"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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Joe Biden Has Defeated Trump - Meet the New Boss...Same as the Old Boss

Estimated Reading Time: 3 minutes 07 seconds

Biden’s electoral victory has been met with cheers, proving that gullible Americans are eager to get fooled once again.

A few hours ago I was startled by a collective shout that went out across my neighborhood here in Los Angeles. I had no idea what all the noise was about, but people were making quite an exuberant ruckus. After checking the news I quickly realized the cheers were due to the fact that all the networks were officially calling the presidential race for Joe Biden.

I haven’t heard that much happy screaming since a few weeks ago when the Dodgers won the World Series, and before that when the Lakers won the NBA championship.  It is apropos that Angelinos would cheer Biden’s victory the same way they celebrated their sports team’s titles…as all of these events are nothing but a function of empty tribalism and vacuous emotionalism that in the long run don’t actually mean a damn thing.

For the fools here in the City of Angels celebrating Biden’s victory, nothing will fundamentally change in their lives, for good or for ill. They will still have to step over hordes of homeless people and used needles and human excrement as they navigate this sick, venal, miserable third world shithole trying, and usually failing, to scratch out a living and to make ends meet.

Biden’s rapturously received electoral victory is a vacant win for nothing but a stylistic change. The hysterically happy masses around me are overjoyed because Biden isn’t as much of a boor as Trump, not exactly a high bar. That said, Biden will certainly be more of a bore than Trump. 

On substance, Biden is, like the Orange Man liberals love to loathe, a shameless corporatist who will bend over backwards to fill the coffers of the fat cats in board rooms and on Wall Street, all while screwing over poor, working and middle-class people.

Biden’s ascension to the American throne is akin to the dreadful sitcom Two and a Half Men replacing Charlie Sheen with Ashton Kutcher. The obnoxious Sheen and his “tiger blood” were gone, but the show still really sucked…and Kutcher was annoying jerk in his own right.

As far as Biden replacing Trump goes, for people like me, things will only change on the surface and the sitcom that is American politics will still suck.

For instance, those who think public college should be tuition free for the working class and student debt cancelled, meet Joe Biden, the man who was instrumental in getting a bankruptcy bill passed that made it impossible to discharge student debt, thus damning generations to indentured servitude to pay back school loans over-inflated through government interference.

For people who think we should have universal health care, meet Joe Biden, an architect of Obamacare, that insidious bill written by insurance companies that fleeces Americans by forcing people to buy their abysmal product at exorbitant prices under force of law. Biden, similar to Trump, has even promised to veto any universal health care bill that would ever come to his desk.

For those opposed to Wall Street socializing losses while privatizing gains, meet Joe Biden, who will, like Clinton, Bush, Obama and Trump before him, populate his administration with nefarious Wall Street shills and despicable devotees of the Goldman Sachs cult who will hungrily devour any taxpayer bailouts that they can get their hands on. 

For peace loving people who think America should be less militaristic, belligerent and bellicose abroad, meet Joe Biden, the man who voted for the Iraq War that killed millions, and is a poodle to the Pentagon with an itchy trigger finger to get tough with America’s adversaries, be they real or imagined, across the globe.

For those who think the drug war and criminal justice system are an abject failure, meet Joe Biden, the man who wrote the 1994 Crime Bill that has given America the dubious distinction of having the highest prison population rate in the entire world.

For working class folks that have repeatedly gotten screwed by Washington’s corporate friendly free trade policies that decimated the manufacturing base in America and eventually led to the rise of Donald Trump, meet Joe Biden, the NAFTA-loving narcissist who pretends to be a man of the people but is really the lap dog of big money interests.

For those who despised Trump for his war on the press, meet Joe Biden, who was vice president for Obama, the man who waged more than a Trumpian rhetorical war on the press, but an actual war on the press by using the Espionage Act to prosecute whistleblowers more times than every other president in U.S. history combined.

For people outraged by Trump putting “kids in cages” as part of his crackdown on illegal immigration, meet Joe Biden, who was vice president during the Obama administration which aggressively deported more immigrants than Trump and who also put “kids in cages”.

For every emotionally triggered simpleton so gloriously giddy over Trump’s demise and Biden’s rise…meet the new boss….same as the old boss. You are all being fooled. Me…I won’t get fooled again.

 A version of this article was originally published at RT.

©2020

Trump's Minority Support Sends Identity-Obsessed Woke Poseurs Over the Edge

Estimated Reading Time: 3 minutes 11 seconds

As election night rages on, President Trump has once again defied expectations in Florida and looks set to win the state – fueled, apparently, by unprecedented support from Hispanic and black voters.

Liberals love to denounce Trump as a devout racist, but his potential victory in the Sunshine State (and maybe re-election) thanks to Latino and black voters, is a gloriously resounding rebuke to racial and ethnic identity politics.

The woke reaction to this stunning admonishment has been to let their diversity loving masks fall and reveal their true racist nature by questioning the bona fides of certain Latinos and chastising them for thinking on their own.

For instance, Nikole Hannah-Jones, the New York Times editor who created the controversial Pulitzer Prize-winning 1619 Project, tweeted after Trump won Florida that she was going to “write a piece about how Latino is a contrived ethnic category that lumps white Cubans with Black Puerto Ricans and Indigenous Guatemalans and helps explains why Latinos support Trump at the second highest rate”.

This was followed by a tweet from commentator Jemele Hill that stated, “If Trump wins re-election, it’s on white people. No one else.”

According to Hannah-Jones and Hill, we don’t need to follow Dr. Martin Luther King’s desire to judge people by the content of their character, instead we must only judge people by the color of their skin and their mindless dedication to the woke cause.

What Jones and Hill are really doing here is putting a twist on Joe Biden’s memorably paternalistic claim to black voters during the campaign that if they consider voting for Trump “they ain’t black!”

For Jones and Hill, if Latinos vote for Trump, they must be those evil “white Latinos”, while the ‘real’ Latinos, like the black Puerto Ricans and Indigenous Guatemalans, think the same way she does. Of course, she has no idea what the breakdown of the Latino vote is, but she is incapable of seeing things through any other filter than black versus white.

One can’t help but wonder what vitriol Jones and Hill privately spew towards the black voters who voted for Trump in Florida and substantially boosted his chances of victory. I assume they think they really “ain’t black”, and if they are black then they must be self-loathing Uncle Toms or some other repulsive slur.

What Trump’s solid showing with Hispanics and blacks in Florida really shows is that the vapid woke pandering on race and ethnicity resonates more with comfortable suburban white voters who want to signal their phony virtue than it does with actual minorities.

It is like the demand from Black Lives Matter in the wake of the George Floyd death for cities to “Defund the Police”. That plays well in tony suburbs where crime isn’t an issue, but in poor, crime infested, inner-city neighborhoods, that message is not going to go over so well.

Another example is Latino voters, many of whom are either immigrants or direct descendants of immigrants. They didn’t come to America thinking it was the racist hellhole that Hannah-Jones and her 1619 Project make it out to be. They see America as a glorious opportunity to better themselves and their children.

These Latinos don’t watch the Black Lives Matter riots over the summer and sympathize with the looters, they empathize with the store owners who were having their life’s work destroyed.

The same disconnect is true regarding the incessant claim to victimhood by the proponents of wokeness. Social Justice Warriors demand that minorities embrace victimhood, but you know what? Most people don’t want to be victims, don’t want to be told what to think and don’t want to be seen as avatars for some soulless identity group but rather as individuals.

This is not a black, white, Latino or Asian thing… this is a human thing. Human beings, no matter their race, ethnicity or any other identifying trait, are all unique and want to be seen and treated accordingly.

One would hope that this slap in the face to Social Justice Warriors and the woke brigade would snap them out of the spell of identity politics. But I doubt that happens.

The woke will never take responsibility for their failure. There will be no introspection, no self-evaluation and re-configuration. There will only be more blame.

In fact, I am sure these Latinos who voted for Trump will no doubt become the villains of 2020, replacing Russians from the 2016 election.

In conclusion, Trump’s minority support in Florida speaks volumes about the amazing power of the melting pot of America, and the vicious, venal and vacuous nature of those who live and die by the woke sword of identity politics.

A version of this article was originally published at RT.

©2020

2020 Election: The Horror Show Meets the Decadent Death Spiral

Estimated Reading Time: 5 minutes 27 seconds

Here are some random dispatches from the shitshow that is 2020 and the turd sandwich that is the election…

SPOOKY SEASON

Halloween, my favorite holiday, has sadly come and gone with barely a whimper due to coronavirus restrictions here in the City of Angels, where Mayor Nepotism furiously banned trick or treating but shrugs when it comes to “protesting”…i.e. rioting and looting. Unfortunately, spooky season isn’t in the rear view mirror just yet though because the real horror show is on Tuesday - Election Day.

THE MONSTER MASH

This election is between two creatures. First there is Biden - Frankenstein’s monster, built in a lab in Washington over the course of a dismal forty-plus year career. Like Frankenstein’s monster, Biden hides in a basement, can’t really speak, has a malfunctioning brain and touches little girls inappropriately. Unlike Frankenstein’s monster, Biden won’t turn on his creator - Washington and Wall St., because he is as corrupt as the day is long.

I DON’T DRINK WHINE

The other creature is Trump, who is a vampire of the highest degree. Like a vampire, Trump is all about satiating his immediate desires and impulses. Like Dracula, Trump acts like low-class royalty with a crumbling real-estate empire (Carfax Abbey was a shithole - and so was Dracula’s dilapidated Castle!) and has an army of Renfieldian sycophantic minions who slavishly do his bidding. And also like Dracula, he feeds on humans…except in Trump’s case it is on human attention. Trump gorges himself on attention and has transformed the public, friend and foe alike, into slaves who react to his every act or utterance - no matter how absurd, thus injecting attention - his lifeblood, into his veins.

What is so striking to me about our current time is how thoroughly the populace has been inducted into this Vampyric Cult of Trump….and it isn’t his supporters I am talking about. The anti-Trump people…be they butt-hurt establishment Republicans or absolutely anyone on the left, are the ones who are totally under the sway of the monster they love to loathe.

It is utterly astonishing how obsessed Trump’s foes are with him. Every liberal and moderate Republican I know hates him with the fury of a thousand suns…but they never stop thinking or talking about him. Trump dominates American consciousness like no other person, president or otherwise, before him.

I know scores of liberals who are literally physically repulsed by the sight and sound of Trump but still religiously and masochistically watch every one of his speeches, debates or rallies. It is the strangest sort of masturbatorial self-harming imaginable. And accompanying this Trump addiction is TDS - Trump Derangement Syndrome, which is the most fervent pandemic ravaging the country today. Trump Derangement Syndrome has real world consequences as it turns once rational people into emotionally unstable and logic impaired lunatics. If I had a nickle for every time Trump made some statement that liberal friends of mine actually agreed with, but because Trump said it they actually change their minds to embrace the polar opposite belief, I’d be a millionaire.

UNDEAD VS RE-ANIMATED

I have stayed as far away from this election and its media coverage as I could. I have not watched a single second of any of the conventions, debates, speeches or rallies. I have not watched a second of cable news, or any other news, since coronavirus broke in the Spring. I have basically stopped reading op-eds in all of the major newspapers I peruse everyday because they are so dreadfully predictable.

The only thing I have watched is political entertainment (although all politics is entertainment, but that is a discussion for another day) like the abysmal Saturday Night Live, Bill Maher and John Oliver - and I’ve only done that because I have to for my work.

Having been in this election coverage quarantine has given me a unique perspective that is devoid of Trump triggering and fueled not by animosity but genuine curiosity. This curiosity has led me to the most basic of questions…can the nefarious Nosferatu of Trump be destroyed by the Biden Frankenstein’s monster? In other words, can the undead be defeated by the re-animated?

THE GOOD, THE BAD AND THE JOKER

As long time readers know, I have a wave theory…the Isaiah-McCaffrey Wave Theory (IMWT) that uses social, cultural, economic and historical data points to measure trends in order to predict public behavior.

The IMWT accurately predicted the 2016 election. In trying to use it to predict the 2020 Democratic nomination, it was wrong - or more accurately…I was wrong in interpreting the timeline. The data in 2019 and early in 2020 clearly indicated two things…that there would be tremendous civil unrest and upheaval ahead, and that an outsider candidate would be successful in 2020.

The unrest certainly happened…the outsider candidate did not…at least not in the Democratic primary.

As for the unrest….in my October 7, 2019 review of Joker, I wrote, “Joker is unnerving to mainstream media critics because it shines the spotlight on the disaffected and dissatisfied in America, who are legion, growing in numbers and getting angrier by the hour. As I have witnessed in my own life, the rage, resentment and violent mental instability among the populace in America is like a hurricane out in the Atlantic, gaining more power and force as every day passes, and inevitably heading right toward landfall and a collision with highly populated urban centers that will inevitably result in a conflagration of epic proportions.”

I ended that review by writing “Joker is a mirror, and it reflects the degeneracy, depravity and sheer madness that is engulfing America. Joker is an extremely dark film, but that is because America is an extremely dark place at the moment.”

In the light of what has happened thus far in 2020, those observations from the Fall of 2019 seem prescient.

According to the IMWT, Joker was the most important film of 2019, as it was the only film to be in the top ten in domestic box office and nominated for Best Picture at the Oscars. Joker was despised by establishment critics, but that was because they hated the uncomfortable truth about what was brewing just beneath the surface of America.

Now of course, being victims of their own sub-conscious and the collective unconscious, these same elites cheer the rioting, looting and violence in the streets because they think it is righteous. The angry clowns burning down Gotham in Joker, which elite critics despised, felt the same way.

The second most important film from 2019 was Parasite. Parasite won a remarkable four Oscars, Best Picture, Best Foreign Language Film, Best Director and Best Original Screenplay. Parasite was the ultimate outsider. It is a Korean film, and, like Joker, directly addressed class dissatisfaction and violence as a result of that class divide.

On October 14, 2019, I wrote in my review of Parasite, “Parasite is a brilliant examination of the frustration and fury that accompanies being at the bottom of the social rung in a corrupt and rigged capitalist system. The only way to get ahead and get out of the prison of debt, and it is a prison, is to lie, scheme and cheat. If that means throwing other poor people under the bus, then so be it.”

I concluded my review by writing, “My recommendation is to go as quickly as you can to the art house and see Parasite…it is that good. And after that, head to the cineplex to see Joker…again, and then when you get home watch Shoplifters (I see it is now available on the streaming service HULU)…because they are that good too. If you want to know what is coming for America and the world, and why, go watch those three movies.”

I stand by that review…and the one of Joker. It is worth noting that the titles of those two films, Joker and Parasite, would be a perfect starter set for a collage of buzzwords to describe Trump.

