST PERFORMANCE OF THE YEAR

Alec Baldwin - Mission Impossible: Fallout - Alec Baldwin has a death scene in this movie that made me laugh so hard I had root beer flying out of my nose. Baldwin’s acting in this scene is so horrendously awful it felt like he was just doing it to pull a prank…sadly I think the joke was on us.

Mark Ruffalo - Avengers: Infinity War - Mark Ruffalo is a terrific actor who has done outstanding work in films such as Spotlight and Foxcatcher among many others, but in Infinity War it seems as if Ruffalo has stumbled onto set after a decades long nap. Like some thespian Rumpelstiltsken, Ruffalo awakes in this movie and finds himself entirely out of time and place. Ruffalo’s listless stroll through Infinity War is one of the most bizarre performances in recent memory.

Female Featured Extra - The Death Scene in The Wife - The Wife is a truly awful movie, but the cherry on top of its awfulness is the performance from the actress playing a female hotel employee during the climactic death scene. This young actress’s over-acting and mugging for the camera is so epic as to be amazing. Hopefully this actress goes on to great things in her career and can look back and laugh at how horrendous she was in this scene.

Armie Hammer - On the Basis of Sex: The extent of Armie Hammer’s acting in this movie is to perpetually give a soft and insipid smile and to never let you forget his character only has one testicle. Another in a string of truly deplorable performances, hopefully Hammer has either hit the low point of his career or has finally realized this acting thing is not for him.

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AND THE LOSER IS…ALEC BALDWIN : Alec Baldwin has been a good actor before, and hopefully will be a good actor again, but I think playing the brain addled Donald Trump has addled his own brain. Hopefully Baldwin returns to form sooner rather than later because the Trump shtick is fun but is most definitely wearing thin, and if his work in Mission Impossible is any indication, it is having a very detrimental effect on his commitment level and deteriorating his skill.

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WORST SCENE OF THE YEAR - The Mule Court Room Scene : The Mule is not a good movie…but to its credit it made me laugh out loud…not with it, but at it. The court room scene in question is just atrocious because 1. It is totally unnecessary and shouldn’t have been in the movie in the first place. 2. The acting in it is so over-the-top and ridiculous as to be absurd and it feels like something stolen from a telenovella. 3. The writing in this scene is even worse than the acting…which it quite an accomplishment.

If you want to see film making at its nadir, watch the court room scene of The Mule because it is a master class in superfluous shittyness.


MOST OVERRATED FILM OF THE YEAR

Black Panther - Black Panther is not even a good Marvel movie, nevermind a good actual movie, yet for some strange reason that I can’t quite figure out (hmmmm…what could it be?) it was nominated for Best Picture and some fools (like me) even thought it would win. Regardless of what the politically correct gatekeepers keep telling you, Black Panther is not a good movie, the acting is not good, the directing is not good and the writing is not good. None of this is good…can we please stop pretending that it is? Wakanda For Never!

A Star is Born - I get why Lady Gaga fans went goo goo over this film, but why on earth would anyone else? Lady Gaga can sing her balls off…but acting is not her strongsuit. Another weak point in the film is the trite script and the narcissistic cinematography. There were some who were clamoring for A Star is Born to sweep the Oscars…what the fuck is wrong with people? On this story’s fourth go around, this Star was still-born.

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AND THE LOSER IS…BLACK PANTHER: Good Lord, please enough with reducing art to being little more than the diversity Olympics. If you like Black Panther…fine…but let’s not pretend it is some iconic, Best Picture level piece of cinematic history. It is a middling Marvel movie that is much closer in quality to Doctor Strange than it is to Avengers: Infinity War.


SPECIAL ACHIEVEMENT IN CINEMATIC MALPRACTICE

Josie Rourke, director, Mary Queen of Scots: Josie Rourke is a theatre director whose first feature film was Mary, Queen of Scots. I genuinely hope Ms. Rourke is better at directing theatre than she is at directing film because she is abysmal at the latter. Ms. Rourke’s painfully bad decisions when it came to casting and her even worse decision to use colorblind casting, were equally awful when compared to her inability to do the most rudimentary blocking of scenes or to use the camera to tell and enhance her story. This film revealed such a pronounced level of directing malpractice as to be shameful. Ms. Rourke’s amateurish direction should cease her filmmaking career in its tracks…but because of her pronounced political correctness, I doubt we will be so lucky as to never have to see her work again.

POS HALL OF FAME

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MICHAEL JACKSON - A once in a generation talent who could sing and dance as well or better than anyone else we have ever seen, Michael Jackson is one of the great musical icons of the 20th century. Jackson was also a raging pedophile who flaunted his pedophilia by strutting around the world with young boys on his arm like a rock star with super model arm candy.

Jackson’s insatiable appetite for young boys seemingly knew no bounds and his depraved crimes were aided and abetted by those who were enthralled with his celebrity and his bank account or those cowed by his entertainment industry power.

My great shame is that Michael Jackson was not inducted into the Piece of Shit Hall of Fame sooner. Oddly enough, the reason it has taken five years for Jackson to achieve this great dishonor is that his crimes were so obvious it seemed passe to point them out. With the Leaving Neverland documentary currently airing on HBO and making headlines, now seems like an appropriate time to pay tribute to Michael Jackson, one of the all-time great pieces of shit.

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BRYAN SINGER - Just like his POS Hall of Fame fellow inductee this year, Bryan Singer has been a piece of shit for a long time. Singer’s sexual depravity and sweet tooth for teenage boys has been an open secret in Hollywood for decades. The fact that Singer basically started a pederast ring with fellow Hollywood scumbags that they used to exploit, abuse and pass around teenage boys like trading cards, officially came to light with a damning article in The Atlantic recently, but those of us with half a brain in our heads knew this was the reality regarding Bryan Singer for a long time.

Singer is not alone in Hollywood in his desire for underage and barely of age young boys...in fact he has some very high profile company. Hollywood has a very pervasive pedophilia and pederasty problem among its upper echelons. Some of the most well-known people in this business are involved in this evil. Some big names that are always on the periphery when it comes to these stories…including both Bryan Singer and Michael Jackson…are so powerful that no one dare ever even hint at their nefarious sexual proclivities. Hint: Think of the most successful and iconic film maker of the last 50 years whose films often star or feature young children.

It is for this reason that I have a funny feeling that Bryan Singer is not long for this world. Something odd will happen, an accidental overdose or a suicide or some other banal calamity that will end his horrid life and silence him forever in order to protect those higher up the totem pole that he could implicate for being partners in his degeneracy. But for now, Bryan Singer should bask in the stench of his induction into the Piece of Shit Hall of Fame…he’s earned it.


POS ALL-STARS -

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Lena Dunham - Lena Dunham is a perennial piece of shit all-star and her appearance this year is entirely predictable. Ms. Dunham made the POS All-Stars three years ago for lying about having been sexually assaulted, and two years ago for wishing she had an abortion. This year Ms. Dunham made the all-stars for lying to discredit an alleged rape victim and then making a self-serving non-apology apology for having been such a shameless hypocrite.

Ms. Dunham has been a strident and vociferous supporter of the #MeToo movement but even though she says she “believes all women”, when a women accused her friend and co-worker of rape she came to the man’s defense. This mere hypocrisy would not have been enough to get on her back on the POS All Stars though, what put her over the top was when she faced a backlash for her defense of the man she issued a rambling, performance art diatribe of an “apology” that was so self-serving as to be masturbatorial.

I pray to the almighty Thanos that he make Lena Dunham…GO. AWAY. FOREVER.

Jussie Smollet - Prior to faking his own hate crime, I had never in my entire life had heard the name Jussie Smollett. Little did I know how wonderful my world was before my Jussie Smollett bubble was so rudely shattered.

First things first…who the fuck names their kid Jussie? It’s not Jessie, it’s not Justin…it’s Jussie. Fuck you Jussie and your stupid fucking name. Secondly, how awesome is it that Jussie Smollett, of all the fucking useless individuals on the planet, is the one who so expertly exposes the identity politics crowd for the hysterical and emotionalist dipshits that they are.

And finally, not only is Jussie Smollett and awful actor, as proven with his Good Morning America performance which is sublimely absurd, but he is also an atrocious writer and director. This entire hoax was so poorly conceived and executed it felt like an Adam Sandler film or a Trump press conference.

Congrats Jussie, you made the POS All Stars, enjoy it while it lasts because I have a funny feeling this is as good as it will get for you for a long time.

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Brie Larson - Brie Larson is a terrible actress…you know how I know that? Because I’ve seen her work. Go watch Kong Skull Island or Trainwreck…she is painfully awful. Brie Larson is also a terrible human being…you know how I know that? Because I’ve had to listen to her talk. Not only is Ms. Larson a moron, she is a racist misandrist too.

Ms. Larson earns her all-star status this year for being a shameless hypocrite who demands inclusion but only judges people by their race and gender. For instance, this year Ms. Larson proclaimed, “I do not need a 40-year-old white dude to tell me what didn’t work for him about A Wrinkle in Time. It wasn’t made for him. I want to know what it meant to women of color, to biracial women, to teen women of color, to teens that are biracial.”

Great…I agree with Ms. Larson because I do not want to hear what a white braud has to say about superhero movies, or Scorsese or PT Anderson or Kubrick or Kurosawa or any other great filmmaker’s work because that work wasn’t made for them. And if Ms. Larson is so interested in diversity and inclusion, why is she playing Captain Marvel, and not a “women of color, or a biracial women”?

How about this Brie Larson…why don’t you judge people on the content of their work instead of the color of their skin or their gender? And if you cannot do that, if you cannot help yourself from labeling everyone by the identity that you deem to give them, then why don’t you just shut the fuck up and go away because you are a shameless hypocrite and an intellectual dwarf.

And thus concludes another Slip-Me-A-Mickey™® awards. If you are one of the people who “won” this year I ask you to please not to take it personally and also to try and do better next year….because remember…this years Slip-Me-A-Mickey™® award winner could be next year’s Mickey™® Award winner!!

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©2019

5th Annual Mickey™® Awards: 2018 Edition

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Estimated Reading Time: The Mickey™® Awards are much more presitigious than the Oscars, and unlike our lesser crosstown rival, we here at The Mickeys™® do not limit acceptance speech times. There will be no classless playing off by the orchestra here…mostly because we don’t have an orchestra. Regardless… expect this awards show article to last at a minimum approximately 5 hours and 48 minutes.

The ultimate awards show is upon us…are you ready? The Mickeys™® are far superior to every other award imaginable…be it the Oscar, the Emmy, the Tony, the Grammy, the Pulitzer or even the Nobel. The Mickey™® is the mountaintop of not just artistic but human achievement, which is why they always take place AFTER the Oscars!

This year has been an erratic one for cinema, but with that said there are still a multitude of outstanding films eligible for a Mickey™® award. Actors, actresses, writers, cinematographers and directors are all sweating and squirming right now in anticipation of the Mickey™® nominations and winners. Remember, even a coveted Mickey™® nomination is a career and life changing event.

Before we get to what everyone is here for…a quick rundown of the rules and regulations of The Mickeys™®. The Mickeys™® are selected by me. I am judge, jury and executioner. The only films eligible are films I have actually seen, be it in the theatre, via screener, cable, Netflix or VOD. I do not see every film because as we all know, the overwhelming majority of films are God-awful, and I am a working man so I must be pretty selective. So that means that just getting me to actually watch your movie is a tremendous accomplishment in and of itself…never mind being nominated or winning!

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The Prizes!! The winners of The Mickey™® award will receive one acting coaching session with me FOR FREE!!! Yes…you read that right…FOR FREE!! Non-acting category winners receive a free lunch* with me at Fatburger (*lunch is considered one "sandwich" item, one order of small fries, you aren't actors so I know you can eat carbs, and one beverage….yes, your beverage can be a shake, you fat bastards). Actors who win and don't want an acting coaching session but would prefer the lunch…can still go straight to hell…but I am legally obligated to inform you that, yes, there WILL BE SUBSTITUTIONS allowed with The Mickey™® Awards prizes. If you want to go to lunch I will gladly pay for your meal…and the sterling conversation will be entirely free of charge.

Enough with the formalities…let's start the festivities!!

Is everybody in? Is everybody in? The ceremony is about to begin...

Ladies and gentlemen…welcome to the fifth annual Mickey™® Awards!!!

BEST CINEMATOGRAPHY

Cold War - Lukasz Zal: Zal’s masterful use of a black and white with sharp contrast and his at times eye-popping framing make for exquisite visuals in Cold War that help to propel the narrative and tell the story in theri own right.

Roma - Alfonso Cuaron: Cuaron’s virtuoso camera work in Roma, which includes dazzling camera movements and remarkable framing, is a master class in the art. Any single frame from this movie could hang in a photography exhibit in any of the great museums of the world.

The Favourite - Robbie Ryan: Ryan deftly uses light and darkness, especially with candles, to illuminate the dramatic sub-text in The Favourite.

If Beale Street Could Talk - James Laxton: Laxton paints this film with a striking and lush palette in this film that is gorgeous to behold.

Widows - Sean Bobbitt : Bobbitt’s framing, particularly his use of mirrors, is simply stunning and elevates this rather sub-par material.

First Man - Linus Sandgren: Sandgren’s ability to contrast the claustrophobia of space travel to the vast expanse of the moon is breathtaking and aids in giving this film a visceral element.

You Were Never Really Here - Thomas Townend: Townend’s wondrous cinematography amplifies the fever dream feeling that envelops this entire film.

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And The Mickey Goes To….ROMA - ALFONSO CUARON - This was an absolutely stacked category this year but Cuaron’s masterful work on Roma takes the award. Cuaron's cinematography on this film is stunning as he pulls off numerous, extremely difficult maneuvers with an ease and subtlety that is staggering to behold. Is Cuaron winning a Cinematography Oscar this year a big deal? Yes it is. Is Cuaron winning The Mickey™® Award for best Cinematography a bigger deal? You bet your ass it is.


BEST ADAPTED SCREENPLAY

First Man : A film more about grief than space travel, this script is able to take an expansive and historical subject and reduce it into a viscerally intimate and personal film.

The Sisters Brothers : An extremely well-written narrative filled with deep symbolism and genuine humanity that turns the western genre on its head.

Leave No Trace : This script perfectly captures the powerful relationship of a young girl coming of age with a damaged father, and never falls into the trap of sentimentality or caricature.

You Were Never Really Here: Intense and disturbing, this script grabs you and pulls you into its protagonist’s tortured mind and soul and never lets you go, even when you want it to.

