"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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Lost Opportunities and Dastardly Deeds in the Age of Coronavirus

Estimated Reading Time: 5 minutes 27 seconds

On March 17th, I published an op-ed titled “Coronavirus Will Eventually Get Better, But America Never Will”, that made the argument that while everything should change because of coronavirus, but nothing would change because of corruption. This week the Republicans and Democrats did me the great favor of once again proving me correct when they passed a gargantuan $2 trillion “stimulus” bill that is really just a massive bail out and corporate coup, all while fucking over the middle, working and lower class people of this country.

The coronavirus is the iceberg that has hit the U.S.S. Good Ship Lollipop as it wandered lost in the fog of its own decadence. The delusional, the duped and the damned are left in shock, stunned that such a calamity could actually befall The Greatest Nation on Earth® they thought was invincible.

What the ruling elite are doing with this bailout bill is once again stealing from the poor in order to try to reinflate a bubble, in this case the post-2008 bubble, which is actually a bubble on top of a bubble on top of a bubble going all the way back to Reagan. What ends up happening when you reinflate bubbles is that they become more and more unstable and more and more untenable, and when they burst it takes more and more effort to reinflate them until there is nothing left in the lungs to exhale. Eventually U.S. economic policy will be reduced to bailouts that are the equivalent of a corpse giving CPR to another corpse.

For example, when the tech bubble of the late 90’s burst it was propped back up with the housing bubble. The housing bubble burst in 07/08 and that was propped up with the stock buy back bubble of 2009-2020, which has now burst upon the rocks of reality revealed by the coronavirus. The stock buyback bubble is what they are trying to reinflate with the yet another bazillion dollar corporate handout.

The bottom line is this, our economy is as fundamentally unstable as a one-legged stool and as crooked as a dog’s hind leg and has been for decades. The Reagan/Clinton casino banking model has always been just another Titanic, and this trillion dollar bailout package is nothing more than the hoarding of deck chairs by the rich as they throw the poor into the icy Atlantic of inescapable poverty to try and keep their financial monstrosity afloat for just a few glorious seconds longer.

As long time readers know, it wasn’t just last week that I was a bringer of bad news. In 2015 in a review of the Ridley Scott film The Martian, I wrote about how our economy was fatally flawed and that a tsunami was coming. I did the same thing in my 2016 review of The Big Short, where I wrote, “The house of cards is coming down whether we are ready for it or not…it isn't a matter of if…it is a matter of when. You can either prepare for the coming tsunami* or not, that is up to you…but what you cannot do this time around...is say that no one told you it was coming.”

CRISIS AS OPPORTUNITY

I have always maintained that crisis is an opportunity…for good or for ill. The coronavirus pandemic presents a unique set of problems, and the correct answers to those problems could possibly transform our country and society in extremely positive ways. The problem though is that our political class is so riddled with the cancer of corruption that any chance of good coming from this is basically nil, and the odds of bad things coming from it are so high they are off the charts.

With that in mind I decided to put together a little list of things that should or could have happened in response to coronavirus to save this country and its people…but never will. I’ve also compiled some terrible things that most likely will happen that are even worse than the $2 trillion bailout we just had rammed into our collective anus.

No doubt these lists will infuriate most everyone for one reason or another, but as you can imagine I am pretty used to that.

HEALTH CARE AND HEALTH INSURANCE

Coronavirus has shown that our deplorable health care and health insurance system is not just a health crisis, it is a national security crisis, and yet we have two political parties dedicated to preserving the corporate status quo that fails Americans and leaves the nation vulnerable.

Health care must be made not only a human right, but a national security priority.

Pandemic preparation must be as great a priority as our military preparation, as coronavirus has proven that we are much more vulnerable to invasion by illness than by enemy.

The for-profit health insurance industry must be eradicated from the face of the earth. In order to do this health care must be classified a national security priority so that funds from the bloated Pentagon budget can be diverted for a massive rebuilding of our medical infrastructure. This infrastructure includes building more hospitals, building a medical manufacturing base and training more nurses and doctors, as well as implementing a Medicare-for-all, single payer insurance system.

The implementation of single payer healthcare will also have the benefit of releasing working Americans from the indentured servitude that is employer based health insurance and the corporate slavery that is the abomination called Obamacare.

In terms of economics, having a robust national health care system and Medicare-for-all/single payer health insurance will create a safety net that will put American business and enterprise on equal footing with their competition across the globe. It will also free people from staying in jobs that mistreat them, thus giving more power to workers, and will invigorate the entrepreneurial spirit, freeing people to start their own businesses knowing that they wont have to carry the burden of their employees health care or worry about not having health care themselves if their business fails.

Another instrument that would spur economic growth and entrepreneurialism would be a Universal Basic Income. As Andrew Yang showed in his Quixotic presidential campaign, it is a manageable program that could be funded simply by fairly taxing a behemoth like Amazon. It would also be good to see a stake through the heart of the trickle down thinking that has brought the U.S. to this point in its demise. Some “trickle-up” economics would be a wise change of pace.

ECONOMICS, TRADE AND IMMIGRATION

Another national security crisis is the globalism and free trade that has decimated the working and middle class in America so that corporations and the investor class can increase their wealth and power.

Free trade is a national security crisis because our supply line runs through China and other nations, which leaves America, its citizens and military, weakened and defenseless since we rely on the Chinese for many of our medications and medical supplies. This is the equivalent of relying on Japanese manufacturers to build the engines of our fighter planes during World War II.

It is simply untenable for any nation to rely upon others for vital goods, be it weapons, food, energy or medical equipment. For the U.S. to be so intertwined with China and other countries is good for investors, but bad for America.

I don’t think we should go to war with China or be belligerent towards them, but I do think we need to unwind our economic relationship with them so that it benefits American workers and companies, and solidifies our national security.

China always behaves in its best national security interest, so why don’t we?

Immigration is another national security issue highlighted by coronavirus. If we were an actual country in control of its borders, and had even the the most basic competent leadership, we should have shut the borders down the second the disease began to pop up around the globe. But ever the buffoon, the orange shitbag Trump was afraid of acting decisively and spooking the markets that got spooked anyway, and he, as always, failed magnificently.

The reality is that illegal immigration leaves us exposed and it leaves the working class in America unprotected. I don’t blame illegal immigrants for trying to come here from the third world shitholes they’re trying to escape. Much of the reason why those third world shitholes are third world shitholes is because of malignant and malevolent American empire, colonialism and meddling.

That said, when the third world migrates to the first world, the first world deteriorates into the third world. Drive around the streets of Los Angeles and you’ll notice something pretty quickly, this is unquestionably a third world city. 60,000 people live on the streets in the shadow of multi-million dollar homes, where they all shit and piss and where many steal and shoot drugs…and the LAPD are basically mandated to not do a single thing about it.

The cheap and easily exploited labor of illegal immigrants creates third world conditions by depressing the wages of working and lower class Americans and enriching the corporate and investor class, thus expanding our extreme wealth disparity. To deny this is to be willfully ignorant and blinded by sentimentality.

What needs to happen is that our border must be closed and illegal immigration stopped entirely, and legal immigration must be put on hiatus for the next 5 years. If we don’t get our immigration situation under control we are doomed. The best way to do this is to punish companies that use illegal/undocumented immigrants…and don’t punish them with fines, punish their managerial class with actual jail time. The market for illegal labor will then quickly dry up, and American workers (of all ethnicities and races) will have more leverage to demand higher wages and better working conditions.

Temporarily stopping legal immigration and eliminating the often-exploited H1B visas for “skilled workers”, would force American companies to solely hire American workers, thus elevating the standard of living in…AMERICA.

Now, the counter-argument is that this will lead to corporations moving overseas for cheaper labor. Good for them. But the way to stop that is to put exorbitant tariffs on all products made outside of the U.S. All of them. If a product isn’t made by American workers, it should cost an arm and a leg to sell it in America…and missing out on the American market would be a death knell for most any company.

Manufacturing simply must be returned to America in full in order to maintain our nation. If a product isn’t made here…BY UNION EMPLOYEES… then it must not be allowed to be profitably be sold here. Protectionism must be our top priority, regardless of what it does to the smoke and mirrors bullshit of the stock market or the investor class.

If we don’t rebuild our country from the working class on up…our boom/bust economy will continue to collapse and reinflate and collapse again until we have wheelbarrows full of worthless paper we used to call money.

In addition to all of that, while we are building a plethora of new hospitals across the country we should also be building government run housing in order for the homeless to have shelter and be accessible to receive much needed health, mental health, addiction and employment services.

Now…will any of these things listed above, that seem not-so-pie-in-the-sky when compared to the magical trillions of dollars the government just conjured up to hand out to corporations, actually happen?

No.

Coronavirus has shown us that the ruling corporate class in America would rather we all die than implement a single payer, non-profit health care system. They would rather have cheap labor from illegal immigrants than a secure border. They would rather have their profits from globalist free trade than protect Americans from the vulnerability of a supply chain that runs through China and other nations. They would rather bail out the wealthy corporate and investor class than hard working Americans who have been struggling just to survive for decades.

That is the ugly, awful, cold, hard reality.

Speaking of terrible things…

CIVIL LIBERTIES

The coronavirus pandemic is much, much, much worse in scope and scale than the catastrophe of 9-11, and as i explain above our response must be much, much, much more aggressive if we ever hope to save this country.

Of course, after 9-11, Bush and company went to work to turn the crisis into an opportunity, so they quickly moved to strangle civil liberties with the Patriot Act, rev up the military industrial complex for some heavy doses of corruption, and invaded Iraq…not to mention put into place a torture regime. All not good.

As evidenced by the bipartisan coronavirus stimulus bill, the same corrupt and tyrannical forces will exploit this coronavirus crisis for their own nefarious ends. The money train has already left the Washington station with its final destination the pockets of millionaires and billionaires as well as those who hold the levers of power.

