"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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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

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

'Hoaxed' Exposes the Mainstream Media's Relentless Bias…and Its Own

Estimated Reading Time: 3 minutes 27 seconds

Mike Cernovich’s documentary about the media’s disregard for truth is a missed opportunity due to its inability to fully break free from the heavy chains of partisan politics.

Hoaxed, the movie about the fake news phenomena in the mainstream media, produced by right-wing firebrand Mike Cernovich, has not generated much heat since it was released nearly a year and a half ago in January of 2019.

The establishment press, the target of the film’s ire, has not responded to it with the usual tactics of belittling or obliterating the film with scathing reviews…in fact, they haven’t reviewed it at all.

Cernovich believes that the media ignored Hoaxed, directed by Scooter Downey and Jon du Toit, because it is “high art”. I personally would assign more malevolent motives to the media’s maneuvers, because I can assure you that Hoaxed may be a lot of things, but high art is not one of them.

Sadly, Hoaxed, despite its compelling theory regarding the corporate media’s nefariousness and disregard for the truth, stumbles in its execution, as it is a rather uneven and scattered polemic dramatically weakened by its lack of thematic focus.

As a cinematic exercise, the movie is not quite slick enough to generate gravitas, but a little too slick to take seriously.

Hoaxed makes the case that the mainstream media are not meant to inform the masses but to keep them uninformed and in conflict. As someone who writes often about media manipulation and propaganda, I wholly concur with the film’s thesis.

The problem though is that the movie cannot maintain its focus on that premise alone and ends up wasting too much time wandering down side streets and alleyways wallowing in its own partisan and ideological bias.

In this way, Hoaxed, which boasts a who’s who of media outsiders such as Jordan Peterson, Alex Jones, Luke Rudkowski and James O’Keefe, often feels like fan service for those already in Cernovich’s camp, which is a shame, as the movie’s message about the mendacity of the media needs to be heard across the political spectrum.

That said the film definitely has some insightful sequences, most notably those featuring feminist director Cassie Jaye, and Hank Newsom, a Black Lives Matter activist who does not fit easily into stereotypes.

The Newsom sequence comes in the last twenty minutes and makes the extremely compelling case that the corporate media do not care about black lives or white lives, just about “the show” and generating ratings through manufactured conflict.

Other notable sections deal with both the media’s flexible ethics when deciding to use photographs of dead children as propaganda tools, the perils of Antifa and the imperative of free speech, topics I have written about at length.

These sequences are factually damning, and due to their simplicity, elegant in their execution, which should’ve been the blueprint for the entire film.

Unfortunately, the movie does not stick to that approach, as evidenced by the awkward “Pizzagate” section, which is irritatingly incoherent and frustratingly muddled.

Another stumble comes in the form of a rambling case against communism by Stefan Molyneux. The validity of his arguments aside, conjuring the boogeyman of communism has nothing to do with the topic at the heart of Hoaxed, and thus distracts and dilutes the narrative.

The biggest negative is the conflating of the actions of the mainstream media just with Democrats, instead of simply with the depraved elite of both parties.

At times the film is at cross-purposes with itself, such as when it highlights the media complicity in deceiving the public to support both of the Republican led Iraq Wars, a fact which flies in the face of the film’s common refrain that the media solely push a liberal/Democratic agenda. I think it would have been wiser, and more accurate, if the film stated that the media are not just cheerleaders for the Democratic agenda, but for the establishment agenda.  

Prior to watching Hoaxed I knew little about Cernovich, having never read or watched his work. I believe my ignorance on the controversies surrounding Cernovich was actually an asset as it helped me to simply review Hoaxed, as opposed to reviewing Cernovich.

All I knew going in was Cernovich was considered an alt-right firebrand and provocateur. The film taught me that Cernovich has disavowed that alt-right label, and rejects any white supremacy and neo-Nazism supposedly associated with it, but also that he really is a firebrand and provocateur, and relishes the role.

In my opinion Cernovich’s provocative and self-promoting nature, an example of which is his being both producer and de facto star of Hoaxed, does diminish the film and its thesis to a great degree, even as it elevates him…a problem common to performative and participatory style documentaries.

Ultimately, like the corporate media it rightfully despises, Hoaxed all too often trades fidelity to truth for the glory of its own ego and the familiarity of the partisan swamp, much to its detriment and to my disappointment.

If you really want to break the chains of your mind and exit the cave of media manipulation and propaganda, I recommend you skip Hoaxed, which is just another set of illusory shadows dancing on the wall, in favor of reading Manufacturing Consent, Noam Chomsky and Edward Herman’s seminal work on the subject.

Manufacturing Consent will arm you with intellectual tools that will empower you to crack the code of the corporate media, unlike Hoaxed, which does little more than mimic the media’s dishonest framing and distortions of the truth for its own purposes. 

A version of this article was originally published at RT.