The Death of Stalin: An uproariously funny script that is masterfully paced and wondrously smart.

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AND THE MICKEY GOES TO…YOU WERE NEVER REALLY HERE - Lynne Ramsay’s script drags us kicking and screaming into the mind of her kicking and screaming main character, Joe, and never lets us leave. A wonderfully woven nightmare of a movie that is both grotesque and gripping. Lynne Ramsay is now among the best of the best having won a Mickey™® Award.

BEST ORIGINAL SCREENPLAY

Cold War: A narrative that stretches over decades and vast swaths of Europe but with an immediate pace that never loses its sense of intimacy.

Roma: A story of a simple woman that is anything but simple. Riddled with rich symbolism and moments of magical realism, Roma is a magnificent script.

The Favourite: Darkly funny and deeply insightful, The Favourite never fails to shock, compel or intrigue.

The Quiet Place: A fascinating story that transcends genre and speaks to the larger issues of our time without ever losing its horrifyingly entertaining value.

First Reformed: An extraordinary script that seriously grapples with matters of faith, theology, philosophy and eco-politics while also being a poignant and exacting character study.

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AND THE MICKEY GOES TO…ROMA - Alfonso Cuaron masterfully weaves a precise and detailed story of harsh realism with mysticism in this slice of life/family drama that never fails to compel. Cuaron has already won more Mickeys™® in this ceremony than other mere mortals could dream of winning in their entire lives.

BEST SUPPORTING ACTRESS

Amy Adams - Vice: Amy Adams is stunning as Lynne Cheney, the Lady MacBeth who is the straw that stirs the drink of Darth Cheney’s nefarious political career. This is the very best work of Ms. Adam’s stellar career.

Sakuro Ando - Shoplifters: Ando gives a mesmerizing performance as the de facto mother of this rag tag family trying to make ends meet under the oppressive boot of capitalism. A powerful yet delicate performance that is simply wondrous.

Emma Stone - The Favourite: Stone gives a delicious performance as the ambitious social climber who will do whatever it takes to survive and thrive in Queen Anne’s court. A sexy, funny and compelling piece of work.

Emily Blunt - A Quiet Place: Best Actress Mickey Award winner (for Sicario) Emily Blunt proves once again that she is not just a movie star/pretty face, but one of the very best actresses working in film today. A kinetic, immediate and stunning performance.

Claire Foy - First Man: Foy imbues her character with a frenetic and unrelenting power that bubbles just beneath her calm facade. When that power boils to the surface it brings with it a magnetic intentionality that is palpable and mesmerizing.

Rachel Weisz - The Favourite: Weisz’s use of physicality to convey her character’s intellectual and political prowess is a master class in posture and stance and is something actors should study and steal from.

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AND THE MICKEY GOES TO…AMY ADAMS - VICE : Adams’ very first scene in Vice is the best acting I have seen by an actress on film this year. Adams’ Lynne Cheney is a force of nature and when unleashed is a sight to behold. Adams’ Lynne has an insatiable hunger for power and an arrogant streak that drives the film even if it is from the backseat. Amy Adams is a hugely rich and famous movie star, but it wasn’t until now, when she won her first Mickey™® Award, that she finally “made it”. Congratulations m’lady!

BEST SUPPORTING ACTOR

Ben Foster - Leave No Trace: Foster is one of the great under rated talents of his generation and in Leave No Trace he gives yet another magnetic performance by imbuing his character with a palpable wound that torments and propels him to seek solace from it.

Sam Rockwell - Vice: Rockwell gives a delicious performance as Dubya, never falling into imitation or caricature, Rockwell turns Bush into a genuine yet damaged human being that is always compelling to watch and often times hysterically funny.

Thomas Hoult - The Favourite: In lesser hands, Hoult’s character in The Favourite, a sharp tongued and sharp elbowed dandy who plays to win the game of palace intrigue, would have been reduced to a punch line, but Hoult turns him into a dynamic presence that elevates the film considerably.

Joaquin Phoenix - The Sisters Brothers: Phoenix’s tortured character is a combustible mess who never fails to make the wrong decisions for the wrong reasons but also never fails to be a compelling, unsettling and dynamic screen presence.

Jonah Hill - Don’t Worry He Won’t Get Far on Foot: Hill creates an intriguing character in this film who is both a self-help bullshitter and a complicated and real human being. A subtle and finely crafted piece of acting that is a testament to Jonah Hill’s skill and commitment.

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AND THE MICKEY GOES TO…BEN FOSTER - LEAVE NO TRACE: This is Ben Foster’s second Mickey nomination (Best Supporting Actor Hell or High Water) and first win. Foster has been known to be a rather explosive actor in the past and often thrives in roles where he is combustible, but in Leave No Trace he eschews his usual pyrotechnics for a more subdued, more nuanced and more subtle approach. Foster’s Will is an explosive character, but Foster takes all of that combustibility and stuffs it into a little furnace inside him. The furnace gets hot and even feels like it could explode, but Will fights to keep it contained and it is this struggle which makes for such a compelling and satisfying performance from Ben Foster…who rightly takes his place among the best actors of his generation with this Mickey™® award win.

BREAKOUT PERFORMANCE OF THE YEAR

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Thomasin McKenzie - Thomasin McKenzie is so great in Leave No Trace it is miraculous. She masterfully brings to life a teenage girl struggling to make sense of her ever changing world and also her damaged father. A deft and subtle performance, highlighted by her ability to have the impulse to cry but the skill to not let herself, McKenzie proves her worth as a vibrant and compelling actress in Leave No Trace. Much like Jennifer Lawrence, who starred in director Debra Granik’s previous film Winter’s Bone, which launched her career, McKenzie has an undeniable screen presence and a surprising level and command of craft for such a young actress. I look forward to seeing what her very bright future holds.

BEST ACTOR

Christian Bale - VIce: Bale proves he is one of the very best actors working in film with his remarkable transformation into Dick Cheney. A master of physicality, Bale also is able to fill Cheney’s silences with a palpable intentionality that gives even the quietest scenes an unsettling air of menace.

John C. Reilly - The Sisters Brothers: Reilly gives the very best performance of his versatile and stellar career as the older and more sensitive of the Sisters brothers. Reilly’s well-crafted and nuanced work never falls into the trap of sentimentality and is a testament to his great talent.

Joaquin Phoenix - You Were Never Really Here: Joaquin Phoenix is may be the best actor on the planet right now and his volatile, magnetic and dynamic performance in You Were Never Really here stands as a monument to his towering talent and his mastery of craft. Phoenix creates an unsettling character suffering a Sisyphean wound that eats at his soul but never contaminates his pure heart.

Tomasz Kot - Cold War: Kot masterfully portrays a man who seems above the fray of life and then adeptly shows his unraveling and descent at the hands of love. A compelling and finely crafted piece of work that highlights Kot as both a movie star and a sublime actor.

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AND THE MICKEY GOES TO…JOAQUIN PHOENIX - YOU WERE NEVER REALLY HERE: This is Joaquin Phoenix’s second nomination (Best Actor Inherent Vice) and first win. Joaquin Phoenix may be the very best actor working in film today. Phoenix is blessed with an undeniable talent and an interesting look, but what makes him so potent as an actor is his mastery of craft and exquisite skill. Phoenix never half-asses his way through a role, always committing fully to whatever is demanded. Phoenix’s work in You Were Never Really Here is as unnerving as it is glorious, as it reveals the tormented soul of a man on the edge and falling off of it. For this hypnotic and mesmerizing piece of work Joaquin Phoenix rightly takes his place atop the acting world with his much deserved Mickey™® Award.

BEST ACTRESS

Joanna Kulig - Cold War: Kulig gives an electrifying and explosive performance as an alluring Polish songstress. Kulig is like a Polish Jennifer Lawrence, charming, sexy and beguiling with a dash of danger sprinkled in. A truly mesmerizing performance.

Yalitza Aparicio - Vice: Aparicio makes her debut in Roma and could not have been better. Entirely genuine, present and grounded, Aparicio makes us feel as if she isn’t acting at all, but those of us in the know realize she is doing incredible and complicated work.

Olivia Colman - The Favourite: A deliriously delicious performance that is both funny and poignant. Colman won an Oscar for her dazzling work in the film, but being nominated for a Mickey trumps winning an Oscar…this is a fact.

Thomasin McKenzie - Leave No Trace: The winner of the presitgious Breakthrough award, McKenzie is one to watch as her work in Leave No Trace proves. A finely crafted and intricate performance that shows an actress with a refined skill set and in command of her craft.

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AND THE MICKEY GOES TO…JOANNA KULIG - COLD WAR: This is Joanna Kulig’s first nomination and first win. Joanna Kulig is an intoxicating screen presence in Cold War and she expertly makes the audience fall in love with her even while keeping them at an arm’s length. This performance is so dynamic as to be glorious and is a pure joy to watch even when things take a darker turn. Masterfully crafted and palpably brought to life, Joanna Kulig’s work in Cold War gives her the highest honor an actress can ever receive…The Mickey™® Award.

BEST ENSEMBLE

Vice: Christian Bale and Amy Adams give career best performances in this uneven film and are joined in their sublime acting by Sam Rockwell and even Steve Carrell. Across the board this film is blessed with top-notch talent doing high level work.

The Favourite: A cornucopia of delectable performances make The Favorite a delicious joy to behold. Boasting four Mickey™® acting nominees, The Favourite is an actor’s delight.

The Death of Stalin: A cavalcade of talent lends their skill to this phenomenal dark comedy. Steve Buscemi, Simon Russell Beale, Jason Isaacs, Andrea Riseborough and Jeffery Tambor are among the multitude of actors who shine in this movie. A very skilled and very deep cast.

The Sister Brothers: The four actors in this film, John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal and Riz Ahmed all give nuanced, layered and standout performances in this alt-western gem. Reilly and Phoenix in particular have a crackling chemistry that is a pure pleasure to watch.

Shoplifters: A wonderful cast which includes Mickey™® nominee Sanduro Ando, Lily Franky, Mayu Matsuoka and the late Kirin Kiki. All of the actors in this film, including the child actors, do tremendous and very complex work.

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AND THE MICKEY GOES TO…THE FAVOURITE - Olivia Colman, Emma Stone, Rachel Weisz and Nicholas Hoult give stellar performances in The Favourite that are intoxicatingly funny and layered. When you put a collection of talent this strong with a director of such vision, great things happen…like winning a Best Ensemble Mickey™® Award!! I am truly looking forward to this cast claiming their award and joining me for a feast fit for a Queen at Fatburger!

BEST DIRECTOR

Pawel Pawlikowski - Cold War: A stunning piece of film making that is concise, precise and beautiful. An achingly beautiful yet complicated love story set in the shadow of European history that never takes a misstep.

Alfonso Cuaron - Roma: Cuaron’s masterpiece is a piece of virtuoso film making that is undeniably compelling and viscerally heartbreaking. At once a beautifully shot piece of magical realism as well as an earnestly told and acted slice of life. A simply stunning and unforgettable piece of work.

Hirokazu Koreada - Shoplifters: A finely crafted film that never lets you go and haunts you for weeks after seeing. An exceedingly well directed film that boasts top notch performances from a big cast of actors.

Lynne Ramsay - You Were never Really Here: This film is a disturbing and unrelenting fever dream and character study that draws you in and refuses to let you go. Both visually and dramatically dynamic, this movie is a testament to Lynne Ramsay’s talent and vision.

Yorgos Lanthimos - The Favourite: Lanthimos has been nominated twice before for a Mickey™® and is proving himself as one of the great and original filmmakers of our time. The Favourite is proof of Lanthimos’ great ability and intriguing style.

Debra Granik - Leave No Trace: Granik is one of those understated directors that often gets overlooked. She has the increasingly rare skill of coaxing terrific performances from actors without surrounding them with cinematic pyrotechnics. A highly skilled, old school director who puts character and drama before spectacle.

AND THE MICKEY GOES TO…ALFONSO CUARON - ROMA: This is a loaded category but Cuaron has made a personal film that is universal in its beauty and insight. A gorgeous movie to look at and a heart breakingly human story make for a glorious piece of cinema. Cuaron has established himself as the auteur of our times with this masterpiece and with his unprecedented 3 Mickey™® Awards tonight!

ACTOR/ACTRESS OF THE YEAR - JOAQUIN PHOENIX

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Joaquin Phoenix gives three stellar performances this year in the films You Were Never Really Here, He Won’t Get Far on Foot and The Sisters Brothers. All of these performances were intricate, delicate, dynamic and magnetic and show him to be a master craftsman as well as a transcendent artist. Few actors have ever churned out three performances of this caliber in their career, never mind in one year…and it is for this reason that Mr. Joaquin Phoenix wins the prestigious, and first ever, Actor/Actress of the year Mickey™® Award.

BEST COMEDY OF THE YEAR - TIE BETWEEN THE FAVOURITE & THE DEATH OF STALIN

Two dark and exceedingly hilarious films, that boast rapturously glorious and deep casts, and speak volumes about the corrupting influence of power in history and today. In dark times, these two films bless us with their morbid but enlightening humor mixed with drama that make for spectacular cinema.

BEST BLOCKBUSTER OF THE YEAR - A QUIET PLACE

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A Quiet Place came out of nowhere to dominate the box office and to open my eyes. Who knew that Jim from The Office, otherwise known as John Krasinski, could be such a great writer, director and leading man? A Quiet Place isn’t just a fantastically well-made, finely-crafted, heart pounding and stomach churning horror/thriller, it is also an insightful commentary on our current culture. A remarkable and entertaining film that is both scary and smart and that beat out other blockbusters like Avengers: Infinity War, Deadpool 2 and Ready Player One, who all won the box office battle but lost the prestige war to A Quiet Place, the first ever Mickey™® Blockbuster of the Year award winner.

BEST PICTURE

10. HAPPY AS LAZZARRO - A magical movie that uses the mystical to peal back the scab of capitalism and exposes the gangrenous wound festering underneath.

9. LEAVE NO TRACE - This film poignantly reveals that genuine masculinity is dying in America. Subtly directed and marvelously acted, Leave No Trace is an understated gem.

8. A QUIET PLACE - A shockingly good movie that is extremely well-crafted. This movie was so well-made I exhaled a breath of relief when it was over…and I wasn’t even consciously aware I had been partially holding my breath the whole time.

7. THE DEATH OF STALIN - A masterful comedy with an exquisite cast that is perfectly paced and precisely acted.

6. THE SISTERS BROTHERS - A film that challenges conventions and overturns genres, The Sisters Brothers was an overlooked piece of gold.