The next step is the rise of the implementation of the police state and the reduction of civil liberties. What is so ingenious about the civil liberties angle is that people are imprisoning themselves under house arrest and shaming anyone who disobeys. This is an Orwellian stroke of genius for the police and surveillance state.

Another benefit of more than half the U.S. population in confinement is that there is no opportunity for any type of meaningful protest like an Occupy Wall Street or anti-Iraq war marches or even the right-wing Tea Party protests.

I am not saying that people should violate the stay at home orders, or that this is not a legitimate health crisis, but I am saying it is extraordinarily convenient for the ruling powers that the social dynamic now in place is that to leave your home is an immoral act that could kill you or others.

In keeping with this theme of tyranny, the Department of Justice has asked Congress for the power to eliminate Habeas Corpus during emergencies…with coronavirus already officially being designated as a national emergency.

The government will always try to expand its powers when the population is scared and right now the population is scared both for their health as well as for their financial well-being. People are ripe to be manipulated and propagandized to accept just about anything in order to “feel” safe.

In addition,the technology companies in Silicon valley are teaming up with governments across the globe to figure out a way to track every person to see where their have been, who they have talked to and what they have done in order to “track the virus”. Ummm…yeah…that sounds totally benign.

Some states are now even saying they will stop cars and knock on doors to identify people, and decide who may or may not have been to states with high infection rates. States are also closing their borders to travelers from certain areas. Freedom of movement in these allegedly United States of America is no more.

Another wonderfully Orwellian maneuver is that many local governments, like mine here in L.A., are forcing the closing of gun shops. Yes, the last thing we need when our government, led by a voracious authoritarian tyrant, is declaring a state of emergency and moving to impose draconian restrictions on the entire population, is an armed populace.

So as a result of coronavirus we have the federal and state governments eliminating our First, Second, Fourth and Fourteenth Amendment protections. What could possibly go wrong?

As Orwell told us, “If you want a vision of the future, imagine a boot stamping on a human face - forever”. Well America, the future is now….better get used to the taste of boot leather.

©2020

Looking California and Feeling Minnesota: Episode 11 - Coronavirus and Contagion

This week on Looking California and Feeling Minnesota real life meets Hollywood.  Barry and I discuss the current effects the Coronavirus is having on the studios and more importantly those working in the gigantic gig economy that is the film industry.  We also look back at the 2011 Steven Soderbergh movie Contagion.

LOOKING CALIFORNIA AND FEELING MINNESOTA: EP. 11 - CORONAVIRUS AND CONTAGION

Thanks for listening and stay safe out there.

©2020

KISS - Staples Center: A Review

KISS - STAPLES CENTER - MARCH 4, 2020

On Wednesday March 4th, 2020, I risked life, limb and soul as I ventured out to the Staples Center despite a potential Coronavirus outbreak, in order to see Knights in Satan’s Service…aka KISS.

Kiss, those old 70’s rock warhorses, which boast the current configuration of Gene Simmons (bass, vocals), Paul Stanley (lead vocals guitar), Tommy Thayer (lead guitar) and Eric Singer (drums, vocals), are on their supposedly “final” tour titled The End of the Road World Tour. For a variety of reasons, included among them that I have never seen Kiss live, I decided to indulge in some rock and roll nostalgia and check them out.

I am not what you would call a “Kiss fan”. When I was a little kid Kiss were definitely a thing and back then in an attempt to be cool I did indeed buy my first and last Kiss album, Kiss Alive, but despite my best attempts coolness has eluded my whole life…as has Kiss fandom.

Unlike other kids I was never a member of the Kiss Army and didn’t have Kiss memorabilia or action figures or anything. In fact, my childhood interaction with Kiss was so short-lived that I don’t think I could name more than a handful of their songs even today.

I never even considered seeing Kiss until last year at a Waterboys show, the keyboardist, Brother Paul, mentioned he was a huge Kiss fan and everybody in the alternative friendly crowd mockingly laughed. Being the contrarian I am, this put the bug in my brain to maybe go see Kiss.

When I saw that Kiss were coming to the Staples Center I looked at ticket prices and they were a bit pricey for me so I lost interest. Then a few months later I looked again and sure enough prices had dropped and I found a solid deal for a very good seat. I was still hesitant to pull the trigger though…but when I saw that the opening act was going to be none other than Diamond David Lee Roth…and I knew I had to attend.

Let me explain…when I was a kid I wanted to be David Lee Roth when I grew up. Dave was fronting Van Halen at the time and was the epitome of the dangerous rock and roll star, chicks dug him and dudes wanted to be him. I loved Dave so much I used to wear jock straps on the outside of my spandex pants (when I wasn’t wearing assless chaps) and would do flying split kicks off of any elevated platform I could find.

When I grew a bit older, my Dave fandom morphed as my best friend, the inimitable Keith Hertell, and I would drink copious amounts of Jack Daniels and he would bust out his guitar and keyboards and we would have an impromptu Van Halen inspired jam session. To be clear, our jam sessions, and my fandom, were only attached to Van Halen, never to the abomination that was Van Hagar.

Besides being the Eddie Van Halen to my Diamond Dave, Keith was also a highly decorated member of the Kiss Army from his early childhood. Kiss was Keith’s first love and the band were indelibly imprinted upon his brain at a young age. If rock and roll is religion, then Keith’s denomination was most definitely Kiss.

Keith Hertell was an extraordinary human being in every respect. He was an actor (infinitely more talented than I could ever hope to be), musician and comedian of astounding natural ability…and most importantly he was one of the most kindhearted and funniest people you could ever hope to meet. When I first encountered Keith it was at an audition for a comedy troupe of which he was already a member. We improvised a scene together and became fast friends. We worked in that comedy troupe for a few years and then ventured out into the “real world” as best friends and creative partners who would write and perform together.

Even though Keith enjoyed partying, to his undying credit he remained a steadfast friend and support to me when I went through some very serious substance abuse issues and got sober. In order to commit to my sobriety i had to jettison some long time friends from my life…but not Keith, who remained a constant and crucial part of my existence.

Tragically, in April of 1997 Keith was killed in a horrific crash in Titusville, Florida when the vehicle he was riding in was hit head-on, in broad daylight, by a driver driving on the wrong side of the road. At the time of his death, Keith and I we were working together at a soul-sucking office job to make ends meet. He took a few days off and went away for a weekend to attend a wedding. He returned in a casket.

To the people that loved him, Keith’s sudden death was a life-altering trauma. We were like the dinosaurs and his death was the meteor hitting the earth that blotted out our sun. We all barely survived the impact, but with the warmth of the sun removed from our sky we were doomed from that day forward to monotonously walk our cold and dying earth in perpetual darkness until our own inevitable demise. My own grief over Keith’s death has been like an iron cross I’ve carried for the last 23 years, and has, on many occasions, weighed me down nearly to the point of suffocation.

Which brings me back to Kiss and David Lee Roth. When I saw that Diamond Dave was opening for Kiss on their supposedly final tour, it felt like a sign from the gods of rock and roll. I simply knew I had to go to the show as an homage to my dear friend, creative collaborator and faithful Kiss Army member, Keith Hertell. So that is exactly what I did.

Thankfully I was able to snatch up a very good seat, in a VIP section no less, for the very affordable price of $55, and found a very easy and cheap public transportation option to get me there too…so off I went.

I have been to the Staples Center before for basketball games and fights, but never for a concert. As I walked toward the entrance of the arena, among the ticket holders and various t-shirt and food vendors, there was a very crazy sweaty man, probably homeless, frantically walking in a wide circle singing Van Halen’s “You Really Got Me” at the top of his lungs. I thought of Keith and I and our drunken rock and roll ramblings of yesteryear and chuckled as concert goers gave a wide berth to this crazy man who seemed completely detached from reality.

Which brings us to David Lee Roth. Diamond Dave took the stage at exactly 7:29 pm when his band kicked into…you guessed it…“You Really Got Me” and it felt like deja-vu all over again from the lunatic outside the arena.

I have seen Dave perform solo a handful of times and with Van Halen once. He used to be really good. His voice was never great, but unique and entertaining, and he was a commanding stage presence and consummate showman. Oh how the mighty have fallen.

Roth’s charisma and front man prowess have eroded to a stunning degree as he is now reduced to mugging and clowning for the crowd with an impenetrable smile implanted on his face. For the majority of the set Diamond Dave seemed like an old lady wandering around a parking lot looking for a cardboard box to live in.

There seems to be something genuinely wrong with Dave at this point. The implanted perma-smile, and the slapping himself in the face - which he did multiple times, are bizarre to the point of alarming. On the bright side, at least the tight 40 minute set was devoid of his usual signature ramblings and rants.

As for the music, Dave’s backing band is terrific, but Dave feels like a vagrant loitering in their set as opposed to being the main attraction. Roth barely even pretends to sing anymore but instead lets his backing band cover most of those duties. When he does attempt to sing it is a train wreck. His phrasing is atrocious, breath control non-existent and he actually sounds like he is tone deaf. He also appears to be trying to transition from being a natural baritone to being a very unnatural tenor, a Herculean undertaking even under the best circumstances, but as a 65 year old man-child, impossibly delusional.

Roth’s vocal impotence was only heightened exactly 35 minutes after he left the stage when 68 year old Kiss front man Paul Stanley arrived on the scene showing off his still impressively powerful voice. Even Stanley’s speaking voice is stronger and clearer than Roth’s singing voice at this point.