THE OUTSIDER WITH THE INSIDE TRACK

As for the 2020 election, what troubles me…and has troubled me since Biden’s selection as the Democratic nominee, is that, as the success of these two films, Parasite and Joker, clearly represent, the fundamentals of the IMWT haven’t changed much, if at all. They still point, very clearly, to an outsider winning the election. But while Biden is certainly out of office, he is the consummate Washington insider, and is selling himself as such

On the other hand, Trump’s greatest political accomplishment is that he has been president for four years and has still managed to maintain his status as an outsider. The political and Washington establishment hate him. The media hate him. The elites across the board hate him. Trump, despite his residence at the White House, is the archetypal outsider…and that should be disconcerting to those who want to see him lose.

I should disclose at this point that I will not be voting for either Biden or Trump. I have never voted for any Republican or Democratic candidate, and considering the shit show on the ballot, I am not going to start this year.

With that said…the signs in the IMWT do currently point to Trump winning re-election. I know this is aggressively contrary to conventional wisdom and the polls and the media coverage. But the theory says what it says even if it isn’t saying it nearly as strongly as it did in 2016.

Maybe the theory is wrong, that is certainly a possibility as this year has been an odd one in which there is a paucity of cultural data due to the film industry essentially being shut down due to the coronavirus. It is very difficult to measure movements in public sentiment through box office receipts when people can’t go to the movies.

That said, what little data we do have for 2020 does lean towards Trump. Without getting into the weeds on all of it, just consider that the number one film at the U.S. box office this year is Bad Boys for Life. That is such a pro-Trump title it could be his campaign slogan.

I won’t get into the nitty-gritty of the IMWT just because it can be pretty tedious, but if Trump does win I will write a separate article detailing all of it. If Biden wins, I will eat my crow and go back to the drawing board.

ANECDOTAL

In early August I thought it was impossible for Trump to win. The pandemic was raging, the economy collapsing, the country awash in civil unrest. In addition, I knew absolutely no one who was voting for Trump, and like famed film critic Pauline Kael, I thought, how can Trump win if no one I know is voting for him?

Then I started making some calls and reaching out to people from across the country and most specifically in swing states. The anecdotal information I got from these discussions was eye-opening.

The word on the street…again entirely anecdotal…was that Trump had a large groundswell of support in swing states like Ohio, Pennsylvania, Florida, Minnesota and Wisconsin.

Surprisingly, I was also hearing a lot of anecdotes about Latinos being strong Trump supporters.

Of course, anecdotal evidence is not worth a damn, but I found it striking how vociferous the pro-Trump sentiment seemed to be. I definitely heard from people who were voting for Biden too, but none of them were voting FOR Biden, only against Trump - once again highlighting how Trump dominates the collective consciousness.

UNIMAGINABLE TRUMP

Trump currently being the center of the cultural universe has created a situation where it is impossible to imagine him winning while simultaneously impossible to imagine him off of center stage. This is Trump’s power and his greatest asset…he forces you to feel forcefully about him…be it love or hate. And by doing so, makes himself psychologically indispensable.

Everything that is said or done nowadays is said or done in response to Trump. He is the straw that stirs the drink, as well as the glass that contains it and the concoction within it.

Trump is like coronavirus…he is everywhere, so much so that it is impossible to remember a time before the disease descended upon us. Everyone yearns for the time before but few can remember it. The myopia brought about by both coronavirus and Trumpism (and TDS) brings with it a suffocating paranoia and ever increasing delirium.

This is another reason why I think Trump will win…and that is because the entirety of our media suffer from this Trump/coronavirus myopia, paranoia and delirium, and therefore have a totally distorted perspective on reality here in America.

The media hate Trump so much but they desperately need him. Trump is their lifeblood just like they are his.

NAME THAT COUP TUNE

I have noticed something very disconcerting in the months leading up to election day, and that is that the media have been amplifying voices and narratives that seem eerily familiar to me. The voices and narratives highlighted talk incessantly about Trump stealing the election, not leaving office if he loses, and doing all sorts of nefarious authoritarian things.

One of the most repeated claims I hear is that even if Trump wins on election night, he isn’t really the winner. That it will take weeks and maybe a month to figure out who won. This is accompanied by claims that Trump will declare himself the winner on election night as part of his plan to steal the election.

Why I find all this unnerving is because this is so blatantly taken from the CIA’s playbook when they run a coup in Latin America, South America or Eastern Europe. A brief perusal of the recent coup in Bolivia where Evo Morales was ousted is a prime example.

The intelligence community is gunning for Trump no less than they went after Kennedy, and I think they aim to steal the election from him. I know most readers, particularly the liberal ones, think the exact opposite, that Trump is going to steal the election, but that is also part of the CIA’s mind game.

The intelligence community’s fingerprints are all over multiple anti-Trump operations from the get-go…be it the farcical Russia-gate or Ukraine-gate or the multitude of other scandals plaguing this inept administration. This is not to say that Trump is some squeaky clean scapegoat, it is to say that the intelligence community is actively working to undermine and, in a 21st century way…politically assassinate/eliminate him.

I don’t like Trump…and in fact have despised him from way back in the 80’s when he first started selling his bullshit in public. But that doesn’t mean I will turn a blind eye when the intelligence community is running disinformation and destabilizing operations within its own country.

When stories driven by anonymous sources come to the forefront declaring that USPS mailboxes are being removed, and Russians are penetrating voter rolls and the winner on election night isn’t the winner, understand that this is CIA manipulation through and through.

Keep your eyes and ears open on election night and in the days and weeks following…the game is on and will be hiding in plain sight.

RIOT TIME

If Trump wins…this country will lose its mind and you can expect an unprecedented and massive amount of rioting, looting and violence in the streets of American cities both big and small. These riots will be epic and make the George Floyd riots seem like a church picnic.

If Biden wins, there will be only sporadic rioting…like after a team wins a championship. People will celebrate, it will get out of hand and shit will get looted. Whereas if Trump wins…expect volcanic and violent chaos for weeks and months on end. And expect the media and elites to endorse and support this violence and chaos just like they did over the summer.

As for Trump supporters rioting in the wake of an electoral defeat…I don’t think that will happen. Trump supporters are not in urban areas, for the most part, which makes it difficult to gather en masse to riot.

CONCLUSION

Biden is selling an image of America (and himself)…gentle, neighborly, soft-spoken…that is a lie. And ironically, Trump is selling the truth. Trump is the manifestation of the madness that has descended upon America. This is a narcissistic nation of bullies and blowhards, cowards and con-men. Trump is not what America hopes to be, or what it deludes itself into thinking it is…he is simply the embodiment of America’s reality. This is why he will win. And even if he loses, that won’t change the reality of America, only the power of its delusions.

And understand, Biden is not a “return to normal” as there is no “return to normal”…only getting used to the new normal. A Biden presidency will be America’s dementia made manifest. This election…even if Biden wins…will change absolutely nothing. The dye is cast…the worm has turned…the American experiment, the American Empire, and with it its house of cards economy…are disintegrating. This country is in a decadent death spiral and no election, and particularly not one between two elderly, mental defectives who even in their primes were sub-mediocrities, like Trump and Biden, will alter that trajectory.

This election - which like every election of my lifetime has been dubbed the most important election of all time, is nothing but a vacuous pissing contest between oblivious elites eager to see who gets to captain the Titanic.

©2020

What Killed Michael Brown? Documentary: A Review

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. A must-see new documentary that eviscerates the mainstream narrative on race in America and insightfully reveals the manipulations and machinations that distort modern-day race relations.

What Killed Michael Brown? is the most important documentary of the year. The film, which is exquisitely directed by Eli Steele and gloriously written and narrated by famed conservative black intellectual Shelby Steele, takes a deep dive into the tangled web of race in America through the death of Michael Brown in Ferguson, Mo. in 2014.

From the get go the movie jumps out at you, not with cinematic bombast but with a subtle brilliance. The opening title sequence uses the same distinct font as Quentin Tarantino’s Jackie Brown and by so doing lets viewers know it is unabashedly challenging popular myth.

This film is a searing, scintillating and staggering examination of race in America, but make no mistake, it is not some emotionalist screed or partisan polemic, it is a thoughtful, reasoned and measured commentary.

Shelby Steele, the film’s narrator, is armed with an impressive background in civil rights, a towering intellect and a monumental mastery of language, which allows him to confidently march viewers through the maze and minefield of race without ever misplacing a step.

Steele frames the American conflict over race as a battle between “poetic truth” and “objective truth”. Poetic truth is a distorted and partisan version of truth and is used by race hustlers and charlatans like Reverend Al Sharpton and former Attorney General Eric Holder, to paint Michael Brown as an innocent victim and noble martyr for the cause.

This poetic truth conflates present with the past, which results in the tragedy of Michael Brown being transformed into a continuation of slavery’s violence and Jim Crow era lynching by depraved whites.

Through this paradigm, Michael Brown becomes all black people, and all black people become Michael Brown.George Floyd

The establishment media and racial activists embrace this poetic truth because their objective is coercion, not reason.

This version of truth does two critically destructive things, it gives blacks an identity through victimization, and it gives whites a way to assuage their racial guilt.

As Steele explains in the film, “white guilt became black power”. This dynamic set up a vicious cycle where blacks use victimhood to exploit white guilt, and whites steal agency from blacks in order to assuage said guilt. Therefore the learned helplessness of blacks feeds the self-centered, narcissistic paternalism of whites and vice versa.

As Steele insightfully declares, “humans never use race except as a means to power…never an end, always a means. “ This is contrasted by the vision of Steele’s working class, minimally educated father who grew up under Jim Crow and fervently “favored character over race as a means to power.”

As seen in Ferguson in 2014 and in recent months all across America, racial anger has become ritualized and choreographed. Grievance is claimed without evidence and protest encouraged with no good faith it will lead to anything.

Whether it be Michael Brown, George Floyd or Brianna Taylor, these deaths are seen less as tragedies and more as opportunities.

The film highlights Al Sharpton as one of the more aggressive opportunists and as the epitome of the race grievance peddler. Reverend Al’s mendacious model is now used by Black Lives Matter and their ilk, who are just as intellectually and morally dubious as their duplicitous mentor.

Unlike the extraordinarily successful and morally impeccable civil rights movement led by Martin Luther King Jr., which exposed its opponents as devoid of moral authority, BLM and Sharpton are themselves morally bankrupt.

As the film points out, none of these opportunists are interested in the development of black people or communities, but in “justice”, and their definition of “justice” is amorphous, ever expanding and rooted entirely in emotionalism and greed.

Steele uses the immigrant owned convenience store in Ferguson where the Michael Brown tragedy began, as proof of the absurdity of the demand for alleged “justice”.

The mob demands the store owners shut down for three days on the anniversary of Brown’s death as well as a whole host of other demands. The owners acquiesce, but it is never enough. Once one demand is fulfilled, a new and more egregious one sprouts up…until finally the mob is clamoring for the store owners to literally give away their store to protestors.

Besides the movie’s robust intellectualism, it is also exceedingly well made, and like its soulful and melancholy jazz soundtrack, never loses its pace or rhythm.

In a bizarre twist, considering the high quality filmmaking on display, Amazon first refused to allow What Killed Michael Brown? to run on its streaming service, claiming it “doesn’t meet Prime Video’s content quality expectations”.

It’s ironic that major corporations like Amazon are now emphasizing black artists but when those artists don’t toe the establishment line on race, they are told to sit at the back of the bus.

Thankfully, after much public pressure, Amazon has now relented and is allowing the film to stream for purchase on their service. But this is not the first time, and it certainly won’t be the last time that mainstream gatekeepers try to silence truth tellers.

In conclusion, What Killed Michael Brown? is mandatory viewing because it is an intellectually vibrant, finely crafted piece of work that brazenly and bravely reveals the uncomfortable reality of race in America today. SEE IT NOW!

 A version of this article was originally published at RT.

©2020

America's Forgotten: A Review

My Rating: 2.5 out of 5 stars

My Recommendation: SEE IT. The scathing but flawed documentary is worth seeing to challenge any pre-concieved notions on the subject of illegal immigration.

New Documentary ‘America’s Forgotten’ Tells the Illegal Immigration Story the Establishment Media Ignores

America’s Forgotten is a new documentary from filmmaker Namrata Singh Gurjal that exposes the fetid swamp that is illegal immigration into the U.S.

The film has been shunned by mainstream distributors (like Netflix) but has still generated a good deal of interest because Gurjal, an Indian immigrant and registered Democrat, takes direct aim at Joe Biden and Democrats for their immigration policies which she believes lead to catastrophe for illegal immigrants and chaos in America.

The film examines the complex topic through four personal stories. These narratives focus on Gurpreet – a little Indian girl who died trying to cross the Southern border, Maria, a Mexican woman who runs a gauntlet of extortion and rape to illegally immigrate, Sabine Durden-Coulter, whose adult son Dominic – a legal immigrant from Germany- is killed by an illegal immigrant in a drunk driving accident, and Jonathan Decoster, a native born former Marine who lives on the streets of Los Angeles.

These four stories show that Americans are good people but that their “misplaced compassion” toward illegal immigrants leads to policies that actually increase illegal immigration – which is extremely dangerous for both the immigrants and America.

Politically and philosophically, the film is spot on and tells a forceful story that has been shamelessly blacklisted by the establishment media.

The movie exposes the fact that the only people who benefit from illegal immigration are coyotes, cartels and corporations. The coyotes exploit illegal immigrants for money, cartels smuggle people and drugs across the porous border and corporations gleefully profit from the immigrant’s cheap labor.

Those egregiously harmed by illegal immigration are the exploited immigrants themselves and the forgotten poor and working class in America.

The film reveals that, in contrast to common perception, illegal immigrants are often not the poor, tired and hungry running from persecution in third world nations, but rather are middle class foreigners paying $5,000 to $15,000 from Central America, $50,000 from Europe or Africa, and $50,000 - $75,000 from India, to chase the dream of a pot of gold at the end of the American rainbow.

One of the most interesting parts of the film though is about the Iraq war vet, Jonathan Decoster. The movie uses Decoster to tell the story of how immigration decimates the poor and working class here in America by diverting resources, lowering wages and eliminating opportunity. Decoster’s despair turns into opioid addiction and ironically, he heads to the Mexican border to find the lowest prices for heroin.

To the film’s credit it highlights some stunning and disturbing facts, such as at least one-third of female illegal immigrants will be sexually assaulted on their journey, and that by percentage non-citizens far outpace native citizens in terms of benefits they receive despite paying far fewer taxes.

America’s Forgotten doesn’t just expose the problem of illegal immigration but offers a solution. The film contends the blueprint for a safe and fair immigration system that works for both immigrants and natives is the Bracero Program, which was a guest worker program that thrived from the 1940’s until 1965.