©2020

Be Like Mike? Unlike Michael Jordan, the ESPN Documentary 'The Last Dance' is Anything but Great

Estimated Reading Time: 3 minutes 23 seconds

The Last Dance is a piece of journalistically compromised, sycophantic, corporate propaganda that mindlessly fawns over its subject.

Michael Jordan is arguably the greatest basketball player of all-time, and the much-hyped ESPN ten part documentary on his career and his final championship season with the Chicago Bulls, The Last Dance, which comes to a close this Sunday night, claims to reveal the man behind the legend.

I’ll save you the suspense and let you know how the movie ends…the Bulls win a sixth championship and Jordan is never challenged…not on the basketball court, or in the documentary.

You see The Last Dance isn’t so much a documentary as a piece of 90’s nostalgia porn that serves as an exercise in sports media genuflection in the form of an epic, 10-hour infomercial for the Jordan brand.

The film’s alleged claim to fame is that it reveals never-before-seen footage of Jordan during the Bull’s 1998 championship run. The problem is that Jordan himself controls the rights to this painfully banal and contrived footage, and in order to use it, producers Michael Tollin and Jon Weinbach, as well as ESPN and Netflix, had to make Jordan’s production company, Jump 23, a co-producer on the project, which means that His Airness got the last word on what does, and does not, make the final cut of The Last Dance. The result of which is more shameless hagiography than documentary.

As a business decision, ESPN and Netflix undoubtedly made the right one, as the film is being devoured by sports starved fans in the age of coronavirus, and is a runaway success with sky-high ratings.

As a journalistic decision, though, the The Last Dance traded away any semblance of journalistic integrity for the golden goose of access. Whether it is embedded journalists with troops in a warzone, or the press making deals in the halls of power, access to power is always acquiescence to power.

Evidence of which is that the The Last Dance doesn’t try to “Be Like Mike” with his trademark tenacity, instead it goes remarkably soft on its subject, and delicately dances around his pronounced shortcomings.

The Last Dance feels like one of those interviews with a politician where they are asked, “What are your greatest weaknesses”? And the politician answers, to much eye rolling, that they “work too hard and care too much”.

The docu-series reduces Jordan’s compulsive gambling and toxic bullying of teammates into simply being the result of his maniacal competitiveness. You see…according to The Last Dance, even Jordan’s personal failures are because he is so great.

The film lays it on particularly thick when teammate B.J. Armstrong claims the notoriously bullying Jordan wasn’t exactly a good guy. Jordan self-pityingly responds, in essence, that his being considered “not a nice guy” is the heavy price he had to pay for his greatness. Jordan then breaks down crying and dramatically declares the interview over. Of course, the hapless director, Jason Hehir, doesn’t dare resist his boss.

There is another telling sequence in the film dealing with Scottie Pippen’s “quitting” on his team in the final 1.8 seconds of a playoff game in 1994, when coach Phil Jackson calls on Toni Kukoc for the final shot instead of Pippen. Jordan comments in the doc that the “quitting” incident "Is always going to come back to haunt him (Pippen)…”

What is so striking about that sequence is that Jordan wasn’t playing on that Bulls team, he had “retired” at the end of the ‘93 season, supposedly because he was exhausted dealing with the difficulties of superstardom and the omnipresent media. What did Jordan do in 1994 to escape dealing with fans and the press? Did he go into seclusion? Go fishing? No. He went, with great fanfare, and played minor league baseball, and then 18 months later returned to basketball after the Bulls failed to win a title without him.

According to Jordan and the decidedly deferential The Last Dance, Pippen quit on his team for 1.8 seconds is forever tarred by it, while Jordan, who quit on his team for a full 18 months, is beyond reproach.

The docu-series doesn’t have the journalistic courage to challenge the myth of Jordan at all. If it attempted to be even mildly adversarial it might highlight that, unlike Jordan, fellow NBA greats like Magic Johnson (5 titles), Bill Russell (11 titles) and Tim Duncan (5 titles), weren’t jerks to their teammates, but inspirations.

Or that, unlike say Magic Johnson or Larry Bird, who won titles early in their careers, Jordan had to wait until all the great teams of his time, such as the Celtics, Lakers and Pistons, had aged out of their prime before he could go on his championship run in a greatly watered-down NBA due to expansion in the 90’s.

It also fails to notice that Jordan’s greatest moments during his reign came against lowly positional rivals like John Starks, Craig Ehlo and Bryon Russell…not exactly Hall of Famers.

The bottom line is this, Jordan is undeniably one of the most aesthetically and athletically dynamic icons in sports history, but The Last Dance isn’t an investigation or even contemplation of the man and his legacy, but rather a cultish coronation that unquestioningly embraces previously manufactured mythmaking. That’s not sports journalism, it’s self-serving sycophancy, and NBA fans deserve much better.

A version of this article was originally published at RT.