Kiss hit the stage at exactly 8:45 and proceeded to absolutely destroy the Staples Center with the most glorious rock spectacle imaginable. Their two hour and ten minute set was jam packed with a cavalcade of rock and roll accoutrements like glitter, balloons, flame, explosions, rising stages, guitars shooting fireballs, lasers, fiery pinwheels, spitting blood and fire, rotating cranes and Paul Stanley flying across the tops of the audience…as well as a cornucopia of guitar, drum and bass solos.

This is such a rock show it is almost a parody of a rock show…almost. The musicianship of the band and the hard earned professionalism of Simmons and Stanley overcome the band’s catalogue of often-times middling songs and keep the festivities from ever devolving into self-satire.

Kiss put on an undeniably magnificent show that was…dare I say it…contagiously fun. There are definitely times when Kiss veers towards Spinal Tap territory, but musically they are so good and vocally so impressive that they get away with it. It also helps that the band is both entirely committed to what they are doing and take the music totally seriously, but never quite take themselves too seriously.

Gene Simmons and Paul Stanley are the two founding members still left in the band, and they are definitely running the show.

When Simmons dons his Kiss outfit and make up he stops being the sort-of-ridiculous 70 year-old man that he is, and becomes this…thing….this creature…this archetype. In his full Kiss regalia, Simmons oozes a startling power and charisma that dominates the stage. Simmons transformation is remarkable, and his stage presence, his natural dance movements and his singing voice left me stunned.

Paul Stanley also embodies an archetype when he gets his Kiss gear on, that of some kind of New York devil clown. Stanley has kept himself and his voice in great shape and he takes full advantage of both as he struts and dances across the stage and belts out tunes with aplomb.

Both Simmons and Stanley have been doing this for over forty years and it shows. Stanley immediately connects with the wider audience and effortlessly lures them into the palm of his hand, while Simmons must have pointed to, smiled at, or spoken with nearly every person in the crowd during the performance. Both of them boast a rogueish charm that makes every member of the audience feel as if they are part of the show and friends with the band. It is impressive to behold.

What I found fascinating about Kiss was the psychology on display. The make up they wear is like a mask in Greek Theatre. These masks allow them to play characters that tap into archetypes and unleash a power that they do not possess as regular people.

There is a sequence in which Simmons does a bass solo that segues into the song “God of Thunder”, where Gene is acting this role to perfection. Simmons is expertly doing a mask acting exercise in this sequence, a sort of Kabuki transformation, where he never speaks but mimes his beast like character’s intentions. It is gloriously entertaining and the crowd goes crazy for it.

The makeup is also a brilliant device because it keeps the band relatively young and allows the audience to maintain a certain level of suspension of disbelief. The makeup means the band looks just like they did in the 70’s…making Kiss the ultimate rock and roll avatar for being forever young. It is easier to accept Gene Simmons and Paul Stanley behaving the way they do on stage when you aren’t reminded that they are old enough to collect social security.

The distinctive makeup and the creation of these archetypal alter-egos also gives the possibility that the band Kiss…and the brand Kiss, can live on after the founding members retire or die. The makeup and the band are a brand like a sports team, at some point you aren’t rooting for the individual players but rather just rooting for the laundry.

A perfect example of this was that on my way home from the show while riding on the Metro, I heard two strangers talking about the concert. One guy, who was middle-aged and had seen Kiss many times and was obviously a big fan, thought that the entire original band, including former members Ace Frehley and Peter Criss, had played the show that night. Frehley and Criss haven’t performed with Kiss for years, but you wouldn’t know that by seeing a show because replacements Tommy Thayer and Eric Singer wear the same makeup and outfis that Frehley and Criss once did.

This notion struck me as well during the show when I was so impressed by the band’s vocals, and Simmons and Stanley’s vocals in particular, that I wondered if they had ever used “body doubles” to perform for them. I mean, how would anybody really know? So, say if Gene Simmons retires and someone else steps in…people might not even notice at first.

As for the actual members of Kiss…these guys don’t need any help just yet. Although, I must admit when I heard how good the band’s vocals were my first two thoughts were they were lip syncing or were aided by a backing track. Am I 100% sure that Kiss are doing all of their vocals? To be honest…no I am not. That is not entirely a knock against the band but rather a testament to how unbelievably good they sounded and how brutally cynical I can be.

As terrific as Simmons and Stanley are, guitarist Tommy Thayer and drummer Eric Singer are equally impressive. Thayer is a a dragon slayer on guitar as he plays with a ferocious precision that never falters. Singer is like a clone of Peter Criss as he plays with the same jazz-influenced style and dynamic showmanship. Singer’s vocals are also impressive, as he knocks his version the Criss song “Beth” out of the park.

The audience was a great mix of peoples. On one side of me was a middle-aged mom and her teen son, on the other a trio of twenty something Latinos, and right in front of me a conservative looking couple in their 60’s, all of whom rocked the whole night. The energy of the crowd never lagged and they and the band were into it the entire time.

If this is Kiss’s last tour they are certainly going out with a bang…but I wonder if the success of this tour will make the brain trust of Simmons and Stanley, who are notoriously motivated by money to an absurd degree, reconsider retirement. I’ll say this, I would definitely pay to see them again.

In conclusion, I did not expect much from Kiss but I had so much fun seeing them it is sort of miraculous. I went by myself, didn’t talk to or interact with anyone else, and yet I had a smile etched on my face the entire time. I was absolutely giddy basking in the glow of my live Kiss experience. If you have never seen them, I wholly encourage you to do so. If you go with another person you might have twice the fun I did!

I wasn’t a Kiss fan before…but immediately after seeing their spectacular show at the Staples Center I went down to the local recruiting station and enthusiastically enlisted in the Kiss Army. I ship out for basic training next week and will do all I can to make the world safe once again for 70’s rock. I hope to serve with honor and distinction.

Just as Paul Stanley dedicated the show to Kobe Bryant and those lost in the helicopter crash that killed him, I dedicated my Kiss concert to my friend Keith Hertell. Thankfully, I was at times able to see the show through his eyes, and came to fully understand his undying love of the band. I would like to think that Keith is in the heavens right now in his full Kiss regalia, looking down on me with an abnormally-long tongue extended through a most mischievous smile. I hope I’ve made him proud. I look forward to one day seeing him again…we have a lot to talk about.

SET LIST

Detroit Rock City

Shout It Out Loud

Deuce

Say Yeah

I Love it Loud

Heaven’s on Fire

Tears are Falling

War Machine

Lick It Up

Calling Dr. Love

100,000 Years

Cold Gin

God of Thunder

Psycho Circus

Parasite

Love Gun

I Was Made For Loving You

Black Diamond

ENCORE

Beth

Do You Love Me

Rock and Roll All Nite

©2020

Trump, Parasite and the 2020 Election

Estimated Reading Time: 5 minutes 57 seconds

This is an extended version of an article that was originally published on Friday, February 21, 2020, at RT.

TRUMP HATES PARASITE BECAUSE IT PREDICTS HIS ELECTION DEFEAT

Movies are a bellwether of public sentiment, and last year’s crop of class-conscious nominees, such as Best Picture winner Parasite, spell doom for Trump’s re-election.

Last night (Thursday February 20th) President Trump told a raucous rally crowd that he was not a fan of Parasite winning Best Picture at this year’s Oscars.

I think Trump despises Parasite, the South Korean film about class divisions and class struggle, because he unconsciously understands that it is a foreboding omen that foretells his electoral defeat come November.

As longtime readers know, I have developed a theory, named the Isaiah/McCaffrey Wave Theory, that is meant to track trends in the collective unconscious through various data points. These data points are then turned into waves - such as historical waves, empire waves, generational waves, time waves, and culture/art waves.

The theory is rather complex and is simply too long and complicated to coherently boil down in a blog post. So for this article I have simply focused the lens of the theory down to the culture/art waves as a way to measure unconscious trends before, or as, they turn into public sentiment.

In terms of the McCaffrey Wave Theory’s (MWT) viability, it did accurately predict the last presidential election - the first in which it was used…which most prognosticators, political scientists and other theories did not. In fact, the MWT thought that Trump’s victory was glaringly obvious…which is why I was so puzzled when everyone else was so shocked by the result.

In regards to the culture/art wave of the MWT, the primary (and most easily digestible) data points are the top ten box office films and Oscar nominated films for the year previous and the year of a presidential election. There are other secondary data points as well, but box office/Oscars are the one that we will use in this article because those films are the ones that most resonated with the general public. (And it should also be noted, film is not always the primary art/culture data point, that changes through history as different art/culture forms take precedence over others.)

Artists…even those that work in corporate Hollywood, are like antennas attuned to the collective unconscious, and their art is the act of taking the unconscious and making it conscious. In other words, artists take dreams and put them into reality. These artists are not consciously predicting the future, they are just acting on whatever resonates with their own subconscious when they are choosing what stories to tell and how to tell them.

Due to the nature of the film business, it takes years for their work to come to fruition…which is why cinema can be a leading indicator of what comes next in public sentiment as the lag time between concept and fruition gives time for those sentiments to come closer to the surface of the collective consciousness.

According to the McCaffrey Wave Theory, the titles, narratives, themes, color palettes and archetypes present in the most popular (box office/awards) movies hold clues as to what lies ahead in terms of public political preference.

The basic premise regarding these pieces of information, is to consider them like a dream and interpret them through a Jungian perspective. Dreams come from the unconscious, and movies/art are collective dreams born of the collective unconscious. Jungian dream interpretation is used because it is the best way to try and decipher the language of symbols with which the unconscious (collective or personal) communicates.

With this in mind it is also worth remembering that Oscar nominated and Box Office winning films aren’t just about the movies, but the marketing around those movies. The messages of these movies are not confined to the two hour viewing experience or to just those who see the film, because marketing will put incessant advertisements, tv and radio commercials, magazine and newspaper coverage, and billboards and posters in front of the entire populace. This will have the effect of not only being a leading indicator of public sentiment by expressing the symbols of the collective unconscious, but, as Freud’s nephew Edward Bernays teaches us, also being somewhat of a driver of that sentiment.

