"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

Thoughts and Musings: Featuring Fredo, Bed Bug, Lady Kicker and More!

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Estimated Reading Time: 4 minutes 12 seconds

FREDO AND THE BED BUG

A story came out a few weeks ago that was my favorite story of the year, the millenium and maybe of all time. The story was really nothing more than a video…but my Lord that video was absolutely magnificent. The video is of CNN host Chris Cuomo, son of former NY Governor Mario Cuomo and brother to current NY Governor Andrew Cuomo, getting all chesty with some guy at a summer party because the guy called him “Fredo”. Sadly, the video, which is in my humble estimation the very best movie of 2019 so far, has been scrubbed from youtube….but here is a news report on it.

Cuomo was incensed at being labeled with the disparaging name Fredo, which refers to Fredo Corleone of the Godfather movies, who is the incompetent and weak Corleone son especially when compared to his brothers, Michael, Sonny, and Tom Hagan. Cuomo went so far as to say that Fredo is the equivalent of the “n-word” for Italians. Brilliant.

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A couple things here…first…Cuomo is a silver-spooned, spoiled brat and recipient of the Lifetime Achievement in Nepotism award who may be the dumbest person to ever speak on television. Anytime I’ve ever seen Fredo Cuomo on television I am constantly distracted by the overwhelming sound of wind whistling through his empty fucking head. If Fredo Cuomo weren’t part of New York political royalty, my guess is he would have been diagnosed as being officially mentally retarded and sent to an institution where he could eat paste all day and play with his, and others, poop, rather than have gotten a job on television. Although to be fair, tv is a great place to put a mental defective and intellectual midget like Fredo Cuomo as he fits right in with the rest of the vacuous dipshits in that business.

In the video in question, Fredo Cuomo acts tough by telling the guy who called him “Fredo” to be a man and own up to what he said and also threatening to throw the guy down a flight of stairs. The guy in the confrontation is little more than an irritant and Fredo gets to do and say what he wants with impunity and only really tries to escalate things when he is being held back by his sycophantic posse.

Here is the thing…Chris “Fredo” Cuomo has lived the entirety of his life much like Donald Trump, in a protective bubble where he is immune from consequences. Well, if I ever have the pleasure of being in Chris Cuomo’s presence I vow I will call him Fredo over and over and over and over and over again, and I hope he tries to do something about it because I won’t put my tail between my legs…I will do the world a favor and smash his stupid, entitled fucking face in. There is a legitimate reason for people to call Chris Cuomo, “Fredo”, it is because he is, just like Fredo, stupid, worthless and weak. In fact, Chris Cuomo is way worse than Fredo…Fredo at least was banging cocktails waitresses two at a time out in Vegas, a bit of multi-tasking of which Chris “Fredo” Cuomo is no doubt incapable. Calling Chris Cuomo “Fredo” is not an insult to Cuomo…but an insult to Fredo.

My greatest hope going forward is that all Americans can put aside petty political and cultural squabbles and come together around this singular issue and make the unified commitment to always and every time call Chris Cuomo, “Fredo”, whenever within earshot of this vacant-eyed douchebag. Now, If you are so lucky as to be in Fredo’s presence but you think it is an inappropriate time to call him Fredo, if, say, he is visiting sick kids in a hospital or something…don’t let that bother you…it is always the PERFECT time to call him Fredo…BECAUSE THAT IS HIS FUCKING NAME FROM NOW ON!

To mimic our wondrous jackass of a president…I hereby declare that forthwith, Chris Cuomo is officially to be known as “Fredo”. Go forth Americans and make me proud and torture this needle-dicked clown by calling him Fredo to his face in perpetuity! And for extra credit call his brother Andrew...The Gimp.

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There was another instance of supposed rude behavior in the public sphere this week when Dave Karpf, a professor at George Washington University, sent out a tweet that called NY Times columnist Bret Stephens a “bed bug”. Literally seven people read the tweet, but somehow word got to Stephens and he sent off an email to Karpf inviting him to his house to see if he would dare call him a bed bug after meeting his wife and family. The email is mildly threatening in a “say that to my face” kind of way, but nothing egregious. No, what makes Stephens actions in this case egregious are that he sent the email not only to the “offender” Karpf, but to Karpf's boss, the provost of GWU. Obviously Stephens was trying to get this guy fired for his snarky tweet.

What makes all of this even more repulsive is that Stephens is constantly calling out people to be more thick skinned and for snowflakes to grow a spine and all that jazz. Well…what is good for the goose apparently is not so good for the gander. Stephens is a repugnant little neo-con, chickenhawk character who is always willing to send other people to fight, especially for his beloved Israel, for whom he is a shameless shill. Stephens’ writing is nothing if not derivative, vapid and banal, and as recently as this past June I wrote about how he lied about the attacks on oil tankers in the Persian Gulf in order to drum up war against Iran for Israel.

In keeping with his character, Stephens went on MSNBC in the wake of Bedbug-gate and tried to play the Jewish victim card by saying authoritarians (read: Hitler!) often call people bugs in order to dehumanize them and claimed he didn’t email people at GWU and wasn’t trying to get the guy fired. Of course, after Stephens MSNBC appearance it came out he did email the provost at GWU…and was obviously trying to get the guy axed all for the sin of disrespecting the great Bret Stephens, defender of civility.

To his great credit, Stephens later in the day made the bold and courageous decision to quit…twitter. Wow…what courage.

How about this Mr. Bedbug…how about you make the invitation to come to your house and call you Bed Bug in front of your family to me…and then I gleefully beat you senseless, knock all your teeth out, blind you with a can of Raid, walk out to your garage, borrow your bow saw, come back in and cut your empty fucking head off and leave it on the front porch as a jerk-o-lantern as a reminder of what happens to neo-con, chickenhawk Bed Bugs? Sound good?

Seriously…what the fuck is wrong with people? I get hate mail ALL THE TIME! People say nasty shit to me day in and day out…shit they would never say to my face. You know what I do about it? Nothing. I may want to reply and tell someone to fuck off, but I don’t because it is counter-productive and totally a waste of time and energy. Why would I indulge in that sort of thing and why would I give my power away to complete strangers who I don’t know and don’t care about? I am an absolute nobody and I have the self-discipline not to engage in mindless internet battles with other nobodies…Bret Stephens writes for the New York Times…the New York Fucking Times…and he literally spent time not only searching for a tweet that disparages him, but then tracking down the tweeter’s email address and the address of his boss, then writing an email and sending it. What the fuck is wrong with this limp dick jackass? And as an aside…why in the world is anyone on Twitter? Or any social media for that matter? I do not understand the appeal of any of it.

My advice to Bret Stephens is to stop being a mealy mouthed twat and start being some semblance of a man. Oh…and my directive to every American and every person in the world…is to call Bret Stephens “Bed Bug” always and every time. Thank you for your cooperation.

One final thought while we wait for Bed Bug Bret Stephens and Fredo Cuomo’s testicles to drop…my now number one dream is that someone makes a buddy action comedy about Chris Cuomo and Bret Stephens and titles it “Fredo and the Bed Bug”. It could be a cross between Kafka’s Metmorphosis and Tango and Cash. You’re welcome Hollywood.

LADY KICKER

There was another video making the media rounds this week…this one of US Women’s soccer player Carli Lloyd kicking a 55 yard field goal during a Philadelphia Eagles practice. The video received enormous amounts of media and social media attention and stories swirled about whether Lloyd would kick in an NFL pre-season game. Lloyd got into the mix as well declaring that teams had reached out to her and she was seriously considering the offers. Over on ESPN, America’s Human Resources Sports channel, across the board all of the talking heads thought this was a terrific idea and that Lloyd “of course” could do it.

Take a look at the video.

Lloyd does hit a 55 yard field goal…this is true…but the story is utter nonsense. Watch it again and notice that Lloyd takes like seven steps running up to the ball and then faces no wall of 300 lb men impeding the ball’s progress. Carli Lloyd is a great female soccer player…she is not going to play in the NFL. Because we watch the game on television and it seems like a video game, we regular people are numb to the size, strength and speed of NFL players. The men playing in the NFL are as close to super-human as we have on the planet. These guys, who are most likely greatly aided in their physical and athletic development and performance by PED’s, are gigantic or lightning fast or both.

If Carli Lloyd were to try and kick a field goal like regular kickers have to…namely with a maximum of three steps to the ball and over a wall of giant men trying to block it, she would not fare very well. Lloyd has a strong leg…for a woman…but anyone who has the slightest grasp of biology understands that Lloyd’s leg is not as strong as the men she would compete against. Her leg is no doubt stronger than mine, and the vast majority of non-kickers in the world…but she wouldn’t be competing against me…she’d be up against the best of the best.

This story, just like the USWNT equal pay story, is manufactured nonsense and is a sign of the madness of our age and the delusional nature of wokeness. Carlie Lloyd is not as good a kicker as the men in the NFL just like the USWNT are not as good as even an elite boy’s high school team nevermind the USMNT. Enough with this woke posturing and posing and virtue signalling and pandering. Enough, enough, enough. Maybe we can put all this nonsense to rest if we let Ms. Lloyd kick in a real NFL game and then the kick is blocked and we have to watch her be absolutely and utterly obliterated by players scrambling to get the ball or block for someone returning the kick. That sight would be horrifying but also clarifying…which is maybe why we need to see it happen so all of these girl power clowns can understand that they are not physically equal to male athletes…and never will be.

GRANDPA BIDEN

My father was a true blue conservative who voted Republican almost always, and on the very rare occasion he didn’t vote Republican he voted third party and not Democrat because he really hated the Democrats. In 2016 my father faced a conundrum because he absolutely loathed Donald Trump, and had for the entirety of Trump’s public life, but he also had a searing hatred for Hillary Clinton. My father avoided having to make a decision in the 2016 election by dying, exactly three years ago today. In many ways his death felt more like a getaway than a passing, as I am sure on some level he was thrilled to not have to live in a country with either Trump or Hillary as President.

During a conversation with my father in his final months, I asked him if there was any Democrat he would vote for against Trump, and he said he would definitely vote for Joe Biden if he were the nominee. I have thought of that conversation often as the 2020 campaign has staggered to its start.

Biden is certainly the establishment and centrist favorite. His main selling point is that conservative people like my father, who was born the same year as Biden, would cross the aisle to vote for him. I wonder if my father would feel the same way about Biden now that he did three and a half years ago though?

Biden, to me, looks extremely feeble and frail. I know he leads in the polls and everything, but the fact is he looks really, really old and not entirely there mentally. Biden’s cognitive ability is reminiscent of a punch drunk boxer who has convinced himself he has one more great fight in him….think Ali taking on Larry Holmes (although Biden is no Ali…and Trump is no Larry Holmes...I guess it is more the equivalent of Gerry Cooney taking on Butterbean).

It isn’t just the gaffes with Biden that have raised red-flags for me, it is the far-away, cloudy look in his eye…he looks not all there, like a doddering old Grandpa haunting a holiday party. The standard pundit counter point on Biden’s age is to say that Trump is also in his 70’s, so age won’t be a factor. I despise Trump, but the cold, hard reality is that Trump may be crazy, but he sure doesn’t seem old and frail. In fact, Trump’s manic madness makes him seem, in a terrifying way, sort of vital, present and engaged. Sanders is older than Biden and Warren is also in her seventies, but neither of them seem frail or cognitively impaired in the slightest, in fact they are both full of piss and vinegar.

I was talking to my French-Canadian friend, “Spider” Geau-Geau, about this recently and he made a surprisingly astute observation about the cognitive difference between Trump and Biden…he pointed out that Trump not only doesn’t drink alcohol…but never has. I thought this was a very insightful point, especially from a raging alcoholic, and an alcohol induced rage-a-holic like Monsieur Geau-Geau. As someone who is sober for more than a quarter century, I can attest to both the dangers of alcohol to the brain and the remarkable mental and cognitive benefits of sobriety.

At the end of the day, I think Biden will absolutely wilt as the campaign goes on. If Biden makes it all the way to the general election as the nominee, I think he will completely wither under the demands of running for the presidency at his age and in his condition, and for this reason I think that Biden is, counter intuitively, a bad choice to take down Trump.

As of this moment I have Trump as the odds-on, hands-down favorite…but things could certainly change.

CHAPPELLE

I watched Dave Chappelle’s new stand up comedy special on Netflix last night and thought it was very good. I wouldn’t consider myself a Chappelle super fan, for instance, as remarkable as this is to say, I have never seen his iconic sketch comedy show Chapelle’s Show. When some people learn that fact about me they are stunned and startled because apparently the show is right up my alley. I didn’t skip the show during its run out of malice towards Chappelle, but because when the show was running I either did not have a tv, or I did not have cable (the show aired on Comedy Central). I have caught Chappelle’s last bunch of stand-up specials on Netflix over the years though, and I think he is very funny and I am notoriously difficult to please when it comes to comedy. What struck me about Chappelle’s most recent routine, and the reason why I am writing this, is that he and I seem to have very similar political and cultural opinions. In fact, a couple of times our opinions were so similar he even told jokes based on the same ideas I have tried to articulate in my writing over the years.

I am not saying that, like Little Bill Maher’s flaccid and impotent staff, Dave Chappelle is scouring my writing trying to poach my ideas and insights…all I am saying is that Chappelle and I share much in our world view. The only recognizable difference I can discern between us being that I think I casually say the “n-word’ considerably more than he does. (Relax…that is what the young people call a “joke”)

In all seriousness, I don’t know if Chappelle is a reader of my work, but…he certainly could be…and appears to be a fellow traveler…and that is enough for me. Anyway, if you get a chance to see Chappelle’s new Netflix special, and I do recommend it, you’ll get to hear some of my political and cultural views expressed in much more comedically satisfying ways.