©2020

The Amazing Jonathan Documentary: A Review

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

My Rating: 2.5 out of 5 stars

My Recommendation: SKIP IT/SEE IT. This film is mildly amusing but lack any and all insight into it’s subject.

The Amazing Jonathan Documentary, directed by Ben Berman, chronicles the difficulties of making a documentary about the moderately famous magician/prop comic, Amazing Jonathan, as he mounts a comeback while suffering from a terminal medical condition. The film is currently streaming on Hulu.

Jonathan Szeles, otherwise known as The Amazing Jonathan, is a third rate, c-level comedian who hit it big and became a Vegas mainstay with his relentless and hackneyed magic-comedy. From 2001 to 2014 he was a year-round headliner in the City of Sin and made a nice fortune for himself doing so. In 2014 he was diagnosed with a heart condition and given one year to live…so he retired from performing. Four years later he was still alive and so decided to head back out and do some more shows, and director Ben Berman decided to document it all.

The Amazing Jonathan Documentary is a film about desperation, the desperation of Jonathan to find meaning and purpose in the last years of his life, and the desperation of Ben Berman not only to find a story to tell when the truth is elusive, but to make a name for himself.

The Amazing Jonathan is an amusing persona, and getting a glimpse into this character’s supposed reality is often-times chuckle-inducing. Amazing Jonathan is, to put it mildly, detached from objective reality, and our brief jaunts through his subjective reality are certainly revealing of the oddity of his peculiar head space.

The problem though is that documentarian Ben Berman only gives us ever-so-brief glimpses into the persona of The Amazing Jonathan, but never breaks through the armor of that veneer and gives us the Jonathan Szeles living deep with in it. In this way the film is little more than a reality tv show that gives viewers canned and manipulated “performances’ and considers them to be “truth”.

In addition, Berman must deal with a series of absurdities regarding the actual film making process, and thus must scramble to adapt to new circumstances and try and cobble together a coherent narrative. Berman fails to overcome these obstacles for a variety of reasons, the most glaring is that instead of keeping the film focused on Jonathan, he makes the film about himself.

Berman switches mid-way through the film to using ham-fisted attempts at personal poignancy, psychological profundity and displays of artistic despair, in order to fill in the gaps of the story due to his inadequacies as a documentarian. These Berman performative sequences all ring hollow, manufactured and exploitative and radiate with an odious shamelessness. In short, Berman comes across as a very bad actor, and yet he tries to make himself the star of his movie because he thinks he is so interesting despite his obvious lack of charisma and likability.

Berman’s attempt at participatory documentary film making feels painfully self-serving and narcissisticly masturbatorial. In order to pull off this style of documentary film making, the director must be a unique yet pleasant character, think Michael Moore or Morgan Spurlock, not a nebbish desperate for attention, which is how Ben Berman, who is neither unique nor pleasant and is no Michael Moore or Morgan Suprlock, comes across. Berman goes to such great lengths to make a spectacle of himself in this film that when it isn’t painfully embarrassing it is plain annoying. The film devolves to become such a self-serving enterprise that Berman basically turns it into a blatant job interview.

The behind the scenes, movie making insider stuff, will no doubt resonate with anyone who has ever made a movie, particularly a documentary. Jonathan is an erratic nightmare of a subject, and Berman being stuck in his house of horrors does deliver some comedy, but that doesn’t make it even remotely insightful or worthwhile. Watching Jonathan torture Berman is satisfying on a sadistic level for the viewer and a masochistic level for Berman, but we came here to try and understand Jonathan, and none of that stuff gives us any deeper understanding of who he really is or what drives him.

What is so frustrating about The Amazing Jonathan Documentary is that Berman’s narcissistic focus distracts from Jonathan, and leaves his story, in essence, untold. I was left with a nagging feeling after watching this movie that, as difficult a nut as Jonathan is to crack, a more talented, more skilled, more dedicated and less vain film maker would have been able to break through and expose the actual truth about Jonathan. In essence this film is a documentation of Berman’s utter failure to do his job, which is to peel back the layers of The Amazing Jonathan and reveal the complexity and truth at the core of this strange and twisted man. Instead Berman gives us his reactions and responses to dealing with a difficult and temperamental performer…oooh…how groundbreaking….we’d get better insights watching The Bachelorette.

In conclusion, The Amazing Jonathan Documentary is an occasionally intriguing, but ultimately underwhelming documentary experience. Sadly, while the film is amusing in parts and absurd in others, it all feels a bit too self-serving and contrived to be of any genuine value. That said, if you work in the entertainment industry or on documentary films, you will probably appreciate the movie a bit more than the average Joe only because you will have had, at least once, similarly bizarre experiences with obliviously entitled talent.

©2019

American Factory: A Review and Commentary

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

My Rating: 3 out 5 stars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2019

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

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

My Rating: 3 out of 5 stars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2019

Leaving Neverland: A Review

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

My Rating: 4 out of 5 stars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2019