5. SHOPLIFTERS - This movie is haunting as it stayed with me for weeks after seeing it. An insightful that challenges us to question what we think we know about our world and ourselves.

4. THE FAVOURITE - A top notch cast and a daring director combine to make a rabidly funny mediation on the intoxicating and corrupting sway of power.

3. COLD WAR - A gloriously shot, extremely well-acted and well-directed film that is so mesmerizing as to be hypnotic.

2. YOU WERE NEVER REALLY HERE - This film is an electrifying and pulsating fever dream of a movie that transports us into its lead character twisted mind and never lets us go. A masterfully directed and acted film that shows the moral decay on the soul of America.

1. ROMA - A true masterpiece, impeccably shot and directed. Alfonso Cuaron brings his artistic vision to life with such originality and technical skill that it is a marvel to behold. Cuaron has a lot of Fatburger meals waiting for him after winning an unprecedented FOUR Mickey™® Awards tonight!

MOST IMPORTANT FILM OF THE YEAR - THE FAVOURITE, VICE, THE DEATH OF STALIN AND YOU WERE NEVER REALLY HERE

What could these four seemingly disparate films have in common that could make them the most important films of the year? The answer is that they are all meditations or contemplations on corruption.

In The Favourite and The Death of Stalin we see those who get closer to power losing their minds and distorting or ignoring reality just to stay in close proximity to power. If this doesn’t reflect the current state of Washington and the establishment media, nothing does.

In Vice we see the full arc of corruption when the same type of sycophants on display in The Favourite and The Death of Stalin finally finagle their way into the top spot and unleash their power on to innocents across the globe.

And in You Were Never Really Here we see the how the moral and ethical cancer that infects those in the power structure, compels the ruling elite to seek out the innocent in order to satiate their depraved desires and pass on their sickness by devouring the purity of the next generation.

All fo these films high mirror back to us the sickened world in which we live. As far fetched as the narrative in You Were Never Really Here may seem, a cursory glance at the news will reveal that it is not as fictional as we would like to believe. Whether it be the Catholic church and its never ending sex abuse scandals or Bryan Singer and the pervasive pedophilia in Hollywood or Jeffrey Epstein and his Lolita Express that exposes Washington’s elite sexual abuse of young people, this issue is very very real.

These stories are not the whole ugly truth, they are but the tip of a repulsive iceberg. If you think the Catholic church is the only institution to sexually prey upon young people, you are a fool. If you think Bryan Singer is the only Hollywood power player to systematically sexually exploit young people, you’re an even bigger fool. And if you think the Lolita Express is the last word on Washington depravity, you are the biggest fool of all.

The moral and ethical corruption on display in these films and in these scandals are epidemic in American culture. Corruption doesn’t just infect institutions but also individuals. When the powerfully depraved and the depraved powerful control the levers of power then truth gets perverted and reality itself comes under assault….this is America in 2019.

The Favourite, The Death of Stalin, Vice and You Were Never Really Here shows us that the corrupting influence of power has made the world mad (crazy), which in turn has made the world mad (angry). This anger and this madness combine to create an unstoppable force, a vortex of spiritual, mental, emotional and political insanity, that will eventually gather more and more momentum until it destroys absolutely everything in its path.

We aren’t at this tipping point just yet…the despicable Dick Cheney is still allowed to live free and walk the streets of America without fear of someone bludgeoning his brains out with a hammer. Donald Trump, the Queen Anne of our times, still skates through life without a care. Mitch McConnell, Nancy Pelosi and Chuck Schumer, act like a modern-day version of Beria, Khrushchev and Melenkov as scramble to hold up the illusion of democracy in the wake of America’s death, all while feeding at the corporate trough like the insatiable pigs that they are.

That said, it does become clearer and clearer as every moment passes that this shit house is a tinder box that is going to go up flames. So the time is fast approaching when we will have to grab our ball peen hammers and get to work...the ruling elite are a target rich environment…we will have a lot of smashing to do.

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On that upbeat note…WHO’S READY FOR SOME FATBURGER!!

And thus we conclude our 5th annual Mickey Awards™®!!! Thank you for reading. I appreciate all my readers, their support and openness to debate and discussion!! We’ll see you next year at The Mickeys™®!!

And tune in later this week for the shadow of The Mickey™®, the Slip-Me-A-Mickey™® awards!!

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©2019

Post Oscar Musings

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Estimated Reading Time: 5 minutes 47 seconds

The Oscars are over and it was a bit of a surprising night. Yes, Green Book won in an upset and Olivia Colman shocked the world by beating out Glenn Close for Best Actress, but the biggest shock of the night was that my Oscar picks were so dreadful (15 out of 24). But in a striking sign that this years award’s were so incoherent was that even with my awful picks I still won my Oscar pool…again…which in the big picture is really all that matters.

In terms of the Oscar show, I have to say the lack of a host was perfectly fine with me. Not having to suffer through some hackneyed bit or contrived comedy made the evening much more bearable. Some of the presenters were mildly amusing, some were not. Some of the winners had decent speeches, some of them not. Melissa McCarthy was funny, Awkwafina was not. Mahershala Ali’s speech was good, Spike Lee’s was not.

The trio who won Best Hair and Makeup and tried to choreograph their shared speech were an embarrassment to humanity. This speech made me want to have a new rule at Oscars going forward…whoever gives the worst speech of the night is executed live on stage at the end of the show. This would accomplish two things, first it would make people really prepare a speech and practice it so they don’t mess it up, and secondly the ratings for the show would go through the roof because America likes nothing more than competition and violence.

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I dvr’d the show and watched it later sans commercials and it still felt oppressively long. My solution to the Oscar show problem is to declare that there is no problem. The show is once a year and if it runs long who cares? Also, the Academy is concerned about dropping ratings, well, tough luck, ratings across the board are down. People simply don’t watch anything for more than 30 minute intervals at the most anymore.

That said, if you want to cut time off the show you could drop the short film categories and put them at the technical Oscar awards that are held at another time. I think the show should focus more on the craft of filmmaking and less on celebrity, which puts me in a very miniscule minority, so I don’t want the show to jettison the technical and behind the camera awards like editing or cinematography or even hair and makeup. But not televising the short film awards seems alright even to a cinephile like me.

Another thing would be to cut the musical numbers…or at least some of them. I know some dopes loved the Lady Gaga/Bradley Cooper song last night, but good lord I thought it was just awful. And I did not need to see Jennifer Hudson and Bette Midler of all people sing totally forgettable songs. If you cut the song performances down to two you cut approximately 15 minutes off the show. Non-problem problem solved.

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As for the actual awards, the thing that sticks out to me is that Green Book winning Best Picture is a perfect encapsulation of the shit show that is our culture. Green Book is a good movie, it isn’t a great movie, but that said there was only one great movie nominated this year and that was Roma. Green Book is better than Bohemian Rhapsody, Vice and Black Panther but it definitely wasn’t better than Roma (or The Favourite). Green Book is a finely crafted, well acted and well-made film, it just isn’t an artistically made film. Roma is both an exceedingly well made film and an artistic vision made manifest.

Roma is a complicated potential Best Picture winner though because it is a Foreign Film, which have never won Best Picture, it is a black and white film, and it is a Netflix film, which makes it controversial in the movie industry that hasn’t quite come to grips with Netflix. For these reasons, Roma losing is at least understandable according to industry logic. I loved Roma with a passion, but I don’t think that the voters who chose Green Book over Roma did so because they hate Mexicans…I think they have their reasons that makes sense even if I disagree with them.

Unlike me, the elite pundit class is less nuanced in their feelings about Green Book’s win. The LA Times declared in its headline this morning that Green Book is the worst Best Picture winner of the last decade…and equal in its awfulness to Crash, which is the meanest thing you can say to a Best Picture winner.

The other and more insidious talking point making the rounds is that Green Book won because older White male voters in the Academy are racist. The reasoning behind this is that Green Book, because it is a story about racism told from a White man’s perspective and allegedly propagates the “White savior complex”, is “regressive” on race issues and anyone who likes it is racist. Therefore, Green Book winning Best Picture means that the Academy is racist.

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Of course, what this talking point fails to take into account is that the same allegedly racist Academy nominated BlacKkKlansman and Black Panther for Best Picture (and gave Best Picture to Moonlight 3 years ago), gave awards to people of color in 3 of the 4 acting awards, and gave awards to minorities in Adapted Screenplay, Director and Cinematography. The “Oscars Are Racist” people seem to think that these “good” outcomes only happened because of the non-old White Male voters and that the “bad” outcome of Green Book winning happened only because of the old White male voters.

This sort of twisted illogic, which is simply a short cut to thinking, is similar to the politics of declaring America a racist cesspool after electing a Black man as president in two straight elections. After Obama’s eight years in office, the cries of racism following Trump’s win were still deafening, with many saying bluntly that anyone who voted for Trump was a deplorable racist, even those who had voted for Obama in the previous two elections. This goalpost moving by the super woke in our culture does little more than lead people to throw up their hands and tune out any discussion related to race in America.

The New York Times ran an op-ed by philosopher Crispin Sartwell on Monday titled, “The Oscars and the Illusion of Perfect Representation” that made similar arguments to what I have been writing for the last few years, and that is using awards shows as a referendum on racial equality is a fool’s errand that actually undermines the genuine struggle for racial equality in America.

Mr. Sartwell makes the case that the issue of “representation” in films is a band-aid on a bullet wound that is little more than a distraction.

“Whatever the Grammys or Oscars looks like in the long run will have little actual impact on social justice. Perhaps, over all, the emphasis on what sort of person is on television has been a distraction from much more urgent matters. Imagine an America that gets the awards shows exactly right but in which, for example, mass incarceration or the internment of asylum seekers just ticks right along, or in which income inequality grows or residential segregation remains unchanged. It’s easy if you try: That’s liable to be the reality of 2020. And 2030, and beyond.”

As I have written in the past, my addition to Mr. Sartwell’s criticism is that not only are the award show representation battles a distraction but they actively undermine legitimate issues because award show “under-representation” is a myth that is provably false. When liberals decide to die on the hill of awards show representation they are not only striking a blow against their cause elsewhere but also fighting for an observable lie, thus decimating their credibility on other more important issues.

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I find these race based awards arguments to be so frivolous as to be absurd but I readily admit this sort of nonsense is going to get much much worse before it ever gets better, if it ever gets better. Major awards shows like the Grammys and Oscars have already been reduced to mostly affirmative action/quota competitions that have very little at all to do with merit and everything to do with virtue signaling.

As for as Green Book being a racist film, this carries with it a very uncomfortable side effect, namely that those calling Green Book racist are in essence calling the Black people associated with the film, like its star, Mahershela Ali (who won his second Supporting Actor Oscar last night), its producer, Octavia Spencer, and Congressman and Civil Rights icon John Lewis, who passionately introduced and advocated for the film, Uncle Toms.

This is the problem that arises in woke culture, no one is ever pure enough, and the White people who are calling Green Book racist are actually calling the Black people associated with the film self-loathing racists as well.

Green Book is considered racist mostly because it is a story about racism told from the perspective of a White man. I also find this argument specious at best, for as Hall of Fame basketball player and extremely insightful cultural critic Kareem Abdul-Jabbar so astutely noted in his defense of the film in the Hollywood Reporter,

“The film is much more effective from Tony’s point of view because the audience that might be most changed by watching it is the White audience.”

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To Green Book’s credit, it at the very least attempts to try and grapple with racism, and yet just by taking on that issue from a White perspective is declared “not woke enough” by the woke gatekeepers who then quickly label anyone who likes it irredeemably racist. What woke culture tends to forget is the obvious, that America is a majority White country, and if you want to reach as large an audience as possible, connecting to that White majority through perspective is a rational maneuver for a film maker.

There is some talk that Green Book’s win is a result of a backlash against the backlash to the film. This makes total sense to me. Green Book was singled out as this “unwoke” abomination and I think voters who liked it simply kept their feelings to themselves and may have ended up voting for it out of spite just as a way to tell the politically correct brigade to fuck off. I understand the sentiments.

As I am fond of saying, “wokeness kills art”, and eventually it will kill commerce too, which is when Hollywood will really see a backlash to the backlash. In our current “woke” moment no one is ever woke enough, and so minorities winning 3 of the 4 acting awards and a plethora of the other prestigious awards is not enough, and Green Book winning is an apostasy because it doesn’t fit entirely into current rigid racial orthodoxy and sensitivities.

In my review for Green Book I said that if it came out twenty years ago it was a shoe in for Best Picture, but that it stood no chance nowadays. Obviously I was wrong, and in my defense the reason I was wrong is that I constantly under estimate my fellow man and woman. In the case of Green Book winning over Roma, I was wrong in thinking that Green Book had no chance, but right in underestimating the people in the Academy, who failed to give Roma Best Picture, not because they are racists, but because they have simple tastes.

©2019

91st Academy Awards: The 2019 Oscars Prediction Post

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Estimated Reading Time: Just Like the Oscar Ceremony this article will last 4 hours and 38 minutes

As every sentient being on the earth, in the solar system, in the galaxy and in the universe knows, this Sunday night is the biggest night in the history of history. Yes, Oscar night is upon us. Ever since a loathsome but determined little creature crawled out of the primordial ooze, that creature has been making its way to this Sunday night, which will be, after billions of years of evolution, symbolic of the apex in human development. When most impossibly beautiful people gather to congratulate one another for their superiority, be it artistic, moral or both, mankind will officially have made the Kubrickian leap from fighting monkeys to star children.

The Academy of Motion Pictures Arts and Sciences is my church, movies are my religion and the Oscars my high holy days. I have been fasting and meditating for months to prepare for this most sacred of nights…and to hopefully fit into my gown by Karl Lagerfeld (RIP)!!

This has been an awful year for Hollywood movies and I have to admit that this years Oscars are particularly difficult to predict. Since the “New Academy”, formed in the wake of the ridiculous #OscarsSoWhite controversy three years ago, I have yet to figure out with any confidence or certainty how these new members and the old guard come together to form some sort of consensus. Obviously identity politics, diversity and inclusion are important issues to the new members…but how important? And how much has the old guard either embraced these issues out of solidarity or rejected them out of resistance? The answer of course is…I have no idea.

But will my ignorance stop me from making not just humble predictions but bold and assertive declarations of my Oscar picks? No. No it won’t. As long time readers can attest, not having a clue on a subject has never, ever stopped me from loudly pontificating my less than useful opinion…and that is most definitely true when it comes to the Oscars.