With all of this background in mind…let’s take a look at recent electoral history using the MWT before we dive in what lay ahead for 2020.

2016 ELECTION

The box office and Oscars accurately foreshadowed Trump’s 2016 win as in 2015 both Spotlight and The Big Short, two stories about outsiders taking on a corrupt establishment – The Catholic Church and Wall Street respectively, won Oscars, with Spotlight winning Best Picture.

Three other nominees, The Revenant, The Martian and Mad Max: Fury Road, were about men overcoming long odds and surviving in the starkest of situations. These films also had very distinct color palettes, with Mad Max and The Martian having red as their primary color, and The Revenant having blue as its primary color. These films also had similar visual schemes as they frequently used wide panoramic shots of bleak and desolate landscapes.

Even the title, Mad Max: Fury Road, was a sign of what lay ahead, Mad, Max, Fury…these words are obviously pointing to a jolting amount of anger coming to a boil in the collective unconscious. In terms of Trump, he was Mad to the Max, and his road to the White House was paved with Fury -and in the wake of his election, Democrats were the ones at Maximum Mad and filled with Fury.

Symbolically, these films tapped into the archetype of the outsider taking on the corrupt establishment (Spotlight, The Big Short), and the individual man overcoming staggering odds to survive in the bleakest of environments. Trump followed suit as he ran as an outsider taking on Washington and survived bleak odds and the grueling gauntlet of a decidedly adversarial establishment media to win.

The 2015 box office also presaged Trump’s election, as the box office champ, The Force Awakens, could’ve been titled “The Populist Force Awakens”, as it foreshadowed a forceful awakening of something. That something was the populism that propelled Trump to the Republican nomination and elevated Bernie Sanders to be a threat in the Democratic primary.

Like The Revenant, The Martian and Fury Road, The Force Awakens also used similar wide shots of bleak environments as the previously mentioned Oscar nominees, and also had a clashing red and blue color scheme…most notably in its movie poster…where red (the color of Republicans) is superior to blue (the color of Democrats). (See visual aids below)

Another top ten box office film in 2015 was Hunger Games: Mockingjay Part 2. The title “Hunger Games” is all about warfare and a lack of resources…people being hungry and there being winners and losers. This is the same theme that Trump ran so successfully on in both the party and general elections. In addition Trump’s favorite political tactic, “mocking”, is also prominently highlighted by the title.

Two other 2015 top ten box office winners signaling Trump’s victory were Mission Impossible: Rogue Nation and Minions. Mission Impossible: Rogue Nation could be the title of Trump’s entire campaign and presidency…as his winning was deemed “impossible”, and the nation needed to go “rogue” to elect this “rogue” candidate. “Minions” is also an apt description of Trump’s devoutly loyal followers.

The word “rogue”, defined as “a dishonest or unprincipled man”, made a very large appearance in the 2016 box office as well when Rogue One was a big box office winner. This meant that the “rogue” was not only a symbol the collective unconscious was desperate to make conscious, but also one that was advertised and marketed to the American public from the Summer of 2015 through to the end of 2016.

The top ten of 2016’s box office was chock full of primal words that indicated a less civilized, animalistic, predatory nature…such as Zootopia (a utopia of madness), Jungle Book (a handbook for life in a jungle), and Fantastic Beasts and Where to Find Them (a road map to the beast).

2016 also brought us the very clear signs of the hellaciously contentious energy in both the party primaries and in the general election. The most glaring examples were Captain America: Civil War and Batman v Superman which both told stories of internecine warfare with blue (Captain America) versus red (the billionaire Iron Man) as the opposing colors. (See visual aids below)

Another comic book movie, Suicide Squad was a top ten box office earner and it astutely summed up the feelings of the anti-Trump establishment Republicans and the Democrats after Trump’s victory.

But the biggest box office clue to Trump’s impending victory was the astounding success of Deadpool, the red clad, wise-ass outsider superhero, who premiered on the big screen in February of 2016. Is there any more Trumpish a superhero than the irreverent, anti-establishment Deadpool?

Hell or High Water, a 2016 Oscar nominee about two brothers who rob the corrupt banks in Texas that robbed their family, was another movie with wide shots of bleak environments (with a bleak reddish color palette), that thematically was right in Trump’s wheelhouse.

2012 ELECTION

Looking at other elections through the MWT is enlightening as well.

In 2012 Argo, Zero Dark Thirty and Lincoln, films about government accomplishing great things, were nominated and monopolized attention throughout the year leading to Obama’s re-election. These films told the narrative of government as effective and good…and obviously reflected a satisfaction with the status quo…which would mean an incumbent’s re-election.

Silver Linings Playbook was another Oscar nominee that year and its title is one of optimism (silver lining) and planning (a playbook)…which sums up Obama’s re-election message.

2012 also saw Django Unchained get Oscar nominations and do very well at the box office. The film is about a black man, Django - played by Jamie Foxx, getting revenge upon racist Southerners and slave owners. Of course, this archetype of the empowered black man in a racist America, was attached to Obama during his presidency.

2011’s Oscar nominees had two films that pointed towards Obama’s impending victory, the first was The Descendants, a movie set in Hawaii, the state of Obama’s birth, and The Help, a film about working class black women dealing with racism in the Deep South.

2008 ELECTION

Obama’s election in 2008 is also apparent when seen through the MWT perspective.

In 2007, No Country for Old Men won Best Picture and could have been a bumper sticker for Obama’s campaign against his older opponents Democrat Hillary Clinton and Republican John McCain.

Other nominees from that year were Michael Clayton, a story about a lone man taking on a corrupt corporate establishment, and Atonement. Obama ran as the archetypal fighter against corporate malfeasance…and his election would symbolize, among many voters, an atonement for the sin of slavery and Jim Crow.

2007’s box office also gave indication of a major shift occurring in the collective. Pirates of the Caribbean: At World’s End and Harry Potter: Order of the Phoenix were the top two movies that year. At World’s End symbolizes the ending of something, and the title Order of the Phoenix is a cry to rise like a Phoenix from the ashes (of the Bush administration, Wall Street collapse etc.) and restore “order”…which was the narrative and archetype Obama embraced.

Another top ten box office film was Legend, which starred Will Smith and told the story of a black man surviving a pandemic and working to find a cure. Once again, the archetype of the black savior is perfectly embodied by Obama.

In 2008, the box office was dominated by Hancock, a story of a black superhero, and The Dark Knight, both metaphors for Obama (a black man as a white knight, hence the dark knight) as the man to save America from the disastrous chaos of the Bush reign.

Other 2008 box office winners signaled pro-Obama sentiment as well, with Madagascar: Escape to Africa 2 and Narnia: Prince Caspian landing in the top ten for the year. Escape to Africa has the word “Africa” in the title, which is significant in an election where there is an African-American candidate…and “Prince Caspian” once again indicates preference for the younger - “prince”.

Although these film’s were not released until right after the election, both 2008 Oscar winner Slumdog Millionaire and nominee Milk, pointed to Obama winning. Slumdog Millionaire is the story of a poor Indian boy (who is brown skinned and born into poverty), overcoming great odds and making it big, while Milk is about a first…the first openly gay politician elected to public office. Obama, of course, would become the first black man elected to be president.

2004 ELECTION

Bush’s re-election in 2004 is also found in the MWT data.

In 2003, The Return of the King, a title that is an incumbent’s wet dream, won both the box office and Best Picture Oscar. Another Oscar nominee was Master and Commander: Far Side of the World, which is a powerful title in an election involving a “commander” in chief waging two wars on the “far side of the world”.

A plethora of sequels in the top ten box office of both 2003 and 2004, such as Matrix Reloaded, X2, Bad Boys 2, Spider Man 2, Shrek 2, Meet the Parents 2 and Ocean’s 12, all foresaw Bush’s reelection as he was going for a sequel in the form of a second term.

2004’s Oscar winner, Million Dollar Baby, could have been a moniker hung on Bush, as he was labeled by his critics as an entitled, petulant, silver spooned child born into enormous wealth, power and privilege. Another nominee, Sideways, indicated not a moving forward but rather a perpendicular movement…thus re-election.

2020 ELECTION

Which finally brings us to 2020.

Purely as a political observer I have long felt Trump was going to win re-election in 2020, and 2/3rds of the American public feel the same way. The MWT has also pointed, ever so slightly, in that same direction…until very recently. It was on Oscar night, when Parasite, the ultimate outsider (a foreign film with subtitles), beat out 1917, the status quo nominee, that I noticed a pronounced shift in the waves.

Parasite’s Best Picture win is a very clear signal that the economic populism of 2020 is an even more vibrant energy in the collective unconscious than it was in 2016.

Further proof of this is that in 2019, of the nine films nominated for Best Picture, a staggering six of them deal specifically with issues of class. Parasite, Joker, Once Upon a Time in Hollywood, Ford v Ferrari, The Irishman and Little Women all tell varying tales of class warfare and struggle. This is as strong an indicator of a single sentiment as we have ever seen in the art/culture wave of the MWT in recent memory.

The box office indicates a dramatic change coming as well, with Endgame (the highest grossing film of all-time) - which signifies a definitive ending, and Rise of Skywalker - indicating something rising, dominating, as did the overtly revolutionary populist Joker.

It is also noteworthy that both Endgame and Rise of Skywalker are the end of the respective story arcs of two record-breaking, blockbuster franchises. This Star Wars narrative arc is a cultural cornerstone and is over forty years old, and Marvel’s narrative arc has monopolized the culture for well over a decade. Both of these iconic stories ending in the same year is an extraordinarily compelling piece of evidence that the end of an era is upon us.