Speaking of alleged plagiarism…I wrote a widely-read and well-received op-ed for RT last week titled “Celebriphilia epidemic sweeps US: Forget knowledge and wisdom, get guidance from the stars”. The piece was about America’s irrational adoration of celebrity…which I named as celebriphilia…and how people turning to celebrities for medical advice is asinine. My article ran on Monday, August 19th at RT…and the New York Times ran a remarkably similarly themed op-ed on Friday, August 23rd titled “Who Cares What Celebrities Think About Vaccines?” by Carolyn Lylstra. Once again it seems I am ahead of the New York Times, and the paper of record is reduced to simply putting the veneer of domestication onto my feral ideas. This is not the first time this has happened…and I am betting it won’t be the last. Readers should be extremely unnerved that a freelance dope like me is setting the agenda for the New York Times editorial page and thus the world media!

My advice to the New York Times, which I offer for free, is to fire that thin-skinned, neo-con, chickenhawk with the perpetually bunched panties, Bed Bug Bret Stephens, and hire me to infect the minds of Americans from the lofty perch of the most respected newspaper in the world. I won’t shill for Israel (which seems to be a requirement at the Times), won’t regurgitate the establishment line…ever, and will be a relentless thorn in the side, if not a fist in the face, to the nefarious people in power in this country…including those on the New York Times payroll…but on the bright side, I won’t get into twitter spats with people who call me mean names. My good friend Thomas Friedman has my contact information, so I look forward to hearing from you…or from Bed Bug Stephens who will no doubt be shocked and horrified by the uncivil nature presented in this column.

©2019

American Factory: A Review and Commentary

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****THIS REVIEW CONTAINS MINOR MOVIE INFORMATION/SPOILERS!! CONSIDER THIS YOUR OFFICIAL SPOILER ALERT!!****

My Rating: 3 out 5 stars

My Recommendation: SEE IT. See it just to see the depressing and fast-approaching future for all American workers…and to see the consequences of America’s pro-corporate/globalist policies over the last forty years.

American Factory directed by Steven Bognar and Julie Reichert, is a documentary that chronicles the trials and tribulations of a Chinese company, Fuyao, opening a factory in Dayton, Ohio. The film is the first to be distributed by Barack and Michelle Obama’s production company Higher Ground, and is currently streaming on Netflix.

American Factory is an infuriating film that will surely get your nativist hackles up and leave you red…white and blue with anger…I know it did with me. It is nearly impossible to watch this film and not walk away loathing the American working class for their self-sabotaging stupidity, the American ruling class for their avarice and corruption, and China and Chinese nationals for their arrogance, condescension and all-around disgusting deception.

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The film starts with the closing of a GM plant outside of Dayton in 2008, allegedly due to the economic collapse. My biggest problem with this film is revealed in that simple assertion of blame because it is supposed to give context but is actually entirely, and deceptively, devoid of context. You cannot tell the story of American Factory and Fuyao’s move into Dayton without explaining the fertile ground upon which that story takes root. That fertile ground is the blood-soaked soil of post-organized labor America, and it began to take shape during the Reagan presidency when blue collar union workers voted for the flag-waving Republican former B-movie actor en-masse in 1980, and then Reagan swiftly turned around meticulously went about destroying organized labor in America.

The ground was further fertilized when Democrat Bill Clinton came to office in the 90’s and proceeded to do to America’s manufacturing base what Reagan did to organized labor…destroy it. Clinton signed the North American Free Trade Agreement which was a boon for the investor class and ruling elites but was like a nuclear bomb dropped on blue collar workers and the working class in America. Manufacturing jobs fled the U.S. and in their wake left former bustling cities and towns looking like Hiroshima and Nagasaki after World War II. The American worker has never recovered from the back to back Reagan-Clinton double devastation.

To add insult to injury Americans followed up the disaster of Clinton by deciding they had to suffer through the even more pro-globalist, pro-business, pro-investor class, pro-ruling elite administration of George W. Bush. The Bush regime’s tenure was such an economic holocaust that it not only left the working class and blue collar workers in a pile of steaming rubble, but obliterated the middle-class and once prosperous middle-class neighborhoods with the housing bubble and subsequent collapse, followed by prodigious corporate bail outs.

The final bit of context is that this film is distributed by Barrack Obama’s new production company Higher Ground…and he has some nerve attaching himself to this movie as it is the equivalent of O.J. Simpson’s production company Good Husband distributing the Oscar winning documentary O.J.: Made in America. Obama is just as responsible for the cataclysm that American workers face today as his despicable predecessors Reagan, Clinton and Bush II. It is astonishing that Obama is getting praise for distributing this documentary highlighting the plight of working class Americans, when…you know…he could’ve done something to actually help them during the eight years he was President of the United States but chose to side with Wall Street instead.

When Obama came into office the economy was in ruins and he had the greatest opportunity of any president since FDR to make significant and lasting structural changes…but instead he chose to double down on business as usual and backed the Bush TARP plan and appointed to his administration or took on as his advisors globalist, neo-liberal, free trade, deregulating Wall Street whores like Little Timmy Geithner, Larry Summers and Robert Rubin and his acolytes, the same pricks who were responsible for the economic collapse in the first place. Obama chose to bail out corporations and shareholders and as a result they got richer, and everyone else got a whole lot poorer, and he also chose not to go after the Wall Street criminals who created the whole mess (or the Bush war criminals…but that is a story for another day).

Obama is a fraud and a Wall Street shill…let’s all drink to that!

Obama is a fraud and a Wall Street shill…let’s all drink to that!

Obama proved with his handling of the economic crisis and healthcare that he is a really disgusting charlatan who ran on “hope and change” but ruled on “fuck the working people”, just like his predecessors. Liberals and Democrats desperately need to disabuse themselves of the notion that Obama is a “good guy” and was a good president. A good way to do that is to watch the Flint, Michigan section of Michael Moore’s film Fahrenheit 11/9, and to educate yourself on Obama’s pro-corporate/globalist economics and then watch American Factory.

Once you have the genuine context for American Factory in place, then you can understand and become enraged by the same man, Obama, who along with his fellow establishment errands boys Reagan, Clinton and Bush, caused this catastrophe, having the temerity to comment on the horror of it.

American Factory shows America being colonized by not only foreign money, but foreign workers and foreign work culture. The globalist/NAFTA induced exodus of American manufacturing jobs in the 90’s to the cheap labor havens in China and elsewhere, hollowed out America and now foreign investors are coming in like carrion to pick away at the corpse. The systematic de-unionization of the American worker is now being exploited by billionaires, in this case a Chinese one, who come to our country and openly and blatantly shit on American workers, American culture and America…and we not only let them, we give them titanic tax breaks to thank them for it.

The American workers at the Fuyao plant in Toledo reveal themselves to be just as cowardly as the men in government who put them in this situation. The Chinese nationals treat these American workers with such disrespect and disdain that it is both shocking and repugnant. The Chinese nationals do the same to American laws as they routinely ignore environmental and work place safety laws, putting American employees at great risk. And if someone gets hurt on the job? Fuck them…they are fired.

Cao Dewang - Number One Asshole.

Cao Dewang - Number One Asshole.

The workers are so scared, so frightened and so weak after forty years of Reagan/Clinton/Bush/Obama, that they are totally devoid of any backbone. These workers should be ashamed of themselves for rolling over like dogs to these repugnant and despicable Chinese invaders. The shots of American workers groveling as they shake hands with the piggish billionaire owner of Fuyao, the grotesque Cao Dewang, who fancies himself a modern-day capitalist version of Chairman Mao, is revolting. One of Dewang’s most illuminating moments of assholery comes when American workers ever so gently resist against his authoritarian rule and he blames it on their anti-Chinese racism…classic. How does no one take a wrench to this vile asshole’s head and crack it wide open? How do none of the American workers show their Chinese overlords what a good old American beating looks like? Yes, they would lose their jobs and maybe go to jail, but at least they’d send a message to their enemies that Americans still have some self-respect, dignity and balls…for as the saying goes, “it is better to die on your feet than to live on your knees.”

The most infuriating thing about this film is watching the American workers expose themselves for their staggering stupidity and weakness. How can anyone do anything so dumb as to trust any company, nevermind a Chinese one, to do the right and treat their employees well? How can anyone be so stupid…so mind-numbingly stupid, as to vote away their only chance at leverage and give away their only weapon?

I hate to say this but it needs to be said…if you are that stupid and that weak that you cannot stand up to your oppressors, cannot think strategically and tactically, not only don’t vote to empower yourself but vote to disarm and neuter yourself, and are so gullible as to put your trust into a corporation after watching corporations rape working people over the last forty years, then you deserve the shit sandwich you are being force-fed.

American Factory does a lot to reinforce negative stereotypes of both the Chinese and Americans, it does this by only giving viewers a shallow glimpse into the people living out this culture clash.

“Goggles won’t protect you or your job when I stab you in the back and steal your job and your wealth, my American friend.”

“Goggles won’t protect you or your job when I stab you in the back and steal your job and your wealth, my American friend.”

The Chinese workers are shown to be slavishly dedicated to their country and company over family, single-mindedly disciplined, and diabolically deceptive. The Chinese nationals are shown as two-faced rats, conspiring to destroy their American counterparts. The Chinese nationals are proud to take advantage of American hospitality by befriending American workers for the sole purpose of gaining disparaging information on them in order to ultimately fire them.

American workers fair no better in the film. The American workers who go to China do everything they can to reinforce the stereotype of the fat, lazy American, which the Chinese already whole-heartedly believe. For instance, when the American workers go to a corporate meeting in China they waddle in wearing sports and concert t-shirts and looking overall like a disheveled collection of complete and total unprofessional shlubs.

The American worker’s time in China is like a bad SNL skit come to life life. It is astounding that these embarrassments lack the intelligence and social grace to understand that maybe they should put their best foot forward and at least wear a button down shirt and try to carry themselves with some remote semblance of dignity.

Nothing is so cringe worthy as the fat, weepy American who gets emotional watching a bizarre group wedding during an event at corporate headquarters. This blubbering jackass ends up being consoled by a bunch of incredulous Chinese workers who look at him like he is some comic American mascot, like the Philly Fanatic or something, that has gone insane.

American Factory shows that America’s demise is undeniable. The workers in this film are symbolic of America, they prove themselves to be worthless and weak. God help us if we ever get into a shooting war with China because they will absolutely kick our fat, stupid asses. That is the thing that becomes crystal clear while watching American Factory, that we actually are at war with China right now, but only China seems to know and acknowledge this. The Chinese workers in America are soldiers on the front line for China, and they have knives sharpened and ready to plunge into American’s backs at the first chance they get, but the Americans are oblivious and have been softened by relentless conditioning to do nothing but repeat soft platitudes about how “ we are all one”.

I actually have great respect for these Chinese workers and their patriotism and devotion to China, as well as China’s commitment to its long term strategy to dismantle American economic and global hegemony, I just wish it didn’t come at the expense of my country. I also wish that the U.S. had the same level of dedication, discipline and forethought that China does, and instead of fighting against its working people, fought for them.

If you see this man Jeff Liu, give him a warm American welcome with your fists to his face.

If you see this man Jeff Liu, give him a warm American welcome with your fists to his face.

The most insidious of the Chinese nationals highlighted in American Factory is the new president of the Toledo operation, Jeff Liu, who has lived more than half of his life in America (and may actually be a citizen, it is unclear) but absolutely despises America and Americans. To be clear, Liu is an enemy of the American people in every way, shape and form, and deserves to be dragged out of his office and beaten senseless by an angry mob of Ohioans. Liu is a walking advertisement to severely restrict immigration, even legal immigration, into America. Our top colleges and universities are overflowing with students from China who come here to get an education only to then turn around and use it as a weapon for China to undermine this country. American Factory exposes this deadly deception and charade, it is like the Lenin maxim that “the capitalist will sell you the rope with which you intend to hang him” brought to life in Technicolor.

It isn’t just the Chinese nationals who are revealed to be duplicitous, as there are numerous American traitors in Fuyao management who sell their soul and side with the Chinese in their struggle against American workers. I would also be willing to bet that American elites and those on Wall Street and in the management/investor class will watch this movie and deeply empathize with Cao Dewang and his struggles to run a business and not with their fellow Americans and their desperate struggle simply to survive.

The war waged on American workers isn’t only being waged by the Chinese but across the board by all in management, the investor class and the ruling elite. As the end of the film shows, all workers are under siege and the race to make them obsolete and entirely expendable is well under way. The dream of management and the elite is to make the American worker an extinct species, and with the unions a perilously endangered species, extinction for all American workers is becoming more and more inevitable. The dream of the ruling class will be a nightmare for the rest of us.

In terms of the actual filmmaking on display, American Factory is a good…but not great, film. The film is nicely paced and does a good job of not interfering with the subject it is documenting, but the failure to adequately give proper context to the struggle playing out on screen undermines the film’s credibility and impact. The film also gives us glimpses into different peoples, both American and Chinese, and their lives around the factory, but these glimpses are much too short and shallow to give us any insight beyond caricature, and thus we are left with stereotypes and not insight.

In conclusion, this film is unintentionally an indictment of the establishment and the globalist, pro-business, pro-free trade, anti-union politicians and media elite who are responsible for the carnage that has devastated the American worker. I can’t imagine that anyone with half a brain in their head and a functioning heart in their chests could watch this film and not, at least once, throw something at their television screen. If you want to see the not-so-distant future of all America and the present day reality for blue collar workers and how Reagan, Clinton, Bush and Obama used free trade, unfettered immigration, both legal and illegal, and deregulation to turn first world America into a third world country…go watch American Factory (and the Flint section of Fahrenheit 11/9)…and remember the person who is distributing this film is complicit in the calamity documented within it.