That type of program seems to be a logical solution to the scourge of illegal immigration that harms American workers and immigrants alike, but emotion has long ago replaced logic on this polarizing and partisan issue.

And that leads to one of the things that bothered me about America’s Forgotten…emotionalism. The mainstream media deceives Americans by emotionally manipulating them regarding the illegal immigration issue. They tug on American heartstrings and Americans predictably react with “misplaced compassion”.

Unfortunately, America’s Forgotten uses the same tactic, exploiting the grief of Ms. Durden-Coulter, the pain of Maria and the despair of Jonathan Decoster, in order to make its points. That doesn’t mean those points are invalid, it just rubs the wrong way because whenever there is a naked appeal to emotion, there is also an appeal to discard reason.

I also struggled with the film’s participatory style, which is the same style Michael Moore uses to great affect. This results in director Gurjal being the movie’s protagonist, driving the story from her personal perspective. The problem with Gurjal is that her voice, which narrates the entire story, is grating and weak, and she simply isn’t a compelling or commanding enough presence to carry this urgent story.

Another problem is that the movie is very poorly produced. There are technical glitches throughout, most notably with the sound, that make it seem like an amateur endeavor, and frustratingly that undermines the film’s strong thesis.

At the beginning and end of America’s Forgotten, a message comes on the screen informing viewers that due to fear of political reprisals, the crew has all agreed to work anonymously. The members of the sound team certainly dodged a bullet on that one.

In truth, Gurjal and her crew are wise to fear reprisals, as the powers that be in Hollywood, including the malicious middle management class, are extremely partisan and relentlessly petty. I have no doubt that Gurjal’s Hollywood career is now essentially over before it ever really had a chance to begin.

In conclusion, if you want to see the illegal immigration story the media don’t want you to see, rent America’s Forgotten (available on Vimeo, SalemNow and iScreeningRoom). I’m not sure in our polarized political era it can change any minds, but that doesn’t mean it isn’t telling a very ugly truth.

A version of this article was originally published at RT.

©2020

Chris Pratt in Cancel Culture Crosshairs

Estimated Reading Time: 3 minutes 29 seconds

Chris Pratt is in the cancel culture crosshairs for imaginary crimes against woke dogma

The movie star has kept silent about his political beliefs, but the wizards of wokeness think they can read his mind and believe he is an evil Trump supporter.

Chris Pratt made a name for himself getting chased by dinosaurs in the Jurassic World franchise films, but the woke are now out to get him for allegedly having what they deem to be the political and cultural beliefs of a caveman.

Pratt originally came to fame as the lovable lug Andy Dwyer on the NBC sitcom Parks and Recreation, and went on to movie stardom as the leading man in the Jurassic World, Guardians of the Galaxy and The Lego Movie franchises. Unfortunately he is now squarely in the cancel culture crosshairs of the woke twitter mob for potentially being a secret, homophobic, Trump supporter.

This Pratt incident began when tv writer Amy Berg posted pictures of the four famous Chrises - Chris Evans, Chris Pine, Chris Hemsworth and Chris Pratt, on twitter and said “one has to go”.

In response, the rapacious raptors of woke twitter attacked Pratt – claiming the star’s Twitter bio  ‘radiated homophobic White Christian supremacist energy’.

Pratt’s bio that sparked that comment reads, “I Love Jesus, My wife and family! Seahawks fanatic, MMA junky!”  The horror. The horror.

This Pratt episode is funny because while he is known for dinosaur movies, it is the woke who are acting out of their lizard brains as the evidence of Pratt being homophobic and a white Christian supremacist is…well…entirely non-existent.

Last year after actress Ellen Page attacked Pratt on twitter for being a member of an “infamously” anti-LGBTQ church, Pratt responded, “It has recently been suggested that I belong to a church which ‘hates a certain group of people’ and is ‘infamously anti –LGBTQ.’ Nothing could be further from the truth. I go to a church that opens their doors to absolutely everyone.”

Of course, just because an emotionalist buffoon like Ellen Page says something doesn’t make it so, as she famously once gave a hysterical speech on the Late Show with Stephen Colbert decrying the homophobia and racism in America that led to the “attack” on Jussie Smollett. That claim that has not held up particularly well.

The lack of evidence regarding Pratt’s homophobia hasn’t deterred the twitter mob from marking Pratt for termination though, which is ironic since Pratt’s father-in-law is former Republican Governor of California Arnold Schwarzenegger, the original Terminator.

The other thing that seems to have galled the tiny Torquemadas of twitter is Pratt’s ambiguous political beliefs.

Even though Pratt has never declared he supports Trump, the maniacal mob assumes he does because he also hasn’t said if he supports Biden. Although Pratt’s wife, Katherine Schwarenegger, has publicly stated she will be voting for Biden.

The cancel culture clan point to Pratt’s not attending an upcoming Avengers fundraiser for Biden, and that he was also once photographed by a paparazzo wearing a Gadsden Flag t-shirt that said “Don’t Tread on Me”, as iron-clad proof of the star’s evil political intentions, but this seems like a short cut to thinking.

Pratt’s lone, unambiguous statement on politics, besides his contribution of $1,000 to Obama’s campaign in 2012, was in 2017 in Men’s Journal where he said, "I really feel there's common ground out there that's missed because we focus on the things that separate us…. I don't feel represented by either side." What a monster!

The biggest issue with all of this nonsense is that people are furious not because of anything Pratt has said or done, but because he hasn’t said or done anything. Pratt isn’t going to a Biden fundraiser or a Trump fundraiser or a Groot fundraiser or a Thanos fundraiser…he isn’t going to any fundraisers at all!

The idea that the mental midget McCarthy-ites on woke twitter want to cancel Pratt because he said and did nothing…is absurd to the point of madness.

Chris Pratt has graciously kept his politics private, unlike a host of other approval-addicted actors yearning for 15 more minutes of fame, and he shouldn’t be excoriated for imagined beliefs that people project onto him. Pratt should only be judged by what he does and what he says in life.

For example, judge Pratt on his further response to Ellen Page’s baseless anti-LGBTQ claim,

“My faith is important to me but no church defines me or my life, and I am not a spokesman for any church or group of people. My values define who I am. We need less hate in this world, not more. I am a man who believes that everyone is entitled to love who they want free from the judgement of their fellow man.”

He then wrote, “Jesus said ‘I give you a new command, love one another,' This is what guides me in my life. He is a God of Love, Acceptance and Forgiveness. Hate has no place in my or this world.”

That statement speaks glorious volumes about the quality and worth of Chris Pratt as a human being.

The recent unwarranted vilification of Pratt speaks volumes too, not about him, but about the vapid, vacuous and venal villains partaking in it.

I’ve never been much of a fan of Pratt’s acting…but this whole twitter Pratt attack has left me admiring the man for his groundedness and humility.

The bottom line is Chris Pratt seems like a genuine and decent guy and his detractors seem like vile and repugnant twitter tyrants.

 A version of this article was originally published at RT.

©2020

Disney's New Content Warning and the Woke Slippery Slope

Estimated Reading Time: 3 minutes 38 seconds

As the insatiable woke beast runs rampant across our culture, the category of things deemed offensive becomes ever more bloated, meaning an increasing number of classics are now in danger.

If you are anything like me you have been losing copious amounts of sleep worrying that Disney’s content warning for racism that runs before some of their classic animated films like Lady and the Tramp, Peter Pan, Dumbo, Jungle Book and The Aristocrats, wasn’t long-winded enough.

Well, thanks to the geniuses at everybody’s favorite frozen anti-Semite’s entertainment mega-corporation, we can all rest easy because they’ve attached a new disclaimer to these allegedly offensive films.

The old content warning was first posted last November and stated, “This program is presented as originally created. It may contain outdated cultural depictions.”.

Disney’s updated content warning is the polar opposite of the gloriously concise and resolutely mundane original. The new disclaimer reads,

“This program includes negative depictions and/or mistreatment of peoples or cultures. Rather than remove this content, we want to acknowledge its harmful impact, learn from it and spark conversation to create a more inclusive future together.

Disney is committed to creating stories with inspirational and aspirational themes that reflect the rich diversity of the human experience around the globe.”

I can’t remember who it was, but some jerk once wrote, “brevity is the soul of wit”…well, if brevity is the soul of anything than the Winston Smith wannabe who wrote this atrocious piece of Human Resources porn is as soulless as they are spineless and brainless.

What makes the verbosity of this woke monstrosity all the more hysterical is that the kids who might be trying to watch Disney’s talking animal cartoons either won’t be able to read it at all, and if they can, they sure as hell won’t understand it.

The other thing of note about this disclaimer is that it is absolutely unnecessary as there was no huge groundswell to update the old content warning by making it more wordy and less coherent.

What Disney is actually doing with this new content warning is shamelessly signaling its corporate virtue and trying to appease the woke beast rampaging relentlessly and maniacally across our culture. This beast has an insatiable appetite for outrage and when none appears organically, the woke manufacture some to feed it.

Like an annoying software update, Disney’s updated content warning will no doubt soon need yet another update. The slippery slope of political correctness will force Disney to expand its definition of ”offensive” material and bloat the category of films needing these self-serving content warnings.

Recent history has taught us that the road to woke perdition is never ending. No gesture or change will ever be enough for the p.c. mob. This results in content warnings needing perpetual updates to acknowledge sins of commission, then sins of omission – such as “we are sorry that Dumbo is not centered on characters of color or from the LGBTQ community”, then the sin of too many cis-gendered white characters, or too many white voice actors, and on and on and on…until finally the woke noose tightens enough to suffocate all of entertainment history.

For example, Song of the South(1946) is a controversial Disney classic that depicts a black character, Uncle Remus, as content with life in the cotton fields. Song of the South currently has no content warning or disclaimer…and that’s because Disney has flat out banned it. It isn’t on video, DVD or streaming. It is lost down the memory hole, which is where the woke slippery slope inevitably leads.

The problem for Disney is that through the lens of wokeness all things appear “problematic”, and this means Mickey Mouse may very well have to sacrifice his cash cow core film canon on the altar of political correctness to appease the woke beast. This will be “get woke, go broke” on steroids.

You may think this far-fetched, but if you doubt the woke slope is that slippery, consider the recent chilling example of the word “preference”.

In last week’s Supreme Court confirmation hearings Amy Coney Barrett mentioned the term “sexual preference”. In response Senator Mazie Hirono excoriated her for that term claiming it was “offensive” to the LGBTQ community.

That morning “sexual preference” was an entirely acceptable phrase, by lunch it was deemed “homophobic”, and by sundown it was so verboten that Merriam-Webster had literally changed its definition to describe it as “offensive”.

As the speed of history increases, so will the woke over-reaction to it. It starts with content warnings on cartoons and Gone With the Wind…but how much of the entertainment we enjoy today will tomorrow get a content warning and by the end of the week get the Song of the South memory hole treatment? The Simpsons, South Park and Family Guy are no doubt already on the endangered species list.

Our civilization used to rely on outrage fatigue to cool the embers of irrational and emotionally driven furies, but among the woke, outrage ossification has set in like intellectual rigor mortis. It is those of us in opposition to the vacuity of political correctness that now suffers from fatigue…and as Patton once said, “fatigue makes cowards of us all”.

My warning of discontent is this…the woke beast slouching toward Bethlehem, via Hollywood, Washington and corporate America, is relentless, consistent, deliberate and insatiable, and in our battle against it we need to screw our courage to the sticking place…because failure is too culturally catastrophic to contemplate.

A version of this article was originally published at RT.

©2020

Spitting Image: The Satirical British Puppet Show is Back - Here's a Review

Estimated Reading Time: 3 minutes 38 seconds

After a 24-year absence the show doesn’t always hit the mark, but thankfully it also never pulls any punches.

The first two episodes of Spitting Image, which were aired on BritBox in the U.K. on October 3rd and October 10th, were funny but at times uneven as the creative’s fought to find their sea legs in the stormy waters of modern day comedy. 

Thankfully the born again show, despite its flaws, is just as relentless and ruthless in its comedy takedowns as the original. The humor isn’t always uproarious but it’s certainly biting and interesting because it’s simultaneously heady and gratuitously base.

The first episode, which featured some scathing mocking of Prince Harry, Trump, Boris Johnson and his advisor Dominic Cummings, is the better of the two, but the second episode had some notable highlights as well.

Trump and Boris Johnson are the main targets of the resurrected Spitting Image’s comedic fire, not surprisingly since they are in power and are grotesque caricatures all on their own even before ever being made into puppets.

In the first episode Trump is ridiculed for being the blowhard that he is, with a recurring theme being his arsehole, which looks like a repulsive creature out of Ridley Scott’s Alien, does all his late night tweeting for him.

The first episode also has Prince Harry literally cutting off his nose – maybe to spite his face, and lamenting his failure to succeed on his own in Los Angeles as he utters the spectacularly funny line, “I’ve tried every career there is – prince and Hitler!”

Other targets are Disney’s woke preening in the form of a black baby Yoda, Lewis Hamilton’s social justice hypocrisy and Greta Thurnburg’s shrieking and shrill environmentalism.

The second episode rakes Trump and BoJo over the comedy coals as well, the best instances being when Trump is fine after catching a case of coronavirus but coronavirus suffers greatly when it catches a case of Trump, and when Boris’s scatterbrained satellite navigation system drives a confused couple off of a cliff.

The very best scene in the second episode though is when Greta Thurnburg reluctantly goes to an English soccer match and surprises herself by getting really into it. Afterwards she becomes very Greta about it as she laments, “The referee has stolen my childhood with his reckless decisions. I must save West Ham!”

A reliably funny recurring bit in both episodes is the struggle of the distinguished Sir David Attenborough to navigate social media and technology, something that always ends in failure and a flurry of expletives.

The less successful scenes on the show are the songs, one has New Zealand Prime Minister Jacinda Ardearn as a coronavirus defeating Mary Poppins, the other has a time-traveling Elon Musk singing David Bowie’s song “Starman” except with the word “Conman”.

Remarkably, Spitting Image has yet to find a broadcast home in the U.S. According to some reports that is due to networks and streaming services being afraid of offending the Trump administration, which seems far-fetched since nearly every major news organization does the journalistic equivalent of Spitting Image to the Trump administration every day.

It is unfathomable that the show is not in America, even on Britbox. Americans can catch new episodes on Facebook for 24 hours after they originally air in the UK…but that just seems a silly, arbitrary and self-defeating approach.

The U.S. is currently saturated with political comedy, with the tiresome, predictable, relentlessly propagandic bitching and moaning from flaccid clowns like John Oliver, Bill Maher, Stephen Colbert and Trevor Noah, but the nation is starving for top-notch political satire – which Spitting Image, despite its flaws, does deliver.