So with that in mind…light some incense, spike the holy water and buckle up because the most holy and most sacred Oscars are here. Like the Israelites in Moses’ absence, we must worship the golden calf of the Oscar statuette, for it may bring us salvation!! But please keep in mind that since the Oscars are a religious holiday…please no wagering.

So here are my picks for the 91st Academy Awards…

BEST SUPPORTING ACTRESS

Amy Adams - Vice : Amy Adams has had a great career garnering 6 Oscar nominations. Adams’ portrayal of Lynne Cheney is the best performance of her stellar career, which is saying a lot.

Marina de Tavira - Roma : I loved Roma…but I have no idea why Marina de Tavira is nominated. Her role is so small and unremarkable that I am entirely baffled as to why she is here.

Regina King - If Beale Street Could Talk : Regina King is a fine actress but If Beale Street Could Talk is not a fine film and her work in it is just as underwhelming as the movie.

Emma Stone - The Favourite : The Favourite is proof that Emma Stone keeps getting better and better with each year. Stone’s manipulative social climber is a finely-tuned, sexy and charismatic performance that is a testament to her skill and talent.

Rachel Weisz - The Favourite : Weisz’s immovable object meeting Stone’s irressistable force makes The Favourite one of my favorites. Weisz’s masterful use of physicality in this role is something that actors should study closely.

Who Should Win - Amy Adams : Amy Adams first scene in Vice is so good as to be delicious and sets the stage for her powerhouse performance. Adams deftly turns Lynne Cheney into a formidable Lady MacBeth that is the straw that stirs the drink of Darth Cheney’s career. A truly great performance from one of the best actresses working in film today.

HANDICAPPING THE NEW ACADEMY : The Academy’s push for diversity clearly gives the edge here to Regina King over Marina de Tavira because for some reason diversity, at least in the eyes of the New Academy, only relates to Black people.

WHO WILL WIN - Regina King : King’s work is strikingly inferior when compared to Adams, Stone and Weisz, but she will walk away with the Oscar due to the Academy’s yearning to be “inclusive” and to quell any charges similar to the #OscarsSoWhite nonsense from a few years back.

BEST SUPPORTING ACTOR

Mahershala Ali - Green Book : Ali does strong work as Dr. Don Shirley, the Black, gay, effete (and upper class) pianist struggling to survive in a decidedly hostile 1960’s world. Ali makes Shirley a genuine human being and uses his formidable skill to masterfully avoid falling into the easy trap of caricature.

Adam Driver - BlackKklansman : Adam Driver is…fine…in Spike Lee’s racial drama set in 1970’s Colorado. I didn’t think the performance was Oscar worthy…but what the hell do I know. It isn’t awful…but it isn’t great either. To be fair, I am entirely baffled as to why Adam Driver is a thing…I just don’t get it.

Sam Elliott - A Star is Born : I think you have to love Sam Elliot to love A Star is Born or love A Star is Born to love Sam Elliot. I love neither.

Richard E. Grant - Can You Ever Forgive Me: This is not a great movie…but Richard E. Grant is great in it. Grant turns what could have been a stereotype into a fascinating, frustrating and engaging character that captivates every second of his screen time.

Sam Rockwell - Vice : Rockwell gives his dim bulb character George W. Bush a desperate yearning for acceptance and respect that is genuine and compelling and shows an exquisite command of craft in avoiding the pitfall of imitation.

WHO SHOULD WIN - Mahershala Ali/Richard E. Grant - Both men give stand out performances that highlight their mastery of craft and undeniable talent. A win for either will not garner complaints from me.

HANDICAPPING THE NEW ACADEMY - The New Academy will want to reward Ali, who won the award just two years ago for his work in Moonlight, for no other reason than he is African-American in order to satiate the knee-jerk #OscarsSoWhite criticisms. That said, Ali’s award for Moonlight could actually hurt him this year as the Academy may feel they don’t NEED to award him since he already has one.

WHO WILL WIN - Richard E. Grant : Mahershala Ali has won all the preceding awards and is the favorite, but I am sensing that this will be the first upset/surprise of the evening. Grant has been on a charm offensive recently and with my ear to the ground I am picking up a great deal of support for him. Another factor helping Grant is that Mahershala Ali won the award two years ago and the actor’s actor, Grant, has never won it.

ORIGINAL SCREENPLAY

The Favourite - Deborah Davis and Tony McNamara : A tight and smart script that plumbs the depths of palace intrigue to create a darkly funny and insightful story. The dialogue is exceedingly smart, funny and crisp.

First Reformed - Paul Schrader : Paul Schrader is one of the great screenwriters in Hollywood history, having written both Taxi Driver and Raging Bull. First Reformed is a better script than it is a movie, which is both an indictment of Schrader’s directing and an endorsement of his writing.

Green Book - Nick Vallelonga and Peter Farrelly: This average script was elevated by Farrelly’s skilled direction, and with the addition of the controversy surrounding the writers, I don’t think it will win. If it does…this is going to be a very interesting Oscars indeed…and a very controversial one too.

Roma - Alfonso Cuaron : A phenomenal script in terms of the themes it tackles and the scope of its narrative. Cuaron’s singular vision starts with his script and this one is chock full of magical realism mixed with working class reality. A truly terrific piece of screenwriting.

Vice - Adam McKay : I felt this script bit off more than it could chew, lacked focus and was structurally flawed. Definitely could have used a few more re-writes and edits to fine tune the whole thing.

WHO SHOULD WIN: Roma/The Favourite - Two high quality scripts that were exceedingly well written. An Oscar for either and you’ll hear no complaints from me. If Alfonso Cuaron wins this award…expect Roma to have a very, very, very big night.

HANDICAPPING THE NEW ACADEMY: With no “diverse/inclusive” candidates to choose from (the New Academy doesn’t count Mexican men as diverse/inclusive for some reason), the New Academy will only work in the negative here by cutting Green Book off at the knees. Vallelonga and Farrelly have made enemies among the New Academy for their less than politically correct behavior and will be punished accordingly.

WHO WILL WIN: The Favourite : While I’d like to see Roma sweep the entire awards ceremony, I think voters hold a grudge against the film because it is a Netflix movie and it is foreign, the former of which will particularly hurt it in this category since the dialogue is in Spanish and Mextec. The Favourite is certainly deserving of an Oscar though as it is a beautifully written movie.

ADAPTED SCREENPLAY

The Ballad of Buster Scruggs - The Coen Brothers - I have seen Buster Scruggs but have not reviewed it. I enjoyed it. I don’t think this script deserves a nomination though.

BlacKkKlansman - Spike Lee and friends - This was a good movie, but I do not think it deserves a nomination for its script. Spike Lee has written some masterworks in the past, Do the Right Thing, Malcolm X, Jungle Fever, but this is not his strongest work.

Can You Ever Forgive Me - Nicole Holofcener - I thought this script and this film was pretty shitty as it never figured out what it wanted to be and ended up being not much.

If Beale Street Could Talk - Barry Jenkins - Again…a bad script and an at-best average movie. The story and characters did not translate well at all from James Baldwin’s book.

A Star is Born - Bradley Cooper and friends - This script was a piece of junk too. God what an awful category. How is modernizing a movie that has been made three times before considered Oscar worthy?

WHO SHOULD WIN: BlackKklansman : As I said, I don’t think this is an Oscar worthy script…but this category is pretty terrible so this movie wins the tallest dwarf award.

HANDICAPPING THE NEW ACADEMY: Well, obviously the New Academy want to reward either Spike Lee or Barry Jenkins due to their race. Nicole Holfcener is another sleeper pick because she is a woman. The fact that Jenkins won this award two years ago, and Lee has never won and has never been properly awarded in his entire career, and his film was so politically charged for this moment in time, I think the New Academy goes with Lee.

WHO WILL WIN: BlackKklansman : Spike Lee finally gets the Oscar he deserves but only for a script that is undeserving.

BEST CINEMATOGRAPHY

Cold War - Lukasz Zal: Zal’s use of black and white and his framing in Cold War is impeccable and stunning. A beautifully photographed film whose cinematography was integral to the storytelling.

The Favourite - Robbie Ryan: Ryan’s use of candles, shadow and light is exquisite in The Favourite and is a wonderful cinematic device that reveals much of the sub-text.

Never Look Away - Caleb Deschanel: I found Deschanel’s work on this film to be less than Oscar worthy. Not terrible at all, but just not noteworthy.

Roma - Alfonso Cuaron : Cuaron puts on a virtuoso performance with Roma, and his cinematography is the icing on this cinematic cake. A stunning film to behold, Cuaron’s use of black and white and his extremely effective and complex camera movements and beautifully rendered framing is simply magnificent.

A Star is Born - Matthew Libatique : I found Libatique’s cinematography, with its excessive use of flares and close-ups, to be as underwhelming as the film.

WHO SHOULD WIN: Roma - Roma is a cinematic masterpiece and Cuaron’s cinematography is absolute artistic and technical perfection.

HANDICAPPING THE NEW ACADEMY: Since the New Academy doesn’t recognize Mexican men as qualifying for their diversity/inclusion games, then this category offers no chance to virtue signal.

WHO WINS: Roma - Alfonso Cuaron: This is a tough category where virtually anyone can win. The knock against Cuaron is that the Academy, for a variety of reasons, do not want him to win all the awards. In this category cinematographers and other behind the camera technical people will resent Cuaron a bit for being a director AND a cinematographer…this stuff can be very territorial. A sign of that was when Lukasz Zal won this award at the American Society of Cinematographers Awards. Anyone can win this thing…and as much as I think the Academy has a bug up its ass over Cuaron and Netflix…I still think he sneaks out of here with this win. But if he loses it will be to Zal…who to be fair is a very deserving candidate as well.

BEST FOREIGN FILM

Capernaum - Due to time constraints, this is one of the few noteworthy films I haven’t seen this year…which bums me out. I hope to see it soon though.

Cold War - One of the best films of the year that boasts two outstanding performances and luscious black and white cinematography.

Never Look Away : An enigmatic movie that never quite lives up to its grandiose ambitions although it does raise something interesting thematic questions.

Roma - An absolute masterpiece that is as heartbreaking as it is gripping.

Shoplifters - An absolutely mesmerizing film that stayed with me for weeks on end after seeing it. Deftly directed and wonderfully acted, Shoplifters is an understated yet exquisite gem.

WHO SHOULD WIN: Roma - It is easily the best film of the year and should easily win this award.

HANDICAPPING THE NEW ACADEMY: Roma hits all the right notes for New Academy voters but because it is a Netflix movie there is resistance to it.

WHO WILL WIN: Roma - There is an outside chance that the Netflix/Cuaron related backlash against Roma elevates Cold War to the victory. If that is the case, then this Oscar night will be turned upside down. I adored Cold War and it is one of the very best films of the year, but Roma is the best film, foreign or domestic, of the year, and if it doesn’t win here it will be a major upset.

BEST DIRECTOR

Alfonso Cuaron - Roma : Cuaron’s directing on Roma is a auteur’s virtuoso performance, a stunning tour-de-force that masterfully brings to life his vision with singular cinematic genius and reminds us of the power and artistry of cinema.

Yorgos Lanthimos - The Favourite : Lanthimos is one of the best directors in cinema and his masterful work on The Favourite has catapulted him to the heights he deserves.

Spike Lee - BlackKklansman : Spike Lee was once one of the most important figures in cinema, but that was over 25 years ago. Lee’s direction on BlackKklansman is not perfect and is at times jarringly shoddy, but in a down year for movies this one is a good enough comeback vehicle for him.

Adam McKay - Vice : I wanted to love Vice…I didn’t love Vice. McKay’s direction is scattered and uneven…a lot like this movie.

Pawel Pawlikowski - Cold War : Pawlikowski direction on Cold War is superb as he crafts a compelling and beautifully profound film that is packaged in a tight 88 minute running time.

WHO SHOULD WIN : Alfonso Cuaron - Not to sound like a broken record, but damn Cuaron showed himself to be at the very top of his game and at the top of his profession with his work on Roma.

HANDICAPPING THE NEW ACADEMY: The New Academy want to reward Spike Lee for his career and his making an overtly political film this year that is a favorite of social justice warriors, and because he is Black which would feed their need to virtue signal. Once again, Alfonso Cuaron, a Mexican man, doesn’t qualify for the diversity vote…a fact which helps those arguing that the Oscars aren’t “inclusive” since Mexican men have won this award 5 of the last 6 years.

WHO WILL WIN: Alfonso Cuaron - Roma : There is a chance…and it is actually a pretty good chance…that the New Academy and its “diversity” initiatives rear their ugly head and Spike Lee wins this award. If Roma and Cuaron are getting beat in other categories like screenplay and cinematography, then watch out for Spike Lee sneaking in for the upset which would be a travesty. That said, I think Cuaron’s work, regardless of the fact that it was for Netflix, is so overwhelmingly spectacular that voters will find it nearly impossible to deny him this Oscar…but stranger things have happened.

BEST ACTRESS

Glenn Close -The Wife: The Wife is a truly dreadful film, just awful, and to be frank, Glenn Close is pretty terrible in it. That said, she has been nominated a bunch over her long career and never won. The consensus seems to be that it is her time.

Yalitza Aparicio - Roma : A first time actress nominated for an Oscar is a pretty great story. Aparicio is terrific in Roma, totally present, genuine, grounded and alive on screen. A pleasantly surprising but very well deserved nomination.

Olivia Colman - The Favourite: Olivia Colman’s scenery chewing performance as the emotionally incontinent Queen Anne, who has the attention-span and temperament of a toddler, is a joy to behold. Colman is deliriously and deliciously delightful in The Favourite and is most-deserving of her nomination and if it happens, the award.

Lady Gaga - A Star is Born: I don;t get it. I don’t get Gaga being nominated, I don’t get all the love this film gets. This movie is kind of a hot mess, and Gaga’s performance is most definitely not Oscar worthy.

Melissa McCarthy - Can You Ever Forgive Me : This movie stinks but Melissa McCarthy is a revelation as the curmudgeonly Lee Israel. McCarthy uses he natural comedic ability to great effect in this role but never allows it to overwhelm the dramatic honesty of her character.

WHO SHOULD WIN: Olivia Colman : Colman is so good in The Favourite it made me giddy. Just a ridiculously great performance that is compelling, energetic and devastatingly honest. I can’t wait to see Colman as Queen Elizabeth II on The Crown.

HANDICAPPING THE NEW ACADEMY: Glenn Close made a smart move at the Golden Globes by giving a speech that spoke to the Girl Power/Pussy Hat contingent in the media and the New Academy. This speech positioned Close to be the recipient of the New Academy’s diversity/inclusivity vote even though she is a White woman. Well played Ms. Close.