©2019

Celebriphilia Epidemic Sweeps US: We Look Now To The Stars For Guidance

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Estimated Reading Time: 3 minutes 37 seconds

CELEBRITY-OBSESSED AMERICANS LOOK TO THE STARS FOR GUIDANCE

Americans are blessed to have a plethora of benevolent celebrities who are willing to share their infinite knowledge and wisdom with them.

After a thorough examination by a team of top-notch doctors, I was recently given some very disturbing news…I was diagnosed with an acute case of stage 4 platonic celebriphilia. In case you don’t know, celebriphilia is a disease where the afflicted have an abnormal and overwhelming adoration of celebrity.

My medical team, which includes Dr. Phil, Dr. Drew and Dr. Oz, tells me that the symptoms of celebriphilia include feeling a false sense of familiarity and intimacy with celebrities which leads to the afflicted projecting an inordinate amount of inappropriate intelligence, wisdom and expertise upon celebrities.

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My celebriphilia first manifested itself a few years ago when Academy Award winning actress Gwyneth Paltrow created her “lifestyle brand” Goop. Through Goop, Gwyneth sold new age, alternative therapies and devices at exorbitant prices, including “vaginal eggs” that were meant to be inserted into the vagina in order to aid “hormonal balance, and feminine energy”.

After re-mortgaging my home in order to finance the purchase, I bought a dozen vaginal eggs from Gwyneth. Now if you are wondering why I would buy vaginal eggs whose miracle powers were debunked in a lawsuit, especially since I don’t have a vagina, then you obviously do not have celebriphilia.

The way I see it is this, if I had a vagina, I would trust my friend Gwyneth to tell me (and sell me) the right wonder egg to stick into it in order to cure whatever ails me. If I’m going to trust anyone regarding my non-existent vagina, you can bet your bottom dollar it would be the woman who played Pepper Potts in the Iron Man movies…that alone makes her an authority in vaginacology.

The same is true of anti-vaccination proponent Jenny McCarthy. Jenny is a TV host and former Playboy model, which is the celebrity equivalent of being a Phd in immunology, which is why I faithfully obey her when she orders me not to vaccinate my kids because they could get autism.

Suzanne Somers starred on Three’s Company forty years ago, which is equal to getting a Master’s Degree in Bio-Genetic Engineering, and so when, contrary to mainstream medical opinion, she claims that “bio-identical hormone therapy” is the fountain of youth…I trust in Suzanne’s knowledge and wisdom.

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You may think my Celebriphilia is so severe I need to take some medication to temper it…well…you’d be wrong. Kirstie Alley and her Scientology Lord and Savior, Tom Cruise, have informed me that psychiatry is a “quack” science and psychiatric drugs are dangerous. Kirstie was on Cheers, where everybody knows your name…and Tom Cruise is…well…TOM CRUISE!! So they definitely know what they’re talking about and I trust their expertise implicitly and will remain untreated, thank you very much.

My celebriphilia isn’t limited to just medical questions, the infection has spread to my thoughts on foreign policy and politics too. Thanks to celebriphilia I now blindly trust in Hollywood to tell me what to think. When Hollywood churns out star-studded, pro-war, pro-empire propaganda films and tv shows that have their scripts controlled by the Pentagon in exchange for military equipment, personnel, access and budgetary relief, I absorb the indoctrination unquestioningly.

We celebriphiliacs only get our news from rebellious comedians like John Oliver, Bill Maher and Stephen Colbert, and believe in every establishment talking point they sell us. I whole-heartedly put my faith in these second rate hack comedians desperate to stay in the good graces of their corporate overlords to tell me the unvarnished truth.

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As a celebriphiliac I get all my insights regarding Russia from Rob Reiner, who is an expert because he played Meathead on the 1970’s sitcom All in the Family. When Meathead tells me that we are at war with Russia because they stole our election in 2016, I treat his anti-Russian proclamations with all the respect it deserves.

To get my political opinions I go to all the top experts…Robert DeNiro, Matt Damon, Bruce Willis, Brie Larson, Alec Baldwin, Tim Allen, Angelina Jolie, James Woods, Chris Evans and George Clooney. Sometimes these experts have conflicting opinions on political matters, like maybe Bruce Willis and Alec Baldwin disagree on tax policy, or Tim Allen and Chris Evans have opposing thoughts on immigration. In order to resolve these deeply troubling quagmires, I do the logical thing and choose what I believe by siding with the celebrity who has the most Twitter followers.

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Luckily for me, I am not alone in being afflicted with celebriphilia, as it is a raging epidemic in America. Here in the U.S.A. we adore our celebrities so much we actually vote them into high office. In the last forty years alone we have elected a senile, bad B-movie actor, Ronald Reagan, and a silver-spooned, D-list reality tv con-man, Donald Trump, to the presidency.

In my state of California, the epicenter of the celebriphilia epidemic, we have elected a sex-abusing, steroid-injecting, son-of-a-Nazi, movie star, Arnold Schwarzenegger, to two terms in the Governor’s mansion, and the city of Carmel-by-the-Sea elected Dirty Harry himself, Clint Eastwood, to be mayor twenty-five years before he berated an empty chair at the RNC convention in 2012.

We American celebriphiliacs not only forgave these men for their shortcomings, we also imbued them with a wisdom, competency and expertise they did not possess, all because of their status as celebrity.

You may think that because I suffer from celebriphilia and treat celebrities like experts on things well outside their skill set, that I am insane. If the definition of insanity is “doing the same thing over and over again but expecting different results”, then considering the level of corruption, incompetence and malevolence on display by “real” establishment experts in government, Wall Street, Big Pharma and the media over the years, be it in regards to 9-11, WMD’s and the Iraq war, the housing bubble and ensuing 2008 economic collapse, the 2016 election, Russiagate and the opioid epidemic, then listening to, believing in, or trusting in these “official” experts is equally as insane as buying vaginal wonder eggs from Iron Man’s wife, Pepper Potts.

The bottom line is this, I am not a doctor, nor do I play one on tv, but I have seen other people play them on tv, and I am a certified celebriphiliac, which I think qualifies me to make a formal diagnosis of what ails celebrity obsessed, and expert-addled America. After careful study and deep thought I have come to this conclusion…contrary to popular opinion, America is not losing its mind…just like me, it has already lost it.

This article was originally published at RT.com.

 

©2019

Once Upon a Time...in Hollywood: A Review and Commentary WITH SPOILERS!

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****THIS REVIEW CONTAINS SPOILERS!!! SPOILERS AHEAD!! YOU’VE BEEN WARNED!!****

My Rating: 4.5 stars out of 5

My Recommendation: SEE IT.

Once Upon a Time…in Hollywood, written and directed by Quentin Tarantino, is the fictional story of fading television star Rick Dalton and his stunt double Cliff Booth, as they navigate Hollywood during the turbulence of 1969. The film stars Leonardo DiCaprio as Dalton and Brad Pitt as Booth, with supporting turns from Margot Robbie, Bruce Dern, Kurt Russell and a cavalcade of other actors.

Once Upon a Time in Hollywood is Tarantino’s 9th feature film and like all of his other movies it is a cultural event. With two of the biggest movie stars in the world on the marquee, and one of the most recognizable directing talents in the business at the helm, this movie was bound to stir up interest. Add in the fact that it is an unabashed homage to Hollywood history that also mixes in the toxically intriguing Manson family and you have a recipe for drawing a lot of attention. While I have loved some Tarantino films and loathed some others, I recognize his genius, and part of that genius is making movies that stir controversy and attract enormous amounts of both good and bad attention.

I went to see Once Upon a Time in Hollywood on the Friday morning of its official opening. The 10 AM screening was pretty full…full enough that I had to endure not one but two elderly couples sitting on either side of me talking throughout the movie like they were sitting in their own living rooms. Even after very politely and delicately asking them to please not talk, they continued anyway. As my buddy Steamroller Johnny astutely observed, “at some point old people think the rules of the world no longer apply to them”. Despite the incessant and idiotic yammering of these old fools, the likes of which included such gems as “remember Mannix? Oh yeah…I remember Mannix!” and “Where did Leo go? Why don’t they tell us where Leo went?”, I soldiered on to the end of the movie and much to my broke lawyer’s chagrin, never once smashed anyone’s head in.

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I must admit that my first impressions of Once Upon a Time in Hollywood were not overly positive. Besides the distracting moronity of the decrepit couples around me, I thought the film looked and sounded sub-par. The visuals were terribly imprecise and muddled, and the sound was atrociously bad, with Tarantino’s constant use of music suffocating the dialogue. The visual darkness and audio messiness made me feel I was watching the movie underwater. Even though I saw the movie in a high end art house theatre, I blamed the projector for the technical mess as the screening I attended used a digital projector which is how most movies are displayed nowadays. After leaving the theatre I shook my head at the sad state of film projection in America and what a crime it is to demean the art of cinema in such an egregious way.

Another first impression I had was that this movie was two hours and forty minutes long but ultimately did not do much considering it is historical fiction and could have done absolutely anything it wanted. I sort of felt like…is that all there is? Is that all you can come up with? it felt really…limited…at least in terms of the story.

Needless to say, while I didn’t hate the movie, I didn’t love it either, and felt it landed somewhere in the bottom half of the Tarantino canon, ahead of The Hateful Eight and behind Inglorious Basterds. Then, out of both frustration and curiosity, I decided to see the film again, except this time to see it in 35mm…as it was intended to be seen. 35mm screenings are pretty rare nowadays but Tarantino usually sets up special screenings where you can see his movies either in 35 or 70mm. It took some effort as I had to track down the theatres and special screening times for the 35mm print, but I did it and then went and saw it once again on Monday at noon.

Let me tell you…the difference between digital and 35mm is like night and day in every single way. In 35 the film is gorgeous to look at, the colors and contrast are distinct, and the visuals precise and specific. As much as the look of the film improved, the sound made an even more gargantuan leap. In 35mm the sound is astounding, as the music really pops and the mix is as clear as a bell…no more dialogue pulled under the tide of music.

The second viewing, much to my delight, also gave me a much clearer perception and understanding of the narrative and the sub-text. It certainly helped that I didn’t have to listen to elderly conversations about Mannix and could focus on the action on screen, but I was also aided by just being able to let the film wash over me as opposed to figure out what will happen next.

My second viewing changed my entire opinion of the film…and it quickly skyrocketed out of the bottom tier of Tarantino movies and into the upper echelon if not the Mount Rushmore of his canon.

Tarantino has always gotten great performances from his cast and Once Upon a Time in Hollywood is no exception. The entire cast is stellar, with Margaret Qualley (a 2017 Breakout Performance of the Year Mickey Award Winner!), Bruce Dern, Mike Moh, Al Pacino and Julia Butters doing terrific supporting work.

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As for the leads…Leonardo DiCaprio is at his very best in this movie. DiCaprio perfectly embodies the self-destructive, self-absorbed desperation that is epidemic in Tinseltown. His Rick Dalton is a star who is fading fast who represents an era and archetype that is under siege. DiCaprio’s Dalton is barely able to keep his mind and body in tact as he tries to navigate the minefield of semi-stardom in an entertainment business going through as much upheaval as the rest of the country in 1969….which is eerily similar to 2019.

DiCaprio gives Dalton a subtle but very effective stutter and stammer that reveals a mind deteriorating after years of alcohol abuse. Dalton’s stutter and stammer indicate he is no longer able to speak his mind and do it clearly. His stutter/stammer show a man second guessing himself and his entire life.

Dalton is also in a perpetual state of cough and spits up gallons of phlegm as he is metaphorically dying on the inside. Dalton smokes and drinks like a condemned man…which is what he really is. Dalton is the archetypal American Male…the Cowboy…and in 1969 that version of American Male was losing its standing and its balance, and in 2019 it is an outright villain. It isn’t until Dalton describes a novel he is reading about a cowboy who has outlived his usefulness and grows more and more useless as everyday passes, that his plight goes from being unconscious to conscious, and it devastates him.

DiCaprio has had moments of greatness in his acting career, most notably as a mentally challenged teen in What’s Eating Gilbert Grape and as a depraved slave owner in Django Unchained, but Rick Dalton is by far his most complex and frankly, greatest acting accomplishment, and he is deserving of not only a Best Actor nomination but a win.

Brad Pitt plays the stuntman Cliff Booth with all the movie star aplomb he can muster. Pitt’s work is much more straight forward than DiCaprio’s, but no less effective. Booth is an enigmatic character…at once cool but also combustible. Pitt’s charisma oozes off the screen and he and DiCaprio have an interestingly uneven chemistry that is compelling to watch. Booth seems like a combination of the cult 1970’s Native American action hero Billy Jack (one of my favorites) and Burt Reynolds character Lewis Medlock from Deliverance. He is, unlike DiCaprio’s Dalton, unambitious, but also unlike Dalton, he is the genuine article in terms of rugged, old school masculinity. Booth is no faux tough guy, he is an actual tough guy…the epitome of a real man in that he will kick the shit out of you if you deserve it, even if you’re Bruce Lee. And while Booth is a red-blooded man who is attracted to an alluring and eager teenage girl…his moral code won’t allow him to consummate such an ethically dubious act. And it is of note that the teen in question, named Pussycat, is at one point standing in front of a rainbow colored building, no doubt a strip club, named Pandora’s Box.

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Margot Robbie plays Sharon Tate and there has been much made about the paucity of her dialogue. The usual suspects are crying misogyny due to her role being “less than" her male co-stars. I find this sort of thinking to be so tiresome and vapid as to be absurd. As for Robbie’s actual performance…it is utterly spectacular. Robbie’s Tate is bursting with life for every second she appears on film. Robbie has filled her Tate with such a powerful and specific intentionality she is like a supernova of magnetism.

The Tate character is the embodiment of life, potential and the archetypal feminine. Tate is bursting with life, literally and figuratively, and her effervescence cannot be contained. When she walks down the street she seems to float or bounce, the earth barely able to grasp her ebullient spirit.