Saturday Night Live is the only notable political satire in America right now and it is disastrously dreadful. The biggest problem with SNL is that its humor is based on advocacy rather than comedy. The show shamelessly embraced Hillary in 2016…who could forget the cringe worthy sight of Kate McKinnon as Hillary singing an embarrassingly maudlin and melancholy version of Leonard Cohen’s “Hallejulah” in the immediate aftermath of her election defeat, and this year touted Kamala Harris (played by Maya Rudolph) by having her declare to cheers the need for a WAP – Woman as President. Yikes.

Thankfully, unlike SNL and the rest of the emotionalist establishment late night court jesters like Oliver, Maher and the rest, Spitting Image doesn’t aim to advocate, only eviscerate. And while the first two episodes were somewhat hit or miss, the show at its best still comedically slices and dices with the very best of them and never chooses sides.

An example of the bi-partisan belittling is a hilarious recurring theme in episode two is Nancy Pelosi suffering from Panderititis, a disease that makes her cravenly pander to identity groups for votes. She switches between African garb, a hard hat with rainbow dildo attached, and Orthodox Jewish clothing, in order to appeal to black, LGBTQ and Jewish voters.

Another example is Biden being a dementia-addled fool, and the charisma deficient Keir Starmer getting a much-needed makeover by Elton John…excuse me…Sir Elton John.

Spitting Image‘s sense of humor is not for everyone and the show isn’t life changing, but it is at times extremely funny. There are certainly worse ways to spend half an hour…like watching the insipid John Oliver for example.

The bottom line regarding the show is this - the world needs more comedy, not less, so some courageous executive at NBC, Hulu, Netflix or Amazon should quickly grab Spitting Image and give Americans a glimpse of some solid political satire at the height of the election silly season, we sure as hell could use it. 

 A version of this article was originally published at RT.

©2020

Bill Burr Battles the Karen Dragon on SNL

Comedian Bill Burr hosted SNL this weekend and masterfully sent the woke into a fury with his brazen and insightful monologue

Saturday Night Live has became a haven for limp, politically correct comedy, but this past weekend Bill Burr burned down the house with his no-holds-barred comedic approach.

Bill Burr, a brilliant and curmudgeonly stand-up comedian who refuses to kowtow to the politically correct, went scorched earth in his SNL monologue Saturday night by taking on cancel culture, self-serving white women and their performative woke posturing and Gay Pride Month being longer than Black History Month. 

Burr’s monologue was apparently so incendiary the New York Times felt it needed a trigger warning, “Burr used his opening monologue to mock some sensitive topics — feel free to skip this section if you find that style of comedy distasteful”.

The monologue took flight when Burr ranted about people trying to cancel the long dead John Wayne for an interview he gave in 1970, which was met with a confused smattering of applause. Apparently, the SNL audience, like New York Times readers, aren’t used to comedy that isn’t entirely p.c., impotent and toothless.

Things then got really spicy when speaking of the woke movement, Burr observed, ““It should’ve been about people of color… somehow white women swung their Gucci-footed feet over the fence of oppression and stuck themselves at the front of the line.”

The studio audience met that insightful bit with cold silence while the house band behind Burr were frozen in woke shock,  never laughing, clapping or moving once throughout his monologue.

Not surprisingly Karens on twitter had a conniption in response…which of course just made Burr’s point for him. This is like the old joke, “hey, I resemble that remark!” made manifest.

One woman tweeted, “That just looks like misogyny to me. I would respect that if it came from a black woman and not a white dude…”

Another snowflake courageously tweeted, “Bill Burr's opening monologue is just obnoxious and misogynstic. It's 2020. Someone tell him calling women "bitches" isn't funny”.

Burr’s final assault on the woke brigade came when he brought up the injustice of Gay Pride Month being all of June while Black History Month, which is for people “who were actually enslaved”, is in February, the coldest and shortest month of the year.

Burr joked, “These are equator people give them the sun for 31 days. There’s gay Black people, they could celebrate from June 1, June 31… give them 61 days to celebrate”.

This was met on twitter with charges of homophobia as one dullard tweeted, “Cool so bill burr went from misogynistic to homophobic. Time to go to bed.”

Burr’s crime of whiteness arose once again when someone tweeted, “hey bill burr i don’t think you should push the racist homophobic agenda on an snl sketch coming from a straight white male it’s not funny”.

The woke poseurs claiming Burr is racist either don’t know or don’t care that Burr’s wife is black…which should maybe blunt charges of his being racist.

The type of white people who love the safe comedy of SNL and hate Burr are the kind that adore Kamala Harris because they want a black female president for no other reason than identity politics and thinking it makes them not racist, even though Kamala Harris is loathed by actual black people.

The Karens outraged by Burr’s blunt truth-telling live safe, suburban lives and use tears and tantrums to get what they want…which is a cozy cocoon of silence and obedience. They refuse to have their vapid ideology confronted and will never engage in debate, only shrieking and wailing. Burr did us all a favor by tearing down their farcical façade.

Some might say the audience and band’s dismissive reactions and the outrage on twitter mean that Burr comedically failed…I think it actually signals his unparalleled success.

Burr went into the woke lion’s den and poked the evil beast right in the eye. While he didn’t get many laughs in the studio, he got a ton of them in my living room and no doubt in other living rooms across the country.

Unfortunately, SNL has devolved from the height of its powers under the manic genius of John Belushi, the edgy brilliance of Eddie Murphy and the cartoonish buffoonery of Will Ferrell, into its current flaccid form, which is a cesspool of insipid anti-comedy that prefers to be safe and politically correct than to being daring and funny. Well, safe and politically correct is not how Bill Burr, or any great comedian, rolls.

The woke twitterati and others bemoaning Bill Burr’s bludgeoning of political correctness on SNL are the same type of people who would’ve scolded George Carlin, Richard Pryor, Lenny Bruce and Billy Connolly out of existence.

One need only watch the rest of the show with its inane and unfunny sketches as well as its overly long and painfully tedious cold open, to see that Burr’s monologue was the only thing on the entire program with a pulse (Jack White’s scintillating musical performances aside).

Sadly, there is no way Bill Burr will ever be invited back on SNL, which is a shame, because his aggressive, take no prisoners, tell-it-like-it-is type of energy is exactly what makes for great comedy, is the secret ingredient that made the once iconic show successful in the first place, and is the only thing that could ever return it to prominence once again.

 A version of this article was originally published at RT.

©2020

The Trailer for Girl Power Spy Movie 'The 355' Wraps the Same Old CIA Propaganda in a Woke Feminist Cloak

Estimated Reading Time: 3 minutes 47 seconds

The long running CIA-Hollywood partnership is at it again trying to fool audiences with a female driven action movie set to release in January of 2021.

Hollywood is churning out yet another feminist action flick for the cinema going public to ignore.

The 355, directed by Simon Kinberg and starring Jessica Chastain, tells the story of five female intelligence agents from different nations – U.S., U.K., Columbia, Germany and China, who come together to recover a top secret weapon.

Besides Chastain, the film stars Lupita Nyong’o, Penelope Cruz, Diane Kruger and Fan Bingbing.

The trailer features such eye-rolling pieces of dialogue as “now we have a common enemy…and if we don’t stop them they’ll start World War 3” and “we put ourselves in danger, so others aren’t”.

If the final film is as dreadfully absurd as the trailer, then it’s sure to be an odious piece of cinematic garbage.

What is most interesting to me about The 355 though is that while I don’t know this for sure, it certainly appears to be just another in a long line of pro-intelligence agency Hollywood products that propagates America’s nefarious global agenda under the ruse of promoting female empowerment.

For example, in 2001, America’s sweetheart Jennifer Garner starred as CIA super-agent Sydney Bristow on the hit tv show Alias (2001-2006). Despite the show being a fawning CIA propaganda piece, Garner went the extra mile and filmed a recruitment video for the agency. The CIA’s press release announcing that video is insightful.

“Ms. Garner was excited to participate in the video after being asked by the Office of Public Affairs. The CIA’s Film Industry Liaison worked with the writers of Alias during the first season to educate them on fundamental tradecraft. Although the show Alias is fictional, the character Jennifer Garner plays embodies the integrity, patriotism, and intelligence the CIA looks for in its officers.”

Anyone who unironically claims the CIA is filled with integrity, patriotism and intelligence either is completely historically illiterate or actually works for the CIA.

Garner’s ex-husband, movie star Ben Affleck, is also no stranger to working with the CIA as evidenced by the films The Sum of All Fears and Argo. In 2012 Affleck said, “Probably Hollywood is filled with CIA agents”. I wonder if he was referencing himself or his ex-wife in that statement?

Another pro-CIA, female driven narrative was Showtime’s award-winning Homeland (2011-2020). The producers of Homeland reached out to the CIA early in the making of the show and agency hands are all over it. The CIA even had consultants on set to make sure the depictions of the agency were “realistic”.

The star and producer of The 355, Jessica Chastain, is also no stranger to collaborating with the CIA, as she starred in the infamous CIA propaganda piece Zero Dark Thirty (2012).

On that film, which claimed to show the true story of the CIA hunt for Bin Laden, the agency went to great lengths to control and falsify the narrative. The CIA granted remarkable access to the filmmakers, including classified briefings, in exchange for veto control over what went on screen. The agency took full advantage of that control and made the CIA out to be heroes and torture to be highly beneficial in finding and killing Bin Laden.

Intriguingly enough, it was Chastain herself who pitched the idea for a female James Bond – Mission Impossible type of spy movie which became The 355. Is it possible that Chastain is one of the CIA people in Hollywood that Ben Affleck mentioned? I don’t know, but it certainly seems like she is more than happy to make projects that uncritically show the CIA as the good guys as long as it garners her money and prestige.

Chastain is becoming the female version of Tom Hanks, a talented actor who, as evidenced by Saving Private Ryan, Charlie Wilson’s War, The Post and Bridge of Spies among many others, is always eagerly and reliably in the bag for the intelligence community and military industrial complex.

A damning piece of evidence against Hanks was his cringe-worthy refusal to say that Edward Snowden was not a traitor while doing press for The Post (2017) - a film about Pentagon Papers whistleblower Daniel Ellsburg. When directly asked if Snowden was a traitor the cowardly Hanks replied, “that’s above my pay grade”. Tom Hanks pay grade has earned him a net worth of $350 million.

As for Chastain and The 355, the CIA consistently uses Hollywood to promote the notion of intelligence agency women as American Jane Bonds and that has real-world consequences. Feminists cheer that the agency is now headed by torture enthusiast Gina Haspel, and has women leading three of its top directorates. The pussy hat brigade also proudly embraced former female CIA personnel, Democrats Abigail Spanberger and Elissa Slotkin, as they ran and won congressional seats in 2018 by touting their background as CIA ‘badasses’.

Sadly, by co-opting vociferous feminist voices like Chastain and Captain Marvel star Brie Larson – as well as the feminist movement which has historically been anti-war and pro-peace (think Jane Fonda), this ensures that not only does the CIA have no opposition from famous women, but actually has their endorsement.

Progressive women, like Chastain and Larson, say they care about women’s issues, but by making a Devil’s bargain with the military and intelligence community, they are selling their souls and moral authority to promote predatory power. Their silence in the face of America’s violent militarism and imperialism, which murders and maims countless women and children worldwide, is shameful and damning.

Thankfully, from the looks of its atrocious trailer, The 355 will probably face the same box office fate as the cavalcade of recent busts like Ghostbusters (2016), Ocean’s 8, Charlie’s Angels (2019) and Birds of Prey that put feminism first and quality filmmaking second.

Sadly though, that won’t stop the CIA and Hollywood from continuing to use gullible and ambitious women to mendaciously sell the agency as a beacon of all that is patriotic and progressive – when in reality it is the antithesis of both, because as Ben Affleck once astutely observed, “Hollywood and the clandestine services both spend most of their time convincing people that something that is not true is, in fact, true.”

 A version of this article was originally published at RT.

©2020

Hope Frozen: A Quest to Live Twice - A Review

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

 MY RATING: 3.75 out of 5 Stars

My Recommendation: SEE IT - This intimate, gut-wrenching glimpse at the lengths that parents will go to keep their children, and hope, alive…is a surprisingly poignant portrait of familial love and grief.

In Hope Frozen: A Quest to Live Twice, filmmaker Pailin Wedel masterfully documents the compelling story of the Naovaratpong family, comprised of father - Dr. Sahatorn, his wife Nareerat and their teenage son Matrix, who suffer the terrible loss of their beloved two year-old daughter Einz from ependymoblastoma, a rare and aggressive brain cancer.

During Einz’s illness, her father frantically uses his science background (he is an engineer) to try and learn on the fly and discover a cure for his ailing daughter as she deteriorates.

After a dozen surgeries and 20 chemotherapy and radiation treatments, it becomes readily apparent that time is running out for little Einz. In response, Sahatorn then turns his attention to cryogenics, in the hope that he could freeze his daughter after death, in order to one day re-animate her when a cure for her disease is found.

Immediately following Einz’s heart-breaking demise, doctors from the Alcor Life Extension Foundation go about cryogenically freezing her. Once that process is completed, Einz’s body is sent from Thailand to storage in Arizona.

This story sounds like some bizarre science fiction, but Hope Frozen masterfully turns this strange tale into a morally and ethically complex story that is intensified by the emotional power of grief.

In addition, the film raises a plethora of profound philosophical questions, but to its credit it never presumes to know the answers.

The film ponders what is consciousness? Is consciousness attached to the body? Are memories kept in tact when someone is cryogenically frozen? Is that frozen body really a person or just a collection of flesh and bones? Can death be scientifically defeated? Will cryogenics even work? Can people be re-animated in the future? Will a cure for cancer ever be found?

These questions are made even more complicated by the family’s fervent faith in science coupled with their spiritual belief in Buddhism. This results in the family grappling with issues such as will freezing Einz stop her from reincarnating? And is cryogenics just imprisoning Einz’s soul in a lifeless body?

The most intriguing member of the Naovaratpong family is the son Matrix, a smart and sensitive young man haunted by his sister’s death.

At his father’s prodding Matrix is a scientific genius that dedicates his life to finding a way to bring his sister back to life. Ever the big brother, he even becomes a novice Buddhist monk in an attempt to try and protect his dead sister’s soul.

Like his mother and father, Matrix will never shed the painful burden that is the death of Einz. The Naovaratpong’s simply can’t let go…of their daughter, of the dream of their daughter’s future and of their grieving wound.

By cryogenically freezing Einz, the family freezes themselves into a perpetual state of hope and grief…this keeps Einz fresh in their minds. Their hope and grief are all they have left so they do not want to let them go. As long as hope for her return and grief for her loss are frozen in place, Einz lives on.

As the film progresses, the story takes on multiple twists and turns that makes for interesting viewing – particularly a scene where Matrix calls home after a trip to America, but the most fascinating part of the film is the love for Einz at the core of it.

