"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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Only in a Nation Detached From Reality Would Tulsi Gabbard Be Denigrated and Kamala Harris Celebrated

Estimated reading Time: 3 minutes 39 seconds

In an age of where lies are worshiped and cowardice celebrated, Tulsi Gabbard is despised for her bravery and loyalty to truth.

Tulsi Gabbard, a four-term Democratic congresswoman from Hawaii, is currently being attacked by liberals for introducing The Protect Women’s Sports Act, which seeks to protect women’s athletics by recognizing that different sexes are born with different physical abilities.

Reasonable and rational people realize that men and women are biologically different. Reasonable and rational people also realize that on average, men are bigger, stronger and faster than women, and that just because someone born a male now subjectively “identifies” as a female, that doesn’t alter the objective fact that copious amounts of testosterone were pumping through their body as it developed, thus making their competing against biological girls and women in sport not only unfair, but dangerous.

These should not be controversial statements as they are obviously factually and scientifically true. But objective truth is anathema in our age of subjective insanity. Which is why Tulsi Gabbard’s introducing of the Protect Women’s Sports Act is a brazen act of bravery.

This is why it is so perversely ironic that on the same day Tulsi Gabbard was being made a pariah for courageously speaking plain truth and supporting common sense, Time Magazine was announcing that the empty pantsuit and monument to tokenism, Kamala Harris, and her chauffeur in the corporate Democrat clown car, Joe Biden, were being honored as the Person of the Year.

If America were a sane place, Tulsi Gabbard, not Kamala Harris, would be the darling of the supposedly liberal Democratic Party.

Gabbard is an intelligent, principled and charismatic woman of color, something the devotees of diversity claim to desire.  Her progressive bona fides are unquestionable as she vociferously supports Medicare-for-All, a Universal Basic Income and wants to end the war on drugs and private prisons. She is also a courageous anti-interventionist in addition to being a respected Army Reservist and Iraq War veteran.

In contrast, Kamala Harris is a corrupt former “top cop” in California who brutalized the poor by being a proponent of the war on drugs yet let white-collar corporate criminals skate. She is also a neo-liberal militarist who opposes Medicare-for-All and a Universal Basic Income.

And yet, despite, or more likely because, of all of these things, Tulsi Gabbard is persona non grata among the dupes, dopes and dullards in the Democratic party and media, while the sellout and raging sub-mediocrity Kamala Harris is celebrated.

This is not surprising as Gabbard and her fetish for truth have long been a thorn in the establishment’s side, especially with her contrarian foreign policy beliefs, most notably regarding Syria and Bashar al-Assad.

In 2017 Gabbard committed the cardinal sin of going against establishment orthodoxy when she expressed skepticism regarding dubious claims of chemical weapons attacks by Syria in Khan Shaykhun, and, despite being right, was quickly labeled an “Assad apologist”.

She also made the egregious mistake of speaking truth when she said that the U.S. had been “waging a regime change war in Syria since 2011”. Nothing will get you a scarlet letter from the establishment faster than telling the truth regarding America’s thuggish empire.

As for compliant Kamala, speaking truth to power is not a sin with which she is intimately familiar. Kamala is more of a kiss up and kick down kind of girl. She “kissed” up to former Speaker of the California Assembly and San Francisco Mayor Willie Brown and kicked down by trying to jail poor parents of truant kids.

Another glaring difference between Tulsi Gabbard and Kamala Harris is that Gabbard is guided by principle and Harris is guided by blind partisanship and personal ambition.

For instance, besides the Protect Women’s Sports Act, this week Gabbard also dared to cross the aisle by introducing the Break Up Big Tech Act, that supported Trump’s initiative to repeal Section 230, which gives legal immunity to large social media companies. Gabbard did this because it is the right thing to do, even if Trump supports it.

As for Kamala, she is allergic to principles beyond personal ambition. Kamala will not take on big tech, as they are her donor base and she is a junkie for their money and a whore for corporate power. One should not expect a Biden-Harris administration to move in any way shape or form against Silicon Valley.

Another argument in favor of Gabbard’s superiority over Harris is that the one time the two women went head-to-head was in the Democratic primary debates, and Gabbard eviscerated Harris so decisively that it stopped Harris’ campaign dead in its tracks.

This week’s state of affairs proves that America is a madhouse, and the media, Time Magazine and their ridiculous and grammatically incorrect “Person of the Year” selection included, are funhouse mirrors used to further distort our already deranged sur-reality.

In these United States of the Insane, the inmates are running the asylum as American militarism and corporate power are now deemed benign, it is declared gender doesn’t exist, and Kamala Harris is worthy of celebration while Tulsi Gabbard is deserving of denigration.

America always gets the leadership it deserves, and when Joe Biden falls, or more likely gets pushed, down a flight of stairs and Queen Kamala ascends to the throne, we will get what we deserve. And that certainly isn’t a person of quality and worth like Tulsi Gabbard, that’s for damn sure.

 A version of this article was originally published at RT.