WHO WILL WIN: Glenn Close - The Wife: As much as I want Olivia Colman to win this award, and as much as I think she deserves it, I think Glenn Close wins it because she is a symbol of the #ImWithHer/Hillary brigade due to her always being the bridesmaid and never the bride come Oscar night. The Academy will reward Close despite the shitty work she does in that shitty movie. Such is life. That said, I put the chances of Colman sneaking in and winning this thing pretty high…so don’t be too shocked if Close is left holding the bag once again…and try not to laugh too hard at her expense.

BEST ACTOR

Christian Bale - Vice: Bale’s work in Vice is absolutely stunning. His physical transformation into Dick Cheney never falls into the trap of imitation and that is a testament to Bale’s remarkable talent and skill.

Bradley Cooper - A Star is Born: Cooper’s work is the best thing about A Star is Born and I think he is deserving of an Oscar nomination even though i think the movie is not. Cooper is establishing himself as one of the top movie star/actors in the business. The next few years of his work will be interesting to see.

Willem Dafoe - At Eternity’s Gate : Dafoe’s acting in At Eternity’s Gate is very impressive, but the film never lives up to the stellar work he does in it.

Rami Malek - Bohemian Rhapsody : I like Rami Malek. Everybody likes Rami Malek…he’s a good guy. That said, I was not as impressed by his performance as everybody else was. To me the script was so thin that Malek was never really able to get much depth to his performance. That said, he does the very best he can with the little he is given.

Viggo Mortenson - Green Book : Green Book has gotten a lot of heat for its racial politics, but Mortenson’s solid performance is beyond reproach. Mortenson uses skill and craft to give great depth and nuance to a character that easily could have fallen into caricature.

WHO SHOULD WIN: Christian Bale - Bale is head and shoulders above everyone else in this category. A remarkable performance that elevates Bale into the stratosphere of best working actors on the planet.

HANDICAPPING THE NEW ACADEMY: This category has no Black actors in it so it is open to moronic charges of #OscarsSoWhite. But rest assured, Rami Malek is of Egyptian descent so the New Academy will rally behind him and be able to virtue signal their moral superiority due to their embrace of “diversity”.

WHO WILL WIN: Rami Malek - Everybody loves Rami Malek. While his performance isn’t Oscar worthy to me, my vote doesn’t matter. Malek is winning and there is nothing we can do about it. Since he is such a good guy, I won’t get mad about it. I do hope he wears the Freddie teeth to the ceremony though…or at least thanks them in his speech.

BEST PICTURE

Green Book - Green Book is a well crafted and fine film. Is it Oscar worthy? No. If this were 1985 then Green Book would win this award with ease…but this isn’t 1985. This sort of simple film is a lightning rod for those who hate it AND for those that hate the people who hate it. To be frank, I find all this shit exhausting.

Black Panther - It is a total joke that Black Panther, an at best middling super hero movie that isn’t even the best super hero movie of the year (which is easily Infinity War), is nominated for an Oscar. Black Panther is the recipient of the “leg up” program, and its nomination is a blatant piece of pandering and paternalism and is frankly a disgrace.

BlackKklansman - I liked this movie but it is deeply flawed and because of that do not think it is Oscar worthy. That said, due to Spike Lee directing, it is a sentimental and political choice for some.

Roma - The greatest film of the year. A masterpiece.

Bohemian Rhapsody - This movie is an absolute mess, a total shitshow. Yes, it is entertaining and fun to get see Queen rocking Wembley once again…but Oscar worthy? Good Lord no!

A Star is Born - I don’t get it…I just don’t get it. Thought this movie was not great…not great at all. Why people are so invested in it is beyond me.

Vice - An ambitious (and noble) misfire that boasts fantastic performances but never coalesces into a coherent piece of cinema enough to be considered an Oscar worthy movie.

WHO SHOULD WIN: Roma - This is as clear as day. Roma is easily the greatest film of the year and it isn’t even close.

HANDICAPPING THE NEW ACADEMY: I think Black Panther is going to get an awful lot of love for its diversity and inclusivity.

WHO WILL WIN: Buckle up. Roma should win…but in the shock of the night…BLACK PANTHER is going to steal this award. Roma has a lot of hurdles in the voting, the most obvious is that it is a black and white, foreign language film, and a foreign language film has never won Best Picture…and on top of that it is a Netflix film and the movie industry is very uncomfortable with Netflix. The Academy doesn’t want Roma to win Best Picture (or sweep all the awards) and is actively trying to find a substitute…and what I have picked up out here in Hollywood is that Black Panther is that choice. Listening to and talking with Oscar voters over the last month and Black Panther is the film that keeps getting mentioned…and never because people think it is great but because to a person they say they will vote for it because of the message it will send about “representation”, “diversity” and “inclusion”. Sadly, this is the world in which we now live, and Black Panther, that ridiculously shitty super hero movie, is going to beat out one one of the greatest films in recent history, Roma, because of a wave of self-righteous, identity politics driven virtue signalling.

Hopefully I am wrong (Please God let me be wrong!!). Hopefully Roma is justly rewarded, not just in the Best Picture category but in Screenplay, Cinematography, Directing and Foreign Picture…but I don’t have my hopes up.

As for the rest of the categories…I have even less of an idea about these than I do about the previous picks…so take them with a grain of salt as they are my best guesses.

VISUAL EFFECTS - FIRST MAN : If Infinity War wins this award it could signal the Academy’s acceptance of Marvel films and point to a big night for Black Panther.

MAKEUP AND HAIRSTYLING - VICE

ANIMATED SHORT - BAO

LIVE ACTION SHORT - SKIN

DOCUMENTARY SHORT - PERIOD. END OF SENTENCE.

SOUND MIXING - FIRST MAN - Bohemian Rhapsody has a shot here, but the one to watch is Black Panther, which if it wins this award could point to a big night for the Marvel film.

SOUND EDITING - FIRST MAN - Same comment as the Sound Mixing award.

COSTUME DESIGN - BLACK PANTHER - If BP loses these next two awards to The Favourite…then it is done and won’t win Best Picture. (I have my fingers crossed this is what happens!!)

PRODUCTION DESGIN - BLACK PANTHER

FILM EDITING - VICE - Bohemian Rhapsody has a shot here.

ORIGINAL SCORE - BLACKKKLANSMAN - Black Panther is the favorite…but I think the Academy rewards Terence Blanchard…which will make me happy. But if BP wins this…and the Design awards and Sound Awards…look out…Best Picture is coming.

ORIGINAL SONG - “SHALLOW”, A STAR IS BORN - Outside chance BP and Kendrick Lamar wins this award.

BEST DOCUMENTARY FEATURE - RBG - This is neck and neck with Free Solo, but I went with RBG because of the politics.

ANIMATED FEATURE - SPIDER-MAN : INTO THE SPIDER-VERSE

Ok gang…I think I covered all the categories. A few other things to touch upon before I go. Keep an eye out for certain narratives taking shape in the early awards.

The narratives that are in play…

  1. Roma dominates - Roma has a chance to absolutely destroy these Oscars as the film has a legitimate chance to win Best Picture, Best Foreign Film, Best Director and Best Cinematography and has an outside chance to win Best Screenplay and Best Editing as well…and if the longest of longshots happens and Yalitza Aparicio wins Best Actress…that will signal Roma has had a totally and gloriously dominant night…and I will be the happiest man on earth….except for Alfonso Cuaron.

  2. Roma destroyed - There is also a chance that Roma, due to its affiliation with Netflix and its artistic pedigree, could get snubbed across the board. There is a scenario where voters don’t vote for it for Best Picture because they assume it will win Best Foreign Film, and then other voters don’t vote for it for best Foreign Film because they assume it will win Best Picture…and it ends up winning neither. This scenario is much much more likely than I would like to imagine…and that along with all of the cocaine I’ve been doing is keeping me awake nights. In addition, it is very possible that Spike Lee is chosen over Alfonso Cuaron for Best Director out of a sense of wanting to finally reward Lee for his career’s work. Then throw in a Best Cinematography win for Cold War (which won the Guild award) and there is a chance that Roma leaves empty handed. YIKES.

  3. Black Panther goes on a run. As noted above, I have Black Panther winning Costume and Production Design…and if that happens it will look very good for my prediction of a Best Picture win. If the movie wins Sound Mixing, Sound Editing and either Original Score or best Song in addition to the production awards…it will definitely win Best Picture. There is a shot that we are looking at an Oscars where Black Panther wins 7 awards…let that sink in for a minute.

  4. Black Panther gets shut out. Things could go this way if Black Panther loses to The Favourite in costume and production design. If Black Panther loses those awards it is done in the Best Picture race and we Roma fans can breath a sigh of relief. If BP loses in the production awards it will not win Song, Score or either Sound award and will leave empty handed. The fact that this is a Marvel/Disney film could be a hurdle that even its identity politics cannot overcome. We will see.

  5. Bohemian Rhapsody goes on a run. Bohemian Rhapsody is an awful movie but it did win the Editing Guild award and has a legit chance to win Best Sound Editing and Sound Mixing awards as well as the Best Editing award which would be a terrific night for the film. Add in Rami Malek’s guaranteed win for Best Actor and we are looking at 4 Oscars for this fun piece of crap.

  6. Chaos - A totally incoherent Oscars. In this scenario a non-Roma film wins Best Picture, Olivia Colman wins Best Actress, there are upsets in both Supporting actor categories as well as in Best Director and the Screenplay awards. Green Book ends up being a big winner.

  7. Non-chaos. All of the favorites win. Roma does well and everything goes according to plan with the other categories.

If you pay attention to the early awards you might be able to discern how the rest of the night is going to go…or not…who knows. This Oscars has me baffled and it shouldn’t because Roma is so clearly the best of this sad bunch in a very down year for Hollywood Cinema (foreign films excluded).

And thus ends my rambling and ragged Oscar predictions post. I have zero confidence in my picks and am genuinely concerned I will lose for Oscar pool for the first time in my life this year. That said, i do reserve the right to change my mind between now and the awards show. In a fit of cinema idealism I may discard my Oscar cynicism (Black Panther) and embrace my optimism and pick Roma to win because my heart tells me to…I’m just not sure my head will let me.

©2019

Jussie Smollett's Hate Crime Hoax Exposes America's Shocking Skepticism Shortage

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Estimated Reading Time: 4 minutes 38 seconds

The Jussie Smollett story is a microcosm of what is wrong with America and the mainstream media.

 “It’s not a lie if you believe it” – George Costanza, Seinfeld

On Thursday, US actor Jussie Smollett was arrested in Chicago after being charged with filing a false police report.

Jussie Smollett, a gay, African-American actor who stars on the hit tv show Empire, claimed that on January 29th he was the victim of a hate crime when two White men hurled racist and homophobic slurs at him, punched, kicked and poured bleach over him, and then put a noose around his neck while taunting him by proclaiming “this is MAGA (Make America Great Again) country”.

Smollett’s story was dubious to some because the idea of two Trumpites out at 2 a.m. in Chicago hunting gay Black men with a noose and bleach in minus 20 degrees weather seems far-fetched…as does the idea that they would be pop-culturally aware enough to have watched Empire and recognize a marginal celebrity like Smollett in the first place.

“A lie gets halfway around the world before the truth has a chance to get its pants on.” – Winston Churchill

In the wake of Smollett’s unusual claims the media uncritically accepted his story and numerous celebrities such as Emma Watson, Katy Perry, Olivia Munn and Ariana Grande tweeted vociferous support. Actress Ellen Page gave a heart felt speech on The Late Show with Colbert laying the blame for Smollett’s attack at the feet of homophobic Vice President Mike Pence.

Democratic presidential hopefuls chimed as well with Kamala Harris and Cory Booker both calling the attack a “modern-day lynching”, and a cavalcade of other politicians who tweeted their unquestioning support for Jussie and devout belief in his story.

 The problem with all of the belief in Smollett is that, like Ms. Page’s impassioned Late Show rant, it was entirely based on emotion and not reason.

As is usually the case when decisions are made on emotion and not reason, many now regret their embrace of Smollett because his story has come into question. The two alleged assailants are not MAGA hat wearing White men, but Black men who claim that Smollett paid them to stage the whole incident. According to reports, as of this writing the Chicago police believe this entire hate crime is a hoax orchestrated by Smollett.

The media, celebrities and politicians who supported Smollett did so for the simple reason…it was easy. Smollett’s story confirmed all of their biases regarding Trump supporters who they believe are racist homophobes, and gave them the opportunity to signal their virtue and espouse their moral superiority.

This sort of indulging in one’s biases and signaling one’s virtue is epidemic in America and a big reason for that is social media.  Social media is built to be a personalized echo chamber that triggers emotion and shortcuts reason, and encourages a solidifying of instantaneous emotional reaction into permanent and intractable belief.

Another reason for this scourge of confirmation bias and virtue signaling is that the corporate press is not in the truth-telling business, they are in the tell people what they want to hear business. Just watch this MSNBC breaking news segment on the alleged attack on Smollett.

None of the professionals in this clip ever practice anything resembling journalism by actually questioning the voracity of the allegation. The anchorwoman Stephanie Ruhle is signaling her virtue so hard over this story, repeatedly declaring it’s a “horrible story” and “horrible to report” and then admitting she is “so shaken by the story”, that she can’t remember details of it.

This vapid emotional hyperventilation is a case study in cultural conditioning overpowering professional training. Ms. Ruhle, and the rest of the media who were so gullible regarding Smollett’s story, has been indoctrinated to quell skepticism regarding a “victim’s” story because doubt is now deemed the equivalent of assault. GLAAD president Sarah Kate Ellis made this clear when she commented on the Smollett story, “Jussie Smollett was victimized first in a hate-motivated and violent attack…and has since been doubly victimized as the subject of speculation by the media…” If reporters question Jussie Smollett’s story that doesn’t make them bigots, it makes them journalists.

“A lie told often enough becomes the truth.” – Vladimir Lenin

The confirmation bias and virtue signaling in American culture is not confined to the Smollett case. The establishment media’s handling of all Russia stories is equally rife with a pandering to biases and a self-righteous signaling of patriotic virtue.

For example, last fall both NBC News and the New York Times hyped a bizarre James Bond-level spy story claiming the Russians had developed a nefarious super secret sonic weapon and used it to attack U.S. personnel in Cuba. This story was riddled with logical inconsistencies but the press reported it as if Putin were pointing his sonic weapon at every American’s head. Of course, upon closer inspection, these “sonic attacks” weren’t attacks at all but horny crickets trying to attract a mate. 