You can question the family’s decision to cryogenically freeze their daughter and their quest to keep the hope of her alive in the face of death, I know I did, but what I never did was question the purity of their motives or the profundity of their love.

As a parent it is impossible to watch Hope Frozen and not have compassion and empathy for Sahatorn, Nareerat and Matrix. Their love for Einz is exquisitely beautiful to witness even when it is wildly contorted by grief and despair.

The family’s devotion to science in the form of cryogenics in the hope of overcoming death is no different than any other faith taking center stage in an existential crisis. Faith is our shield against the slings and arrows of life and the inevitability of our own annihilation.

The Naovaratpongs wrap themselves in the cloak of science in order to maintain the illusion that Einz will rise from the dead, just as a Catholic like myself clings to that same delusion that death can be conquered through God’s love and power.

This need to believe in something, anything, to make the colossal pain of grief, and the terrifying prospect of the eternal abyss of death, subside, is all too human, and is strikingly highlighted in Hope Frozen.

In conclusion, Hope Frozen: A Quest to Live Twice is a deeply moving documentary because it reminds us that life is fleeting and that love isn’t everything…it’s the only thing.

 A version of this article was originally published at RT.

©2020

Hallmark's Gay Christmas...Not That There's Anything Wrong With That

Estimated Reading Time: 2 minutes 69 seconds

The Hallmark and Lifetime channels are targeting their Christmas movies at gay audiences this year. Activists have hailed this as a victory, but there will be little to celebrate in terms of quality filmmaking.

“Don we now our gay apparel” takes on a whole new meaning this year as The Hallmark Channel airs The Christmas House, its first gay themed Christmas movie.

The film stars Jonathan Bennett as one half of a gay married couple who visit family as they anxiously await a call about adopting their first child.

According to PinkNews, “LGBT+ fans have long been crying out for a queer festive film – and this year, they have finally been granted their grown-up Christmas wish”.

PinkNews also reported that, “In July, queer Hallmark Christmas fans were sent into a frenzy when the company confirmed the LGBT+ Christmas films were on the way.”

The “queer frenzy” over The Christmas House is heightened by the fact that the Lifetime Channel also has a gay themed holiday film this year, The Christmas Set-Up. Looks like there will be a lot of same sex canoodling under the mistletoe on tv this holiday season.

To be honest I’m confused as to why having a gay Christmas movie is such a big deal. According to GLAAD (Gay and Lesbian Alliance Against Defamation), a whopping 10.2 % of characters on tv shows identified as LGBT+ in 2019. According to Gallup, LGBT+ people make up just 4.5% of the general population, which means the LGBT+ community represention on tv is more than twice as large as it is in reality.

Americans are so inundated by gay characters in entertainment that it wildly distorts their perception, resulting in a consistent over-estimation of the size of the gay population in polls. Gallup polls show Americans on average believe LGBT+ people make up nearly 25% of the population, which is five times their actual population percentage.

The same polls shows that women over-estimate the size of the LGBT+ community the most, believing that nearly one in three people are gay. Since women are the target audience of Hallmark and Lifetime’s Christmas movie crap-a-thon, one can assume that this is only the beginning in expanding gay representation on those networks come holiday season.

The Christmas House and The Christmas Set-Up seem less like another battle in the manufactured War on Christmas than just another LGBT+ victory parade.

Of course, the quaint notion of Christmas being a celebration of the birth of Christ was long ago lost thanks to capitalism’s red clad enforcer Santa Claus and his relentless elves of commercialism and consumerism, so what difference could a few more whacks on the dead religious Christmas horse from a rainbow-striped candy cane truly make?

As far as gay rights and acceptance goes, I am all for it but I’m not sure it’s a sign of progress that the LGBT+ community now gets to have really dreadful and cheesy Hallmark holiday films marketed toward them.

It reminds me of the comedian (I can’t remember which one) who said after gay marriage became legal that “now gay people can enjoy the misery of marriage just like the rest of us”.

The Christmas House premieres on November 22nd, the 57th anniversary of the assassination of JFK, which is ironic because if JFK were still alive today his mind would be blown not – if you believe the preposterous official story - by a bullet from Lee Harvey Oswald’s Mannlicher Carcano rifle but by the idea that a gay Christmas movie could ever be shown on a banal network like the Hallmark Channel.

Someone from JFK’s generation would find the speed with which homosexuality and gay rights have been accepted by mainstream American culture over the last thirty years to be utterly astounding.

As with all issues revolving around representation though, nothing is ever good enough. No doubt soon we’ll hear cries of outrage over a lack of black, Latinx, Asian and Indigenous lesbian, transgender and gay Christmas movies.

I’m sure the gay friendly geniuses at Hallmark are already fast at work creating their own lame lavender adaptation of Dickens’ holiday classic A Christmas Carol to appease the diversity gods and the LGBT+ market.

It won’t take much effort to ’queer up’ old Ebenezer Scrooge since he had a uniquely intimate relationship with his supposed “business” partner Jacob Marley, who, like a wife, haunted him even after death.

 As for this year’s holiday fare A Christmas House, there is no doubt that a cornucopia of sentimental divorcees, old ladies and camp-adoring gay people with decidedly bad taste are already gearing up in eager philistine anticipation of the movie’s premiere by hoarding boxes of wine and macarons just for the festive occasion.

But as a devout cinephile tired of projects choosing forced diversity over artistry, I say bah-humbug….this holiday season there will be no donning of gay apparel or indulging in the Hallmark channel for me.

 A version of this article was originally published at RT.

©2020

The Crime of Critical Race Theory Indoctrination in Kindergarten

Estimated Reading Time: 4 minutes 11 seconds

The Orwellian indoctrination of kindergarten kids with Critical Race Theory is outrageous and must be stopped

Woke teachers and school administrators are waging a culture war for the minds of kids as young as four by inculcating them with toxic social justice teachings.

This summer I got an unpleasant initiation into the culture war when, in the wake of the George Floyd killing, my 5 year-old child’s K-8 public charter school here in Los Angeles went from an academic institution interested in preparing students for the workplace and college to an ideological hot bed devoted to promoting Critical Race Theory over all other subjects.

Critical Race Theory (CRT) is a philosophy of hyper-racialization that looks to radically transform our “inherently racist” society, including children. Under CRT, Martin Luther King’s dream is abolished as racial identification is mandatory and white children are taught self-loathing and black children to embrace victimhood. Like a religion, it is unfalsifiable, elevates subjective experience above objective reality and crumbles under intellectual scrutiny.

A shameless example of CRT indoctrination in action is that the very first lesson taught to my child’s kindergarten class this autumn is “how to be an activist”.

Merriam-Webster defines activist as - "a person who uses or supports strong actions (such as public protests) in support of or opposition to one side of a controversial issue." My child’s school decided to perniciously redefine “activist” as “someone who notices that a system is unfair to another person, group of people, or animals and then creates a new system that ensures fairness for every person, group of people, or animal.”  

Redefining “activist” is as Orwellian as it gets. Words have meaning and meaning matters, for instance calling an ass an eagle doesn’t make it sprout wings and fly. But the mendacity doesn’t stop there. The school also teaches the four traits of an “activist”, which they claim to be “Observe. Ask questions. Have Empathy. Show compassion.” These positive traits are more defining of a good neighbor or good friend…rather than “activist”.

Contorting the meaning of activist to suit an ideological need and claiming that all “activists” have “empathy” and “show compassion” is the kindergarten equivalent of teaching “war is peace”, “freedom is slavery” and “ignorance is strength”.

Do the “activists” of the Westboro Baptist Church, Antifa, or KKK “have empathy” and “show compassion”? Some of the greatest “activists” (using the Merriam-Webster definition) in history - Adolph Hitler, Vladimir Lenin, Mao Zedong and Osama Bin Laden, are not exactly profiles in empathy and compassion.

George Orwell once wrote, "if thought corrupts language, language can also corrupt thought". It seems obvious that CRT has corrupted the language used by my child’s school, and that corrupted language is intended to corrupt the thoughts and minds of young students.

This intentionally deceptive “activist” lesson runs throughout the school year and is accompanied by the “activist song”, sung everyday to the tune of “row, row, row your boat”. The lyrics are… “I am an activist, I look and I observe, I ask questions and find out, what has been unheard  -  having empathy, helps me understand, I can make a change, working hand in hand.”

This isn’t education - this is blatant indoctrination. The school isn’t teaching children how to think but rather what to think.

The school claims its mission is to develop “critical thinking” but does misinforming children about the definition of “activist” spur critical thinking? I’ve asked the leadership of the school this question…as well as for their specific definition of “equity” and “anti-racism”, terms they frequently espouse? Does “equity” mean “equality of opportunity” or “equality of outcome”? Does “anti-racism” mean “opposing discrimination in all its forms” or “discriminating to benefit minorities”? These questions have been entirely ignored.

I also asked if my child would face discrimination at the school, and the principal and CEO steadfastly refused to answer that question too…which unfortunately seems like an answer unto itself…one that may carry legal liability.

The fact that this tax-payer funded charter school which, according to reports, just received between $2 and $5 million in PPP funds from the federal government, refuses to say it won’t discriminate against a 5 year-old, is quite an indictment and reveals the ethical rot at the center of CRT and the catastrophic error the American education system is making by embracing it.

At best CRT is an intellectually flaccid and insidiously vacuous ideology that focuses on “unlearning” alleged “implicit bias” at the expense of learning the basics of reading, writing and arithmetic. At worst, it is a malevolent, mendacious and cancerous cult that demands discrimination against some children under the guise of “equity”.

Parents should be in charge of their children’s moral and ethical education, and if parents want CRT taught to their kids, let them teach it at home. Just like I wouldn’t impose my Catholic faith upon other people’s children, I don’t want their CRT cult imposed on mine.

Many parents privately tell me they’re horrified that CRT is being taught in kindergarten, but are reluctant to speak out for fear of being labeled “racist”. This is part of the “social justice” game, where people are shamed into silence and compliance with scurrilous labels. But parents must screw their courage to the sticking place and fight back now because the war for children’s minds is being waged and teacher’s unions, school boards, woke faculty and administrators are moving fast and pushing hard to make CRT the default foundation for all education in America.

Indoctrinating children with CRT is akin to systemic child abuse as it steals innocence, twists minds and crushes spirits. Parents must move heaven and earth to protect their children, and they can start by coming together and aggressively rooting out CRT from their schools by any and all legal means necessary.

 A version of this article was originally published at RT.

©2020

The Only Thing Dumber Than the #HandsOffAnastasia Twitter Furor is the Dreadful Movie That Sparked It

Estimated Reading Time: 3 minutes 28 seconds

Some Russians have taken offense at Anastasia Romanov’s cartoonish depiction in a low-budget movie released earlier this year. They shouldn’t waste their energy on a criminally stupid piece of film making.

In case you haven’t heard, #HandsOffAnastasia is the outrage du jour on Twitter. If you were unaware of this controversy, I deeply envy you. Here is a quick breakdown of how #HandsOffAnastasia came to be. 

In Spring of this year a terrible movie titled Anastasia: Once Upon a Time came and went and no one cared because it was laughably low budget and hysterically awful. The film is a live action kids movie that tells a fantastical tale of Anastasia Romanov time traveling, with the help of a wizardly Rasputin, from Russia in 1918 to Madison, Wisconsin in 1988 in order to evade Vladimir Lenin and Yara the Enchantress’s malevolent grip. To give you an indication of the caliber of movie that Anastasia: Once Upon a Time is, here are some highlights…Rasputin has a break dance battle at a mall, plays video games and models in a fashion show, there are some absurdly random musical numbers, and a Filipino comedian plays Lenin.

I am no expert on Russian history, but I am pretty sure the film is not entirely historically accurate. And this is where the outrage comes in…apparently some Russians are up in arms that “Hollywood” would denigrate Russian history and besmirch a Sainted Russian figure like Anastasia Romanov, who was brutally murdered by Bolsheviks at age 17 with the rest of her family, by comically re-imagining her tragic tale…thus #HandsOffAnastasia was born.

More kindling on the #HandsOffAnastasia fire is a clip from the film circulating online that shows Anastasia eating spaghetti with her hands, thus implying she, and all Russians, are uncivilized barbarians.

Sadly for me, this whole #HandsOffAnastasia situation forced me to watch this stupid movie. My assessment is this…how do you say “much ado about nothing” in Russian?

First things first…Anastasia: Once Upon a Time is obscenely amateurish and ridiculously imbecilic…but it doesn’t make Anastasia out to be some Neanderthal anti-princess. The spaghetti eating scene isn’t mean spirited or even “anti-Russian”, it is just unconscionably lazy movie making.

The other thing, and this is the most important point, is that this film is so inconsequential as to be absurd. Why anyone, anywhere would care what it says or does is beyond me.

This is not some “Hollywood”, big budget operation backed by the marketing muscle of Disney. The movie was produced by Congolomerate Media and distributed by Freestyle Digital Media…not exactly Hollywood heavyweights…in fact they don’t even qualify as flyweights…or Hollywood, which is why no one has ever heard of this film until this silly controversy.

The budget for the film is bare bones, and it shows in the locations, cheap special effects and shabby costumes. Whatever money they did have seems to have been almost entirely spent acquiring the rights to the Cindi Lauper song “Time After Time”, which it uses liberally (without Lauper’s pricey vocals) throughout the film for no discernible reason.

If I could point to one remarkable thing about Anastasia: Once Upon a Time it would be that it boasts the largest collection of the worst Russian accents ever captured on film at one time. The biggest star in the movie is Brandon Routh who plays Tsar Nicholas II. Once upon a time Routh played Superman on the big screen, and in Anastasia he reveals his kryptonite is twofold…acting and a Russian accent.

The film is produced by Armando Gutierrez, who also did no one a favor by casting himself in the critical role of Rasputin. The film would have been better served casting an inanimate carbon rod in the role instead of Gutierrez.

On the bright side, there is exactly one good performance in the film, and that comes from the talented Amiah Miller, a young actress who played Nova in War for the Planet of the Apes.

Besides that the only interesting thing about this movie is that on its IMDB page it actually lists Anastasia Romanoff as one of the screenwriters. That is an intriguing marketing ploy but simply cannot be true because if the real Anastasia ever had to watch this dreadful movie she would run into the basement and shoot herself just to end the misery and embarrassment. I am sure that last joke offended some people…but here is the thing, if you have the time and energy to get upset about that lame joke or about this nonsensically preposterous movie, then you really need to get a life.

This isn’t to say that Hollywood, like the rest of America, isn’t Russophobic. It certainly is. It isn’t to say that Americans aren’t historically illiterate about Russia and ignorant about Russians. They certainly are. It is to say that this third rate clownshow of a movie is so laughably trivial that it should never ever generate any emotion, be it positive or negative, from anyone, anywhere.