Tarantino’s decision to use actual footage of Tate in the film is a masterstroke, as he successfully pays homage to her and humanizes her at the same time. Tarantino takes Tate out of the clutches of not only the Manson gang but of the culture that has turned her into nothing but a headline and symbol. Sharon Tate was a person, a real person with hopes and dreams and aspirations and the Mansonites snuffed that out…and Tarantino reminds us of the depth of that loss without ever being heavy-handed or maudlin.

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The sub-text of the film is one of a battle between traditional masculinity and femininity and the assault upon them by “woke” culture. Tate and Dalton’s wife Francesca and Booth’s dog Brandy represent the traditional feminine archetype and Dalton and Booth are two halves of the traditional male archetype in the film…and the Manson family? They are representative of our new cultural wave…they are liberalism gone awry…they are “The Woke”. In a brilliant twist Tarantino makes this connection abundantly clear as he casts one of the most grating and loathed woke apostles, Lena Dunham, as one of the leaders of the Manson gang at Spahn ranch.

The gaggle of Manson women at Spahn Ranch are the neo-feminists of our age as they are little more than harpies who incessantly yap like neutered lap dogs in the presence of genuine masculinity (Booth). To quote Reservoir Dogs, Once Upon a Time in Hollywood asks modern day neo-feminists represented in the film as Manson women, “you gonna bark all day little doggie, or are you gonna bite?” Of course, these women do not bite when they first meet Booth…they sit and stay when told…and later when they do try to bite, the hounds of hell are released and these women serve as nothing but chum to the big dogs that do bite.

When the female Manson acolytes scream at Booth as he pulverizes a hippie dude at the Spahn ranch, they symbolize the nagging neo-feminists/woke brigade who say a lot but do nothing. They express their love for the weakling and cowardly Mansonite man getting the Booth treatment, but they don’t help him, they just touch their hearts empathetically and mouth their support. It is also worth noting that these woke women may softly proclaim their love for their hippy brethren, but they want to have actual sex with the real man…Cliff Booth. Ultimately when “the woke” women do trifle with Cliff Booth, he obliterates them. Booth and his faithful canine companion unleash a fury upon the woke and smash their heads into dust, no doubt because their heads are empty, as they are incapable of any thought…only regurgitation.

Speaking of dogs…maybe my favorite character in this entire film is Brandy the pit bull, who is Cliff Booth’s beloved pet. Brandy is occasionally a lap dog, but only because she wants affection, not protection. Brandy is a female…but unlike her Manson family/neo-feminist/woke counterparts, she is no bark and all bite. Brandy is the embodiment of loyalty and when unchained she opens the gates of hell upon anyone who would try to disrupt the order of her universe. Brandy may be subservient to Cliff, as he is the one who feeds her and directs her fury when necessary, but she also ferociously defends the traditional feminine in the form of Dalton’s young bride, Francesca.

At both of the screenings I attended, the audience cheered when the Mansonites get their comeuppance…and that is because it is so deliciously satisfying. In our culture The Woke are intolerant of intolerance but are totally intolerable. Tarantino is basically giving voice to people who are sick to death of the incessant woke posing in our culture by saying, “Hey assholes, you want equality…here it is…a can of dog food smashed in your fucking face”. The Woke are, in their own way, Nazis, and Tarantino treats them as such as he has Dalton torch them just like he does the Nazis in his hit World War II movie The Fourteen Fists of McCloskey, and just like Tarantino did in Inglorious Basterds.

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In a piece at The Ringer about Once Upon a Time in Hollywood, Alison Herman wrote “the Manson family aren’t Nazis, or slave owners, or even Bill (from Kill Bill); they were young, manipulated, drugged-out kids” and thus “…watching Rick take a flamethrower to one feels a lot less cathartic and a lot more uncomfortable”. One need look no further to find the vacuity of woke ideology than Ms. Herman’s quote. The young women and man (Tex Watson) getting their faces kicked in, bitten off and torched in the fantasy of Once Upon a Time in Hollywood, in reality brutally murdered Sharon Tate as she begged for the life of the child in her belly, as well as Abigail Folger, Jay Sebring and Wojciech Frykowski with the utmost cruelty, savagery and viciousness. They are not drugged up and confused girls anymore than the SS were noble patriots fighting for the German homeland. Ms. Herman’s woke inspired, insipid thinking is prevalent throughout our culture and is a leading cause of the epidemic of mental myopia verging on retardation in our nation. It is Ms. Herman’s thinking that Tarantino smashes in the face with a can of dog food, gets devoured by a pit bull and then gets lit up by a flamethrower…and deservedly so.

Tarantino also deftly plays with audience perception in Once Upon a Time…in Hollywood. The film is obviously a fairy tale and another bit of historical fiction/wish fulfillment from Tarantino, and it plays with this fact throughout. Tarantino subtly but continuously keeps asking the audience what is real? Is it a blind man who watches tv? Is it a man who claims he’s never been to prison yet says he was on a Houston chain gang for breaking a cop’s jaw? Or is it a man who allegedly killed his lusciously-bottomed, nagging wife or is that just rumor/lie/legend too? What about Dalton, who hates hippies but looks a lot like Manson in his Lancer costume when he gives his great performance…or Booth, who is adversarial with the hippies too but partakes of an acid laced cigarette he buys from a hippie girl?

At times the movie is a daydream within a fairy tale within a nightmare….and that makes it a hypnotically compelling film. Tarantino expertly captures the dream state that is Los Angeles…and Hollywood…a dream state that is so bright during the day as to be blinding, and so dark at night as to be deadly. Hollywood during the day is, like Sharon Tate, beautiful and full of potentialities. When night descends on Los Angeles it becomes a city of menace…the city of Charles Manson, mass murderers, serial killers, street gangs, violent lawless cops…a shadow city of predators and prey.

The ending of the movie is a combination of the dream/nightmare that leads up to it. After the “real men” Booth and Dalton save the day, greatly assisted by the traditional females in the house, Brandy and Dalton’s wife Francesca, the movie shifts to what should be a happy ending, but which feels extremely unsettling.

As Dalton stands at the end of his driveway, he is greeted by Jay Sebring, who seems like a ghostly apparition at the gates of heaven, asking what happened. Sebring is reminiscent of a ghost stuck in the place of his death, in this case Cielo Drive, who is unaware of what happened to them. Sebring and Dalton are then joined by the haunting and ghostly disembodied voice of Sharon Tate over the intercom. Tate invites Dalton up to the house for a drink…and the gates slowly open for him to enter. This is Rick Dalton walking into the gates of heaven (Tarantino’s version of heaven anyway). Dalton…the symbol of the 1950’s all-American cowboy archetype…is dead and he is going to mix and mingle with Sharon Tate and Jay Sebring and the others who did not survive the cataclysm of the 60’s.

Cliff Booth is technically alive at film’s end but physically injured (in the thigh…which in biblical stories/Jungian terms is symbolic of the genitals - which leaves Booth emasculated…just like Tex Watson who gets his balls chewed off by Brandy…and the hippie dude who Booth beats at the camp…who had no balls to begin with) and mentally altered from a hippie delivered acid laced cigarette. Although he avoided the moral trap of Pussycat, he ingested the poison cigarette willfully…like Adam eating the fruit from the tree of knowledge…for this sin he is banished from Eden. After Dalton declares his true friendship with Booth, Cliff is rushed away to a hospital…but in reality he too is gone…disappeared into the L.A. night never to be seen again.

The only ones left alive at the conclusion of the film are Francesca and Brandy…but they are sleeping in the bedroom, no doubt dreaming up the scenario played out over the preceding two and a half hours of Once Upon a Time in Hollywood, where real men/traditional masculinity saved the day and real women/traditional feminine got to appreciate them for it.

In conclusion, Once Upon a Time…in Hollywood is a staggeringly rich, layered and thoughtful film that is entertaining both as art and as popular cinema. I highly recommend you see it and even if it takes more effort…see it in 35 mm. Tarantino is a polarizing filmmaker, and this movie will no doubt receive a great deal of enmity from politically correct critics and their woke minions in our culture. The bottom line is this, Once Upon a Time…in Hollywood is a gigantic and well-deserved fuck you to The Woke, and that is what makes it so deliciously entertaining, but what makes the movie so poignant, insightful and exceedingly relevant is that it is aware that it is pure fantasy, and that in reality The Woke have won the culture war and cinema, and the rest of us, are all the worse for it.

©2019

Propaganda and the Delusion of Wokeness

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Estimated Reading Time: 6-2, 6-2

On the weekend of July 13th, as Serena Williams was being trounced in the Wimbledon Ladies Final by Simona Halep, a story about a YouGov poll that asked participants “Do you think if you were playing your best tennis, you could win a point off Serena Williams?”, was making the rounds. The poll was of 1742 adults in the U.K., and besides the poorly worded Serena question, asked some equally deep and thoughtful questions like, “do you think you look better naked or with clothes on?”. The inane poll was obviously meant to stir up trouble and publicity, which it promptly did because 7% of respondents had the temerity to say that they could score on Serena.

The big news from the poll, or at least the part that was most widely reported, was that 12% of men answered “yes" to the question. The internet and media went ballistic over the misogyny and delusion of 1 in 8 men thinking they could score on Serena, “the greatest female tennis player of all-time”. There was no mention of the delusional status of the 3% of women who responded “yes”…maybe they got a GrrlPower exemption from harsh judgement.

In the aftermath of the poll people went on twitter to claim that these guys were deluded and that they would shit themselves if they played Serena. Some men on twitter went the extra virtue signaling mile and declared that Serena would literally kill them with a tennis ball if they played her or they might be able to score on Serena only because she was laughing so hard them. As Dan Rather would say…”courage!"

When I googled “Serena YouGov poll” the top story that came up was from Stylist Magazine and the headline read, “Serena Williams: A message for the ‘deluded’ men who believe they could beat her at tennis”. Other headlines from outlets like Metro UK and The Cut declared “Men ridiculed after one in eight say they can beat Serena Williams” and “Poll Shows One in 8 Men Think They Can Beat Serena Williams”. What struck me about those headlines was that…not surprisingly…they were a total fabrication. The poll question never asked if people thought they could beat Serena, only “score a point against her while playing their best tennis", and those are two vastly different things.

In the Stylist piece, which was obviously written by someone who knows absolutely nothing about sports in general, or tennis in particular, states that Serena Williams is “one of the greatest athletes of all-time”. of course, what that statement should say is that Serena is “one of the greatest FEMALE athletes of all-time”, which is not a distinction without a difference.

Let’s be clear, not one of the people polled, unless they are one of the top 10,000 male tennis players in the world, or one of the top 100 women’s tennis players in the world, are going to beat Serena Williams at tennis. No way, no how. Serena is, unquestionably, one of the very best female tennis players to ever play the game and she is not going to lose one set, nevermind two, to someone who isn’t a professional level, quality player.

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But once again the question in question, is not about beating Serena, it is about scoring a point on her when you play your best. If the match were played under the rules of women’s tennis, that would mean the winner would have to win two out of three sets. In reality that would mean just two sets of six games, because it is highly improbable that anyone off the street is stealing a game from Serena. Twelve games would encompass 48 points in total if Serena won all the points, which is what the geniuses at Style Magazine and on twitter were claiming. Twenty-four of those points would be on Serena’s serve…which would be very, very difficult for an amateur to handle.

That said, it is also possible, not likely, but possible, that Serena double-faults, which would be a point won by the amateur and thus a “yes” answer to the poll question. This is a vital point to make, that tennis is not just about you hitting a better shot than the other person, it is about the other person not making an error. So what the Style Magazine and twitter fools think is that Serena would be completely flawless in playing these polled amateurs…which is unlikely regardless of her opposition’s unworthiness.

If Serena just hit one ball too hard or didn’t bend her knees enough or slightly miss-hit a ball, then the amateur gets a point and the poll answer is “yes”. Watch tennis players warm up and you see even when their opponent is trying to give them balls to hit they will occasionally hit one into the net or long or wide. This is the nature of sport, humans are not robots, and even the greatest at certain sports are not perfect all the time.

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Think of it this way, if I were in a shooting contest with Michael Jordan, best out of 48, Jordan would win that competition, but odds are he might miss at least one shot…which in terms of the poll means I would answer “yes” when relating it to Serena Williams. The same is true if I played one on one against LeBron James. He would destroy me, but if he took a pull-up jumper, or went up for a lay-up…it is not inconceivable he could miss…it would have nothing to do with me and my stellar defense (which really is stellar!), it would have to do with the imperfection of humans and the nature of sport. I would never beat Michael Jordan or LeBron James in a shooting contest or in one-on-one, but that doesn’t mean they would never miss, in fact, the odds that they would miss 1 shot out of 48 is pretty good.

It needs to be said that playing tennis against Serena would be infinitely easier than playing one-on-one against LeBron because his size, strength and speed advantage would be highlighted due to the fact that he would be physically imposing his will on me due to proximity, in basketball you are right next to each other, as opposed to tennis where your opponent is across the net and that distance can reduce the direct physical advantage.

Another thing about the twitter and media reaction to the poll is that everyone assumes that every person answering is a fat-slob, couch potato. While there are plenty of fat-slobs and couch potatoes in the U.K., I think it is safe to say that there are, at a bare minimum, 12% of men in the U.K. who have a life committed to fitness and health. I would say that 12% of U.K. men work out with a modicum of intensity on a regular basis. In fact, a Kantar UK study from 2018 claims that 17% of Britons are members of health clubs and 13% say they exercise regularly.

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The numbers of the Serena poll aren’t clear, but let’s assume that half of the 1742 respondents are male, which gives us 871 men. Of those 871, a total of 104 answered yes to the question. Is it insane to think that 104 men out of 871 are fit and highly active and athletic and maybe even compete in sports on a regular basis? I saw a survey that said that there are nearly 840,000 people in the UK that play tennis at least twice a month. Another study says that 500,000 Brits play tennis twice a week. That seems like a lot of tennis players. Is it so absurd to think that these athletic and fit people, playing their very best tennis, could score a single point on Serena when scoring a point also includes her making an error of some sort? The answer is…OF COURSE NOT!