The media’s reporting of similar stories detailing alleged Russian villainy is hysterical, literally. Whether it is Russia hacking the Vermont power grid or into C-Span, it seems there is no skepticism allowed when it comes to Russia. And similar to the Smollett case, if you dare question the voracity of these Russia stories your virtue/patriotism is questioned.

This suffocating of skepticism has led all Russia related stories to become sacrosanct and be considered gospel truth. Yet, just like in the Smollett story, if you look at the majority of Russia related reporting you will notice it is often based on reporters treating assumptions as facts.

“The bigger the lie, the more it will be believed.” - Joseph Goebbels

The Smollett fiasco is small potatoes compared to the greatest example of media malpractice in recent memory, which was the Iraq war farce. The establishment media weren’t only entirely uncritical in regards to the Bush administration’s outlandish claims regarding WMD’s and an Iraqi connection with Al Qaeda, but were complicit in emotionally triggering the American people to sell them that insidious snake oil.

Back in 2003 during the build up to the war, dissent was verboten. The media were entirely in lockstep with the Bush administration and acted as stenographers to power as opposed to a check on it, with MSNBC even firing its highest rated host, Phil Donohue, because of his anti-war stance.

Just like the Smollett story and the reporting on Russia, in the Iraq war scam the media discarded skepticism in favor of confirmation bias and virtue/patriotism signaling. The disinformation the media disseminated during this period didn’t just lead to egg on their face, but blood on their hands, as thousands of U.S. service members and over a million Iraqis were killed or wounded.

“Cursed is the one who trusts in man” – Book of Jeremiah 17:5

It would be nice to think that those who fell under the spell of confirmation bias in the Smollett case would have learned their lesson, but if the response of filmmaker Ava DuVernay and author Roxanne Gay is any indication, nothing will change. As Ms. DuVernay told the Hollywood Reporter, “…this won’t stop me from believing others. It can’t.”

Ms. Gay echoed the sentiment, “I’m not going to stop believing people who say they have suffered”.

The media is also proving their inability to learn from their mistakes by once again singing in harmony with the Washington establishment chorus who hunger for a coup in Venezuela. The continuing media sycophancy towards American imperialism and militarism across the globe shows a shameful myopia and a stunning historical illiteracy.

As the Smollett story teaches us, confirmation bias is a very addictive drug, and as the corporate media’s Iraq, Iran, Syria, Libya, Russia and Venezuela coverage shows, it is a dangerous and deadly one too…and the only remedy for this epidemic of idiocy is an ardent and unrelenting commitment to skepticism.

A version of this article was originally published at RT.com.

©2019

Never Look Away: A Review

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****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3.25 out of 5 stars

My Recommendation: SKIP IT/SEE IT. A flawed and uneven film that explores some fascinating themes and boasts solid yet understated acting. Due to its long running time (3 hours and 8 minutes) it isn’t good enough to see in the theatre but is worth checking out on Netflix/cable for free.

Run Time: 3 hours 8 minutes

German with English subtitles

Never Look Away, written and directed by Florian Henckel von Donnersmarck, is “inspired” by the life story of famed German painter Gerhard Richter, and follows his life from childhood under the Nazi regime to his adulthood under communism and recounts both his personal and artistic travails. The film stars Tom Schilling as Kurt Barnert - the character loosely based on Richter, and boasts supporting turns from Paula Beer, Saskia Rosendahl and Sebastian Koch.

Never Look Away, nominated for Best Foreign Picture at the upcoming 91st Academy Awards, is director Florian Henckel von Donnersmarck’s third feature film. Von Donnmersmarck’s first feature, The Lives of Others (2006), won the Best Foreign Picture Oscar in 2006. Never Look Away is a more vast and ambitious artistic undertaking than The Lives of Others, but it is nowhere near as good as that sublime study of Orwellian life and love under communist rule.

Never Look Away attempts to cover an expansive period of time, from the late 1930’s to the 1960’s, in a deeply personal and intimate way, this is no sweeping historical epic, but more an Artist’s Guide to Historical Totalitarianism.

The best part of the film is the opening act, that gives us a glimpse of the cold-hearted collective madness of Nazi Germany, where only the insane would tell the truth and where the truth was truly insane. In this section, the lead character Kurt, who at this point is a small child, finds his muse in his painfully beautiful and beautifully pained aunt Elisabeth May, played with exquisite aplomb by the beguiling Saskia Rosenthal.

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Elisabeth, like Kurt, is an artist at heart, and for her, life under the Nazis is a lie her spirit won’t allow her to tell. Her one split second interlude with Hitler causes such a psychological tsunami of archetypal energy that her psyche (and skull) is literally unable to contain it and she is obliterated by it. The physical, mental and emotional destruction left in the wake of the Nazi archetype and accompanying armageddon leaves Kurt with a unique view of the world and a distinct eye through which to observe it.

In Kurt’s art school years he finds another muse, Ellie, played by the luminous Paula Beer. While this section of the film is compelling, it is also where the film begins to occasionally fall into standard Hollywood plot territory, which is disappointing since it’s a German film.

As the film wears on it loses a great deal of momentum as the dramatic potential from the film’s beginning dissipates and never fully blossoms. Watching Kurt struggle with his artistic demons is in theory interesting but in practice less than enthralling and the film’s various sub-plots never gather enough steam to be dramatically worthwhile.

It is either a sign of von Donnersmarck’s great success or great failure that after watching the film for its staggering 188 minute run time (which for those not mathematically inclined translates into 3 hours and 8 minutes) I was left wanting…either more of the film or more from it.

While I found the plot and its surface twists and turns to be unsatisfying and at times frustratingly so, what kept me engaged were the compelling themes upon which von Donnersmarck meditates. Totalitarianism in all its gruesome faces plays a feature role in this film, and that beast’s corrosive effect on humanity in general, and artistry in particular, is front and center.

In a weird bit of synchronicity, as I sat in the theatre waiting for Never Look Away to begin I got an email from a reader who was commenting on an article I had written last year. The article was titled “Echoes of Totalitarianism in #MeToo and Russia-Gate”. I had no idea what Never Look Away was about when I read that email and subsequently re-read my piece…but after viewing the film the synchronicity became clear.

The thing that was so striking to me about that theme, in both the film, the email and my article, is that totalitarianism is now the ascendant, if not dominant, energy of our time, especially in art, or what passes for art in our hyper-capitalist society.

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As I have said previously, “wokeness kills art”, and the suffocating and stultifying conformity of our current culture and its ever present demand for political correctness, is remarkably similar in its totalitarian instincts to the insistence for Romantic Realism in Nazi Germany or Socialist Realism under Soviet communism and avant-gardism in the post-modern art world.

As Elisabeth tells young Kurt, “never look away because everything that is true holds beauty in it”. Truth is an enemy of totalitarianism and the totalitarian will gauge their eyes out in order to avoid looking directly at it. In totalitarian cultures, artistic quality is eclipsed by adherence to political orthodoxy. The artist’s political ideology must be impeccable and if it isn’t impeccable and deviates in any way from political orthodoxy, that artist and his/her work will be disappeared regardless of its quality and worth.

The current wave of political correctness with its accompanying cries for “diversity and inclusion” is just another form of the totalitarian impulse, no different in its intent to banish the idea of an artistic meritocracy or to stifle dissent than Nazism or Soviet communism, although it is hopefully much less blood thirsty.

True artists, not the corporate whores in Hollywood, have a fundamental, if not biological, need to see, know and tell the truth. Totalitarians, whether they be in Berlin, Moscow, Washington or Hollywood, in turn love lies and loathe the truth. Thus the true artist in a totalitarian system is a most dangerous person. This is why the frantic need to silence artistic dissenters or disappear heretics who have sinned against the prevailing orthodoxy of political correctness/diversity/inclusion has spread like a wildfire and is now an inferno engulfing our popular culture. Look no further than Liam Neeson’s recent demise at the hands of the mob or the painfully middling Black Panther’s ascension to an Oscar nomination for proof that truth has no place in our current culture.

In Never Look Away, Ellie’s professor father Carl, played with German precision by Sebastian Koch, is symbolic of the totalitarian instinct, in that no matter what ideology under which he lives, he thrives through a combination of aggressively unthinking and unfeeling conformity and a startling level of righteousness. Carl is the totalitarian leopard who may change trees but never changes his spots. Like Nazi rocket scientist Werner von Braun, Carl is interested in getting to the moon, or at least his own version of it, and will shut off whatever part of his brain or heart is needed, and will play whatever role is demanded, in whatever totalitarian political play going on around him, in order to make that happen.

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As Never Look Away shows us, the lies of the totalitarian will collapse under the enormity of their own blatantly obvious and clearly observable falsity. One can only hope that the Trumpian totalitarians and their equally totalitarian counterparts on the “social justice left” and in corporate America, will suffer the same fate as the Nazis and Soviets and be left on the ash heap of history. At the moment I must admit…my confidence is at an all-time low.

Another theme in the film that was intriguing although never fully fleshed out, was the pseudo-mystical idea of all things being connected. Kurt’s aunt Elisabeth cracks the code of the world playing a single piano note and finds connection in the in-between place of blaring bus horns. Kurt experiences the same feeling high atop a tree as the German countryside reveals itself to him in all its glory. Those fleeting moments of transcendence are the fuel that propel Kurt to his ultimate destiny and ultimately reveal not just his truth, but THE Truth.

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It is this odd concoction of both mystical yearning and political warning that I found so compelling in Never Look Away. Von Donnersmarck shows an artistic daring rarely seen in American films when he explores these themes so unabashedly, in the process even touching upon explosive issues like abortion in less than flattering ways. In this sense, Never Look Away is a form of artistic courage and truth-telling in and of itself and the movie and its themes have stayed with me since I left theater.

That said, the film also is cinematically flawed. As stated, it loses momentum about halfway through its very long run time, and also loses dramatic intensity as well. The film also has some perspective issues that it never fully resolves. The movie is also burdened by a distractingly cloying soundtrack that was much too conventional for my tastes and to me revealed a lack of confidence on the part of the writer/director.

Never Look Away’s cinematographer Caleb Deschanel, a long time veteran of the industry, is nominated for an Oscar for his work on the film. I actually felt the cinematography was, a few nicely framed shots aside, rather mundane and not worthy of a nomination. Deschanel’s work isn’t bad, it just isn’t noteworthy, and I can think of numerous other films that were more deserving of a nomination (like You Were Never Really Here, Widows, If Beale Street Could Talk or First Man among others).

The performances were strong across the board. Tom Schilling, who plays Kurt, has a lot of heavy lifting to do in this film and none of it is flashy. Schilling is able to carry the weight of this movie without ever making it all about him, and that is a pretty rare skill for an actor. While Schilling has no explosive scenes upon which to hang his hat, his deft and subtle work is entirely in the service of the script and the character.

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Sebastian Koch also gives a very focused and refined performance as Professor Seeband. Koch has one scene that I won’t give away, that is so critical for the film and he absolutely nails it. While Koch’s work in that scene is extremely detailed and specific, it is all of the precise work he did leading up to that made it all worthwhile.

Paula Beer does impressive work as Ellie, never failing to be magnetic on screen. Beer and Schilling’s chemistry makes this long movie very compelling to watch even when it dramatically falters.

Saskia Rosendahl is absolutely fantastic as Kurt’s aunt Elisabeth, as she never falls into the trap of caricature. Rosendahl imbues Elisabeth with a palpable energy and intentionality that jump off the screen. Elisabeth goes through a series of twists and turns and Rosendahl imbues her with a combustibility and fragility that never fails to be genuine and vibrant.

In conclusion, Never Look Away is a good, but not great film. The more I think of the film the more I think the story would be better served as a miniseries on Netflix rather than as a three hour feature film. Even the long run time does not allow the entirety of the story to be told with adequate depth and nuance. That said, the film is propelled by interesting themes that have kept me thinking since I left the theatre and solid performances that kept me engaged. As the movie teaches us, totalitarianism is on the rise and it is more imperative than ever that we never look away from that truth.

It is for this reason that I think Never Look Away is ultimately worth seeing for the truths it reveals about its world and our current one too. Due to the long run time I recommend you watch it at your leisure at home on Netflix or cable when the opportunity arises…that way you can “look away” by having some bathroom breaks and intermissions when you like and not actually miss anything, or you can stretch the film out over multiple nights, a sort of do-it-yourself mini-series. Never looking away is vitally important nowadays and is a hard discipline to master, and a good place to start your training in that practice would be with Never Look Away.

©2019

Beating the Dead Horse of Grammy Award's Racism

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Estimated reading Time: 4 minutes 48 seconds

It is that time of year again, awards season! And with the Grammy Awards tonight (quickly followed in two weeks by the Oscars) comes with them the oh-so-predictable and tired charges of racism.

Every year at this time, both pre and post the awards, there are a cavalcade of articles in the media bemoaning the blatant racist snubs of the Recording Academy and blaming every Black artist’s loss on the vicious racism of Academy members. These articles, like the New York Times piece post-2017 awards that declared the Grammy had a “pernicious” race problem, are grounded in baseless assumptions and often play fast and loose with the facts in order to bolster their case.

What frustrates me the most about these “Grammys are Racist” stories is that they actually undermine and distract from genuine racial issues in America. Like American’s overuse of antibiotics leads to a dangerous diminishing of their power, crying racism at every turn, such as with perceived awards show snubs, makes that charge much less powerful when applied to life and death issues like criminal justice, health care and voting rights.

The underlying assumption fueling these articles is the idea that Black artists are under-represented at the Grammys. As I wrote in 2017 and 2018, this assumption is not based on fact. The elite media who bemoan racism at the Grammys never mention one very important statistic, namely the demographic reality of African-Americans in the United States, or the Black population in the Anglosphere (English speaking world - U.S., Canada, U.K., Ireland, Australia).

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The Black population in the U.S. is 12.6% which comes as a surprise to many people who only have a passing knowledge of demographics. The Black population in the Anglosphere is even smaller, coming in at 9%. When contrasting the 12.6% or 9% population figure against the percentage of Grammy nominees and winners who are Black, it becomes very obvious that Black performers aren’t under represented at all, but rather are over-represented.

For example, from 1987 to 2017, in the Best Album category 37% of the nominees and 13% of the winners were Black artists. In the Record of the Year category 36% of the nominees and 20% of the winners were Black artists. In the Song of the Year category 28% of the nominees and 23% of the winners were Black artists. In the Best New Artist category 32.6% of the nominees and 40% of the winners were Black artists. If you look closely at those numbers you will realize that all of them are larger than 12.6%, some more than twice as large.