©2020

Documentary 'Room 2806: The Accusation' - Explores the Seedy Side of Dominique Strauss-Kahn, Former Poster Boy for the Global Elite

 Estimated Reading Time: 2 minutes 806 seconds

The docu-mini-series showcases sex, money, power, class, race and gender as it dives deep into the fetid swamp of a controversial 2011 sex assault case in a futile search for truth.

My Rating: 2.5 out of 5 stars

My Recommendation: SEE IT/SKIP IT. An at-times interesting and entertaining exercise, but ultimately and unfortunately, it is never an insightful or truly satisfying experience.

Room 2806: The Accusation, the new four-part documentary mini-series that premiered on Netflix December 7th, tells the twisted tale of Dominique Strauss-Kahn (DSK), the former managing director of the International Monetary Fund (IMF), and the sexual assault claim brought against him in 2011.

In 2011, DSK was at the zenith of his career. As head of the IMF he had performed admirably during the 2008 financial crisis and now seemed poised to defeat unpopular incumbent Nicholas Sarkozy and become the president of France.

Life was good for the darling of the Socialist Party and of the socialite set, due to his career success and his marriage to the beautiful heiress Anne Sinclair, an accomplished and connected French journalist.

Then DSK went to New York on a business trip and stayed at the posh Sofitel Hotel in room 2806, the presidential suite. This is where, on May 14, 2011, the 62-year-old had a brief sexual encounter with a32-year-old housekeeper, Nafissatou Diallo, right before leaving to catch a scheduled flight.

Diallo, an illiterate immigrant from Guinea, quickly made the claim to hotel security, and then the police, that she was sexually assaulted. In response, NYPD swiftly arrested Straus-Kahn at JFK airport.

And thus begins the tumultuous journey to find out the truth of what actually happened in Room 2806.

Along the way DSK is charged with sexual assault, held in the notorious Rikers Island jail, resigns from the IMF and loses any chance of becoming the French president. In addition, both DSK and Diallo have their lives upturned, backgrounds scoured and are ultimately thoroughly humiliated in the press…and yet the truth still remains elusive.

Room 2806 is like a B-movie or dime store novel in that it is filled with a series of evermore-improbable twists and turns.

Conspiracy theories, not unfounded and not satisfactorily debunked, swirl around the case as French intelligence and their connections with Sarkozy and the Sofitel’s parent company, raise serious questions as to whether DSK was set-up.

There are also shocking revelations about both DSK and Diallo, which leave the viewer dismayed and disoriented, as neither protagonist can be trusted.

The well-paced series uses May 14, 2011, the date of the alleged sexual assault, as the epicenter of the story, but bounces forward and backward in time in an attempt to give more context.

This approach initially humanizes DSK, who, at times, comes across as an impressive and sympathetic figure in this real-life melodrama.

Despite his power and wealth, which usually protect people like him, DSK’s elite social status is instead an incentive for law enforcement and the media to be vicious towards him. As DSK’s licentious proclivities, both past and future, are exposed his friends and supporters claim he’s merely a libertine and lothario rather than a rapacious sexual predator, but that is far too generous an assessment. As the film reveals, DSK is a lecherous, licentious, lascivious and depraved degenerate who is a shameless slave to his own voracious ambitions and appetites.

Unsurprisingly, Daillo is sympathetic…at first. The narrative of the hard working, single parent immigrant preyed upon by an entitled and debauched elite is a compelling one. But there is something off about her…and those feelings of unease are backed up when she’s exposed as being a much more complicated and compromised character than originally portrayed.

As ultimately unlikeable as DSK and Diallo both are, this case attracts a collection of odious secondary characters like dung beetles to a manure pile.

Shakespeare once wrote, “first thing we do, let’s kill all the lawyers”, and this insight is certainly applicable to the DSK case. His lawyers are, not surprisingly considering his enormous wealth and status, the very best in the business. Ben Brafman is one of the most talented and notorious lawyers in New York, and for the right price he quickly slithers to DSK’s defense with fork-tongued aplomb.

Diallo has a pair of lawyers as well, neither of which seem to have a brain between them, and they bend over backwards to aggrandize and embarrass themselves in the documentary.

Then there are the self-serving activists that use the awful case as a platform from which to shout their inanities. There is a black former NYPD officer who is now a race activist who does a cheap Al Sharpton impersonation and screams that Diallo is a victim of racism – even though that is a vacuous claim and there is explicit evidence to the contrary.

Feminists plant their protest flag on the dung heap as well. Some even suggest that the DSK case was the true beginning of the #MeToo movement. This seems a historically tenuous claim, but that is expected from vapid hysterics.

The events documented in Room 2806: The Accusation leave you feeling in despair for humanity and in need of a shower. It also leaves you believing DSK, Diallo, their lawyers, the cops and the parasitical activists, are all vile creatures that truly deserve the pronounced misery of each other’s company.

Little wonder that DSK, now an embittered 71-year-old forced into the shadows, has announced plans to release his own documentary next year, claiming the “time has come for me to speak out (something he declines to do in Room 2806), Is it likely to be more illuminating? I suspect it will simply throw another forkful or two on the steaming dung heap he created in the first place.