This poll and this story are absolutely idiotic…so why am I writing about it? I am writing about it because it is emblematic not of the “delusion” of the men responding yes to the question, but rather of woke propaganda meant to reinforce the delusional ideology and insipid woke cosmology that fuels the media and twitter mobs. Those doing their two minute hate routine over “delusional men”, make Serena Williams out to be some demi-god or superhero simply because she is a women and black, and they reflexively believe that anything or anyone that dare question her superiority is acting out of misogyny and racism.

The Stylist Magazine piece is a perfect example of propaganda as it distorts the reality of the poll by conflating scoring a point against Serena with beating her, and then says the men who think they can beat her are delusional but ignore the women who say could beat her.

Further proof of Stylist’s propaganda is when they state that “The fact that a significant number of men believe they could win a point against a female tennis legend speaks volumes about the patriarchy”. Is 12% a significant number? If 12% of the population supported Donald Trump would Stylist think that was a “significant” number of supporters?

Stylist continues by declaring “these guys have a delusional confidence that’s ignorant to a women’s talent, achievements and lifelong passion.” Or maybe, like I stated above, these men simply did the math and figured out it is not impossible to score a point on Serena if they are playing their best tennis. My favorite part of that Stylist sentence is “lifelong passions”…if I have a lifelong passion for classical music does that make me Yo-Yo Ma? What does “lifelong passions” have to do with anything?

In making the case of why Serena is so unbeatable, Stylist highlights not only her career accomplishments, which are extraordinarily impressive, but also that she is “an advocate of women’s rights, an influencer of fashion and an important voice in challenging stereotypes around women at work and sport”. What difference does that make? Does that mean that these “delusional men” couldn’t score a point in tennis against Gloria Steinem and Donatella Versace?

In our current cultural and political climate this type of propaganda, that distorts reality and conflates facts, is par for the course. This story is an example of what people do when they want to make a political point and then twist the facts to fit their ideology. The establishment media’s coverage of all things Russia is another glaring example of this tainted “journalistic” approach. Remember the “Russian Microwave Weapon Attack” story? Or the Russians hacking power grids story? Or the whole Russigate hoax fiasco?

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The media distort facts just enough to appease the insatiable anger and outrage of those who already agree with them in order to feed the base the red meat they crave. In this case the media conflate scoring a point against Serena with beating her in order to reinforce the notion that men are “deluded” and irrationally confident which angers yet delights pussy hat wearing women and woke posing men who want to signal their virtue. The media does this same thing in regards to Russia, Iran and Syria all in an attempt to give the people what they want as opposed to tell them the truth. This level of deception and distortion is Trumpian in its insidiousness, and it exposes the complete lack of a rational and intellectual foundation to the majority of opinion and thought in this country. The foundation of most opinion in this country is emotion…not logic or reason…and the media stoke this empty headed emotionalism for their own means.

The woke and their acolytes in the mainstream media are, like the Trump cult, immune to logic and reason, and they live in a perpetual delusion and dark fantasy. These people have such a contorted and distorted perception of reality they are incapable of seeing that they are a vital part of the intractable evil they claim they want to destroy. They think men, white men in particular, are malevolent misogynists and destructively delusional…yet many, if not most, claiming this are mothers, daughters, sisters or wives to white men. The funniest part is that a great deal of the woke are white or male or both. The same men who self-flagellated themselves on twitter claiming they’d poop their pants if they played Serena, are no doubt the same mealy-mouthed twats who loudly proclaim that white people are the root of all evil even though they are white. Most of these allegedly woke self-loathing white people will vociferously proclaim their devout belief in diversity but then make sure their kids don’t go to the more “diverse” and more dangerous schools in their city, but rather send them to pricey private school or move to more upscale and whiter neighborhoods in order to avoid the diversity they supposedly so adore.

I have more bad news for hypocritical woke white people…when you condemn white men, you condemn your father, brother, sons and husbands. Since the woke, just like Trump, paint with the broad brush of stereotypes, the “good” white men don’t get a “good white guy” pass. When the shit hits the fan and people are judged by the paradigm the woke have embraced, namely judging people by the color of their skin and not the content of their character, they are going to find out that being an “ally" is a one-way street….and it leads right to the gallows. The reality is that these woke phonies already know this…which is why they send their kids to predominantly white schools in order to avoid the racial animus of minorities.

In conclusion, this poll and the stories about this poll are so ridiculous as to be absurd, and yet, here I am writing about it. The poll, the stories about the poll and my article about the stories about the poll are all prime evidence of how totally insane our world has become and how fucked we are as a society…and make no mistake…we are totally insane and totally fucked.

©2019

Meathead Beats the Dead Horse of Collusion

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Estimated Reading Time: 4 minutes 27 seconds

Hollywood is churning out all-star videos in order to try and convince Americans that Trump is guilty of “collusion”.

For the last three months there has been a bombshell story hiding in plain sight about an obscure government document that has been criminally under-reported by the establishment press. Thankfully Hollywood is here to save the day and shed some much needed light on this ever-elusive information.

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The document I am referring to, of course, is The Mueller Report, which according to Academy Award nominated filmmaker and Hillary Clinton fanatic Rob Reiner, is an absolute mystery to ordinary (non-famous) Americans. In a patriotic act the equivalent of storming the beach on D-Day, Reiner has done a truly courageous and heroic thing to bring attention to this long ignored story…he made a five-minute video with his Hollywood friends.

On Thursday, June 20th, a group named Now This put out the video directed by Reiner, that features celebrities such as Robert DeNiro, Laurence Fishburne and even former president-on-tv Martin Sheen, highlighting what they believe to be the criminality of Trump exposed in the report.

Reiner has been in the vanguard of Hollywood’s pro-Hillary contingent and is a vociferous proponent of Trump and Russia’s collusion in the 2016 election. In 2017, he teamed with Bush administration war criminal David Frum to start a group called Committee to Investigate Russia. This group also put out a video, one that starred former president-in-the-movies, Morgan Freeman, and it boldly declared that “We Are At War” with Russia.

With that statement in mind it should come as no surprise that Rob Reiner came to fame in the 1970’s playing a character named Meathead on All in the Family. It is nice to know he is still living up to the moniker. Reiner is Hollywood royalty, being the son of comedy legend Carl Reiner, then a tv star in the aforementioned Meathead years, and then becoming one of Hollywood’s most successful filmmakers, having directed hits like This is Spinal Tap, The Princess Bride, When Harry Met Sally and A Few Good Men.

In his most recent work, the Now This - Mueller Report video, Reiner tries to use his moviemaking prowess to make the argument that Trump is guilty of “collusion” but that no one realizes this because they haven’t actually read the Mueller Report. The video starts off on very shaky logical ground when just 44 seconds in Rosie Perez emphatically declares, “virtually no one has read” the report. It pains me to point out to Meathead and Ms. Perez, which could be the title of a future buddy cop movie, that the Mueller Report has been published by three different publishing companies, and all three of those versions currently sit on the New York Times best seller list at #1,#5 and #12. 

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Reiner’s claim also ignores the fact that the press has reported on “virtually” nothing but Mueller’s investigation for the last two and a half years. Considering the plethora of Mueller stories to the point of saturation in the media, the putting out of this video by Reiner is an act of animal cruelty worse than anything seen at Santa Anita racetrack because at least at the track they properly dispose of their dead horses instead of continuing to beat them.

In an amusing bit of irony, Reiner and his Hollywood cohorts who claim no one has read the report, prove themselves to either have not read it or not understood it when they repeatedly claim that Trump is proven guilt of “collusion” within its pages. The numerous references to “collusion” made me think of Reiner’s classic comedy The Princess Bride and the character Inigo Montoya who says in the film, “you keep using that word. I do not think it means what you think it means.”

“Collusion” is a nebulous word in the context of the Trump/Russia story and people who use it only do so to disinform and distract. As the Mueller Report states it did not use “collusion” in their assessment of potential criminality because “collusion is not a specific offense or theory of liability found in the United States code”.

Reiner and company intentionally say “collusion” instead of the more specific colloquial term ‘coordinated’, or the detailed legal term ‘conspiracy’, in order to mislead viewers about the contents of the Mueller Report. This obfuscation is proven by the report when it clearly states, “The investigation did not establish that members of the Trump Campaign conspired or coordinated with the Russian Government in its election interference activities”.

In Reiner’s video Cliff Notes version of the report he also holds up Trump campaign officials Paul Manafort and Rick Gates meeting up with a “Russian agent” in a cigar bar in New York City in order to give him polling information as a sort of smoking gun. The video fails to mention the “Russian agent’s” name, which is Konstantin Kilimnik, maybe because he is also Ukrainian and clearly isn’t a “Russian Agent” because he was actually a “sensitive” intelligence asset for the U.S. State Department who would report to them on Ukrainian and Russian matters.

This insinuation of criminality is as equally obtuse as, and reminiscent of, the dim-witted band members from Reiner’s iconic rock and roll mockumentary, This is Spinal Tap, recalling the numerous deaths of their drummers through the years, such as the one who “died in a bizarre gardening accident” that authorities felt was “best left unsolved”, or the drummer who died when he “choked on vomit” but they didn’t know whose vomit it was because “you can’t really dust for vomit”.

The video also declares that Trump officials met with 200 Russian “operatives” and that this again is proof of “collusion”. In Reiner’s Cold War addled mind, every Russian is an “operative” or agent or asset, such as lawyer Natalia Veselnitskaya, who is described in the video as a “Putin-connected Russian lawyer”, no doubt her “Putin-connection” comes from simply being Russian. 

The sort of Russophobic prejudice displayed by Reiner was best articulated by former Director of National Intelligence James Clapper, when in 2017 he said, “…Russians, who typically, almost genetically driven to co-opt, penetrate, gain favor, whatever, which is a typical Russian technique.”

It is obvious that the gullible Reiner has fallen prey to the insidiously deceptive media narrative of Russiagate which is the equivalent of his film The Princess Bride, where liberals are Princess Buttercup and Robert Mueller is the hero Westley, who will save them from the evil Prince Humperdinck, who is Trump.

This current insipid Reiner video is a symptom of the delusional orgy of ecstatic Trump and Russia hating in which Democrats have indulged in recent years. Like in When Harry Met Sally when an older woman (played by Rob Reiner’s actual mother, Estelle) in a diner, who witnesses Sally demonstrate to Harry how she fakes an orgasm, masterfully deadpans the line “I’ll have what she’s having”, liberals watch Rachel Maddow’s orgasmic Russiagate coverage and declare, “I’ll have what she’s having”. The Democrat hysteria over Trump and Russia results in a dangerously distorted perception of reality, a perfect example is the perilous Reiner statement “We are at War” with Russia.

The reality is that because of the intensity of Reiner’s slavish, sycophantic worship of Hillary Clinton, no matter how many political videos he makes, he will convince no one of anything except the fact that he is a rabid political dog chasing his own tail who is close to collapsing onto the floor in a dizzied state of exhaustion and madness. That is the truth, and to quote Colonel Jessup from A Few Good Men, Rob Reiner simply “can’t handle the truth!”

 A version of this article was originally published on June 27, 2019 at RT.com.

©2019

False Flags and Memory Holes

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Estimated Reading Time: 5 minutes 27 seconds

On Thursday June 13th, 2019, there was an “attack” on two commercial tankers in the Gulf of Oman. This “attack” is the second on ships in the last two months, as four commercial ships were similarly targeted off of the Gulf of Oman on May 12th of this year. The U.S. claims that the “attacks” were perpetrated by Iranian forces, and say they have the evidence to “prove” it, resulting in tensions in the region ratcheting up considerably with rumors swirling of a U.S. strike against Iran in retaliation.

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Of course, just because the U.S. claims it was Iran who committed these acts, doesn’t mean it actually was Iran. The evidence put forward, including a grainy video, thus far has been laughable at best and contradicted by eye witnesses such as the crew of one of the tankers. Pictures released by the U.S. alleging to show damage from Limpit mines have holes visible on the ships well above the water line, which indicates something besides a mine created them. Another oddity about the entire episode is that none of the ships that were attacked were American, but that hasn’t stopped the U.S. from blustering on about holding Iran accountable.

A false flag is defined as “a covert operation designed to deceive; the deception creates the appearance of a particular party, group, or nation being responsible for some activity, disguising the actual source of responsibility.” If one is even remotely historically literate and has a functioning mind complete with a critical thinking reflex, these recent attacks on ships in the Gulf of Oman seem to clearly be false flag attacks.

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False flags have played a pivotal role in instigating many U.S. military actions over the years. Remember the Maine! That was the rallying cry of the media to drum up the Spanish-American War back in 1898 when the U.S.S. Maine sank in Havana harbor. The truth was that the Maine sank due to an accidental explosion, but the Hearst media empire turned it into a terrorist attack and thus pushed America into war.

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As the Pentagon papers showed, The Gulf of Tonkin incident was a charade, a notorious false flag operation used to justify the U.S. fully committing to war in Vietnam. The Gulf of Tonkin was the inciting incident which directly led to the deaths of millions of people in the region, including over 58,000 U.S. servicemembers.

In Syria in 2012, rebel forces used a false flag kidnapping of NBC News reporter Richard Engel to drum up American media anger against Assad and support for the rebels. Later in the conflict these same forces used false flag chemical weapons attacks on Syrian civilians, aided in part by the duplicitous White Helmets, in order to goad the U.S. to commit more military forces to the war and later to launch missiles into the country.