Rise of Skywalker is not only significant for these reasons, but also because of its color scheme. In the movie’s poster, the dominant color is now blue, whereas in 2016’s The Force Awakens, red dominating blue was the color scheme.

Endgame too has a color scheme of a purple-ish blue completely dominating red in its posters which is fascinating. The off-blue-ish color is striking because it is so unusual…and portends that not only is red waning but that it is not business as usual on the blue side of the divide.

These symbols in the art/cutlure wave could not be more clearly telling us that the thing ending is Trump’s presidency, and the thing rising is Bernie Sander’s class-fueled populist revolution.

Here are some more pieces of evidence to back up that assertion. Aladdin, the tale of a blue (Democrat) genie who grants wishes, was a top ten big box office winner last year. The symbolism is obvious as, fair or not, Bernie Sanders is being labeled as someone “giving away free stuff” by his critics in the establishment.

Another sign is much more esoteric, and that is the film Jumanji:The Next Level. The film was in the top ten of the box office last year and on its surface seems quite benign, but when you dig into it, things become pretty fascinating. Let me preface this by saying once again that this is Jungian dream interpretation, and you may find this interpretation to be a bridge too far. But here it is…

When you break the word Jumanji down into what it sounds like….it becomes “jew” + “manji”. Of course, the word “Jew” in the consciousness is striking in a year with the potentially the first Jewish presidential candidate.

The other part of this equation is even more subtle, but potentially much more powerful. The word “manji” is a Japanese word for a symbol…the symbol being the left facing swastika - as opposed to the right facing swastika used by the Nazis. To interpret this data from a Jungian perspective, that would mean that “Jew” + “manji” could be interpreted as a Jew who reverses the swastika/Nazism. I am not calling Trump a Nazi, but there is a strong sentiment in the culture that does attach him to the Nazi archetype. The conclusion to draw from this is that Jumanji symbolically means the current right (Republican) facing swastika will be reversed into a left (Democratic) facing manji. It might also signify Bernie Sanders, potentially the first Jewish candidate for President, will reverse the gains of the archetypal “Nazi”, Trump. (Again…I am not calling Trump a Nazi, only that he has been branded with the Nazi/“not-see” archetype in the public consciousness)

Another vital point is that like Trump in 2016, Sanders is running as the archetypal outsider. For instance, the media keep saying that Bernie is a joke and he can’t win the nomination or the general election, but remember, the media once said the same thing about Trump, and treated him with the same contempt.

Sanders is running against the establishment of both Washington AND the Democratic party. Also like Trump, he is despised by the mainstream media, who, like establishment politicians, belittle, dismiss and denigrate him every chance they get.

On a purely political and psychological level, it is obvious that the public viscerally loathes Washington and the media more than anything, which means that just like Trump in 2016, Sanders has the right enemies…and this will be a key to his success.

In conclusion, there is certainly a chance that the data that makes up the History, Empire, Generation, Time and Art/Culture waves, will shift in the crucial coming months, and the waves will obviously reflect, and I will report, that shift. But with that said, as currently configured, the Isaiah McCaffrey Wave Theory, most notably but not exclusively the art/culture wave, clearly indicates that Bernie Sanders is going to be the next President of the United States.

©2020

VISUAL AIDS

The blue-ish purple of 2019 Endgame surrounding red.

The blue-ish purple of 2019 Endgame surrounding red.

2019’s Rise of Skywalker has blue dominated red…in contrast to the color scheme of 2016’s The Force Awakens.

2019’s Rise of Skywalker has blue dominated red…in contrast to the color scheme of 2016’s The Force Awakens.

Blue once again taking up a larger percentage of the frame than red in 2019’s Rise of Skywalker.

Blue once again taking up a larger percentage of the frame than red in 2019’s Rise of Skywalker.

2016 - The Force Awakens has red front and center over blue.

2016 - The Force Awakens has red front and center over blue.

2016 The Force Awakens with its protagonist having the appearance of holding red…the color which dominates the frame over blue.

2016 The Force Awakens with its protagonist having the appearance of holding red…the color which dominates the frame over blue.

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Red v Blue in 2016’s Civil War.

Red v Blue in 2016’s Civil War.

Red v Blue in Batman v Superman…notice that red wins.

Red v Blue in Batman v Superman…notice that red wins.

Deadpool…the Trumpiest of superheroes…being snakry and wearing red in 2016.

Deadpool…the Trumpiest of superheroes…being snakry and wearing red in 2016.


6th Annual Mickey™® Awards: 2019 Edition

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

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

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

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

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

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

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

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

Best Cinematography

Joker - Lawrence Sher : Sher was a relative unknown, at least to me, prior to Joker. His work on the film is truly remarkable as he composes really exquisite classical shots and juxtaposes them against fluid shots that in a thrilling dance with lead actor Joaquin Phoenix.

Once Upon a Time…in Hollywood - Robert Richardson : Richardson is one of my all-time favorite cinematographers. His work with Oliver Stone in the late 80’s and early 90’s was revolutionary (JFK for instance). He has proven himself to be a very flexible and adaptable talent and his work in this film is sublime. The last shot of the film, where Leo Dicaprio’s Rick Dalton walks up Sharon Tate’s driveway, is a glorious piece of cinematic myth making.

1917 - Roger Deakins : Deakins is Deakins. The guy is a master, as evidenced by his previous Mickey award for Sicario (2015) and he brings all his formidable talent and skill to bear on the “one-shot” structure of 1917. For all the gimmickry of the one-shot approach, what impressed me so much about Deakins work here is how he was able to continually frame such gorgeous shots while constantly on the move.

Ad Astra - Hoyte Van Hoytema : Hoytema is another of my favorite cinematographers working today. He is already a Mickey Award winner (Dunkirk 2017) and his work on Ad Astra is magnificent. He paints the film with a bleak palette and vivid contrast that accentuates the narrative and is gorgeous to look at.

The Irishman - Rodgrio Prieto : Prieto’s work on The Irishman is superb as he perfectly paints the film with a rather lush and nostalgic sense that contrasts well with his camera movement and framing.

Parasite - Hong Kong-pyo : Hong is someone I am not familiar with…but his work on Parasite is so precise it is a joy to behold. Hong’s greatest strength is in his camera placement, as he uses it as a a way to draw the audience into the narrative while also keeping them at a cool emotional distance.

And The Mickey goes to…Lawrence Sher - Joker : Sher pulls off the big upset going against heavyweights like Deakins, Richardson and Hoytema. Joker is beautifully and artfully photographed and Sher’s work was a major factor in the films artistic success.

Best Adapted Screenplay

The Irishman - Steven Zaillian’s ability to contain and focus the sprawling story of Frank Sheeran while keeping things tight and dramatic, is impressive.

Joker - Todd Phillips was able to imbue comic book intellectual property with profoundly insightful political and social commentary. Wow.

The Two Popes - Anthony McCarten created multi-dimensional characters where others would have made card board cutouts. Too bad his director undermined his fantastic writing.

Transit - Christian Petzold adapted a book about the holocaust and made it about modern times. It is chillingly effective in subtly showing the similarities of the rise of fascism then and now.

And The Mickey goes to…Todd Phillips - Joker : Todd Phillips must have sold his soul to the devil because nothing in his prior career would give any indication he was capable of such intelligence and artistry. Now he has a Mickey™®! The world is a wonderful place.

Best Original Screenplay

Once Upon a Time…in Hollywood - Tarantino is an even better writer than he is a director…which is a staggering thought to contemplate considering his directing greatness. OUATIH is a crackling script that holds on tight…but not too tight that it loses its humanity. Extraordinarily well done.

Parasite - Bong Joon-ho’s script is a whirling and twirling piece of magnificence. As original and well-crafted a screenplay as you’ll find.

Ad Astra - James Grey’s script is the most psychologically mature and resonant of the entire year. It is an utter field day for anyone with any background in Jungian psychology.

A Hidden Life - Terrence Malick brings the spiritual struggles of a anti-Nazi crusader down to earth in the most glorious and profound way.

Ford v Ferrari - James Mangold gives us a rip-roaring script that covers a lot of ground but never loses its way.

And The Mickey goes to…Quentin Tarantino - Once Upon a Time…in Hollywood : Tarantino’s ability to write characters, dialogue and story is unparalleled in modern cinema. Guy is amazing…now he has a Mickey™® to prove it!

Best Supporting Actress

 Margaret Qualley - Once Upon a Time…in Hollywood: Qualley, a Breakout Performance Mickey™® Award winner (2017), makes good on her promise and delivers a deliriously intoxicating turn as one of Manson’s seductive minions.

Margot Robbie - Once Upon a Time…in Hollywood : Robbie doesn’t say much as Sharon Tate…because she doesn’t have to. An effervescent and luminous performance that highlights her supreme craft and skill and proves she is way, way more than just a very pretty face.

Park So-dam - Parasite : Park is super sexy cool as the sister who poses as an art teacher. She imbues her character with a certain sense of almost spiritual fatigue cloaked in a devilish charm that is beguiling to witness.

Lee Sun-kyun - Parasite : As the mother of the rich family, Lee is wonderfully funny as her desperation to be worthy and perfect keeps wrapping her tight and unwrapping her too quickly.

Zhao Shuhzhen - The Farewell : Zhao’s turn as an ailing grandmother is delightful for its humor, humanity and power. Zhao’s Nai Nai is no wilting flower, she is both tough and tender…and reminded me so much of my late wee Scottish grandmother I was thoroughly enchanted.

 

The Mickey goes toMargot Robbie - Once Upon a Time...in Hollywood. The usual suspects complained this film was misogynistic because Robbie’s Tate had a paucity of dialogue, but it’s a testament to her talent and skill that she was able to convey an affecting story with more than just words.