In the final analysis, wading through the muck and mire that is the DSK case by watching Room 2806: The Accusation, is at-times, an interesting and entertaining exercise, but ultimately and unfortunately, it is never an insightful or truly satisfying one.

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

©2020

Mank is a Tale of Old Hollywood - and of our Corrupted Modern Age

Estimated Reading Time: 3 minutes 42 seconds

Hollywood loves stories about Hollywood but Mank doesn’t glamorize Tinsel Town’s golden age but rather reveals the wound festering beneath the mythology…the same wound inflicting modern America.

On its surface, Mank, the new film by esteemed director David Fincher, chronicles the life and times of famed screenwriter Herman Mankiewicz, most notably his struggle to write the Oscar winning screenplay for Citizen Kane.

Just below that gloriously photographed black and white surface though, a complex story of class struggle, financial control and political corruption lives, and it is that narrative that makes Mank a story for our time.

Herman Mankiewicz a.k.a Mank, brilliantly portrayed by Oscar winner Gary Oldman, is a disheveled drunkard and degenerate gambler with an undeniable roguish charm. A brilliant wordsmith, Mank’s quick and erudite wit gets him in the good graces of the media mogul William Randolph Hearst, and by extension, the Hollywood heavyweights at MGM, Louis B. Mayer and Irving Thalberg.

It is from this privileged perch at the luxurious dining tables of W.R. Hearst and in the offices of L.B. Mayer and Thalberg, that Mank is shown the diabolically deceptive practices and devious machinations of those in power. Mank’s growing discomfort and disgust at the charade of these powerful but hollow men eventually manifests in some alcohol-fueled, but extremely insightful diatribes.

But Mank, ever the slave to his own destructive impulses, is impotent to do anything about these men…until the opportunity to write a screenplay for the “boy genius” Orson Welles comes along.

With Citizen Kane, Mank uses his mighty pen to embarrass and eviscerate the all-powerful Hearst while also extending a middle finger to the repugnant Mayer.

Mank resonates in our current time because like Hearst and Mayer in the time of Citizen Kane, the new generation of decadent robber barons from Wall Street to Silicon Valley (Netflix – the film’s producer and distributor, prominent among them) wield their financial, cultural and political power to dominate and control society from their gilded castles while the rest of us scratch and claw just to stay alive.

In Mank there is a terrific scene where Louis B. Mayer tearfully speaks to a collection of MGM workers, whom he calls family, asking them to take a 50% pay cut in order to save the company. Mayer’s performance in that meeting is better than any acting he financed during his long reign at the movie studio, as he gets the workers to give up their money while he walks away giving up nothing.

That scene speaks to the nefarious political and media narrative of the last forty years since the Reagan (and Thatcher) revolution brought us the unmitigated horrors of financialization and trickle-down economics cloaked in the waving flag of an empty patriotism. It also perfectly encapsulates America since the financial collapse of 2007-08, where a plethora of too big to fail corporations with big bosses receiving huge bonuses got bailed out while working people picking up the tab got financially beaten down and will never recover.

It is the anger over that blatant economic unfairness and injustice that fueled movements as disparate as the Tea Party, Occupy Wall Street, Bernie Sanders and even Trump’s rise to power. But as Mank shows us, the game is rigged, as the propaganda mills promise to strangle any working class movement in its crib.

As the last two presidential elections proved, oligarchs and their media minions will relentlessly wield identity politics like a cudgel to bludgeon the working class and cease any chance at any economic change. Divide and conquer has never been so easy as in our current age of manufactured victimhood.

The character Mank embodies the impotent confusion of so many American voters. He is a compulsive contrarian and as much as he loathes the malignant management class he is also wary of labor unions. Intuitively a man of the left, Mank is still clear-eyed enough to see that both sides of the duopoly are thoroughly compromised.

The devil’s bargain Mank makes with the power structure costs him his soul, and Citizen Kane is his attempt at personal redemption and revenge for the little guy. Like the rest of us, all Mank is able to do is take pleasure in his small and ultimately inconsequential victory.

Mank’s triumph with Citizen Kane is public but completely personal, as it garners him an Oscar but leaves the power structure that so infuriates him, unbowed, unbent and unbroken…even to this day.

For proof of this one need look no further than the recent election. Americans were forced once again to choose between two vacuous avatars for the same oligarchical ruling class.

Even in the midst of a pandemic and government forced shut down resulting in an economic holocaust for working class people, both parties in Washington steadfastly refuse to consider universal healthcare, universal basic income, or even stimulus payments but are united in their insatiable desire to fellate the corporate class. Meet the new boss, same as the old boss, same as every boss we’ve ever had.

As for Mank, it is a slightly flawed, but thoroughly worthwhile, art house film that boasts some A-list talent, chief among them Fincher and Oldman. For those with the patience to stick with it, Mank does what very few movies attempt to do, never mind accomplish…it tells the uncomfortable, complicated and ugly truth about America and Americans. Bravo.

My Rating: 4 out of 5 stars.

My Recommendation: SEE IT. A complicated film that pulls no political punches. Gary Oldman and David Fincher flex their consider artistic muscles in this challenging but worthwhile drama.

A version of this article was originally published at RT.