Prefabricated lies have always been an essential tool to deceive the American populace into supporting a war. Consider the case of Iraq, where the U.S. not only concocted lies about babies dragged from incubators to start the 1991 Gulf War, but also the WMD lie just over a decade later to start the calamitous Iraq war in 2003.

All of these past false flags and manufactured lies have been disappeared, lost down our cultural memory hole, because they are evidence of a very inconvenient truth, but a truth none the less…and that truth is that not only are we often not the good guys, but most of the time we are actually the bad guys.

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In the case of the attacks on ships in the Gulf of Oman, you might ask who would do such a thing? Well the answer is…the usual suspects. First on the suspect list is Israel and their American neo-con contingent that acts as a duplicitous fifth column in the U.S.. Israel, once again, wants the U.S. to fight its wars for it and so yearns for America to start military action with their regional nemesis Iran. A good indicator of this being the case is that the Israel-firsters in the media have jumped on these stories to pontificate in support of attacks on Iran. Bret Stephens of the New York Times is a perfect example of one of these types who is incapable of any complex thought or even contemplating other culprits besides Iran.

Stephens gives the deception game away in his op-ed titled, “The Pirates of Tehran”. Stephens opens the piece describing how in 1988 the U.S.S. Samuel B. Roberts hit an Iranian mine while sailing in the Persian Gulf. Stephens then proudly proclaims that ten days later the “U.S. Navy destroyed half of the Iranian fleet in a matter of hours. Iran did not molest the Navy or international shipping for many years thereafter.”

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The revealing thing about Stephens jaunt down memory lane regarding America’s glorious smack down of Iran is that he completely ignores the most important part of the story. That part is that just a few months after the sinking of half of the Iranian fleet, the U.S.S. Vincennes shot down Iranian Air flight 655 in Iranian air space with a surface-to-air missile, killing 290 civilians, including 66 children. The U.S. never apologized for the incident and in fact gave medals to the crew of the Vincennes for their work. The senseless slaughter of innocent men, women and children is sort of a consequential detail to skip over when imploring the U.S. military to once again aggressively act against Iran.

Stephens second deceptive tell is a doozy, as he makes the case for Iranian guilt in regards to the most recent Gulf of Oman attacks. Stephens writes, “it would require a large dose of self-deception (or conspiracy theorizing) to pretend that Iran isn’t the likely culprit”.

Stephens reveals himself to be well-acquainted with self-deception when he writes about the authenticity of claims that Iran is responsible for the attacks, “Trump might be a liar, but the U.S. military isn’t.” Someone should buy Bret Stephens a pair of testicles and a history book, hopefully one with a robust section on the Gulf of Tonkin and the Pentagon Papers.

The thing that really stood out to me in Stephens’ piece though was the charge of “conspiracy theorizing”. See, according to Bret Stephens if you don’t accept the tenuous “official story” that Iran did it, then you are the most ludicrous thing a person can be…a conspiracy theorist! Of course Bret Stephens believes in conspiracy theories too, he is a Russian collusion Truther and accepts the official 9-11 story as fact, both of which are, in fact, theories of conspiracy, but for establishmentarians like Stephens, only other people are capable of being “conspiracy theorists”.

Is it an outlandish conspiracy theory notion that Israel would be behind false flag attacks? Not exactly. A conspiracy fact is that from 1979 to 1983 Israeli intelligence agencies carried out a massive false flag car bombing campaign in Lebanon that killed hundreds in order to sow chaos and to “push the PLO to use terrorism to provide Israel with the justification for an invasion of Lebanon”? Of course this may be an inconvenient truth for the anti-conspiracy theory crowd, but it is the truth.

The one good thing about the recent spate of accusations in the media against Iran regarding these ship attacks is that most people aren’t buying it. Yes, Bret Stephens and the Israel shills in the media are pushing Iranian guilt on the public, but the public is reticent to buy into it. Go read the comments accompanying Stephens New York Times piece to see the overwhelming skepticism on display.

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Who knows how long the dam of skepticism will hold though as the anti-Iranian media pressure is relentless. A perfect example of which is how the media frames Iran’s decision to increase its uranium stockpile. The mainstream media declares that Iran by doing this Iran is breaking the Nuclear Deal…which is absurd as the U.S. BROKE THE IRAN NUCLEAR DEAL ALREADY BY WITHDRAWING FROM IT! There is no nuclear deal with Iran…it is null and void once the U.S. broke the agreement. But that didn’t stop the New York Times from stating in its headline, “Trump Adds Troops After Iran Says It Will Breach Nuclear Deal”. CNN’s deceptive headline reads, “Iran says it will break uranium stockpile under nuclear deal in 10 days”. To listen to the U.S. press, Iran is supposed to abide by an agreement from which the benevolent Americans “withdrew”. (notice how American’s “withdraw” from an agreement but nefarious Iranians “breach” a non-agreement…ridiculous.)

Reading the establishment press coverage on Iran is like seeing Chomsky’s thesis from Manufacturing Consent come to life before your eyes. I wholly encourage every single person on the planet to go read that book in order to see through the tsunami of horseshit that the establishment media constantly throws at us.

Israel is not the only suspect on the list….there is also Saudi Arabia. The Saudi’s are a loathsome lot and they would do anything to get the U.S. to take out their arch-rival the Iranians. The neo-cons, always a beacon of morality and ethics, are not only shills for Israel but for the tyrannical despots in the House of Saud too. Trump is enamored with both the Israelis and the Saudis, flattery and money will apparently get you everywhere when it comes to the Orange King of Queens.

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The third suspect is the military industrial complex and its intelligence agency wing in the CIA, DIA and NSA. As Smedley Butler warned us, War is a Racket, and the U.S. profits mightily from that racket. By engaging in covert false flag attacks the U.S., or elements of the U.S. government and business community, can get a war with Iran that will make them trillions.

And the final suspect is an “all of the above” combination of the first three. It is very possible that the Israeli, Saudi and U.S. intelligence agencies are working together on these false flags and in stirring up trouble in the region. Considering the strangle hold the Israelis and Saudis have on our government and politics, and the vile miscreants populating our intel agencies, this scenario may be the most likely.

The bottom line in regards to Iran is this…we have no business going to war with Iran. War is a beast that once awakened, is uncontrollable. While the U.S. may think this will be a cakewalk comprised sinking of Iranian ships or missile strikes, things rarely, if ever, go as planned. In 1988, it was 290 Iranian civilians who paid the ultimate price for American aggression, maybe this time it will be American service members who needlessly die.

Iran is no Iraq, and the Iranian government won’t fall by U.S. military action…especially without invasion. And if invasion is on the table, that is absolutely insane because both Russia and China will gladly rush to covertly supply Iran’s military and irregular forces to turn the country into a quicksand which will become the American Empire’s, and maybe even America’s grave.

Hopefully tensions with diminish in the region and this fever breaks. I certainly hope that blowhards like Mike Pompeo and John Bolton and the Israel puppets in the media are overruled by the American people who are weary or war and leery of lies.

But with that said, I wouldn’t be surprised if we are on the precipice of the war with Iran of which the neo-cons, Israel and Saudi Arabia have long dreamt. If that dream becomes reality, it will be a nightmare for us all.

©2019

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 now an 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

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

Peterloo: A Review

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

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. A noble failure of a film, but a failure nonetheless. The cinematography of the film is, for the most part, exquisite, and cinephiles into that sort of thing should go see the movie in theatres, but ultimately for most everybody else the film is a misfire.

Peterloo, written and directed by British auteur Mike Leigh, tells the story of the events that culminated in the Peterloo massacre of 1819 in Manchester, England. The film’s ensemble cast includes Rory Kinnear, Maxine Peake and Pearce Quigley among many others.

Mike Leigh is well-known as being a master of realist, character-driven, intimate dramas such as Vera Drake, Secrets and Lies, and Naked, whose use of prolonged rehearsal periods, which emphasize improvisation in order to develop character and narrative, is his signature directing style that often leads to stellar work from his actors. Peterloo is a bit of a different beast from his previous work though, as it is a historical drama that must accurately capture the grand sweep of history while accounting for the impact of that history upon regular folks.

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While Peterloo is a politically profound story for our times, the film suffers from a lack of both narrative coherence and character cohesion, and ultimately is never as good as it needs to be. Leigh’s direction on Peterloo lacks vigor and specificity and thus the film’s deliberate pace leads to aimless wandering and pronounced lags for numerous periods of time. The biggest problem of all though may be the fact that the film’s climax is poorly crafted and dramatically underwhelming and instead of being a crescendo it feels more like stumble across the finish line.

On the bright side, the film’s cinematographer, Dick Pope (A Mickey Award winner for his work on Leigh’s Mr. Turner), does stellar work for the majority of the film. His interior shots are so exquisitely lit and framed they are as beautiful and texturally rich as any Vermeer or Rembrandt, and could hang in any museum in the world. Added to this are Pope’s expansive shots of nature that pop with a crisp and delicious color, most notably a lush green, that are spectacular to behold. Pope’s framing and use of color, shadow and light throughout the first three acts of the film is sublime, but in the climactic battle scenes, Pope’s and Leigh’s work falls flat and is shockingly second rate.

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The staging and blocking of the actors and camera in the big climactic “riot” scene reveals both Dick Pope and Mike Leigh to be out of their element. These action sequences are clumsy, cluttered and so poorly executed that they sink any chances the film had to be worthwhile. It is asking a lot for a director and his cinematographer to be so versatile as to pull off such varying shots as intimate interiors and dynamic battle sequences, but this is what the story required and Leigh and Pope failed to fully deliver.

The cast of the film are all fine, but the film’s failure to generate any dramatic momentum leads to the cast’s work being lost in the shuffle. Rory Kinnear, who plays the rebel dandy Henry Hunt, gives his usual top-notch performance. Kinnear’s Hunt is both magnetic and narcissistic, and his complexities make the moral and political Manichaeism of the film more nuanced and compelling.

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Maxine Peak also gives a solid performance as Nellie, the cynical and skeptical wife and mother whose working class family gets caught up in the protest. Peak’s weathered face tells a story all its own about the injustice and unfairness of life in England in the 1800’s.

What frustrated me the most about Peterloo’s cinematic and dramatic failure was that it is such a vital story for our time. Peterloo focuses on the systemic exploitation of working people by ruling aristocrats, who view “regular” people as nothing but serfs to be exploited for profit or as cannon fodder in war for empire and resources.

The same underlying structural problems of government, economic and social injustice highlighted in Peterloo are the same problems that torment us now. The modern-day ruling elite, just like the English elite in Peterloo’s time, still squeeze regular people for everything they’ve got and yet are perpetually immune from any consequences from their actions. And when the modern day proletariat push back or organize against the injustice of our system, the Aristocrats crush them now just as effectively as they did in Manchester in 1819.

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The totalitarian, corporate police state in America is more subtle in its brutality than the one on display at the climax of Peterloo…but not by much…just ask the Yellow Vests in France who have lost eyes and fingers to the rubber bullets of the police. The same structural weapons used back in the 1800’s, debt, fear and intimidation are used today to keep the populace either paralyzed, placid or pliant. The brute force of government, in the form of the police, are used by the elite like a moat, to impose law and order upon the oppressed and to keep them at a distance. The law is the ruling class’s cudgel not to maintain order but rather to maintain “The order”…you know “The order”…the one where they are on top and the rest of us scrap and claw to eat their crumbs at the bottom. Any true challenges to “The order” result first in character assassination, followed by physical violence, prison or both if necessary. For an example of the Establishment’s playbook regarding threats see Assange, Julian.

The lesson of Peterloo is this, the system is rigged and the ruling class despise us, so we must decide to either live as their slaves by maintaining the status quo or arm ourselves and fight for our freedom. Sadly, the dramatically anemic Peterloo is not compelling enough to attract or maintain America audiences who desperately need to learn the vital lessons the movie teaches. At the end of the day, the cold, hard reality is that we are all Soma-addicted sheep being led to the slaughter and we have grown accustomed to authoritarian boots in our face.

In conclusion, Peterloo is a noble effort but a decided failure. Mike Leigh seems to have bitten off more than he can chew by trying to tackle this complex historical narrative. If you are a cinephile who has a distinct love for great cinematography, then I recommend you see Peterloo in the theatre, but everyone else should skip it because, sadly, it simply is not captivating enough to spend your hard earned money and sparse free time upon.

©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

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

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

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

On the Basis of Sex: A Review

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

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. This piece of HERstory is a Hallmark movie sold as Oscar bait and is so cinematically underwhelming it should be stripped of the right to vote and forever kept in the kitchen, barefoot and pregnant, where it belongs.

On the Basis of Sex, written by Daniel Stiepleman and directed by Mimi Leder, is the story of Ruth Bader Ginsburg’s fight for women’s legal equality as she ascends from Harvard Law School all the way to the Supreme Court. The film stars Felicity Jones as Ginsburg with supporting turns from Armie Hammer, Justin Theroux, Sam Waterson and Kathy Bates.

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I knew nothing about On the Basis of Sex before I saw it, but as a red-blooded American male anytime I see the word “sex” in a sentence everything else goes out of focus, so when I saw the title it read as “__ ___ _____ __ SEX”. With a title like that how could I not be interested? But then the movie started…and I have bad news for you…there is no sex at all in On the Basis of Sex…there isn’t any nudity either. This revelation was most disconcerting to me and left me feeling as if On the Basis of Sex was the most misleading film title since The Never-Ending Story. What a rip-off!

The truth is I actually had no interest in seeing On the Basis of Sex as I had seen the trailer and it looked pretty abysmal, but thanks to MoviePass, it was my only film option the other day so I took the plunge. MoviePass has altered its service and now only offers very few films in my area, which has made the service rather useless to me. In its current form MoviePass is like fishing off of the Venice pier, the odds of catching something are very slim but then if you do catch something in those sewage infested waters, you get one look at it and wish you hadn’t….which perfectly sums up my experience with On the Basis of Sex.