#HandsOffAnastasia is, like so much of Twitter culture, a function of people with too much time on their hands searching high and low, far and wide for something, anything about which to be offended.

In conclusion, the hypersensitive Russian woke folk of #HandsOffAnastasia desperately need to keep their hands off Twitter and go out and re-connect with their heritage by doing truly Russian things…like competing in a break dancing battles at the mall, or modeling in impromptu fashion shows, or eating spaghetti with their hands.

 A version of this article was originally published at RT.

©2020

UNpregnant: A Review and Commentary

****THIS REVIEW CONTAINS SOME MINOR SPOILERS!!! THIS IS NOT A SPOILER FREE REVIEW!!****

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. This stillborn comedy is a mess of a movie but it does succeed as a piece of pro-abortion agitprop

Last week was a good week if you crave poorly crafted movies designed to trigger culture war clashes, but a bad week if you’re a cinephile more interested in quality cinema than political posturing.

On September 9th, Netflix defecated Cuties, the controversial French film that hypersexualizes 11 year-old girls, onto an unsuspecting and uncomfortable public.

The very next day, September 10th, HBO Max picked up the gauntlet of inappropriateness and released UNpregnant, its teen girl, road trip, abortion buddy comedy.

Thankfully UNpregnant is rated PG13, which means the scantily-clad, twerking 11 year-olds of Cuties only have a two year wait before they can watch the movie-version of the abortion handbook that is UNpregnant.

UNpregnant is the story of Veronica (Haley Lu Richardson), a 17 year-old over-achiever in Missouri who asks her misfit former friend Bailey (Barbie Ferreira) to give her a ride to New Mexico for an abortion.

Missouri and its surrounding states all have laws against minor’s getting abortions without parental consent, and Veronica is afraid to tell her “Jesus freak” Catholic parents, so she needs to hit the road to the Land of Enchantment for the no-strings, underage abortion at the end of the rainbow.

In mythical girl power fashion, Veronica and Bailey’s journey is undertaken in a Pontiac Firebird, because like a phoenix, these girls will rise from the ashes of the patriarchal society that oppresses them…or something like that.

Unfortunately, UNpregnant is a painfully conventional and relentlessly dull film. It’s ironic that a movie burdened with such flaccid performances and impotent comedy should be about a pregnancy borne out of unrestrained virility.

The film’s dreadful script, which is in part written by Ted Caplan and Jenni Hendriks and is based upon their book of the same name, reads like the exposition Olympics, and Rachel Lee Goldenberg’s direction is abysmally amateurish.

The two leads, Haley Lu Richardson and Barbie Ferreira, try as hard as they might, lack any comedy chemistry whatsoever. Both of them push so hard to make something funny happen that you’d think they were actually in labor…but the fruits of that labor never appear as apparently the comedy in their performances was aborted too and never had the chance to grow beyond a miniscule fetus.

UNpregnant wraps itself so tight in liberal political correctness it could pass for a social justice mummy. The movie has all the right heroes and heroines and all the proper enemies to appease the woke faithful.

For instance, the film exerts a great deal of energy proving it isn’t racist by having every single black person in the movie be wonderful allies to the abortion cause.

Yes, these black people, like Peg, the pawn shop owner with the heart of gold, Jarrod, the local cowboy with the heart of gold, and Bob, the apocalyptic conspiracist with the heart of gold, are all edgy and dangerous, but ultimately, due to their previously mentioned hearts of gold, end up being kind and extremely helpful to Ivy league bound, suburban white girl Veronica in her abortion quest. 

And just in case viewers were confused about the cultural politics of the movie, there’s a superfluous lesbian romance thrown in too.

As for the villains, there’s Kevin, Veronica’s white, empty-headed yet controlling, stalker boyfriend, who intentionally failed to reveal the condom broke. Like all straight white men in Hollywood movies nowadays, Kevin is simply no good.

The most deplorable villains in the movie though are a family of pro-life, white Christians who are the personification of evil. This family is meant to represent the pro-life movement, as unsubtly indicated by their secret “pro-life” room in their home, and by their mobile pregnancy and ultrasound equipped recreational vehicle, which they use to chase down Veronica and Bailey.

The sequence with the evil pro-life family is so farcical and tonally out of step with the rest of the movie, it feels like it is intentionally placed there for no other reason than to denigrate and inflame Christians.

Needlessly ridiculing Christians is not exactly a sound marketing strategy if, like UNpregnant, you are trying to make a popular movie and not some niche arthouse film. Proof of this is that UNpregnant currently has a 40% audience score at Rotten Tomatoes, which makes total sense since 65% of Americans identify as Christian.

The film does currently boast an 85% critical score at Rotten Tomatoes, but I think that has everything to do with it being a shameless advertisement for abortion and woke utopian wet dream of anti-Christianity for establishment liberals rather than any honest analysis of its artistic or entertainment merits.

As a cinematic venture, as a comedy and as a piece of entertainment, UNpregnant fails miserably, but as a piece of agitprop that normalizes abortion, which I believe is the movie’s ultimate intention, it thoroughly succeeds.

Abortion in UNpregnant is depicted as a gateway to freedom and truth and an undeniable good. Abortion is portrayed as this wondrous and physically, mentally and emotionally painless procedure that leaves girls emphatically relieved and joyously buoyant in its wake. As post-abortion Veronica sums up to her mother at movie’s end, “I don’t feel bad…”

I’m glad at least someone didn’t feel bad at the end of the movie, because I sure did, and not because of UNpregnant’s political stance on the complex issue of abortion, or its ham-handed cultural politics, but because it is an unfunny, cliché-ridden, mess of a movie that is poorly written, acted and directed.

In conclusion, UNpregnant is a stillborn cinematic dud that should have taken its own advice and aborted itself in the first trimester of its creative process.

 A version of this article was originally published at RT.

©2020

Cuties: A Review and Commentary

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

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. The deviant, under-aged sexuality in Cuties doesn’t make the middling movie an art house gem. It’s incredible some critics are blind to its toxic depravity just to score political points.

Cuties premiered on Netflix this week amid much controversy and fanfare. As a film critic, I am willing to give the artistic benefit of the doubt to most any movie, so as I sat down to watch Cuties I was conscious of the controversy surrounding the film, which started three weeks ago after Netflix’s marketing material made the movie look like it was sexually exploiting 11 year-old girls. But I was also open minded enough to think the film might not match the marketing.

Cuties starts off with an intriguing premise that is bursting with dramatic potential as it tells the story of Amy, an 11 year old immigrant from Senegal, as she navigates the clash between her old world, Islamic family, and the modernity and libertinism of her new French friends.

Unfortunately, Cuties pretty quickly devolves from its powerful premise and becomes licentious and lurid rather than dramatically lucid. Director Maimouna Doucoure makes the egregious error of trying to make a social commentary about how modernity hypersexualizes young girls by actually hypersexualizing young girls. It is like making a social comment on animal cruelty by actually torturing animals on film.

I am a cinephile, not a pedophile, so I found Doucoure’s repeated and extended shots of 11 year-old girl’s scantily clad, gyrating pelvis, buttocks and groins to be gratuitous, shocking and frankly, repulsive.

It is amazing that there are people out there, like highly respected film critic Richard Brody of The New Yorker, in a lather vehemently defending the film. Brody’s review is not so subtly titled, “Cuties, the Extraordinary Netflix Debut That Became the Target of a Right-Wing Campaign” praises the film but ultimately indicts the critic.

Brody boasts, “I doubt that the scandal-mongers (who include some well-known figures of the far right) have actually seen “Cuties,” but some elements of the film that weren’t presented in the advertising would surely prove irritating to them: it’s the story of a girl’s outrage at, and defiance of, a patriarchal order.”

I’ve seen Cuties and I’m not a right-winger, and yet I’m able to see the insidiousness of exploiting little girl’s sexually under the guise of being against the “patriarchy”…why isn’t David Brody? Brody and his ilk are so eager for a culture war fight they are completely blind to the striking malevolence of Cuties.

For Brody, Cuties is just another opportunity to signal his alleged liberal virtue as evidenced by his statement, “The subject of “Cuties” isn’t twerking; it’s children, especially poor and nonwhite children, who are deprived of the resources—the education, the emotional support, the open family discussion—to put sexualized media and pop culture into perspective.”

It would seem Brody is over estimating the power of education, as he is a Princeton grad and yet he is incapable of putting the deviant sexuality of Cuties into proper perspective. Brody’s review comes to a close by stating, ““Cuties” dramatizes what people of color and immigrants endure as a result of isolation and ghettoization, of not being represented culturally and politically… it’s enough to give a right-winger a conniption.”

To Brody and other Cuties defenders, and there are plenty of them as the film has a 90% critical score on Rotten Tomatoes, Cuties is just another gateway drug to the cultural narcotic of racism, sexism, xenophobia and all the rest, and is just another cudgel against “right wingers”.

The beauty of it is that Brody is chastising “right-wingers” for politicizing Cuties by politicizing his review of Cuties, just like the film comments on the hypersexualization of kids by hypersexualizing kids. This is Matrix level, multi-dimensional chess of the highest order.

On a purely artistic and cinematic level, Cuties is a decidedly middling affair. Director/writer Doucoure makes some rudimentary structural and character development errors that undermine the film to a great degree.

In addition, despite its one good shot, which is its final one, the film has no distinct visual flair and only seems capable of mimicking the style of those creepy American Apparel ads that were shot by…not surprisingly…famous photographer and alleged sexual predator Terry Richardson. 

There is one scene where 11 year-old Amy is basically possessed by some evil, uncontrollable twerking demon, where in close-up she is sprinkled with water and gyrates in skimpy underwear, that was particularly reminiscent Richardson’s lascivious style.

What struck me as I watched Cuties was that there was a much more interesting, complicated and artistically worthy subject hiding in plain sight and that would be a story where one of the truly awful little girls in Cuties, who dresses like a whore and twerks and watches porn, actually leaves her religion of libertinism and becomes enamored and engrossed in an old world religion like Islam, Catholicism or Orthodox Christianity, or Orthodox Judaism. 

Brody and his companions in the elite establishment would despise that version of the movie because it would show the depravity of the chaotic libertine world they cheer while showing a viable, and although not perfect but much more ordered, alternative.

In conclusion, being a film critic is sometimes a good job and sometimes a bad one. On the good days you get paid to watch a Terrence Malick film…on the bad days you are forced to endure Cuties. I highly recommend you do yourself a favor and skip Cuties and spare your mind and soul from being subjected to the toxic depravity of little girls being drowned in the most repugnant of cinematic sexual stews.

A version of this article was originally published at RT.

 

©2020

The Academy Awards New Diversity and Inclusion Rules do not do Enough to Purge Hollywood of the Evil of Straight White Men

Estimated Reading Time: 3 minutes 13 seconds

If Hollywood wants to become a true woke utopia, it should follow my guidelines to rid itself of the plague of white men.

The Academy Awards have set stringent new diversity guidelines to which all films must adhere by 2024 if they want to be considered for the prestigious Best Picture award.

The new guidelines require films to meet on screen representation standards where at least one of the lead actors or a significant supporting actor must be either Asian, Hispanic, black, Indigenous, Native American, Middle Eastern, North African, native Hawaiian or Pacific Islander.

Cinephiles can sleep well knowing that Dwayne “The Rock” Johnson’s movies will still be eligible for Best Picture.

If a film doesn’t meet the actor requirement then it can still pass the test by having representation from those same minority groups along with women, LGBTQ and people with cognitive or physical disabilities or who are deaf or hard of hearing represented in acceptable numbers behind the scenes on the crew, in apprenticeships or internships or in executive positions.

The bottom line is basically if you are a straight white guy in Hollywood you’ve just been served notice that your skill and talents are only needed for as long as it takes to train your female or minority replacement.

As someone who has long felt that hiring people based on their talent and skill was a devout evil, I for one welcome our new diversity and inclusion overlords and want to let them know that as a straight white male I could be useful in sniffing out other straight white men in Hollywood trying to scheme their way into being considered a worthy minority.

La La Land being La La Land I’m sure there are a plethora of desperados already strategizing on how to circumvent these new rules that will make Rachel Dolezal and Jessica Krug look like pikers.

As of right now the Academy is saying that the new standards will be enforced by “spot checks” on set….but I am deeply concerned that those “spot checks” won’t be strenuous enough to rid the movie industry of the damned straight white male menace that plagues it.

I have a few proposals to help strengthen inclusion enforcement and assure diversity compliance.

1. I think Academy Gestapo, oops, I mean enforcement officers, should be armed with a standard color chart where they can hold up the color card next to a person and see if their skin color matches the “right” (aka non-white) tone to be allowed to work on a movie. If someone is too light skinned they can immediately be escorted off of the set and counselors can be brought in to soothe the traumatized left in the white male devil’s wake.

2. In order to ensure that no white men ever slip through the cracks, I also propose a partnership between the DNA testing company 23 and Me and the Academy Awards. Everyone working on every movie must be forced to give a DNA test in order to prove their ethnic or racial heritage.

And let’s be clear, we want pure minorities…none of this “my mother is black and Latina and my father is Asian and white” business because that still means the curse of whiteness is coursing through their veins. Any drop of white blood in a person should be unacceptable in Hollywood.

It will also be L.A. law that everyone must carry their DNA papers with them at all times. Failure to have your papers will result in immediate expulsion from the movie industry.

The 23 and Me results could actually become a fun part of Oscar night where an envelop is opened on stage revealing the film with the most diversity, which is then declared Best Picture. I think we can all agree this is how Best Picture should always be determined, not by the antiquated measure of artistic quality and worth.

3. One troubling diversity and inclusion loophole is that some deplorable straight white male could claim to be gay, thus qualifying as a minority. Let it be known throughout Hollywood that just using unorthodox pronouns like They/Them or Ze/Zir will not be enough to prove minority status!

I am sure there is some enterprising young man or selfless older male studio executive out here in Tinsel Town who’d be willing to advance his standing in the Academy by doing special intimacy examinations, preferably on camera, to see if these white men are “gay enough” to be allowed to work.

Obviously the Academy should hire me as a turncoat consultant, but if they don’t I’m already getting deviously entrepreneurial by hoarding hearing aids that I can rent out on the white market for $200/a day to other straight white men so that they can claim to be “hard of hearing” just to keep their grueling gigs as gaffers.

My sincere wish is that Hollywood succeeds in curing itself of its straight white male pandemic. Straight white men, be they Martin Scorsese, Daniel Day-Lewis or regular working Joes, have stained cinema with their straight white maleness for long enough.

Somewhere there is a deaf, transgender Indigenous actor signing the phrase, “Alright Mr. DeMille, I’m ready for my close up!” Let’s hope these new diversity and inclusion rules make They/Them into the biggest star in the universe and the dream of a woke Hollywood utopia relentlessly churning out cinematic mediocrity into a reality.