 

Best Supporting Actor

Brad Pitt - Once Upon a Time…in Hollywood. In an industry with a paucity of genuine stars, Pitt gives the movie star performance for the ages…where women want to be with him and men want to be him.

 Joe Pesci - The Irishman : Pesci is usually plays combustible characters, but his Russ Buffalino is an imposing figure of self-containment. Maybe the very best and most subtle work of his career.

Al Pacino - The Irishman : Pacino brings Jimmy Hoffa to life with a vibrancy and dynamism only he could muster. A truly masterful performance.

Jonathan Majors - The Last Black Man in San Francisco : A finely crafted and glorious performance that is filled with a deep humanity and vivacity.

Sam Rockwell - Jojo Rabbit : Rockwell is an absolute joy to behold as he subtly but magnificently devours scenery as a down on his luck Nazi.

Song Kang-ho - Parasite : Song is the epicenter of Parasite as a man without answers trying to figure out the questions. He is blessed with a face that tells a story all its own.

 

The Mickey goes toAl Pacino - The Irishman. Pacino has become a sort of parody of himself in his later years, but his portrayal of Jimmy Hoffa was a perfect manifestation of self-defeating tenacity and combustibility that is one of the highlights of his superb career.

 

Breakout Performance of the Year - Julia Butters : Butters is mesmerizing as the whip smart child actor who works with Rick Dalton as he hangs on to his career by his finger nails. Butters is just a kid but has the presence and magnetism of someone twenty years older. I hope child stardom does not weigh heavy upon her…because down the road she has the opportunity to be very special.

Best Foreign Film

Transit - This is a close-up view of what fascism feels like…and it does not feel good.

A Hidden Life - A profound examination of the spiritual battle a man must wage to save his soul in Nazi Germany.

Parasite - A masterful contemplation of class and family dynamics set in Korea.

Rojo - A terrific under the radar movie that shows the corrosive effects of our old friend fascism as it descends upon 1970’s Argentina.

Shadow - A terrific Chinese Wuxia film with spectacular fights and inventive visuals.

And The Mickey goes to…Parasite - Exquisitely directed with an amazing cast. One of the very best films, foreign or domestic, of the year.

Best Actress

What a dismal year for female performances. I literally cannot think of any actresses worthy of even nominations never mind wins. After a very testy emergency meeting of the Mickey™ council, a compromise was reached.

The Mickey goes to…Florence Pugh - Midsommar. Pugh, a Breakout Performance Mickey Award winner (2017), is on her way to becoming a movie star and her two Mickeys will no doubt only accelerate her ascent.

 

Best Actor

Robert DeNiro - The Irishman : DeNiro does the very best work of the latter part of his career as Frank Sheeran, the cog in the wheel of the mafia and union who sells his soul to survive.

Franz Rogowski - Transit: Rogowski is just a phenomenal actor and his intricate work in Transit is transcendent for its humanity and honesty.

Robert Pattinson - High Life : Who knew Pattinson could actually act? In High Life he does surprisingly complex and detailed work as a man condemned to be lost in space.

Leonardo DiCaprio - Once Upon a Time…in Hollywood : DiCaprio has been among the biggest movie stars for decades now…but his performance as Rick Dalton is the very best of his remarkable career.

Joaquin Phoenix - Joker : As precise, dynamic and committed a performance as we’ve seen in years. Phoenix is the best actor of his (and maybe every other) generation and he proves it with Joker.

Brad Pitt - Ad Astra : :Pitt proves himself to be more than a pretty face with a powerfully subtle, skilled and nuanced performance as a man in search of his father. This is easily the very best acting Brad Pitt has ever done.

The Mickey goes to…Joaquin Phoenix. Phoenix’s work in The Master (2013) was a gargantuan evolutionary leap for the craft of acting, and his performance in Joker is a powerful continuation of that evolution.

Best Ensemble

Once Upon a Time…in Hollywood - DiCaprio, Pitt, Margot Robbie, Pacino, Bruce Dern…an absolutely loaded cast that all give top notch performances.

Parasite - This cast overcomes the language barrier and does exquisite work in bringing Bong’s twisted vision to life.

The Irishman - DeNiro, Pacino and Pesci do some very heavy lifting and elevate Scorsese’ late era masterpiece.

And The Mickey goes to…Once Upon a Time…in Hollywood - The very best of Pitt, Robbie and Leo is the very best of the Mickeys™®!

Best Director

Quentin Tarantino - Once Upon a Time…in Hollywood : Tarantino truly is one of the great directors of his time, and OUATIH is his very best film . Not a flaw to be found.

Martin Scorsese - The Irishman : Scorsese brilliantly turned this late era gem into a referendum on his entire stellar career and imbued the movie with an existential power than would have been missing in any other auteur’s hands.

Todd Phillips - Joker : Who knew that Todd Phillips, the guy who made The Hangover movies…was capable of such exquisite direction as Joker. This movie is so well conceived and executed it is astonishing.

Bong Joon-ho - Parasite : As detailed, specific and skilled a piece of direction as you’ll find.

James Grey - Ad Astra : Grey finally puts all the pieces together and makes the great movie he’s been striving for for years.

Terrence Malick - A Hidden Life : Malick is a master…and A Hidden Life is a monument to his talent, skill and spiritual inquisitiveness and intellect.

And the Mickey goes toBong Joon-ho - Parasite : All of the nominees did extraordinary work but Bong’s direction of Parasite was extraordinary. Parasite is an intoxicatingly detailed, precise and specific master class in the art and craft of film directing.

Actor/Actress of the Year - Brad Pitt : Pitt flexed his movie star muscles in Once Upon a Time and also proved himself to be a formidable thespian in Ad Astra. That sort of high level versatility earns him the Mickey™®. Now maybe women will find him attractive.

Best Comedy of the Year - Jojo Rabbit : Taika Waititi hysterically dons Hitler garb and brings an ecstatic Mel Brooks-ian humor with him to great affect. The film isn’t great...but the comedy parts of it certainly are.

Best Blockbuster of the Year - Joker . Avengers: Endgame was the obvious favorite in this category…and it is a fitting end to this phase of the MCU, but it got out beat by the scrappy lunatic from Gotham. Joker cost $60 million to make and grossed over a billion dollars, and actually made more profit than Endgame and is the most successful R-rated movie of all-time. That is a blockbuster by any standard. The fact that it was a real movie hidden within the cloak of a comic book story, makes it the most unlikely, but most delicious blockbuster in recent memory.

 

Best Picture

10. Transit - This is such a finely crafted and effective film. I can’t recommend it enough to people who think in the abstract about fascism. The suffocating sense of impending doom is palpable…and unnerving.

9. High Life This ingenious movie can be at times frustratingly French (even though it is in English), but I found it mythologically resonant and dramatically impactful.

8. The Last Black Man in San Francisco A fantastically interesting and entertaining film that tackles a serious subject but never panders or takes the easy road.

7. Ford v Ferrari Good old fashioned Hollywood movie making at its very finest. A captivating tale of men trying to accomplish something great…and overcoming the corporate overlords who kill everything worthwhile.

6. A Hidden Life Malick puts us into the shoes of a man who must choose between Hitler and God…and must face the consequences of his choice. A deliberate, contemplative and deeply moving film that should be required watching for any and all Catholics.

5. Ad Astra This movie is devastatingly profound and it is among the most insightful movies made in recent years about the psyche of men and the meaning of masculinity. It also boasts a great Brad Pitt performance.

4. The Irishman – Martin Scorsese turned the story of a mafia hitman’s regrets into a surprisingly poignant and existentially insightful referendum on his own spectacular career. Seeing Scorsese being Scorsese and meditating on what it means to be Scorsese…is glorious to behold.

3. Parasite – A startlingly original film and one of the most entertaining and interesting dramatic investigations of class struggle and social structure to come along in ages. A brave and unflinching movie that never pulls a punch.

2. Once Upon a Time…in Hollywood – A fork in the eye of woke Hollywood, this film is the very best of Tarantino’s career as it is chock full of outstanding performances and crackling dialogue.

1. Joker - The best picture of the year….and also…

The Most Important Film of the Year - Joker

The fact that Todd Phillips, the guy whose previous claim to fame was making The Hangover movies, made the dramatically electrifying Joker is one of the great miracles of modern cinema.

Joker is a deeply profound and insightful film that eloquently and artistically expresses the palpable sense of despair and rage that permeates the consciousness and animates the intentions of the dispossessed in society. Disguising this sentiment within the cloak of comic book intellectual property was a stroke of genius.

The elites loathed Joker because it didn’t tell them what they wanted to hear, but rather had the temerity to speak the ugly, unvarnished and unnerving truth.

For its efforts Joker made over a billion dollars…and now it earns the equivalent of that in prestige with the coveted Mickey™ Award for Best Picture.

Thus concludes The Mickey™® Awards…SEE YOU AT THE AFTER PARTY!

A version of this article was originally published at RT.

©2020

Game of Thrones Predicted the Zealotry of Extinction Rebellion Eco-Fanatics

Estimated Reading Time: 3 minutes 38 seconds

 The similarities between the eco-moralists of Extinction Rebellion and the Sparrows cult from Game of Thrones are uncanny.

I have a long held a theory that film and television can be tools of prophecy used to glimpse the future. Here are a few examples that support my unconventional thesis.

In the 1990’s, numerous films, such as Armageddon, Independence Day, Deep Impact, Godzilla and The Siege, showcased the New York City skyline being decimated by one calamity or another. In addition, on March 4, 2001, the X-Files spin-off series, The Lone Gunman, aired an episode where hijacked airliners were being flown into the World Trade Center. Then six months later 9-11 happened and the devastation to the New York City skyline by hijacked planes was all too real. 