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On the Basis of Sex is a trite, saccharine, paint-by-numbers, made-for-tv bio-pic that is just dreadful to behold. From the uneven performances to the lackluster cinematography to the cliche-ridden script to the cloying music, everything in this movie is so predictable and dull as to be insipid.

On the Basis of Sex thinks of itself as Oscar bait, and I can see why, it is about an iconic female figure during our current “women’s moment/movement”, and is also directed by a woman, Mimi Leder. No doubt the studio and producers thought they were striking at the right time with the right story to cash in and gather some awards. But then a funny thing happened on the way to the Oscar podium…a few people saw this movie and realized it was atrocious.

One of the big problems with the movie is that Mimi Leder is a hack of a director. Leder has had great success directing in television but television and film are two very different animals. Add to that the fact that the script, written by Ginsburg’s nephew Daniel Stiepleman, is painfully pedestrian and you have one giant piece of Oscar bait that never even gets a nibble.

Regardless of your political perspective, there is no denying that On the Basis of Sex is a piece of propaganda, and there is nothing wrong with that, but there is something wrong with it being such rudimentary and ill-executed propaganda. Leder’s direction is stale and uninspiring and the script is painfully vacuous and remarkably paper-thin. There are some scenes where I audibly laughed, much to the irritation of the middle-aged ladies sitting in front of me. The scene where Ginsburg and her teenage daughter are caught in a rain storm in New York City and her daughter fends off catcalls from construction workers and hails a cab at the same time, was so contrived, absurd and artistically obtuse it made me spit up my root beer.

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Felicity Jones is a fine actress, but she brings little to the table as Ginsburg besides steely-eyed righteousness and occasionally pronouncing the word lawyer as “lawyuh”. Ms. Jones’ struggle to give genuine life to the suffocatingly dull script is a quixotic undertaking and never amounts to much of anything.

The rest of the cast do not fair well either. Justin Theroux is a dead-eyed caricature as a hotshot ACLU lawyer and Kathy Bates misfires as a curmudgeonly attorney and…well…we also need to talk about Armie Hammer.

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Armie Hammer is so awful in this movie he made my teeth hurt. Granted, Hammer is given nothing to work with in the abomination that is the script, but still…he somehow uses his terrible acting super powers to make the movie even worse. Hammer plays Ruth’s husband Martin, and from what I can tell Hammer’s Martin is a perfect cross between his character in Call Me By Your Name and a perpetually gently smiling saint. Hammer is so fake and so phony in the role it feels like your watching a two hour long toothpaste commercial sans the gravitas and character development.

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Hollywood tried for years to make Armie Hammer into a movie star, and once they realized that wasn’t happening they shifted gears and have tried to make him a viable “actor”, and I have news for Hollywood…that isn’t working either. Maybe Armie should do us all, himself included, a favor and just go enjoy life and forget about acting for a while…or forever.

There is one scene in On the Basis of Sex that does unintentionally hit upon something mildly interesting, and that is where the villain, James Bozarth (portrayed by Jack Reynor), a dastardly lawyer for the government, talks to his collegues about how gender equality will change American culture. Bozarth is made out to be a one dimensional, misogynistic bad guy, but in the scene he says something fascinating. The two other government lawyers basically lay out gender equality to be as absurd as cats and dogs living together, but then Bozarth says that if equality happens then “wages go down and the divorce rate goes up”. I found it intriguing that this statement was mixed together with the other ludicrous statement because what Bozarth said isn’t ludicrous…it is true. Since women joined the work force en masse in the 70’s, divorce has gone up and wages have gone down. Which is not to say that women should not be treated equally, just that the law of unintended consequences is an unstoppable force regardless of how noble your cause may be…which might have been a more interesting theme to create a movie around.

In conclusion, On the Basis of Sex is a suffocatingly conventional, rather poorly made film that looks and feels more like a Hallmark or Lifetime movie than a major cinematic venture. I know Ruth Bader Ginsburg is a beloved figure and has been turned into a cultural celebrity, but the cinematic story of her life falls decidedly flat and needed a much more skilled and deft directing hand to make it worthwhile. Do not waste your time and energy seeing the chaste On the Basis of Sex, even if you can see it for “free” on Netflix or cable or using MoviePass. Speaking of MoviePass…since the pickings are so slim and I wanted to throw the stinky, rotting catch of On the Basis of Sex back into the water, I am going to cancel my subscription. I’d rather eat bait than the garbage MoviePass is currently sending my way.

©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

JIMINY CRICKET! A Curious Case of Mystery Attacks, Microwaves and Media Manipulation Gets Even Curiouser

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Estimated Reading Time: 5 minutes 47 seconds

MY ORIGINAL ARTICLE ON THIS SUBJECT, PUBLISHED SEPTEMBER 19, 2018, IS PASTED BELOW THIS NEW ARTICLE. PLEASE READ IT FOR A MORE IN-DEPTH BACKGROUND ON THIS STORY.

On September 1, 2018 the New York Times ran an article from Pulitzer Prize winning science reporter William J. Broad titled, “Microwave Weapons are Prime Suspect in Ills of U.S. Embassy Workers”. In the article Broad makes the case that U.S. “diplomats” (code for spies under diplomatic cover) stationed in Cuba, were attacked by Russians using a microwave weapon that caused concussion like symptoms and brain injuries.

On September 11, 2018, NBC News and its cable news outlet MSNBC, broke a story titled, “U.S. Officials Suspect Russia in Mystery Attacks on Diplomats in Cuba, China”. MSNBC ran the story, based entirely on the claims of anonymous U.S. Intelligence sources, as breaking news and covered it across their programming that day and into the next, with numerous hosts and guests saying that Russia and Putin had never stopped fighting the Cold War and that this attack was a dangerous escalation.

In the wake of that NBC report, numerous media outlets regurgiated the evidence free-claims and the hysteria went up a notch with feeble minded info-tainment hosts like Chris Matthews and Little Bill Maher and latching onto the story and declaring “of course Russia did it!!” and “Russia attacked us in Cuba!” respectively.

On September 19, 2018, I wrote an article on the subject that was published at CounterPunch.org where I made a clear case that the reporting on this story was at a minimum, journalistic malpractice, and more likely than not bold faced U.S. Intelligence agency anti-Russian propaganda.

The most compelling pieces of evidence of Intelligence agency manipulation were the Times article’s focus on a rather dubious source, Allen H. Frey, a biologist, who based on no tangible evidence at all claimed that Russia did it and that his theory should be believed because it was “viable”. Mr. Frey also made the far-fetched and incredulous claim to have been given access in the Soviet Union to the Soviet’s classified microwave weapon technology by the Soviet’s themselves at the height of the cold war and with the fear of the Cuban Missile Crisis fresh in Soviet hearts and minds.

The another piece of evidence was that NBC’s National Security Reporter, Ken Dilanian, was the point man for that network’s breathless and hyperbolic coverage of the story. As I have pointed out repeatedly, Dilanian is a notoriously ethically challenged reporter who has a long history of being a collaborator and shill for the U.S. intelligence community, so much so that as a reporter for the L.A. Times he would send the CIA his stories for them to vet and edit.

One final piece of evidence shows that these reporters and media outlets were either willing accomplices in deception, or blind to their own bias and anti-Russian animus, and that is that there was very clear and compelling evidence that Russians had no involvement in the “attacks”, but also contradictory evidence doubting that any “attacks” had taken place at all. The New York Times and NBC both either ignored or downplayed that evidence and instead embraced the “Russia did it!” narrative all based on either a dubious and uninformed source, or anonymous intelligence sources.

Now, four months later, a study has come out that puts a major kink in the “Russian Microwave Attack” story. The study, done by Alexander Stubbs of Berkeley and Fernando Montealegre-Z of the University of Lincoln (UK), decimates a critical piece of evidence claiming a Russian attack.

In 2017 the Associated Press obtained a recording of the sound the “diplomats” heard during the alleged attacks. The thinking was that this this sound was the sound of the microwave weapon being used and what caused all the damage and injury to the embassy personal.

The study by Stubbs and Montealgre-Z shows that this sound is not a microwave weapon, but a particular type of cricket trying to get the attention of any and all single crickets for the purpose of making more crickets. In other words, the nefarious Russian Bond-villain microwave super weapon is in reality nothing more than a horny cricket.

Stubbs and Montealgre-Z’s findings are in complete agreement with another group of scientists who studied the sound but were ignored, Cuban scientists have long claimed the sound was that of crickets…but since they are Cuban, and God knows we can’t trust Cubans, well, at least Cubans in Cuba, their findings were discounted.

The Cuban scientist weren’t the only ones whose conclusions were ignored by the media in favor of the more salacious claim that Russia did it with a microwave super weapon. Numerous American doctors and scientists, even the esteemed JAMA (Journal of the American Medical Association) examining the case thought that the evidence of physical harm showed that no “attack” had taken place at all. These scientists and doctors thought that there were other reasons behind the symptoms that the alleged “victims” had suffered, up to and included hysteria.

Look, more evidence may come out that proves or shows beyond a shadow of a doubt or even a preponderance of evidence that attacks did take place on U.S. “diplomatic” and embassy personnel in Cuba and China, and that Russia was behind it. A mysterious attack of some kind having taken place is a possibility. Russian guilt in that potential attack is definitely “possible”…but at looking at the evidence presented (or not presented as the case may be) and the claims made in the media in September, that possibility seemed unlikely to me then, and with this new study pointing the finger at crickets, seems even more highly unlikely today.

The lessons to be learn from this story are thus…first…skepticism regarding any claims of Russian misconduct or criminality is a must if you are going to keep your head about you in our current media climate. Russia has been successfully turned into a boogey man for all the ills of the U.S. and the world. This phase of the propaganda war against Russia began in earnest earlier this decade and has hit hyper-speed since the 2016 election. In order to wade through the morass of anti-Russian stories that are riddled with an implied or implicit Russo-phobia, one must not only seek, but demand, actual evidence when claims are made against Russia.

These false stories of Russian nefariousness, whether it be their supposed hacking into the Vermont electrical grid (false), the election systems of 21 state (false), C-Span (false), or their manipulation of the mainstream news or social media (false), all come in with a chest-thumping and flag-waving bang and leave with a red-faced whimper because they were such hysterical nonsense.

I know liberals and Democrats don’t want to hear this, but another story included on that list should and will be all of the claims about Russian “meddling” or “interference” in the 2016 election. The paucity, if not the downright total absence of evidence in the Russian meddling case is astonishing, and if you do not see that, that is an indictment of you, your wishful thinking and your confirmation bias, not Putin and the evil Russians.

Secondly, any story that relies on anonymous sources who make convenient claims that support your previously held belief, must be discarded. That doesn’t mean you immediately ignore all anonymous sources, just those who do not back up their claims with documentary evidence. For instance, Edward Snowden gave us documents, Bradley Manning gave us documents, Wikileaks gives us documents. Of course, Snowden, Manning and Wikileaks are now atop the public enemies list because they PROVED U.S. criminality, and the establishment and their media wing are not interested in documented U.S. wrong-doing, only in speculation of undocumented Russian wrong-doing.

In this case NBC News had anonymous sources from various U.S. intelligence agencies that claimed to have signal intelligence that proved that Russia was behind the attacks. Of course, NBC never saw that intelligence but just took the word of the intelligence officials that the alleged signal intelligence existed and that it proved Russian guilt. As I said in my original piece, “this is not journalism, this is stenography.”

And finally, and maybe the most important thing to take away from this whole story is that…I was right in smelling a rat. I’m kidding of course, no one cares that I was right in sniffing out a piece of propaganda. I will not be offered a job at The New York Times or The L.A. Times or NBC News for having seen this story for what it is…or for the myriad of other stories I have accurately diagnosed and dissected. No, I am not the type of guy those media outlets want to let loose on the world because I am not a mealy-mouthed, kiss ass only interested in access to power or fame or any of the other bullshit that distracts those fools from seeing the crickets fucking at the end of their nose. No, my only interest, and where my loyalty lies, is the Truth.

A good way to try and find the Truth amid the tidal wave of bullshit is don’t just read the headlines, but read the news, and don’t just to read the news, but read between the lines of the news. The major media in the U.S. is designed to disseminate disinformation and to leave citizens either misinformed or uninformed and always either afraid or angry or both. My best advice to news consumers trapped in a corporatist, oligarchic and aristocratic empire in a death spiral…think often, think critically, think skeptically and think rationally (and go read Noam Chomsky’s Manufacturing Consent). As Orwell tells us, “To see what is in front of one’s nose, needs a constant struggle.” Keep struggling...constantly.

©2019

MY ORIGINAL ARTICLE OF SEPTEMBER 19, 2018, IS BELOW. PLEASE READ IT FOR A DEEPER BACKGROUND ON THE STORY.

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The U.S. media’s lazy reporting of mystery attacks on American personnel in Cuba takes the predictable path of blaming Russia without evidence.

I came across a story recently in the New York Times that was intriguing. The story, headlined “Microwave Weapons are Prime Suspect in Ills of U.S. Embassy Workers”, was written by William J. Broad and was about mysterious “attacks” that started in 2016 on U.S. personnel stationed in Cuba who had suffered the equivalent of concussive brain trauma and the ensuing after effects, such as hearing loss, dizziness and diminished cognitive function, yet had not been visibly assaulted or struck in the head. The article posits the “attacks” were made by a microwave-type of weapon that would invisibly strike its targets.

In the Times article it never states outright but certainly gives the distinct impression, that the mystery is now solved and that the “attacks” were made by a microwave type of weapon that would invisibly strike its targets.

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The most striking thing about this story was the seemingly out of nowhere speculation that it was Russia that perpetrated these “attacks”. What was so odd about this assertion was that upon closer inspection it became clear the actual facts presented in the story indicate there is no consensus or actual evidence Russia was responsible for the attacks or that any attacks had even taken place.