 A version of this article was originally published at RT.

©2020

No Lives Matter

Estimated Reading Time: 8 minutes 46 seconds

As the not-so-civil war turns from cold to hot and the world around us burns, I find myself in the unenviable position of despising both sides in the battle.

BLUE LIVES DON’T MATTER

On one side is law enforcement, a community which I deem to be at best egregiously incompetent and at worst brutally malevolent and maliciously fascistic.

I have only ever had negative experiences with law enforcement. Every on-duty cop I’ve ever interacted with has been either lazy, entitled or a brutish and violent tyrant…and sometimes all three at once.

It is obvious to me that police in America are a government sanctioned gang, the largest organized crime apparatus in the nation.

One of the first things I ever wrote on this blog was about Ethan Saylor, a 26 year-old man with Down’s Syndrome who had three off-duty Maryland cops working as mall security kneel on his back in 2011 while trying to subdue him for breaking the rule of not promptly leaving a movie theatre after his screening of Zero Dark Thirty had ended.

Just like George Floyd seven years later, Ethan Saylor called out to his mom right before he died under the knee of those cops. While Floyd’s killer has been charged with murder, the cops who killed Ethan Saylor were never charged with any crime.

The killing of George Floyd also reminded me of the death of Kelly Thomas in Fullerton, California on 2011.

Thomas was a homeless, mentally-ill 36 year-old man who was beaten to death by six Fullerton, Ca. cops as, just like George Floyd would nine years later, he said he “couldn’t breath” while also crying out to his father, “dad, help me!”.

Thomas’s beating has been described as “one of the worst police beatings in US history”. He had brain injuries as well as rib and facial fractures so severe he choked on his own blood. Thomas’s breathing became permanently constricted because the six officers knelt on his chest as they beat him about his face and head.

All of the officers charged with beating and killing Kelly Thomas were acquitted.

While there are similarities in the Floyd and Saylor and Thomas cases, there are also differences. The biggest difference being that Floyd was black and Saylor and Thomas were white.

This difference in race translated into the media never really caring much when Ethan Saylor and Kelly Thomas were killed, and also no mobs rioting or looting in their honor either. Maybe this is why if you ask a hundred random people you run into on the street who Ethan Saylor or Kelly Thomas were, you’d get back 100 blank stares.

Which brings me to the other side of the shitshow…

BLACK LIVES DON’T MATTER

On the other side is Black Lives Matter and their ilk, who I find to be at best useful idiots to the establishment and at worst insidiously deceptive and intentionally divisive tools of COINTELPRO used to provoke a race war and squelch a class war.

As the events of recent months have unfolded, I have come to believe that America is currently in the grip of a manufactured racial moral panic that is meant to trigger emotion, distort perception and destroy critical thinking capacity. This racial moral panic is a vicious cancer spreading across every sector of this country…and it is terminal.

An example of this racial moral panic is found in both the media and the public’s reaction to the police shooting of Jacob Blake in Kenosha, Wisconsin.

When I watched the video of Officer Derek Chauvin kneeling on George Floyd’s neck in Minneapolis, I thought, “what the fuck is that cop doing?”

When I watched the video of the police incident in Kenosha with Jacob Blake I thought to myself, “what the fuck is Jacob Blake doing?”

When the cops arrived on the scene at the Blake incident, Blake scuffled with them - leading to cops twice attempting to tase him. Blake then defiantly walked away from officers, all of whom had their guns drawn, and tried to enter and/or reach into his vehicle with one of the cops literally pulling on his shirt to stop him. The cop pulling Blake’s shirt then shot him seven times in the back as he reached into his minivan.

The obvious point in watching the incident is that if Blake had complied with the cops demands than he wouldn’t have been shot. The counter argument heard over and over again from BLM people is that “not complying doesn’t mean you deserve to be shot!”. I wholeheartedly agree…but to quote Clint Eastwood in the film Unforgiven, “deserves got nothin to do with it.”

No one deserves to be shot and no one deserves to be killed. But…if you fight with cops, resist arrest, defy their commands and most importantly ignore their drawn guns and then reach into your vehicle thinking you are immune from consequences…you don’t deserve to be shot but you can sure as hell EXPECT to be shot, regardless of your race or ethnicity.

This recognition of reality is often refuted by BLM types with ridiculous comments about how cops should shoot people in the legs in these situations or some other Hollywood nonsense. Look, if a cop (or soldier) draws a gun they will aim for the chest or head in order to stop the target…which translates into shooting to kill. That is how people, law enforcement included, are trained to use guns, and to believe otherwise is willful ignorance.

This dovetails into another emotional trigger for BLM supporters and that is that Blake was shot seven times. I have heard over and over that this was excessive. If you watch the video of Blake being shot you notice something rather remarkable…during the shooting he continues to struggle. The cop kept shooting him because Blake didn’t immediately fall to the ground. Blake was shot seven times because the cop was shooting to drop him and he didn’t drop…that is what cops and soldiers are trained to do.

The other thing that BLM supporters like to do is emphasize that Blake was “shot in the back” in order to imply something nefarious. This is technically accurate, Blake was shot in the back…but he was also actively resisting a cop trying to stop him from reaching into or getting into a vehicle. There could be, and according to reports there was, a weapon (a knife) in the car, and of course the cop has no idea if Blake is reaching for a gun or not. Blake having his back turned is EXACTLY why he was a threat as the cop couldn’t see for what he was reaching.

Another important point is that even the car itself is considered a deadly weapon in this situation because if Blake got in that car he is then in control of a large movable weapon he can use to harm others, and there are three young children in the car…meaning shooting at Blake once he is inside the vehicle puts those children’s lives at much greater risk. Not to mention that at that time none of the cops knew if Blake was trying to enter the vehicle in order to hurt those children.

BLM supporters highlighting Blake being shot in the back without giving proper context are being extremely deceptive and disingenuous. This same tactic was used when Rayshard Brooks was shot in the back while fleeing cops in Atlanta in the wake of the Floyd killing in Minneapolis. The important piece of information in the Brooks case though is that as he ran he turned and fired a taser at the cop chasing him and was shot less than a second later. This taser was taken off of the officer by Brooks when they fought right before Brooks’ escape attempt. What the BLM crowd ignore is the fact that a taser is a deadly weapon when used against a cop because if a cop is rendered unconscious or immobile, then his gun is unsecure and that constitutes a grave danger to the officer and/or general public.

The Rayshard Brooks case was another one where BLMers were saying “the cops should’ve given him a ride home” instead of trying to arrest him because Brooks was literally so drunk he passed out at a drive thru. No doubt these same hypocritical fools would’ve been on the Mothers Against Drunk Driving bandwagon back in the day when drunk driving was turned from a mere nuisance into a public menace. Of course, cops aren’t going to give a drunk driver a ride home because then they would become liable for his behavior from that point forward. If Brooks hurts himself or someone else after cops drove him home then the police department would be sued beyond recognition…and rightfully so.

NBA DON’T MATTER

In the wake of the Jacob Blake shooting, L.A. Clippers coach Doc Rivers made an emotionally charged statement where he talked about how he, as a black man, has to give a “special talk” to his black children about how to interact with police. This is a common refrain heard from black people in regards to teaching their children how to interact properly with cops in order to avoid being shot. In watching both the Jacob Blake and Rayshard Brooks videos I thought to myself, well…either no one gave these guys “the talk”, or they weren’t paying attention when it was given.

And another point is, who doesn’t talk to their kids about how to safely interact with law enforcement? This is not just some special burden placed on black parents, it is a reality for all parents…all decent parents anyway.

Sadly, Doc Rivers speech was just another example of the racial moral panic in action. In his speech the weeping Rivers spoke of how black people are the ones “being hung” and “being shot” and that black people love this country but this country doesn’t love them.

What was remarkable to me about Rivers’ rant was that the media adored it so unquestionably, especially the nauseating ESPN, even though it is so absurdly inaccurate as to be laughable.

First off…no black people are being hung. None. A few have died by hanging this year but they committed suicide…they weren’t lynched no matter how badly the media wanted it to be true. There is not a plague of black people being hung in America and there hasn’t been since well before Doc Rivers was ever born. No one Doc Rivers knows or has ever known has ever been hung.

As for America not loving black people...that is so demonstrably untrue as to be absurd. Black people are so adored in American public life it is utterly astonishing. Everywhere you turn in American culture, be it music, movies, tv, sport or anywhere else, black people are vastly over-represented in relation to their population percentage.

Doc Rivers’ business, the NBA, is a perfect example. I could argue that Michael Jordan is the biggest star, sport or otherwise, to have dominated American culture in my lifetime. If it isn’t Michael Jordan, it may very well be Oprah Winfrey. At various times other black people have been the biggest stars in the country…Michael Jackson, Beyonce, Jay-Z, Bill Cosby, Denzel Washington, Will Smith, Muhammed Ali and on and on and on.

And of course, the most obvious rebuttal to Rivers’ refrain about American’s hatred of black people is that Barack Obama not only won two presidential elections in the last 12 years, but won them resoundingly. To put that into historical context…there have been as many black presidents in the 243 year history of the United States as there have been presidents who share my identity…Irish Catholic. In fact there has only ever been one Catholic president - Irish or otherwise, JFK…and if you’ll recall the Irish Catholic only served 2 years and 10 months in office while Obama served 8 years because it was the Irish Catholic president who was the victim of violence in office, not the black one.

The point being to all of this is that if America hates black people they sure as hell have a funny way of showing it.

NBA players were so shaken by the shooting of Jacob Blake they actually went on strike in protest. This protest strike was an emotionally driven piece of performative nonsense. The players weren’t so much protesting as having a tantrum. For players to be moved to such a drastic action over the Blake incident doesn’t make that incident egregious, it only makes their blind emotionalism readily apparent.

That said, I also have no time for people outraged by the NBA strike and respond to it by saying, “I’ll never watch a game again!” I obviously disagree with the NBA players regarding Jacob Blake and Black Lives Matter, but I also think that if you are going to protest then this is the way to do it. It would have been nice if the players had actually thought out their strike and the goals they actually wanted to achieve - and the fact that they don’t really have any achievable goals speaks to the vacuity of their cause. It also would have been beneficial if the players stood up for human rights in China earlier in the year - thus giving them some moral authority…but they didn’t and so they lack it. Regardless of all that…if you think players striking is an egregious form of protest there is no hope for you.

I always thought the same of Colin Kaepernick and his kneeling. I loathe the whole notion of flag fetishism and its accompanying militarism and think the anthem should not be played before any games, so I have never understood why Kaepernick’s kneeling was such a problem - it is simply a non-violent protest.

The WNBA also protested the Jacob Blake shooting by not playing their games, but no one noticed because no one gives a shit about that joke of a league and its dreadful product. What struck me about the WNBA protest was that all the players came out onto the court wearing a white t-shirt with seven painted on bloody bullet holes on the back in honor of Jacob Blake.

Think about that…WNBA players weren’t calling out police violence, they were actually honoring Jacob Blake, a guy who had an active warrant out for him for sexual assault against the woman whose call to police led to the shooting incident. So the WNBA think an alleged sexual assaulter is now a hero…good to know.

See this is the kind of thing that highlights the emotionalism, irrationality and utter madness of the entire Black Lives Matter movement and the racial moral panic gripping the nation.

Here is another example…Stephen A. Smith had a rant last week on ESPN where he called out the recent hiring of white Hall of Fame point guard Steve Nash, a two-time MVP, as the new head coach of the Brooklyn Nets as being a function of “white privilege”. Smith was incensed that Nash, who has no head coaching experience, would get hired over black coaches like Ty Lue who do have experience. Smith said that this (the hiring of an head coach with no experience) never happens for black people.

The uninformed may have been moved by Smith’s vacuous and emotionalist rant because it tells them what they want to hear, but what was most striking to me about the segment was that it was entirely factually incorrect.

I long ago stopped following the NBA very closely, and yet the second I heard Smith say that a black man has never been extended the opportunity that Nash had received, I immediately recalled that a black man HAD gotten that same opportunity FOR THAT SAME EXACT TEAM.

In 2014 the Brooklyn Nets hired Jason Kidd right after he retired from playing - in other words…Kidd had no coaching experience at all. While Kidd may “pass” for white as he is very light skinned, but just like Barrack Obama, he is black as his father was black. Let me add that it is horrifying to me that we as a society are now back in the truly ugly place of measuring a persons “blackness” to see if they qualify.

In addition, in 2014 Derek Fisher, a black man with no coaching experience who just retired from playing in the NBA, was hired by…the New York Knicks!

The fact that Stephen A. Smith, who considers himself a basketball expert and the ultimate New Yorker, either forgot or chose to forget, black players Jason Kidd and Derek Fisher having no coaching experience but getting hired as coaches in Brooklyn and New York, a fact that directly refutes his thesis of Nash’s white privilege, speaks volumes about the lack of integrity and dearth of emotionalism rampant in the media, especially around issues of race.

Which brings us back to Doc Rivers’ final point in his weepy post-game speech, which was about how “we are the ones being shot”. This sentiment fits nicely into something that LeBron James said recently in regard to the police. James said, “I know people get tired of hearing me say it, but we are scared as black people in America…black men, black women, black kids, we are terrified.”

LeBron should be scared, he should be absolutely terrified, but not of the police but of people who look like him, because Doc Rivers is right, black people are the ones being shot in America…but they are also the ones doing the shooting.

According to the CDC, homicide is the leading cause of death for black males aged 1 to 44. But of the 2,925 black people murdered in 2018, 2,600 of them, or 88%, were killed by other black people and 8% were killed by whites. Of the 3,499 whites murdered in 2018, 15.2% of them were killed by black people and 81% were killed by other whites.

In that same year, 228 black people were killed by cops…compared to 456 white people killed by cops. Cops kill more whites than blacks in raw numbers - whites are 72% of the population so that is not surprising, but when broken down not by population percentage but by percentage of police interaction, whites are still killed at a slightly higher rate than blacks.

The reason that there are so many police interactions with black people is revealed in the FBI crime statistics from 2018. The FBI stats show something else that is very disconcerting, and that is that black people commit an extraordinary amount of crimes, violent crimes in particular, especially considering that they make up a rather small percentage of the overall population.

For example, according to these 2018 FBI stats black people make up roughly 13% of the American population yet are arrested for 53.3% of homicides/non-negligent manslaughter, 28.6% of rapes, 54.2% of robberies, 33.7% of aggravated assaults, 29.4% of burglaries, 30% of larcenies, 37.4% of violent arsons and 32% of other assaults.

These statistics are extremely uncomfortable to discuss, in fact, these statistics are so uncomfortable both the Anti-Defamation League and the Southern Poverty Law Center have deemed referencing them to be “racist”. So, according to the ADL and SPLC, statistical reality is now racist.