 

©2020

The Media Lie...Even About Peppa Pig

Estimated Reading Time: 3 minutes 19 seconds

THE MALIGNANTLY MENDACIOUS MEDIA ARE SLANDERING POOR PEPPA PIG BY CLAIMING THE SHOW IS SHOCKINGLY VIOLENT

Not even kiddies’ favourite Peppa Pig is safe from media excess, with major outlets claiming that it is shockingly violent. But unraveling the details of this curious story gives clear insight into how deceptive the mainstream media can be.

The media are deliberately misrepresenting a study to stoke a panic over alleged violence in the children’s animated show Peppa Pig. Across the political spectrum the headlines have been absurdly alarming. “ASSAULT ON PEPPA: Peppa Pig and Disney’s Frozen are too violent for Children, experts claim” shrieks the right-wing The Sun, while the left-wing The Independent breathlessly declares, “Peppa Pig: Experts Find Shocking Levels of Violence in Children’s TV Show”.

According to the media it isn’t just Peppa but also Daniel Tiger, The Octonauts, Paw Patrol as well as Toy Story 3 and 4, Frozen, Finding Dory and a handful of other kid shows and movies supposedly deemed too violent.

As a vigilant and diligent parent of a young child that routinely watches Peppa Pig, Paw Patrol, The Octonauts and Daniel Tiger, I find these headlines and their revelations alarming.

The Sun’s and The Independent’s headlines had me deeply concerned that I was allowing my child to be exposed to violent and damaging material via Peppa Pig.

I myself have watched countless hours of these shows with my child and found them to be rather benign and good-hearted children’s programs, so I wanted to learn more about the ‘shocking violence’ that experts discovered of which I was apparently blissfully blind.

According to The Independent, “A new study looking into violence featured in animated series and films found that more than eight moments of pain and brutality were inflicted across a selected range of entertainment aimed at children.”

As I read The Independent story further though, a bunch of red flags popped up. For example, the thin article made a bizarre shift in its closing three paragraphs when it dropped the violence angle altogether in order to inform readers that actress Harley Bird, who voiced Peppa, recently stepped down from the role after thirteen years. I was expecting to read that Ms. Bird had been brutalized while working on the show or had turned into a violent hooligan, but no, the article just ended with that odd whimper of a factoid.

The biggest red flag of all though was that neither The Sun nor The Independent ever linked to the supposed “study of violence in children’s entertainment” they were referencing, nor did they include the name of the journal in which it was allegedly published.

Being the intrepid non-reporter that I am I did what The Sun and The Independent’s actual reporters hoped readers wouldn’t do…I searched for the report.

Upon finding the study in everybody’s favorite magazine, Pain: The Journal of the International Association of the Study of Pain, I was shocked to learn that not only are Peppa Pig, Paw Patrol and Daniel Tiger not viciously violent shows creating serial killers and sociopaths, but that the “study” in question HAS ABSOLUTELY NOTHING AT ALL TO DO WITH VIOLENCE.

The study is actually titledThe socio-cultural context of pediatric pain: an examination of the portrayal of pain in children’s popular media”.

The study wasn’t investigating “violence featured in animated series and films” but rather how kid’s entertainment presents pain and reactions to pain on-screen.

The banal study concluded, “A narrow depiction of pain was presented in children's popular media, with an overall underrepresentation of pain, numerous maladaptive portrayals of pain, and gender differences in both sufferer and observer responses.”

That is definitely a less sexy headline than “Assault on Peppa Pig!!”

The British and Canadian researchers behind the study were actually trying to understand how to use the power of children’s entertainment to help kids understand regular, everyday pain, and how to be empathetic.

You wouldn’t know that from The Sun or The Independent’s click-bait headline and lazily reported story, which isn’t just meant to garner ad revenue by deceiving viewers but also to gaslight parents and instill in them a growing sense of fear, as well as further undermine, confuse and conflate common language.

For example, making the terms ‘pain’ and ‘violence’ interchangeable, as both media outlets did in this case, is totally in line with the insidious woke culture that distorts language beyond recognition and brazenly and shamelessly declares that, “silence is violence”.

Trust me when I tell you that silence is not violence. Violence is violence. Only someone who has never been punched in the face will tell you that silence and violence are the same thing.

This Peppa Pig story is just another obvious example of the media’s mischievous and malicious mendacity. One can go through the list of much more egregious media lies that had, or potentially could have, much more catastrophic impact than just besmirching poor Peppa Pig.

For instance, the establishment media’s slavishly slanted coverage in the lead-up to the Iraq war, or the propaganda surrounding Syria’s supposed chemical weapons attacks, or the cavalcade of Cold War inspired disinformation regarding Russia…be it alleged interference in the 2016 election, or supposed hacking of power grids, or use of “microwave weapons”.

This manufactured Peppa Pig story is proof that the corporate media aren’t interested in uncovering facts, only in pandering for profit, and that their loyalty is always and every time to money, not to Truth.

The bottom line is this…Peppa Pig is a safe and trustworthy show for kids to watch, but the establishment news outlets of both the left and right are not a safe or trustworthy product for adults to consume.

A version of this article was originally published at RT.