The article begins by giving a brief history of microwave radiation as a weapon, stating in its opening sentence, “During the Cold War: Washington feared that Moscow was seeking to turn microwave radiation into covert weapons of mind control.”

For the next nine paragraphs, Broad never mentions Russia, but then with no background as to where his speculation comes from, he writes,

“The microwave idea teems with unanswered questions. Who fired the beams? The Russian government? The Cuban government? A rogue Cuban faction sympathetic to Moscow? And, if so, where did the attackers get the unconventional arms?”

In re-reading the opening paragraph, you will notice that there is no proof that Russia has ever had a microwave weapon, only decades-old “fears” it was “seeking” to develop one. It would seem the entire basis for the speculation blaming Russia in this article is nothing more than some old, fleeting sense of Soviet super-villainy, that this fact is hidden in plain sight reveals a deft but ultimately duplicitous hand writing the story.

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In fact, the only person quoted in the piece claiming Russia as the prime suspect is a scientist, biologist Allan H. Frey, who has vast experience with microwave technology. Mr. Frey is described as having “traveled widely and long served as a contractor and a consultant to a number of federal agencies.” That description of Mr. Frey is curiously, if not suspiciously, lacking in specifics.

The New York Times goes on to write in regards to Mr. Frey, “he speculated that Cubans aligned with Russia, the nation’s longtime ally, might have launched microwave strikes in attempts to undermine developing ties between Cuba and the United States.” Mr. Frey describes his own analysis as a “perfectly viable explanation.”

So the New York Times bases the underlying assumption of Russian guilt on the uninformed speculation of a biologist, who has no expertise or insight into the subject, and who also admits that his beliefs only rise to the rather tepid level of being a “viable” explanation.

Frey’s credibility and believability takes a serious hit later in the article when he recounts the story of how, after he made a name for himself in the early 60’s with numerous papers about the effects of microwave energy on the human body which brought him a lot of attention, so much so that these effects were given the name the “Frey effect”, he was invited to the Soviet Union to speak.

The New York Times writes, “The Soviets took notice. Not long after his initial discoveries, Mr. Frey said, he was invited to the Soviet Academy of Sciences to visit and lecture. Toward the end, in a surprise, he was taken outside of Moscow to a military base surrounded by armed guards and barbed wire fences.”They had me visiting the various labs and discussing problems”, including the neural impacts of microwaves, Mr. Frey recalled. “I got an inside look at their classified program.

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Now, just think about what Frey is claiming here. Frey is saying that at the very height of the Cold War, with the Cuban Missile Crisis fresh in everyone’s mind, he was invited to go to the Soviet Union and then WAS GIVEN AN INSIDE LOOK INTO THE SOVIET’S CLASSIFIED PROGRAM! In what universe is this even remotely plausible? This story has got to be at best embellishment and at worst a total fabrication. And yet, the New York Times prints it as if it isn’t a big deal and must unquestionably be true. Frey reveals himself to be a pretty dubious character with that statement, and yet the New York Times’ reporter, William J. Broad, still uses him as the backbone of his assertion that Russia was behind the “attacks”.

Another rather remarkable piece of news that appears towards the end of this article is some contradictory evidence to the notion that Russia is the culprit behind the attacks, namely that other alleged microwave attacks have happened to U.S. diplomats stationed in China.

What makes that fact all the more salient is that the article describes a list of states that may have the ability to make a microwave weapon.

“Russia, CHINA and many European states are seen as having the know-how to make basic microwave weapons that can debilitate, sow noise or even kill. Advanced powers, experts say, might accomplish more nuanced aims such as beaming spoken words into people’s heads.” (emphasis mine)

Obviously, if China is capable of making this sort of weapon and there have been “attacks” upon U.S. diplomats in China, wouldn’t China be a better suspect than Russia? And China also has deep connections to Cuba…so…why did the New York Times write so suspiciously of Russia and not China? It makes you wonder if an “advanced power” like the U.S. beamed this article into the head of reporter William J. Broad.

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Further proof of something being greatly amiss about this article and story is the paucity of actual evidence that an “attack” even took place. According to thew York Times’ own reporting, the most clear cut pronouncement of an attack was made by James C. Lin, a scientist and expert in the field who wrote in a paper that the effects felt by the U.S. diplomats could “plausibly arise” from microwave beams. “Plausibly arise” is an extremely low bar, so much so that it is absurd to base any conclusions on that statement at all. Of course, many other things could be “plausible explanations”, and Broad even admits that no one really knows or agrees on what happened.

“Scientists still disagree over what hit diplomats. Last month, JAMA (Journal of American Medical Association) ran four letters critical of the March study, some faulting the report for ruling out mass hysteria.”

Mass hysteria sounds like it could be not only a “plausible” explanation for this alleged Russian microwave attack in Cuba but also for the Times’ slanted article, as well as the spate of Russo-phobia infecting America’s establishment media.

The Times article glosses over the skepticism of scientists that actually claim they do not know what happened, and instead embraces speculation it was a “microwave attack”, and then despite a total lack of evidence and in the face of some contradictory evidence, confidently speculates that it was Russia that is the likely suspect.

Furthering this journalistic malpractice was NBC News, which followed up on the Times article ten days later with even more vapid reporting on the subject. The NBC News headline of September 11th reads “U.S. officials suspect Russia in mystery ‘attacks’ on diplomats in Cuba, China”.

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What is so amusing is that even the headline questions whether these events are attacks at all, putting quotation marks around the word. But that doesn’t stop NBC from devouring intel agency pablum hook, line and sinker. NBC relies entirely on anonymous sources for the story and never quotes anyone saying what the story so boldly asserts, which is that Russia is the main culprit in these “attacks”.

NBC News simply repeats unchallenged, the claims of anonymous intelligence officials that the suspicion of Russia is “backed up by evidence from communications intercepts”. The same paragraph making this assertion ends with this gem of a revealing statement, “The officials declined to elaborate on the nature of the intelligence”.

So NBC, which ran the story on as “Breaking News” and hyped it endlessly on MSNBC, simply repeats intelligence agency speculation without ever seeing any of the alleged corroborating evidence or challenging the voracity of that alleged evidence, and calls it news. That isn’t journalism that is stenography.

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The stenography charge against NBC shouldn’t come as a surprise since one of the reporters who “broke” the story is Ken Dilanian. Dilanian is a notorious intelligence agency shill, who was exposed by The Intercept as having shared his stories and outlines with the CIA before he submitted them while he was working as a national security reporter at the L.A. Times, a shockingly unprofessional journalistic practice. What is even more outrageous is that Dilanian’s lack of journalistic ethics never hampered him from getting a job at NBC as their lead national security reporter. And since he has gotten to NBC he has done nothing but regurgitate intelligence agency approved talking points and narratives non-stop.

NBC’s and the Times’ reporting on this issue is perniciously vacuous, insipidly shallow and riddled with an insidious anti-Russian bias. These articles are forms of malignant disinformation that alchemically transform speculation into fact and replace critical thinking with presumption, the final result of which is that these presumed “facts” will go unchallenged and become part of a wider and often nefarious narrative. An example of which is that last week cable news talking heads like Chris Matthews proclaimed “of course Russia did it!” and even comedian Bill Maher roared “Russia attacked us in Cuba!”

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.

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After the media’s complicity in deceiving the American public into war with Iraq, followed quickly by their acquiescence on torture, or as the Times preferred to call it “enhanced interrogation”, and then concealing Bush’s warrantless surveillance program, of which the Times was aware but refused to publish for more than a full year, we the people must condition ourselves to read all of the establishment media news with an acutely jaundiced eye.

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.

A version of this article was originally published at CounterPunch.

 

©2018

Cold War: A Review

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

My Rating: 4.5 our of 5 stars

My Recommendation: SEE IT. A fantastic foreign film that is both personal, political and philosophical that boasts tremendous performances from both of its leads.

Cold War, written and directed by Pawel Pawlikowski, is a Polish drama set during the Cold War that tells the story of the love between a young singer Zula, and the musical director who discovers her, Wiktor. The film stars Joanna Kulig as Zula and Tomasz Kot as Wiktor.

Just when I thought 2018 was to be officially designated as cinematically irredeemable, a bunch of foreign films have appeared late in the year that have been a lifeline to artistic redemption. Four of the best movies this year are foreign films I’ve seen in the last month, Shoplifters (Japan), Roma (Mexico), Happy as Lazzaro (Italy) and now Cold War (Poland).

Of course, context is everything and a less gracious interpretation of my adoration of these four foreign films could be that their artistic success is a result of their being in such stark and glaring contrast to the cinematically vapid garbage vomited upon the movie-going public by Hollywood this year. Regardless of why foreign films are so good this year and Hollywood films so bad…the fact remains that it is decidedly so and I will simply enjoy quality cinema without compromise where I can find it.

Which brings us to Pawel Pawlikowski’s Cold War. Cold War is a beautiful and brilliant film that is both personal and political, poignant and prophetic. Shot in a stunning black and white that highlights a bleak but bold aesthetic, Cold War is both visually striking and dramatically potent.

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Pawlikowski, who also directed the Academy Award Best Foreign Picture winner Ida (2014), deftly crafts a lean film that is able to thoroughly tell the story of Zula and Wiktor amidst the wider Cold War that comes in under 90 minutes. Pawlikowski trims all the fat from the narrative and we are left with a strikingly effective and deeply insightful film that flows seamlessly through decades of personal and political history without skipping a beat.

Cinematographer Lukasz Zal masterfully uses the stark black and white to enhance the sub-text and narrative by deftly painting with shadow and light. Zal’s framing is impeccable, as evidenced by his very subtle but extremely effective and polished use of mirrors throughout the film to highlight the difficulty in discerning what is real and what is illusion. There is a shot of an after-concert party with a mirror for a wall that is so ingenious, precise and finely detailed I nearly fell out of my seat.

Pawlikowski and Zal never hit you over the head with their artistic virtuosity, as it is so understated as to be sublime, and creates an exquisite cinematic experience that is not only gorgeous to behold but extremely useful in propelling the narrative.

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Joanna Kulig gives a transcendent and mesmerizing performance as the singer Zula. Kulig is a luminous talent and she is blessed with a vivacious, vibrant and voluminous magnetism that is unrelentingly irresistable. Ms. Kulig’s Zula is a wild animal from the hinterlands of Poland and she is as palpably dangerous, untamable and uncontainable as she is volcanically compelling, charismatic and complicated. Zula is a singer of traditional Polish folk songs and jazz, but she has a rock and roll soul as evidenced by her ecstatic and deliriously contagious reaction upon hearing Bill Haley and the Comets in one electric scene.

Ms. Kulig is like a Polish Jennifer Lawrence, stunningly beautiful with a relatable groundedness and charming fearlessness. Simply said, viewers, much like the character Wiktor, are unable to take their eyes off of Zula whenever she is on screen.

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Tomasz Kot is equally effective as Wiktor but in much less dynamic ways than Ms. Kulig. Mr. Kot’s Wiktor is much more intellectual than the visceral Zula, but once she awakens the primal nature within him there is no putting it back to sleep. Wiktor is at first a rational man who is securely contained in a distant coolness, but as the film progresses and he gets ever closer to the inferno that is Zula, the ice melts and with it goes Wiktor’s rationalism.

What is fascinating in Cold War, is that the love story of Zula and Wiktor is such fertile ground for very profound political, social and philosophical symbolism. Zula is not just a firebrand from the back woods of Poland, she IS the Polish anima. While she may be swayed from one camp to another, be it the lure of western decadence or the security of Soviet protection, she is ultimately true only to the “folk” of Poland. In this way, Cold War is a meditation on the nationalism that is currently spreading across the globe in general and Europe in particular. Throughout history, Poland may fall under the rule of the Soviets or the West or some other power, but it will never fall under their spell. As Zula and Wiktor show us, Poland is for the Poles, and only Poles can truly understand it…which is true no matter what nation you plug into that statement.

Both Wiktor and Zula find “freedom”, at least as freedom is defined by western capitalism, but they don’t experience it as freedom at all but rather as decadence that is corrosive to their hearts and souls. The “easy living” of the west is a fool’s gold and Zula and Wiktor would rather be prisoners to political oppression in the east than slaves to their own desires in the “free” west. Zula and Wiktor learn that the “lie” of Soviet communism is dreadful, but the even bigger lie of the capitalist west is even more destructive to them.

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Zula struggles to survive no matter where they go in Europe because at heart, she is the Polish countryside, and it is only there where she can find transformation and transcedence, and only with Wiktor. Early in the film Wiktor stumbles upon the ruins of a church and discovers giant female eyes painted on the wall that look right through him and watch him wherever he goes. Wiktor then looks up and sees a large round opening where the church roof used to be that reveals the sky. This circle, a symbol of wholeness, is the key to the film, as it reveals that both Wiktor and Zula, must go on their grueling journey of heart and soul in order to complete that circle and be transformed. The circle is atop a Catholic Church because the Catholic Church is the container for the spirit of the Polish people and the Polish anima - Zula. The Catholic archetypes are the ones that resonate in Poland, and Wiktor and Zula need to transcend the limitations of not only the Cold War powers that govern them, but also the religion trying to contain them. Their love is a love of wholeness that is as boundless as the heavens that dance above that whole in the church’s circular roof, but they can only attain it by going through the archetypes of the church.

In conclusion, Cold War is a stunning film about love, loss, identity and artistry that is dramatically powerful and politically poignant. Visually stunning and propelled by glorious performances from its two leads Joanna Kulig and Tomasz Kot, Cold War is a must see for any cinephile. More conventionally inclined viewers may struggle with the film as, like most foreign films, it is rather existential in nature and is less rudimentary in its storytelling. That said, if you love movies or have a cinematically adventurous heart and open mind, then you should definitely see Cold War.

©2019