When you look at the CDC and FBI statistics regarding black homicide rates and crime rates, the only logical conclusion to draw is that it would seem ‘black lives matter’ only on the rare occasion when white people or the police take them.

IDENTITY POLITICS DON’T MATTER

And this is why I abhor identity politics with a passion and believe it is killing this country. People are not representatives of some group, they are not their identities…they are individuals, each unique in their own right.

Identity politics believes that Dr. King’s dream of judging people by the content of their character and not the color of their skin, is, in fact, racist. Seeing people as individuals and not as identities is anathema to our current moment, and that is both tragic and frightening because all it does is dehumanize and elevates the worst among us, and diminish the best.

For instance, the black people I know are not represented on those FBI crime statistics. The black people I know are are not murderous criminals living the thug life, they are thoughtful, sensitive, kind and compassionate human beings. (It should also be mentioned that the two cops I know (one of whom is black) are not skull cracking, trigger happy, authoritarian douchebags either, they are just normal guys living normal lives.)

But if you are going to demand that people be identified solely by their race or ethnicity, then that identification comes with the burden of that race or ethnicity’s shadow. In the case of black people, that means the FBI crime statistics showing an alarming amount of criminality in the black community.

Race hustlers peddling the vapid Critical Race Theory like Barbara DiAngelo (White Fragility) and Ibram X. Kendi (How to be Anti-Racist) are having great success doing the same thing to whites, teaching everyone that not only are all whites inherently racist, but that every institution in America is as well.

Of course, this hyper-racialization dehumanizes the individual and imposes a needless barrier between whites and blacks while removing all agency from blacks and cynically exploiting white guilt for profit.

This approach does not diminish “racism” at all but instead accentuates divisions and heightens hatred.

There’s a reason that corporate America has been so quick to jump on the BLM bandwagon, and it isn’t because they are excited for monumental change in America. Corporate America embracing BLM is a dead give away that the movement is a mirage. Corporate America is using Black Lives Matter as a form of cheap grace…where it can signal its empty virtue and then merrily go on about its dirty business.

What Black Lives Matter does is take the focus off of police brutality or economic issues and put the focus on race. Once something becomes about race it stops being about anything else. BLM makes enemies out of potential allies by making everything about race instead of focusing on commonalities that cross racial and ethnic boundaries and have more to do with class.

If BLM were serious, their protests would have a very clear objective. Right now, BLM protestors say “defund the police” but then say that isn’t what they really mean. Or they hold up signs saying “no hate” or “racism sucks” or some other vacuous bumper sticker slogan.

An actual serious proposal to address police brutality would be to demand an increase in funding to police rather than a demand to defund. Police need more money to hire more officers and to do more training, as former Navy SEAL Jocko Willink recently stated, police need to spend at least 25% of their time training.

Police need to have it drilled into them how to deescalate situations and also how to be much more effective and efficient with their hands, thus reducing the need to use a weapon. It would be a very good idea for all cops to be serious martial artists heavily schooled in Judo or Brazilian Jiu-Jitsu.

Cops should also be better paid, better trained and more thoroughly vetted in order to weed out those with a nefarious personal agenda or psychological dysfunction.

If BLM proposed those things, then maybe that would be an indication that they were serious about actually addressing the issue of police brutality, but they don’t and they aren’t.

“Black Lives Matter”, just like its animating philosophy Critical Race Theory, is meant to be not only frustratingly amorphous but intentionally divisive, and that is why corporate America, the media and the establishment love it. As long as Black Lives Matter is front and center, the corruption of business as usual can continue unabated and the vast majority of Americans, who are working class and poor and who are a glorious melting pot of black, white, Latino, Asian, gay, straight and on and on and on, will continue to suffer at the hands of both the police and the corporate class.

What needs to happen for poor and working class people is to drop the Black Lives Matter nonsense and instead focus on things that could actually improve all of their lives…like universal health care. Universal health care would benefit poor and working class people of all races, and protests in favor of it would not be infused with the divisive and frantic emotion of the race based BLM movement, and thus be less likely to lead to rioting and looting, both of which are extraordinarily self-defeating.

The reality is that Black Lives Matter with its emotionalist, irrational hyper-racialization isn’t addressing the suffering of black Americans or any other type of Americans, it is guaranteeing it.

Until we start seriously addressing both the economic issues of poor and working class people and the inadequacies of law enforcement, then nothing of any substance will ever change.

NO LIVES MATTER

This is why I say, No Lives Matter.

No Lives Matter because the truth of our existence is that we are all completely disposable yet entirely irreplaceable. We are all flawed and fragile creatures stumbling through the dark hurtling toward our own demise.

Regardless of our race, gender, ethnicity or any other secondary characteristic, to quote JFK, “we all must inhabit this small planet, we all cherish our children’s future and we are all mortal”. The bottom line is that we all bleed when we are cut, and we all grieve when heartbroken, and we all want a better world for our children than the one we have had to endure. This is what we share…this is what brings us together…the fleetingness of the human experience and the enormous existential humility that imposes upon us.

If we can embrace that humility and recognize that all of us come from dust, and to the dust we will all inevitably return, then maybe we can stop with the incessant dehumanization in our culture that labels us black beings or white beings instead of human beings, each illuminated by the light of God or truth or love or peace that dwells deep within us all.

Until we recognize and celebrate the oceans of our commonalities as opposed to the raindrops of our differences, then no lives will ever matter…not black lives, not blue lives, not a single life.

©2020

The Taboo Against Erections on TV Crumbles Just as New Taboos Around Speech are Being Erected

Estimated Reading Time: 3 minutes 39 seconds

Sexual libertinism is on the rise, including on British TV where Channel 4 was happy to show men’s erections in all their glory. But at the same time, liberal freedoms protecting speech and thought are quickly disappearing.

Channel 4 showed an erect penis on air last night, which was the first time a male member ever stood at attention on British television.

The erections in question, there were eight in total, rose to the occasion on the aptly titled documentary, Me and My Penis, which explored issues of masculinity through the radical portraits of fine-art photographer and artist, Ajamu. 

As someone raised in the schizophrenically Victorian culture of America, where an exposed breast or bare-bottom on network television is cause for alarm but pornography is a booming multi-billion dollar business, I always assumed that the erectile Rubicon had long ago been crossed in that hedonistic paradise that is Great Britain. Silly me.  

The U.K. certainly does have a long history of showing limp dicks on television, like Tony Blair, Boris Johnson and Piers Morgan…and Channel 4 often shows flaccid penises too, especially on their nudity packed dating game show Naked Attraction, but My Penis and Me made history by rising up and breaking the boner barrier.

Channel 4 didn’t so much circumnavigate the erectile Maginot Line as stroll across an imaginary line. It ends up the long held taboo against showing a raging phallus on television in the U.K. was more a gentleman’s agreement rather than a rock hard rule (that’s what she said!).

There was a long-standing myth of an unofficial ‘Mull of Kintyre’ guideline, which supposedly stated that any penis on tv could not be shown in a more erect state than the outline of the Scottish peninsula, which is such a gloriously British thing it makes my teeth turn crooked. I mean, who exactly is supposed to measure the angle of the penis in question? Do they use a special pecker protractor? Is that a union job?

Thankfully it turns out, according to Ofcom - the UK’s communications regulator, there actually is no ban on boners as long as they are ‘justified by the context’ – which is a rule I think we should all try and live by.

As ridiculous as this all seems, what interests me most about the breaking of the British tv boner boundary is that just a week ago a story broke about how ITV nixed Spitting Image from showing the puppet penises of Boris Johnson, Trump and Putin. So apparently the British public are resilient enough to see a human erection on their tv sets but incapable of withstanding glimpsing a puppet penis? Churchill would be so proud.

What is most striking to me about this odd disparity is that it highlights both the deconstruction of sexual taboos, be they regarding erections on television, or gay marriage or transgenderism, and the construction of new taboos meant to limit and control speech and thought.

Agree or disagree, Spitting Image was making a political statement with their puppet penises, whereas on My Penis and Me the erections are the statement…one was censored by the corporate powers that be, the other endorsed.

As more is allowed in the realm of public sexuality, less is being allowed in the realm of public speech. You can be, do, show and watch what you like in terms of sex nowadays without any consequence, but try saying exactly what you think if it contrasts with the woke establishment’s beliefs and you’ll be met with a brutal backlash.

So now there are erections on Channel 4 and “WAP” (Wet Ass Pussy) on the top of the music charts, but you can’t say ‘All Lives Matter’ or ‘only women menstruate’ or ‘sex is real’ without great risk of being cancelled and losing your livelihood.

This strange brew of hypersexual libertinism mixed with the puritanical policing of speech and thought has an extremely unnerving late period Weimer Republic feel to it.

As libertinism waxes and liberalism (in the philosophical sense) wanes, it seems we are quickly devolving into a dystopian hellscape with the distorted sexuality of Huxley’s Brave New World combined with the brutally restrictive politics and language of Orwell’s 1984. Soma and Two Minutes Hate for everybody!

That comparison may seem hyperbolic, but considering how steep the slippery slope has been over the last four years alone, with the pandemic of wokeness, and its accompanying objective reality defying symptoms of Black Lives Matter, #MeToo and transgenderism, spreading like wildfire, it strikes me as uncomfortably accurate.

I am one of those fools that believe freedom is a magical elixir for what ails nearly everything and everybody. 

For example, for the puritanical prudes out there alarmed by the boner brigade on Channel 4, if you don’t want to see erections on Channel 4, you are free to change the channel.

For the politically correct prigs out there who demand ideological conformity or be silenced, cancelled or fired, you are free to ignore those with whom you disagree or to grow up, debate your opponents and defend your position.

Like the erections on Channel 4, freedom is hard and takes effort to maintain but is worth it because it lets you watch what you want, marry whom you want and think and say what you want.

Sadly, freedom now grows flaccid because our culture is more interested in allowing raging boners on television than raging debate in the public square.

 A version of this article was originally published at RT.

©2020

New HBO Max Teen Comedy UNpregnant Seems to Suggest Abortion is Nothing but a Barrel of Laughs

Estimated Reading Time: 3 minutes 24 seconds

UNpregnant appears to ignore the moral complexity of abortion in favor of promoting an insidious amorality on the issue. 

UNpregnant is the controversial new abortion buddy comedy movie set to premiere on HBO Max on September 10th.

The film, based on the novel of the same name, tells the story of Veronica, a pregnant 17 year-old girl, and her friend Bailey, as they go on a wild and whacky road trip from Missouri to New Mexico so that Veronica can get an abortion.

In its trailer, UNpregnant sells itself as a zany road picture where hilarity ensues when a goofy odd couple of teenage girls steal a car and try to hop a train on their epic odyssey down the yellow brick road to abortionland.

The road picture narrative is a long time Hollywood staple, think Bing Crosby and Bob Hope with their numerous “road to” musical comedies of the ‘40’s and ‘50’s…except in UNpregnant, Crosby and Hope are teenage girls crossing state lines to get an abortion. Hilarious!

It is easy to see why pro-life advocates are up in arms over UNpregnant as the trailer makes the film appear to be a piece of pro-abortion agitprop specifically designed to antagonize them by making light of abortion and demonizing Veronica’s Catholic parents as “Jesus freaks”.

2020 has been a banner year for decidedly pro-abortion films with UNpregnant, the critically acclaimed drama Sometimes, Always, Never, Rarely, and the indie dramedy Saint Frances, which all have an amoral attitude toward abortion, all being released.

Notice I described these films as pro-abortion and not pro-choice, that is because pro-choice implies a grappling with the moral gravity of the abortion decision, whereas pro-abortion removes any moral dimensions at all, and reduces abortion to being akin to getting a nose piercing.

This amoral approach to abortion is perfectly summed up by Kelly O’Sullivan, writer and star of Saint Frances, who told Time magazine, “I wanted to write a story where it’s a non-traumatic depiction of abortion. It’s ordinary and light and sometimes funny…”

Yes, because if abortion is anything it is ordinary, light and sometimes funny.

Hollywood has not always been so devoid of nuance in its depiction of the extraordinarily complex issue of abortion.

In 2007, Juno, Knocked Up and Waitress all portrayed their female protagonists wrestling with an unwanted pregnancy and highlighting the choice part of the pro-choice position, with each ultimately choosing to not have an abortion.

These films were wildly successful, with Juno and Knocked Up raking in $231 million and $219 million respectively, and Waitress pulling in a respectable $22 million with just a $1.5 budget.

Juno also garnered four Oscar nominations for Best Picture, Best Director and Best Actress, while winning for Best Original Screenplay.

The commercial and critical success of these films was a result of their mirroring American’s extremely conflicted feelings on the subject of abortion.

Polling shows that a majority of Americans are pro-choice in some form, but as Barbara Carvalho of Marist Poll told NPR, “People do see the issue as very complicated, very complex. Their positions don't fall along one side or the other. ... The debate is about the extremes, and that's not where the public is."

In the thirteen years since Juno, Knocked Up and Waitress hit big screens Hollywood has abandoned the nuance and dramatic complexity of American’s view of abortion in favor of the extremist pro-abortion message of UNpregnant.

Tinsel Town is no longer interested in connecting with as wide an audience as possible but rather prefers to signal their self-professed virtue with cultural propaganda that directly targets underage girls while preaching to the minority of pro-abortion zealots in their midst.

Most troubling for movie lovers is that internal moral conflicts are what make for the most interesting drama and comedy, and to ignore them in favor of self-aggrandizing political posturing is self-defeating for both artists and the movie industry.

An example of a mainstream filmmaker successfully embracing morally complex issues, including abortion, is Knocked Up director Judd Apatow, who has made a career of wrapping moral debates in his signature raunchy humor.

Apatow’s films, which include 40 Year Old Virgin, This is 40, Funny People and Trainwreck, are “conservative” comedies where adult protagonists face moral dilemmas and though tempted to make the libertine choice, eventually make the difficult but responsible one instead.

As Hollywood’s cultural politics become ever more strident, Apatow’s formula, which has made him a gazillionaire, will become anathema in the movie industry and “get woke, go broke” will most assuredly be made manifest in La La Land.

The UNpregnant trailer, which boasts such cringe-worthy dialogue as “it’s my life, my choice” and the insipid tag line “when life gets off track, forge your own path”, makes clear the popular 2007 approach of entertaining adults with moral complexity is now abandoned in favor of indoctrinating kids with extremist agitprop.

Maybe when UNpregnant comes out we’ll discover that it’s a terrific film and more morally complex than its trailer suggests…or maybe it is the canary in the cultural coalmine reflective of how the new, grotesquely woke Hollywood is desperate for its cancer of vapid amorality and decadent depravity to metastasize to the next generation of girls and young women. My bet is on the latter.

 A version of this article was originally published at RT.

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