©2020

Hillbilly Elegy and the Culture War Clash

Estimated Reading Time: 3 minutes 11 seconds

IS HILLBILLY ELEGY A TRULY TERRIBLE MOVIE OR ARE LIBERAL CRITICS BLATANTLY BIASED?

The new Netflix film Hillbilly Elegy chronicles life among a dysfunctional white working class Appalachian family and savage reviews from liberal critics has triggered another battle in the culture war.

Hillbilly Elegy, the new film from Oscar winning director Ron Howard, premiered to much fanfare and controversy on Netflix Tuesday.

The film, which stars perennial Oscar nominees Amy Adams and Glenn Close, is based on J.D. Vance’s 2016 autobiography of the same name, and tells the story of how Vance escaped his chaotic upbringing at the hands of his white-working class Appalachian family, most notably his volcanically erratic mother Bev and his hard-edged grandmother Mamaw, and became a Yale Law School graduate.

The book Hillbilly Elegy became a cause célèbre in the wake of Trump’s 2016 election victory because it gave the establishment a glimpse into the misunderstood white working class and poor folk from flyover country that had come out en masse for Trump.

Among the media elite, the shine wore off of Vance and his book pretty quickly, though, as he was labeled too conservative for consumption after having the temerity to label his hometown hillbilly culture as corrosive and self-destructive. Vance’s critique of the Appalachian white working class was just too pro-personal responsibility for the liberal establishment’s tastes.

It is in this context that Hillbilly Elegy has come out in film form and generated a great deal of vitriol and venom from mainstream movie critics.

For example, Ty Burr of the Boston Globe proclaimed it “poverty porn”. Michael O’Sullivan of the Washington Post called it “almost laughably bad – if it weren’t so melodramatic”. And Justin Chang of the Los Angeles Times derisively decried the movie as “an unwieldy slop bucket of door-smashing, child-slapping, husband-immolating histrionics”.

These critical eviscerations are not anomalies as the film currently has a dismal 25% critical score review aggregator site Rotten Tomatoes. There is some pushback though, as the film currently boasts a robust 89% audience score at Rotten Tomatoes.

In response to the cavalcade of critical denouncements, noted conservative pundit Ben Shapiro tweeted about the film “I've seen "Hillbilly Elegy." Amy Adams and Glenn Close are both terrific. The movie is a well-told family drama. The reason the critics are crapping all over it is simple: the book was treated as humanizing "Trump supporters," and is now a Bad Book™. So the movie is also Bad™.

My experience of Hillbilly Elegy began when I read and the book back in 2016. I thoroughly enjoyed it and found it to be an extremely insightful and compelling account.

Hillbilly Elegy is an important book and it should have been an important movie…but having seen it I can report that it most assuredly is not. Instead it is a maudlin, dramatically obtuse, narratively incoherent, appallingly poorly made and atrociously amateurish cinematic venture.

Director Ron Howard is an artistic eunuch not exactly known for his deft cinematic touch, and he is as ham-fisted as ever on Hillbilly Elegy.  Howard clumsily creates a contrived drama and fumbles the film’s flimsy narrative to such an egregious degree as to be cinematically criminal.

Howard’s visually unimaginative, painfully trite and obscenely shallow approach reduces Vance’s dramatically potent life story into a cinematically flaccid cross between a Lifetime movie, an ABC After-School Special and an anti-drug public service announcement.

As for the acting? Amy Adams is one of the best actresses around, but her performance as the volatile Bev is forced and rings entirely false. Decked out in her oversized ‘mom jeans’, with frizzy hair and sans makeup, Adams is devoid of both subtly and humanity. Adams’ performance is such an over-the-top, one-note caricature it is actually embarrassing.

Glenn Close contrived performance as the foul-mouthed matriarch Mamaw doesn’t fare much better. Both Close and Adams are obviously angling for an Oscar with their ugly-fied, faux-gritty acting, but they end up being uncomfortably shallow and cartoonish in their roles.

Ben Shapiro claiming that Hillbilly Elegy is “well-told” and that Adams and Close are “terrific” only proves that he is either being intentionally contrarian in order to stoke the culture war or he really doesn’t know a goddamn thing about movies and acting. I promise you, Hillbilly Elegy is not the hill(billy) that Ben Shapiro should be willing to die on.

With that said, I have no doubt that liberal critics are gleefully overplaying the very bad hand that is Hillbilly Elegy. If the film were made by a minority director as opposed to a pasty white one, and dealt with black poverty as opposed to poor white people, their criticisms of it would be substantially more delicate and thoughtful.

White liberal critics have long been protective and paternalistic toward black artists and films. Examples of which can be found in the critical reception of Spike Lee’s film Da Five Bloods (2020) and Ava DuVernay’s A Wrinkle in Time (2018). Both movies are dreadful cinematic disasters, but critics fawned over Da Five Bloods and were wholly encouraging of DuVernay’s abysmal film because of its “diversity”.

Hillbilly Elegy could have been treated with the same kid gloves and rose-colored glasses as Lee and DuVernay’s work- but wasn’t, and one can surmise that the white working class subject matter and the conservative politics of the protagonist are a major reason why.