Another example was in 2016, when the films Captain America: Civil War and Batman v Superman reigned supreme at the box office. These films highlighted internecine warfare between superheroes, even pitting the colors red (Iron Man/Superman) versus blue (Captain America/Batman). These movies were released in the spring of 2016 and predicted the contentiousness of the coming November election and the raging of a vicious culture war in its aftermath.

The Handmaid’s Tale was in production when Trump won the 2016 election, and when it first aired in the Spring of 2017 gave voice to liberal women’s fears of patriarchal misogyny under a Trump administration. The show was also a precursor and predictor of the #MeToo movement in the fall of 2017.

Game of Thrones in particular is a bellwether when it comes to entertainment as prophecy. The show’s first episode, “Winter is Coming”, aired in 2011 and that phrase quickly became the series tag line. Billboards warning, “Winter is Coming”, portending an invasion by undead White Walkers and their zombie minions, soon loomed ominously over cities and towns across America. In the ensuing years a metaphorical winter did indeed descend upon the U.S., as the cold wind of political correctness swept across the land while an army of mindless ‘woke’ scolds waged war on free expression and diversity of thought.

Game of Thrones ended this past May, but with every passing day its creator George R.R. Martin looks more and more like Nostradamus. For example, when I saw the recent Extinction Rebellion climate crisis protests, I immediately thought of Game of Thrones.

Why would eco-activists who snarled New York City traffic by supergluing themselves to a boat in Times Square, took a hammer to a government building in London, grounded a flight from Dublin to London, and plotted to use drones to shut down Heathrow, remind me of Game of Thrones? Well, because these fanatics are eerily reminiscent of a group of religious zealots from Game of Thrones called the Sparrows.

If you’ll remember, the Sparrows and their leader, the High Sparrow, came to prominence in King’s Landing after the death of Tywin Lannister. The cult attracted great numbers of followers to their devout way of life, including some royals like Ser Lancel Lannister, who was former incestuous lover to his cousin, Cersie Lannister.

The similarities between the Sparrows and Extinction Rebellion are numerous. For instance, both groups were born out of noble intentions, as the Sparrows set out to alleviate the suffering of the down trodden, and Extinction Rebellion were concerned about the environment.

Both groups are also religious in nature. The Sparrows ardently worship the Faith of the Seven and brutally torture sinners and violently coerce them to confess, such as Cersei who was forced to do a public naked walk of shame to atone for her sins.

The eco-moralists of Extinction Rebellion are a religious cult too, as their members blindly worship at the altar of “scientism”, claim to have a monopoly on truth, demand purity and punish heretics. Extinction Rebellion has also gotten celebrities such as Radiohead’s lead mope Thom Yorke, among many others, to do their own walk of shame and sign a confession admitting to their past climate crisis sins.

Extinction Rebellion even has its own Joan of Arc character in Greta Thurnberg. Thurnberg, a heart felt 16 year-old who suffers from mental and emotional issues, has been held up as an eco-saint and had her passion, youth and innocence exploited as both weapon and shield by cynically manipulative activists.

It should be noted that there are some differences between the Sparrows and Extinction Rebellion. For instance, the Sparrows are religious ascetics who live a life of monk-like devotion and simplicity in order to save their souls, whereas Extinction Rebellion are not ascetics themselves, but instead insist that everyone else live ascetic lives by giving up their worldly goods such as cars or traveling by plane.

{The Sparrows also work to feed the poor, while in contrast Extinction Rebellion demand that people grow their own food, which would starve the poor since they have no land upon which to grow sustenance. }

Another difference is that the leader of the Sparrows, the High Sparrow, gave up a vast fortune in order to become a member of the religious order, while the co-leader of Extinction Rebellion, Dr. Gail Bradbrook, is a professional malcontent who makes her living through various protest movements with Extinction Rebellion just being the most recent.

While the Sparrows and Extinction Rebellion do have differences, the bottom line about both groups is that their true purpose is to usurp power in order to implement their radical agenda.

On Game of Thrones the High Sparrow played a masterful game of political chess setting the Lannisters and Tyrells against one another in order to wrest control of the Iron Throne for himself. The High Sparrow exploited the political ambitions of the Tyrells and the weakness of Cersei Lannister’s impressionable young son, King Tommen, in an attempt to gain power and turn his religious beliefs into royal decree.

Extinction Rebellion’s strategy is equally Machiavellian. Their abrasive tactics of creating traffic jams and airport delays are only going to irritate and aggravate working people, thus creating enemies instead of allies. But Extinction Rebellion doesn’t care about gaining popular support. The movement believes in Gene Sharp’s theory of non-violent action that claims that protest movements only need the support of 3.5% of the population to trigger mass changes. So Extinction Rebellion is using peer pressure and social fear among the elite in the establishment media and the entertainment industry in order to acquire endorsements and donations they believe will assist the movement in reaching cultural critical mass while bypassing populist sentiments.

Extinction Rebellion are just as devious and duplicitous as the High Sparrow, as evidenced by founding member Stuart Basden revealing the movement’s real agenda is not combating climate change but destroying “white supremacy”, “patriarchy”, “Euro-centrism” and “hetero-sexism/heteronormativity”. In other words, Extinction Rebellion is nothing more than a Trojan horse to normalize and codify into law ‘woke’ hatred of straight, white males in the name of environmentalism.

What is even more alarming about Extinction Rebellion is that investment banks like HSBC, JP Morgan Chase and Citi all share their radical environmental agenda because they see the “climate crisis” as an “opportunity”. These banks also saw an “opportunity” in mortgage-backed securities and collateralized debt obligations during the housing bubble. That turned out to be a catastrophe for working class people and so will the Wall Street backed Extinction Rebellion agenda, which will be just another replay of the tried and true formula of stealing from the poor to feed the rich.

I am a committed environmentalist and am not skeptical of climate change science, but I am deeply skeptical of Extinction Rebellion, their intentions and their tactics…and you should be too.

On Game of Thrones Cersei eliminated the plague of the Sparrows in the most explosively spectacular of ways, but paid a steep price by losing her son, King Tommen. Hopefully Extinction Rebellion will go much more quietly into their good night. But if they don’t, and these eco-moralist clowns do impose their delusional environmental agenda, it will be Joker, with its depiction of an angry populist uprising that becomes cinematic prophecy.

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

©2019

Parasite: A Review

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

My Rating: 4.5 out of 5 stars

My Recommendation: SEE IT. A fantastically original film, gloriously directed and acted, that is both dramatically potent and politically insighftul.

Language: Korean with English subtitles

Parasite, directed and co-written by Bong Joon-Ho, is the story of the Kim family, who live at the bottom rung of Korean society and try to connive their way out of poverty. The film stars Song Kang-ho as father Ki-taek, Jang Hye-jin as mother Chung-sook, Choi Woo-shik as son Ki-woo and Park So-dam as daugher Ki-jong.

Parasite is an exquisitely crafted film that, although it is in Korean with English subtitles, speaks as eloquently and insighftully about the perils of American capitalism and the growing resentment and rage born out of astronomical wealth disparity, as any film in recent memory. In this way Parasite is reminiscent of last year’s Shoplifters and this year’s big movie Joker. All three of these movies tap into the pulsating dissatisfaction of the working poor who are being left further and further behind, and growing angrier and angrier about it, with every passing day.

Whenever certain themes recur in films that capture either the critical or commercial imagination (or both), my antenna stand on end because as my studies have shown, cinema can be prophecy, and these films are red flags as to what is percolating just beneath the surface in the collective sub-conscious. One look around America, and the world, gives credance to the theory that these films, all of which give voice to the emotional pull of populist uprisings, are trying to warn us of what lies ahead.

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.

Director Bong Joon-ho has tapped into these ideas of class struggle before, most notably in his film Snowpiercer (which starred Chris Evans aka Captain America), which was a remarkably innovative and original film. Bong’s class consciousness in both Parasite and Snowpiercer is fueled by anger and fear… namely, fear for what will result when the anger from below is righteously unleashed upon those at the top when the house of cards crumbles. Bong, either consciously or unconsciously, understands that the current world order sits atop a super volcano that is growing more and more unstable and combustible, and his film’s reflect the emotional and political fragility of our time.

In Parasite, the poor are vermin, roaches, who are either being pissed on or drowned, as poverty is a deluge that imposes upon them indignity after indignity until it suffocates them. The poor are forced to stay in their place and warned not to “cross the line” into familiarity with the rich. The prison of poverty has walls, both real and imagined, that are impenetrable…even when you repeatedly bang your head against them…like Arthur Fleck does in Joker (wink).

The rich family in Parasite, the Parks, are the picture of decadence, detached from the ability to see the poor as even human. The Parks are repulsed by the poor, who they see as more akin to animals than people, as evidenced by their disgust at the literal smell of poverty. The Park’s revulsion at the poor does not stop them from fetishizing poverty, much like Americans fetishize Native Americans but make sure they stay on the reservation (wink)…just one more way for the rich to exploit the poor for their personal gain.

Parasite’s politics and psychology are as insightful as its drama is enrapturing. The film never shies from the difficult or the desperate, nor does it wallow in it. Instead Bong Joon-ho has made a socially relevant, dramatically explosive film that is deliriously entertaining in every single way.

Bong’s direction of Paradise is fantastic, as the film’s dramatic and physical geometry is spectacular. His use of straight lines, differing levels (symbolic of class status) and long journeys upward and downward (very similar to Joker, where Arthur Fleck makes those trudging journeys up the long flight of stairs, and the victorious dance down it) is proof of a master craftsman and artist at work.

Bong’s ability to meld together comedy, suspense, elements of thriller, as well as social commentary is extraordinary. I never knew what was coming next in Paradise and was always surprised, sometimes shocked and never disappointed.