The media never mentions Black over-representation when discussing Grammy racism, it is just accepted as fact that Black artists are being cheated out of awards because of race. A great example of this vacuous narrative in the media is found in the writing of John Vilanova, whose work has appeared in The Atlantic and The Los Angeles Times among other places. To further Vilanova’s establishment bona fides, he is also in the process of getting his PhD from the prestigious Annenberg School of Communication at the University of Pennsylvania.

In a recent article for The AtlanticWhat it Takes for Black Artists to Win Big at the Grammys”, Vilanova makes the same case he made a year ago in the LA Times (“Beyonce’s Grammy Snub and the Glass Ceiling on Black Art”), namely that Black “musicians” run into a glass ceiling when it comes to the Grammy awards. Vilanova’s assertions are standard, mainstream thought among the media and academic class in America…namely that racism is such a “pernicious” problem that it is baked into the cake even in the allegedly liberal bastions of the music and film industries.

Not surprisingly, Vilanova never mentions the demographics and statistics which I lay out in my articles on the subject and which decimate his thesis. In fact, in order to fit the facts around his virtue signaling story line, he blatantly distorts and contorts statistical reality to such a degree as to be duplicitous. For example he ignores the Best new Artist category entirely and only looks back as far as 1999 in regards to the other major categories.

Another example is when Vilanova compares Beyonce, the most nominated women in Grammy history with 62, to White country artist Alison Krauss, who has 40 nominations. Vilanova claims that Beyonce’s Grammy win percentage (22 awards out of 62 nominations - 37%) in relation to Alison Krauss’s 27 wins in 42 nominations, is “markedly low”, but never mentions the uncomfortable fact that obliterates his thesis of racism at the Grammys, namely that of the top four popular music Grammy awards winners in history, only one, Krauss, is White (the other three are Beyonce, Quincy Jones and Stevie Wonder are Black). Vilanova also fails to mention another glaring difference between Krauss and Beyonce besides their race and Grammy win percentage, and that is that unlike Beyonce, Krauss, in addition to singing, plays an instrument (violin/piano).

Besides laying out a statistical argument in my previous articles, i also lay out a stylistic one, making the case that the Recording Academy is made up of musicians, engineers and producers, and that they appreciate musicianship above all else. This seems a rather self-evident claim to make, that musicians, who have dedicated their life to mastering their craft, would admire other musicians who have done the same. This is a major reason why rap gets short shrift at the Grammys, it isn’t because the Academy hates Blacks, it is because they love musicians, and rappers are not musicians.

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Vilanova unintentionally makes my point for me in his Atlantic piece when he bemoans the only Black artists to have won major Grammy awards (Album of the Year, Song of the year and Record of the Year) this century are artists whose “auterist bonafides…carry them to the podium”. The list includes Alicia Keys, Lauryn Hill, Ray Charles, Luther Vandross, Outkast, Herbie Hancock and Beyonce. You know what else these artists have in common besides being auteurs, Black and Grammy winners? They are all remarkable musicians. Beyonce, Luther Vandross and Lauryn Hill are master vocalists, Herbie Hancock, Alicia Keys and Ray Charles master pianists, and Outkast are masters of all trades including playing instruments.

If you look at non-Black winners of major Grammys you find the same type of artists as the group above. Bruno Mars, Adele, Taylor Swift, Mumford and Sons, Arcade Fire, Robert Plant and Alison Krauss, they all have mastered an instrument (voice is an instrument) and/or play an instrument and write their own songs.

Vilanova’s self-righteous obtuseness doesn’t stop there as he makes an even more vapid and flaccid argument that these Black artists (Beyonce, Herbie Hancock, Alicia Keys, Outkast etc.) have broken the glass ceiling only because they aren’t making “Black” music, which apparently according to Vilanova must only be rap. Vilanova even goes so far as to claim that the Grammy for Best Urban Contemporary Album is in itself a racist award. Vilanova is basically saying that if a Black artist wins a major Grammy then by definition the music they are making is not “Black music”. This is madness.

The reality is that Black artists are over-represented at the Grammys. And on top of that, the statistical reality is that Rock music, which is still the most popular music in America in terms of consumption, album sales and concert ticket sales, is horrendously under-represented. In fact, only one rock band, Greta Van Fleet, is nominated in any of the major Grammy categories this year, and that is in Best new Artist. But you won’t read that story in any major media outlets and certainly not from the desk of John Vilanova.

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The question then becomes why do people like John Vilanova believe the things they do when it is very clear that they are factually incorrect? I cannot read minds, but maybe Vilanova is simply playing the game and telling his superiors and his audience what they want to hear. Or maybe he really does believe the things he writes and is simply an intellectual midget. Or maybe Vilanova is so ensconced in the elite media and academic universe that he inhabits that he is totally blind to his own establishment orthodoxy indoctrination and is inoculated against critical thinking. Who knows? But the truth is this, that it is obvious and provable through demographics, statistics and history, that John Vilanova’s thesis of a “ceiling for Black artists” is entirely fallacious. And yet, despite being so obtuse, intentionally or otherwise, Vilanova gets paid to write for the hallowed Atlantic magazine and the LA Times, and I write for RT, and he is getting a PhD from Penn and I have a sixth grade education. Maybe I should blame racism for my failings…it would be just as credible an excuse as it as for Black artists’ failures at the Grammys.

Besides watering down the power of the charge of racism, the Grammy awards have watered themselves down due to these scurrilous charges of racism. To combat this non-existent problem, the Grammys have made dramatic moves to alter their voting population in an effort to “diversify” their nominees and winners. The Grammys have also expanded their nominee numbers from 5 to 8, in order to appease calls for diversity and inclusivity. What these changes have really done though, is diminish the prestige and cache of being nominated for, or winning, a Grammy. In a sense, these Grammy elections are now rigged in order to give a “leg up” to Black artists who are already well outperforming their demographic reality.

In conclusion, as proven by Mr. Vilanova and the rest of the media’s relentlessly vacuous articles on the subject, no matter who wins at the Grammy Awards tonight, racism will be the excuse for why someone lost…which means Truth, as always, will be big loser once again.

©2019

Toxic Femininity: 'Badass' US Women Demand Right to Torture, Maim and Kill for Empire...Just Like Men

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Estimated reading Time: 3 minutes 56 seconds

Thanks to a new wave of feminism and its call for equality, it isn’t just toxic men who can kill, torture and surveil in the name of American militarism and empire, women can now do it too!

 This past weekend was the third annual Women’s March, which is a protest originally triggered by Donald Trump’s defeat of Hillary Clinton in the 2016 presidential election that encourages women across America to rise up against misogyny and patriarchy.

 As sincere as these women are in their outrage, in their quest for power they are inadvertently reinforcing the immoral and unethical system that they claim to detest. This is most glaringly apparent when this new feminism boldly embraces the worst traits of the patriarchy in the form of militarism and empire.

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 The rise of the #MeToo, Time’s Up and the anti-Trump Women’s Movement has brought forth a new wave of politically and culturally active neo-feminists. This modern women’s movement and its adherents demand that “boys not be boys”, and in fact claim that the statement “boys will be boys” is in and of itself an act of patriarchal privilege and male aggression. The irony is that these neo-feminists don’t want boys to be boys, but they do want girls to be like boys…at least the morally degenerate boys.

The inherent contradiction of that ideology was on full display recently when the American Psychiatric Association (APA) put out a guide to treating men and boys. In the guide’s summary the APA makes this extraordinary claim, “Traditional masculinity – marked by stoicism, competitiveness, dominance and aggression – is, on the whole, harmful.”

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 These APA guidelines blatantly turn “traditional masculinity” and “toxic masculinity” into synonyms, and never once mention testosterone, revealing a staggering ignorance of male biology. The APA is in essence blaming the bull for his horns. Further diminishing their credibility, how can anyone look at the mess that is the current emotional state of our world and think we need less stoicism and not more?

 The hypocrisy of the APA guidelines are glaringly evident because everywhere you look nowadays girls and young women are constantly being urged to be more competitive, dominant and aggressive. I guess when women do it, it is empowering, but when men do it, it is dangerous.

 Women, and some men, often tell me that if women were in power, the world would be a better and safer place. But that old trope, which obviously animates the feminist movement of today, is foolishness. I mean have none of these people ever heard of that pernicious beast Margaret Thatcher? And does anyone think that Hillary Clinton’s proposed no-fly zone over Syria or her tough talk about Russia would have led to more peace and less war?

 Another example of the vacuity of this ideology is the group of Democratic women with military and intelligence backgrounds who won seats in Congress in 2018. These women, who have dubbed themselves “The Badasses”, how toxically masculine of them, are being touted as the “antidote to Trump”.

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 No doubt these former military and intelligence “badasses” will be so much less toxic than their male counterparts when they demand the U.S. “get tough” by militarily intervening across the globe to further American interests. This sort of star-spangled belligerence is no less toxic in a pantsuit than a three-piece suit, and will only lead to more victims of America’s “competiveness, dominance and aggression” around the world.

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 Other toxically masculine women in government are also being hailed as great signs of women’s empowerment. Gina Haspel is the first female director of the CIA and women now also hold the three top directorates in that agency. Ms. Haspel proved herself more than capable of being just as deplorable as any man when she was an active participant in the Bush era torture program. No doubt the pussy-hat wearing brigade would cheer her “competitiveness, dominance and aggression” when torturing prisoners…most especially the traditionally masculine ones.

 Hypocritical Hollywood has long been a haven for toxic masculinity, be it in the form of depraved predators like Harvey Weinstein or Woody Allen or counterfeit tough guys like John Wayne. Hollywood has also long been the propaganda wing of the American military machine. It is well established that for decades Hollywood and the Department of Defense have worked hand in hand in creating films that tout muscular American militarism and empire.

 Now Hollywood and the Department of Defense are using the social justice calling card of “diversity and inclusion” to take the next step in indoctrinating young people with the noxious ideology of American exceptionalism and aggression…but this time they are targeting girls and young woman.

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 The latest product of the Hollywood and D.O.D. propaganda machine is the Disney/Marvel movie, Captain Marvel, which comes out this March. The film, which has a budget north of $150 million and stars one of the leading feminist voices in Hollywood, Academy Award winner Brie Larson, tells the story of Carol Danvers, a former Air Force pilot who “turns into one of the galaxy’s mightiest heroes.”

 With Robert Downey Jr. and Chris Evans set to potentially leave their roles as Iron Man and Captain America respectively, Disney is positioning itself to replace them as the face of the multi-billion dollar Marvel Cinematic Universe with Brie Larson’s Captain Marvel, who is described as a “badass superheroine”…one more flag-waving, baddass lady for the girls to look up to!

 The movie has been described as “the recruiting tool of the Air Force’s dreams”, and will no doubt be a huge boost to female recruitment, much like Tom Cruise and Top Gun boosted male military recruitment in the 1980’s.

 The Department of Defense has been partnered with Marvel since 2008’s Iron Man. The D.O.D. and Air Force demand that any film project with which they assist “portrays the Air Force and military in an accurate way and that it is in the service’s interest to partner on the project.”

 It is good to know that ultra-feminist Brie Larson is cashing in by partnering with the Air Force to make a movie that indoctrinates millions of American kids, specifically girls, with the dream of being able to bomb innocent brown people across the globe from miles up in the sky and look really “badass” while doing it.

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 I’m sure Ms. Larson, a public and outspoken advocate for abuse victims here in America, has meticulously weighed the pros and cons of being a recruitment tool for the U.S. military, who in recent years have aided and abetted, or been directly responsible for, the murder of women and children in Yemen, Iraq, Afghanistan, Syria, Libya and elsewhere.

 The cacophony of feminist voices in the public square has effectively challenged some minds about some things, but not the right minds about the right things. The mendacious U.S. establishment and its virulent military industrial complex have co-opted this current feminist moment and are using it to further solidify their deadly stranglehold on the American consciousness and Brie Larson is now an accomplice to that crime.

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 Is this what the new wave of feminism is all about, putting lipstick on the pig of American empire and militarism and calling it a victory for equality? If so, I’ll pass on that toxic femininity. I’ll stick with traditional masculinity, you know, the stoic kind, whose adherents, principled men like Martin Luther King Jr., Cesar Chavez, Daniel Ellsberg, Pat Tillman and Edward Snowden, among many others, all did the right thing in the face of enormous opposition, and who didn’t tout themselves as “badass”, didn’t start fights but finished them, didn’t torture, didn’t spy and didn’t bomb innocent women and children into oblivion.

 I strongly believe that men and women should be equal in their rights and opportunity, but I also believe that regardless of gender, no one has the right to kill, maim and torture for American empire.

This article was originally published on January 25, 2019 at RT.com.

©2019

Vice: A Review

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****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3 out of 5 stars

My Recommendation: SEE IT. Although a cinematic misfire of sorts, it is worth seeing for the extraordinary performances and for the civics lesson.

Vice, written and directed by Adam McKay, is the story of the meteoric rise of former Vice President Dick and his Machiavellian use of power. The film stars Christian Bale as Cheney, with supporting turns from Amy Adams, Steve Carell and Sam Rockwell.

Vice is another one of those films of 2018 for which I had high hopes. I absolutely loved director Adam McKay’s last film, The Big Short, which brilliantly dissected the 2008 financial meltdown and I hoped that when he set his sights on Dick Cheney he would be equally effective in his vivisection of that worthy target. McKay proved with The Big Short that he was more than capable of turning a dense, intricate, complex and complicated topic into an entertaining and enlightening movie, a skill that would be desperately needed for a film about Dick Cheney.

Watching Vice was an odd experience as I found the film had multiple great parts to it, but on the whole, while I liked it, I didn’t love it and ultimately found it unsatisfying. I was so confounded by my experience of Vice that I have actually seen it three times already to try and figure out specifically why I feel that it missed the mark and is not the sum total of its parts. And yes…I realize that seeing a movie I don’t love three times makes me sound insane.

Why am I so interested in figuring out why Vice is not great, you may ask? Well, the reason for that is that Vice desperately needed to be great because it is such an important film for the times in which we live. Trump did not come out of nowhere…he is a fungus that grew out of the shit pile that was Nixon, Reagan, Clinton, Bush/Cheney and Obama…and as we all know, past is prologue, so if we don’t fully understand and integrate the lessons of Dick Cheney’s nefarious political career, we are doomed to stay stuck in the tyrannical rut in which we find ourselves.