So is Hillbilly Elegy truly that terrible or as Ben Shapiro suggests are liberal movie critics blatantly biased against it?

The answer is definitely…YES…to both.

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. Ron Howard at his worst. Just an embarrassingly terrible movie with terrible performances and terrible writing and terrible directing and everything is terrible.

 A version of this article was originally published at RT.

©2020

Trump TV Will Be Biased and Journalistically Depraved...Just Like the Rest of the Mainstream Media

Estimated Reading Time: 3 minutes 27 seconds

Trump will be out of the Oval Office but may not leave the spotlight as rumors swirl of a new Trumpian television venture meant to exact revenge on Fox.

Donald Trump has apparently lost the presidential election to Joe Biden, or at least that is what the allegedly benevolent, unbiased and omniscient television networks are telling me.

Trump’s humiliation at losing to a decrepit, dementia-addled Washington war horse and Wall Street whore like Joe Biden is made more acute by the fact that Fox News, Trump’s supposedly staunch media ally, has abruptly turned their back on him. Fox even went so far as to call Arizona, a state still in dispute, for Biden early on election night despite other “liberal” networks refusing to do so.

In the wake of Fox’s treachery, Trump is no doubt thinking, “Et tu, Rupert?”

Much like Trump set his sights on winning the presidency after he was publicly humiliated by searing jokes told at his expense by President Obama at the 2011 White House Correspondents Dinner, rumors now swirl he will focus his fury at Rupert Murdoch and Fox for their seditious election betrayal by starting his own tv network...Trump TV.

Many will scoff at this idea, but under-estimating Trump is how he won the White House in the first place. The truth is that Trump TV is bursting with ratings potential. 

I’m sure Trump could convince his old friend, the bloviater Bill O’Reilly, to come out of forced retirement for The O’Reilly Factor 2.0, and could poach the sycophant Sean Hannity and the boozy belligerent Judge Jeanine to jump the Fox ship and join Trump TV.

But what would make Trump TV a ratings goldmine is that it would undoubtedly become TNN…the Trump Nepotism Network.

Ivanka Trump and her empty-suit husband Jared Kushner would undoubtedly be put in charge of the day-to-day operations of Trump TV and fill the network’s lineup with Trumpian news, entertainment and reality shows that would be the most electrifying line-up in cable television history.

For example, Donald Trump’s youngest son, Baron Trump, could star in a reboot of Silver Spoons, playing the role that made Ricky Schroeder famous back in the 80’s.

Baron could also dip his toe into the fetid swamp of reality tv with Livin’ in Slytherin, a show that chronicles the ups and downs of the Draco Malfoy look-a-like’s life while attending Hogwarts and living at Slytherin House.

Baron’s mom, and Trump’s current wife, the delightfully milfy Melania, could star in an Eastern European accented reboot of Desperate Housewives, and also be the main attraction on the runaway reality hit Almost Real Housewives of Mar-a-Lago.

First-born son Donald Trump Jr. and his gal pal Kimberly Guilfoyle could host The Screaming Hour - Brought to You by Meth Amphetamine, where the odd-couple incoherently shout Trumpian platitudes until they pass out from dry mouth. Another working title for the show is Crossfire on Cocaine.

Guilfoyle, the taut-faced tart who is the former wife of California Governor Gavin Newsome and a one-time Fox News firebrand who was sacked for sexual harassment, could also have her own game show titled Shameless, where she chooses moderately famous men to sleep with in order to desperately hold on to any sort of relevancy.

The intellectually challenged Eric Trump could host his own cooking show that would be a cross between The Great British Baking Show and Fear Factor, titled, Eric Trump Eats His Own Boogers, where Paul Hollywood looks on incredulously as the dim-witted Eric gobbles his own snots.

The only Trump offspring not to have a show on Trump TV will be poor Tiffany Trump, but in keeping with her least-favorite-child status she will, Cinderella style, work at the network in janitorial services.

Venturing out of the Trump family to his administration also opens up some ratings possibilities.

There could be the Kellyanne and George Conway Variety Hour, where, like Sonny and Cher on crack, America’s least favorite couple and their attention seeking teen daughter, Claudia, could bicker and have breakdowns between musical numbers and comedy sketches.

Anthony Scaramucci could host 10 Minutes with the Mooch, which would last 10 minutes - one minute for every day he worked as Trump’s Director of Communications. Scaramucci would spend the 10 minutes trying to figure out which way the political winds were blowing and then licking the proper boots.

Vice president Mike Pence could host his own art show that would be like the wild-haired Robert Norman Ross’ old PBS program The Joy of Painting, except Pence’s version would be The Joy of Ass-Kissing. Pence and his wife Karen could also star in a remake of Will and Grace.

Of course, the biggest draw of Trump TV would be The Donald himself.

Unlike Fox, CNN and MSNBC, which once upon a time gladly milked Trump’s bizarre star power to enhance their own ratings but now actually refuse to cover his speeches or cut away from them mid-sentence, Trump TV will proudly cover all of The Donald’s rabid rallies and rants in their entirety.