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Dick Cheney was a pivotal, behind the scenes player in American politics for four decades (70’s through the 00’s) and so bringing his sprawling yet mundanely bureaucratic career successfully to the screen is a massive and difficult undertaking. It is also an vital undertaking as the argument could be made, and Vice makes it, that Cheney’s underlying cosmology and his political and bureaucratic success are what has brought the U.S. and much of the world to the brink of collapse.

Sadly though, Vice is so structurally unsound as to be nearly untenable. McKay cinematically stumbles right out of the gate and makes some poor directorial decisions that lead to a lack of narrative coherence and dramatic cohesion that diminish the impact of this important movie.

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I could not help but think of Oliver Stone as I watched Vice. Stone’s Nixon is an obvious cinematic parallel to Vice in that it is a bio-pic of a loathed political figure whose career spans multiple decades. The problem with Vice though is that McKay not only lacks Stone’s directorial skill and talent, he also lacks his testicular fortitude and artistic courage.

In Nixon, which is a terrific film you should revisit, Stone and his cinematographer, the great Robert Richardson, go to great lengths to show us Nixon’s point of view and perspective, and it works in drawing viewers into the man who otherwise may have repulsed them. Stone and Richardson occasionally used the technique of switching film stocks and going from color to black and white in order to distinguish Nixon’s point of view and to emphasize flash backs and time jumps. (Vice certainly could’ve used this sort of approach to make the time jumps it uses more palatable and cinematically appealing)

Of course, Stone was pilloried for his dramatic speculation in Nixon by the gatekeepers of Establishment thinking, but despite the critical slings and arrows, it was the proper creative decision. Stone turned Nixon into a Shakespearean character and we knew him and understood him much better because of it, which turned the film about his life into fascinating and gripping viewing.

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Cheney, like his one-time boss Richard Nixon, is also cold and distant figure in real life, but McKay never emulates Oliver Stone and bridges that distance by using dramatic speculation in telling his story. McKay makes the fatal directorial error of only on the most rare of occasions allowing viewers into Dick Cheney’s head and giving them his distinct perspective and point of view. For the majority of the film the audience is forced to be simply spectators to Cheney’s villainy and not participants or co-conspirators, which undermines the dramatic power of the film.

The most interesting parts of the film are the two parts where we are actually given Cheney’s perspective and inner dialogue. The first time that happens is when we hear a voice over of Cheney’s thoughts as he meets with presidential candidate George W. Bush to talk about the Vice Presidency. In this scene we are given access to Cheney’s Macchiavellian musings about the man, Dubya, that he will use as an avatar to bring his dark vision to life, and it is intriguing.

McKay’s brief speculation of Cheney’s inner thoughts in the Bush scene propels the audience into Cheney’s head…which is where we should have been all along. We are then ushered out as soon as we arrive and are left with only a bird’s eye view of Cheney’s world until the final scene. Vice would have benefited greatly from McKay throwing the audience into Cheney’s head from the get go, but instead we get a rehash of Cheney’s greatest hits, or worst hits, depending on your political point of view, which is neither illuminating nor gripping. ( to be fair, McKay’s refusal to speculate on Cheney’s inner thoughts and motivations could be a function of the fact that Cheney is still alive and able to sue, but regardless of the reason, it does a terrible disservice to the cinematic enterprise)

McKay was obviously going to great lengths trying to be “historically accurate” in this bio-pic, but he falls into the trap of many, if not most bio-pics, in that he tries to recreate history instead of creating cinematic drama. McKay simply shows a series of well-known events in Cheney’s life (hey…remember that time Cheney shot somebody in the face!) without any new or interesting insights into them. In this way, Vice is less a drama/comedy than it is a docu-dramedy that merely skims the surface of its subject and re-tells history for those who already agree with its political perspective.

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The biggest hurdle though in telling the story of Dick Cheney is…well…Dick Cheney. When your film’s lead character suffers from an egregious charisma deficit and has created a persona of impenetrable banality, you have quite a hill to climb. Besides mastering the art of dullness, Cheney is also an unlikable and politically despicable person, which only adds to the burden that this film must carry. Unlike in The Big Short, where McKay was able to use multiple characters to propel the narrative, each one different and interesting in their own right, in Vice, McKay is forced to have Cheney be the sole focus and driver of the narrative.

As vacant a character as Dick Cheney is, Christian Bale makes him a genuine human being. Bale disappears into Cheney and crushes the role to such an extent that he solidifies his place amongst the best actors working today. Bale’s confident use of stillness and silence is volcanically potent. There is no wasted motion with Bale’s Cheney, and it is when he isn’t saying anything that he is saying everything. Bale fills Cheney with very specific and detailed intentions that radiate off of him and penetrate his intended target with deadly precision.

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The rest of the cast do outstanding work as well. Amy Adams is simply one of the best actresses on the planet and her work in Vice is a testament to that fact. Adams’ first scene as Dick’s wife Lynne is so dynamically compelling I nearly jumped out of my seat. Right out of the gate Adams tells the viewer everything we need to know about Lynne, she is smart, tough and will not put up with any bullshit. Adams’ Lynne is insatiable when it comes to power, and she is the Lady MacBeth behind Dick’s throne. Amy Adams has given a plethora of great performances over her career, but she has never been better than she is as Lynne Cheney in Vice.

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Sam Rockwell is also outstanding, playing the cocksure but dim-witted poseur of a president George W. Bush. Rockwell plays Bush as an unwitting moron and dupe who is so stupid he doesn’t know how stupid he really is. Cheney’s manipulation of Bush is seamless and entirely believable with Rockwell playing the insecure second generation President. Rockwell never falls into caricature with his Dubya, and fills this empty man with a delightful and at times poignantly meaningful nothingness.

Steve Carell is also great as the enigmatic Don Rumsfeld. Carell morphs into the irascible political climber Rumsfeld with ease and shows a deft touch in making Rummy a genuine human being, a sort of arrogant fly boy whose wings never get permanently clipped.

All in all, the entire cast do great work with Bale, Adams and Rockwell all deserving Oscar nominations for their work, and Bale and Adams very much deserving of the trophy.

As much as Adam McKay won the casting room, he did have other failures when it came to filmmaking. I am sure it is no coincidence that McKay hired editor Hank Corwin to work on his film, as Corwin edited Stone’s Nixon as well. Surprisingly since he was so good on Nixon, Corwin’s editing on Vice lacks a cinematic crispness and is one of the weak spots of the film. Corwin repeatedly uses a black screen for transitions which I found broke the pace and rhythm of the film and scuttled any dramatic momentum. Of course, this is not all Corwin’s fault, as McKay may have demanded that approach, but regardless of why it happened, it happened and the film suffers for it.

Another issue with the film was the use of a narrator. Well, to be more clear, it wasn’t the use of a narrator, but the choice of the narrator and how that character fit into the story. Jesse Plemons, a fantastic actor, plays the role of the narrator but it never quite comes together. Plemons is fine in the part, but considering the amount of information that needed to be passed along to the audience, a more direct and straight forward narrator would’ve been a better choice. Once again, Oliver Stone comes to mind and his mesmerizing opening to his masterpiece JFK, where Martin Sheen (and phenomenal editors Pietro Scalia and Joe Hutshing) masterfully set the complex stage for everything that follows.

As much as I was frustrated by McKay’s direction, there were some moments of brilliance. McKay’s use of Alfred Molina as a waiter explaining the crimes of the Bush administration was absolutely magnificent. His expanded exploration of the idea of the “Unitary Executive” was smart and well done too.

Other sequences by McKay that were simply sublime were when McKay would show the global and life altering power of the Presidency. In one sequence we see Nixon and Kissinger having a discussion about their Vietnam and Cambodia policy…and then we see the catastrophic results of that policy on regular people. The same thing occurs in relation to Bush and Iraq in one of the finer cinematic moments of the movie, where all of the power politics in America reduce people half way around the world to cower under a table in fear for their lives.

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There was one other scene that is worth mentioning, and not because it is so great, but because it reveals something nefarious about the film itself. In one scene where the principals of the Bush administration, Bush, Cheney, Rumsfeld, Powell, Rice etc., are debating whether to invade Iraq or not, there is a bit of dialogue which states in essence that Israel is opposed to the U.S. invasion because it will destablize the region. This is historically completely inaccurate and entirely at odds with reality. Why would Adam McKay put this bit of Israeli misinformation into his film that purports to tell the truth about the Bush administration? I think I know the reason why…but that is an uncomfortable discussion for another day.

In conclusion, as much as I wanted to love Vice because it shares my vision of the world and of the Bush administration, I didn’t love it. Cheney, like Nixon before him, should have been prosecuted and imprisoned for his crimes, instead of having his lackeys turned into exalted talking heads on MSNBC and CNN. If Vice were better made, if it were more coherent, cohesive and effective in its storytelling, it could have done to the Bush/Cheney administration, what The Big Short did to Wall Street…exposed them bare for the repugnant, amoral and immoral criminal pigs that they are.

Sadly, Vice doesn’t rise to the challenge, and so the historical myopia that pervades our current culture will persist and prosper. Liberals will continue to think everything was great before Trump and that Trump is responsible for all that is wrong in the world…and thus they doom themselves to repeat the cycle that brought us Trump in the first place. Just like Nixon gave us Reagan and Reagan gave us Clinton and Clinton gave us Bush/Cheney and Bush/Cheney gave us Obama and Obama gave us Trump…Trump will birth us another monster and it will devour us all unless we wake up and understand that it isn’t the individual that is rotten, it is the system that is rotting.

With all of that said, if you get a chance I do recommend you go see Vice, it is worth seeing for the exquisite performances of Bale, Adams and Rockwell alone. It is also worthwhile to see Vice to understand that as much as we’d like to blame others, be it Russians, Republicans or Democrats for all of our troubles, the truth is that Cheney bureaucratically maneuvered to give us the fascist tyranny for which we were clamoring. The fight is simply over who gets to control it the beast that is devouring us, and to see how much we can make selling rope to those who wish to hang us. My one solace to this national existential crisis is revenge, and the hope that I will get to see Dick Cheney and the rest of his gang at the end of one of those ropes before I die.

©2019

Happy as Lazzaro: A Review

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****THIS REVIEW CONTAINS ZERO SPOILERS!! THIS IS A SPOILER FREE REVIEW!!****

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. An insightful Italian fable that eloquently and poignantly speaks to our modern world and our fallen nature. Be forewarned, it is a foreign film, so those with more conventional tastes may find it a bit odd…but it really is worth giving a try if you can.

Happy as Lazzaro, an Italian drama written and directed by Alice Rohrwacher, is the story of a good-hearted simpleton, Lazzaro, who lives and works in a farming community in Italy that gets turned upside down as the modern world encroaches upon the isolated village. The film stars Adriano Tordiolo as Lazzaro, with supporting turns from Nicoletta Braschi, Sergi Lopez and Alba Rohrwacher.

Happy as Lazzaro is a fable that insightfully exposes the “progress” of 21st century capitalism that has crushed most under its heel and has broken the spirit and stolen the souls of all those fall under its spell.

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Lazzaro is exquisitely portrayed by Adriano Tordiolo who imbues the character with a genuine humanity that is impeccably good-hearted without ever being cloying or gratuitous. Tordiolo gives Lazzarro a distinct physicality, his arms hanging straight down by his sides, his posture erect, his heart exposed. Like a rural Italian Chauncey Gardner, Tordiolo’s doe eyed Lazzaro is immune from cynicism and illuminated by an eternal optimism.

Lazzareo is at once a holy fool, a saint and a martyr. He is the memory of innocence and the hope of salvation. His entry into the modern world is reminiscent of the scene from The Brothers Karamozov where Christ meets The Grand Inquisitor, echoes of which are seen when Lazzaro is thrown out of a Catholic church and the sacred music follows him. Lazzaro, like Christ, is a shepherd who is unwanted in our cruel and dehumanized world.

Writer/director Rohrwacher deftly tells this gem of a story and allows the narrative to unfold at a leisurely but effective pace. Rohrwacher exquisitely creates Lazzaro’s idyllic world, and then masterfully pulls the rug out from underneath it and the viewer.

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In the latter portion of the film, Rohrwacher expertly uses tempeture, both climate and color, to indicate how Lazzaro’s world has changed, from the warmth of the old village to the foreboding bleakness of the modern city.

Lazzaro’s village, Inviolata, is a symbol of both innocence and a quaint version of shared feudal exploitation. The simplicity of the earlier part of the film is then overtaken by the dark inevitability in the latter part of the movie. Everyone from Inviolata is violated and learns from this violation to spend their time out of that Garden of Eden violating others. Rorhwacher shows that the old ways of exploitation in the village have metastasized and are now global in scale, but the modern world is actually much worse because its exploitation strips the comfort, security and solace of community away from people. The modern world turns everyone into a hustler and grifter, afflicted with a narcissistic myopia focused solely on their own survival at the expense of others.

As the film teaches us, capitalism is exploitation upon exploitation, a cancer of competition where everybody is exploiting somebody…the lone exception being Lazzaro who only gets exploited but never exploits, for he is in this world but not of it. Only saints like Lazzaro can keep their integrity and humanity in tact under capitalism, but integrity and humanity is no protection from the corrupting beast of the free market or the wolf of mankind’s darker nature.

Lazzaro stands guard against the wolf, he communicates with the wolf, he knows the wolf and the wolf knows him. Lazzaro is not afraid, he is immune to fear, which is epidemic in capitalism and is also its fuel…fear of lack, fear of other, fear of self…keep us all on in a state of pain and capitalism sells us the snake oil to soothe our discomfort. Lazzaro is devoid of all of these fears and, even though he is a tireless and selfless worker, is an existential threat to capitalism.

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Lazzaro is a saint, literally the last good man, an innocent whose soul and spirit is pure even though he has been exploited many times over. In the modern capitalist world all things are violated and violate…the church, government, business, people. It is no coincidence the climactic scene of the film takes place in a bank and shows that the spiritual corrosive of capitalism turns everyone into wolves…hungry and insatiable and afraid…always on the hunt for the weaker, needing to exploit…in the end, the actual wolf is replaced by us.

In conclusion, I was deeply moved by Happy as Lazzaro as it is a powerful fable that insightfully speaks to our current spiritual void and how capitalism feeds our darkest impulses. Lazzaro is like a character from a dream who comes to remind us who we really are but have long forgotten, it will do you good to spend two hours with Lazzaro trying to remember. Happy as Lazzaro is currently on Netflix and I whole-heartedly encourage you to watch it.

©2018