The funniest thing about my imagined version of Trump TV is that if this inane network ever actually comes to air it will have just as much journalistic integrity as the phony, flag-waving fools at Fox and the insidious, mendacious, sanctimonious clowns on CNN and MSNBC.

 A version of this article was originally published at RT.

©2020

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

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

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 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

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

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.

©2020

Spitting Image, BoJo's Penis, and Fear of a Black Puppet

Estimated Reading Time: 3 minutes 37 seconds

Spitting Image, the savagely satirical puppet show from the 80’s and 90’s, is making a comeback in Autumn. But already it’s on the defensive due to a hyper-sensitive climate where there’s always someone offended about something.

Spitting Image, the satirical television puppet show which made a name for itself on ITV from 1984 to 1996 for its brutal caricatures of Margaret Thatcher, Ronald Reagan, John Major and the Royal Family among many others, is attempting a comeback on BritBox UK this Autumn. 

Now would seem a perfect time for the show to re-appear, as there is an abundance of prime comedy targets among the world’s politicians and celebrities.

In an era that boasts the buffoonery of Boris Johnson, Trump and the dead-eyed rambling of Joe Biden, as well as the relentless narcissism of the entertainment industry elite, one would think that satire should thrive.

But navigating the minefield of comedy in today’s hypersensitive age of suffocating political correctness is a perilous venture bordering on a suicide mission, and if early reports are any indication, Spitting Image is doomed to wind up legless in the graveyard of comedy failure.

Just this week it was revealed that Spitting Image produced a short trailer for their overlords at ITV that featured a scene where Boris Johnson, Donald Trump and Vladimir Putin wrestle naked in a sauna.

In the scene, BoJo and Trump are revealed to have tiny puppet peckers while Putin has the python-esque appendage of a Russian Dirk Diggler, which sounds both hysterically funny and most likely phallically accurate.

That scene of presidential and prime ministerial penises, or penii, or gaggle of penis, whatever the proper term may be, horrified the stuffed shirts at ITV who quickly gave it a hard no…demanding re-shoots sans genitalia.

The censoriousness of the corporate clowns at ITV is not the least bit surprising, and is actually something that the creatives at Spitting Image can use to their advantage, but the real comedy calamity for the show will be its own self-censorship.

An example of which came earlier this month when reports surfaced that the show’s producers had a ‘curious meeting’ with their ITV bosses to talk about how to properly depict black celebrities in order avoid a “racism row”.

Spitting Image’s raison d’etre has always been fearlessly cutting comedy combined with grotesquely distorted puppets caricaturing to humorous heights. But now the show is preemptively acting to make sure that its depictions of black celebrities like Kanye West, Beyonce and Meghan Markle are delicate enough to be palatably un-offensive? Oh, how the mighty have fallen.

This sort of self-censoring is and always will be the death of comedy. How can you effectively be funny if you’re constantly looking over your shoulder afraid of offending someone, somewhere over something?

If comedy were a fistfight…and it often times is, Spitting Image is heading into the brawl having tied one hand behind its own back out of racial deference, with the other hand tied by ITV out of corporate cowardice.

It is ironic that Spitting Image has run afoul of ITV with its depiction of Boris’s tiny Johnson, because with the show’s self-censorship it is definitely proving it no longer has balls.

There is no shame in being censored by ITV, hell it should be a badge of honor for any comedian or comedy show, but Spitting Image should be ashamed of neutering its own comedy instincts to the point of impotence with its paternalistic double standard when it comes to the black celebrities it means to caricature.

If the show can’t eviscerate famous people of different races and ethnicities with its caricatures with equal aplomb, then what is the purpose of it?

The satire of Spitting Image does serve a purpose…it helps to humble public figures who think they are God’s gift to the populace, and assists the hoi polloi in blowing off steam by laughing at the foibles and frailty of their supposed betters.

But when the show attempts to appease the delicate sensibilities of certain people or groups of people, then it just becomes a flaccid exercise in safely controlled, establishment-friendly, pseudo-comedy.

Yes, there will be jokes, but the comedy no longer reveals any greater truths or higher purpose…it simply maintains the status quo and reinforces the protective barriers around whatever the culture considers a sacred cow.

Spitting Image, like all comedy, should be in the business of slaughtering sacred cows and transforming them into delicious meals of highbrow filet mignon or lowbrow burgers, both of which satiate certain audience’s hunger for humor.

Without its signature devil may care attitude when it comes to offending its political and celebrity targets, Spitting Image might as well be The Muppets discussing how gentrification has ruined Sesame Street…a self-indulgent, toothless and useless comedy exercise.

Testicular fortitude has always been a necessity for comedy greatness. Monty Python, George Carlin, Richard Pryor, Billy Connolly, Ricky Gervais, Dave Chappelle, Bill Burr and Frankie Boyle all had or have it in abundance.

Spitting Image used to have it, but between the quick trigger finger of the censors at ITV and the show’s own Orwellian self-censoring, it may have castrated its own comedy bollocks.

Hopefully it hasn’t, because without their comedy bollocks, Spitting Image doesn’t stand a chance of regaining its relevance, which would be tragic since the world could sure use a good laugh.

 A version of this show was originally published at RT.

©2020

The Crown Just Cast an Australian to Play Princess Diana and I am in a Woke-Fueled Rage!

Estimated Reading Time: 3 minutes 39 seconds

If wokeness is going to survive, the scourge of actors portraying characters that are in any way different from themselves must end now.

I consider myself a devout crusader for the Church of Wokeness, a brave Knight of the Woke Table if you will.

Whenever an injustice is committed here in Hollywood I am the one who fiercely follows the crowd and does the most courageous thing imaginable…write a scathingly pithy article about it.

My specialty is scouring the trade papers searching for violations of the new woke Hollywood commandment that “Actors shall not portray characters that aren’t exactly identical to them in real life”. I call this the “No Acting Allowed” rule.

This noble calling of mine isn’t an easy one, there are so many micro-aggressions and so little time to cancel all who commit them, but still I soldier on.

The newest and most heinous of injustices that I unearthed occurred the other day and was so horrifying it literally left me shaking.

*Trigger Warning for the sensitive – a story of brutal casting violence follows.

The injustice of which I speak is that Netflix just announced that on their hit show The Crown, Princess Diana – the most iconic of British Royals, will be played by Elizabeth Debicki who is…gasp…Australian!

I know, I know, it is an awful and tone-deaf maneuver, especially considering the history of it all. I mean, Australia really only exists because the British wanted their riff raff out of sight and mind, and they certainly didn’t want them portraying their most beloved of royals on some binge-worthy tabloid drama. An Australian portraying Princess Diana only highlights how far the once mighty British Empire has fallen.

Think of it this way…imagine if you will, an Aussie women worthy of having a tv show or movie made about them…I know it is far-fetched but just try…and then imagine a non-Australian actress playing that woman…talk about a dingo stealing your baby!

Now, some people may be thinking that since Elizabeth Debicki is a gloriously gifted actress blessed with exquisite skill and talent that it is just fine for her, despite the black mark of her Aussie background, to play Princess Diana. That is blasphemy…wokeness never considers ability!

Oscar winning actress Octavia Spencer concurs as she recently declared in regards to casting, “Nothing can replace lived experience and authentic representation…it’s imperative that we cast the appropriate actor for the appropriate role…”

What Spencer was actually talking about was the woke sin of able-bodied actors playing disabled characters, but if we follow her ideology to its logical conclusion, we end up crucifying the Aussie interloper Debecki for daring to play the very English Princess Diana. 

I wish there was a woke time machine so we could see who Octavia Spencer would cast instead of Oscar-winner Daniel Day-Lewis in My Left Foot and Oscar-nominee Leonardo DiCaprio in What’s Eating Gilbert Grape.

Those able-bodied bastards are acting abominations. Their crimes are almost as bad as cis-gendered actors playing trans characters.

Halle Berry recently said she was contemplating playing a trans character but after being shouted down by my woke comrades, Halle apologized, and the world was once again made safe from acting.

I wish someone stopped Felicity Huffman from playing a trans character and scoring an Oscar nomination for her work in the dreadful 2005 movie Transamerica.

Thankfully we woke got revenge on Huffman when she was sent to prison for that blasphemy! She actually went to prison for trying to bribe a college into admitting her daughter…but that’s beside the point…the important thing is she was ultimately punished! I don’t think that punishment went far enough though. If it were up to me Felicity Huffman would have the scarlet letter of a penis sewn onto her forehead, so that with every step she took her forehead penis would swing before her eyes and forcefully remind her of the unforgivable trans-phobic sin she committed.

Another transgressor of woke trans dogma is Scarlett Johansson. ScarJo was set to play a trans man in the film Rub and Tug, but woke warriors fired up the outrage machine and forced her to back out.

In addition, the monstrously white ScarJo had previously earned woke ire when she starred in Ghost in the Shell as a character that was Asian in the original source material. Oh the humanity!

Of course, even if an actor is the same race or ethnicity as a character they aren’t safe from the righteous sword of wokeness.

Zoe Saldana thought she could play Nina Simone in a bio-pic about the legendary singer. Not without woke outrage she couldn’t! Saldana’s crime was that she is light-skinned and Simone was dark-skinned…in other words Zoe Saldana wasn’t black enough. Saldana has since apologized for her heinous hate crime.

A similar thing happened with Ruby Rose, a lesbian actress cast in the role of lesbian superhero Batwoman. Rose was excoriated by the woke brigade on social media because apparently she wasn’t lesbian enough.

To avoid this woke backlash and the cancel culture mob, white actresses Jenny Slate and Kristen Bell quit their roles voicing black characters on cartoons.

Slate stated, “black characters should be played by black people” and that her portrayal was “an act of erasure of black people.”

Bell said, “ This is a time to acknowledge our acts of complicity.”

If only that Aussie Elizabeth Debicki would do her part and acknowledge that playing Princess Diana on The Crown makes her complicit in the erasure of English people and declare that English characters should only be portrayed by English people, then we could be one step closer to eradicating the art of acting and finally living in the glorious utopia of talentlessness we woke are obviously so desperate to manifest.

 A version of this article was originally published at RT.

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