The cast of Paradise are outstanding. Song Kang-ho in particular gives a dynamic performance that is consistently rich and layered. And both Choi Woo-shik and Park So-dam do stellar work that is both magnetic and subtle. Park in particular has a charm and presence about her that is intriguing and compelling.

Parasite is one of the very best film’s of the year and most certainly will garner an Oscar nomination for Best Foreign Picture, if not a win, and may even sneak in a Best Picture nod. The film is expertly made, wonderfully acted, politically prescient and dramatically potent, for these reasons, Parasite is required viewing for cinephiles and regular folk alike. 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. But make sure you go see Parasite as quickly as you can…it is truly a fantastic film and well worth you time and money.

©2019

Joker: A Review

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

My Rating: 4.75 out of 5 stars

My Recommendation: SEE. IT. NOW.

Joker, directed by Todd Phillips and written by Phillips and Scott Silver, is the story of Arthur Fleck, a mentally-ill, down on his luck clown-for-hire and stand up comedian, who transforms into Batman’s arch-nemesis, the super-villain Joker. The film stars Joaquin Phoenix as Fleck, with supporting turns from Robert DeNiro, Frances Conroy and Zazie Beetz.

Early Thursday night I put my life in my hands and made the dangerous trek to the local art house to see Joker in 70mm. Thankfully, no angry white incels were laying in wait for me, so I lived to tell the tale of my Joker cinematic experience…here it is.

I went to Joker with very high hopes, but paradoxically, because I had such high hopes, I assumed I’d be disappointed by the film. My bottom line regarding Joker is this…it is a brilliant film of remarkable depth and insight, a gritty masterpiece that is a total game-changer for the comic book genre, and a staggering cinematic achievement for director Todd Phillips and star Joaquin Phoenix.

Joker is the cinematic bastard son of Martin Scorsese’s masterpiece of 1970’s New Hollywood, Taxi Driver. Beyond being an homage, it is more an updated bookend to that classic, engineered for the corporatized Hollywood of the 21st century.

The film’s Taxi Driver lineage is hiding in plain sight, as it has similar music, shots, camera angles and even re-purposes the famed finger gun to the head move. Joker’s Gotham, is eerily reminiscent of Taxi Driver’s New York City of the 1970’s, which Travis Bickle aptly describes as “sick and venal”. I couldn’t help but think of my Los Angeles neighborhood when seeing Joker’s dilapidated Gotham, with its garbage piled high on every sidewalk and a layer of filth covering the city. In “sick and venal” Los Angeles, we are much too evolved to have garbage piled high on our sidewalks, no, out here in La La Land, even in million dollar neighborhoods, people are disposable and so we we have them piled high on the sidewalks instead, as homelessness is epidemic. Joker’s Gotham, Bickle’s New York and my Los Angeles also share a deep coating of grime as well as a thriving rat population that is disease-ridden and increasingly bold, both in and out of public office.

Joker’s depiction of Gotham as a Bickle-esque New York is fascinating bit of sub-text, as it is a throwback to a time before Manhattan was Disney-fied and Times Square turned from degenerate porn hub to hub of capitalism porn. Joker is also a throwback to a time before cinema was corporatized/Disney-fied, a pre-Heaven’s Gate age, when filmmakers like Scorsese could flourish and make movies like Taxi Driver, unhindered by suits blind to everything but the bottom line.

Joker ‘s genius is also because it is a “real movie”, a Taxi Driver/The King of Comedy covertly wrapped in the corporate cloak of superhero intellectual property. Unlike the sterile Marvel movie behemoths, which Scorsese himself recently described as “not cinema" and which are more akin to amusement park rides than movies, Joker is, at its heart, a down and dirty 1970’s dramatic character study, for this reason alone the film is brilliantly subversive and a stake into the heart of the Disney Goliath.

It is astonishing that Todd Phillips, whose previous films are the comedies Old School and The Hangover trilogies, was able to conceive of, and execute, Joker with such artistic precision and commitment. Phillip’s success with Joker is reminiscent of Adam McKay’s astounding direction of The Big Short (2015). Previous to The Big Short, McKay had basically been Will Ferrell’s caddie, making silly movies well, but they were still silly movies. McKay’s long term film making prowess is still in question, as is Phillip’s, but that does not diminish their mastery on The Big Short and Joker.

Phillip’s direction really is fantastic, but he is also greatly benefited by having the greatest actor working in cinema as his leading man. Joaquin Phoenix’s performance as Arthur Fleck/Joker is an astonishing feat. Phoenix famously (or infamously depending on your perspective) lost a great deal of weight to play the role, and his wiry, sinewy frame at times seems like a marionette possessed by a demon outcast from American bandstand or Soul Train. Fleck/Joker’s madness is seemingly chaotic, but Phoenix gives it an internal logic and order, that makes it emotionally coherent.

Phoenix is a master at connecting to a volatile emotionality within his characters, and of giving his character’s a distinct and very specific physicality. What is often overlooked with Phoenix is his level of meticulousness and superior craftsmanship in his work. Joker is no exception as his exquisite skill is on full display right alongside his compellingly volcanic unpredictability. Phoenix’s subtle use of breath, his hands, as well as his attention and focus are miraculous.

Phoenix is a revolutionary actor. He is so good, so skilled, so talented, that he is reinventing the art form. His work as Freddie Quell in Paul Thomas Anderson’s The Master (2012) was a landmark in the art form, and his performance in Joker is equally earth shattering. If he does not win an Best Actor Oscar for Joker, whoever does win the award should be ashamed of themselves for stealing the statuette from its rightful recipient.

Contrary to establishment media critical opinion, Phoenix does not make Arthur a sympathetic character, but he does make him an empathetic one, and one with which we empathize. We don’t feel sorry for Arthur, we feel kinship with him as he struggles to maintain some semblance of dignity in a society allergic to compassion.

Joker was described by its detractors as being “dangerous”, and I can attest that the film is indeed dangerous, but not for the reasons laid out by its critics. Joker is dangerous because it dares to do something that corporate controlled art has long since deemed anathema…it tells the very ugly truth.

Joker has the artistic audacity to peel back the scab of modern America and reveal the maggot infested, infected wound pulsating in agony just beneath our civilized veneer. Joker’s chaotic madness is a perfect reflection of the sickness of our time. Think Joker is too “nihilistic” or “negative”? Turn on a television, read a newspaper or take a cross-country flight, and you’ll see that the nihilism and negativity of Joker are nothing compared to the madhouse in which we currently live.

Arthur Fleck is America, as the country, populated by narcissists, neanderthals and ne’er do wells, has devolved and self-destructed, rotting from the inside out after decades of decadence, delusion and depravity. America is rapidly degrading and devolving, and that devolution is mirrored by Arthur Fleck has he transforms into Joker.

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.

Joker, the consummate trickster, is devoid of politics and ideology and exists only to feed and satiate his own voracious madness. Fleck is an empty vessel and the Joker archetype co-opts and animates him. Fleck, born again as Joker, is adopted as a symbol for the struggles of the angry and the desperate, in other words, Joker is the archetype of our times, a Trumpian figure, who unintentionally inspires others, friend and foe alike, to release their inhibitions and unleash their inner demons. Joker is dangerous because he is an avatar for the rage, resentment and desperation of millions upon millions of Americans who have been forgotten and left behind and are utterly despised by the elite. Joker is both apolitical and all political. The populist Joker is both Antifa and the Alt-Right. Joker is everything and nothing to everyone and nobody all at once. The media in the movie, and in real life, make Joker into a monster, an icon and an iconic monster for the dispossessed, elevating him in the eyes of those desperately seeking a savior.

In a perverted and brilliant way, Phillips and Phoenix make Fleck into a Jesus figure, who as he transforms into Joker, becomes an unwitting Christ/anti-Christ. The line between messiah and madman is a thin one, and depends almost entirely on projection and perspective.

Arthur Fleck, like Jesus, is literally someone who is repeatedly kicked when he is down. Like Jesus, society ignores and despises him. Like Jesus he is berated, belittled and beaten…and yet all he wants to do is make people smile. Like Jesus, Fleck’s birth story is convoluted and lacks coherence.

What makes Phoenix’s portrayal so chilling is that his Fleck earnestly desires to bring joy to the world just like Jesus…and just as Jesus is actually a good magician/miracle worker, Fleck is actually a good clown, filled with energy and purpose. But Arthur soon realizes that there are two jokes at play in the universe…the one where he is the punchline, and the one in his head, of which he is self-aware enough to realize regular people “won’t get it”. Jesus makes the same sort of discovery during his temptations, he hears a “joke” in his head too, but it is the voice of God, and he comes to realize no one else will “get it” either. Fleck and Jesus are presented the same two paths, Jesus takes the one of self-sacrifice and becomes the Christ, and Fleck takes the road of human sacrifice, and becomes The Joker/Satan.

At its core Joker is a character study, and so there is not a lot of heavy lifting among the cast besides Joaquin Phoenix. That said, Frances Conroy, Robert DeNiro and Zazie Beets all do solid work with the material they have.

The film is shot with an exquisite grittiness by Lawrence Sher. Sher pays adoring homage to Taxi Driver by using certain specific camera shots and angles throughout the film. Sher also uses shadow and light really well to convey Fleck’s/Joker’s perspective and his tenuous grasp on reality. Sher, like Phillips, does not have a resume that would make you think he was capable of doing such substantial work, but in the case of these two men past was not prologue.

Joker is one of those movies that reminds you why cinema matters, as it uses the tired and worn comic book genre to draw viewers in, and then sticks the knife of brutal cultural commentary deep into their chests.

Joker has been at the center of of a cultural storm ever since it premiered to a raucous ovation at the Venice Film Festival in September. The film won the Golden Lion (Best Picture) at Venice and was quickly catapulted into the Oscar discussion, which created a fierce backlash against the film from certain American critics and woke twitter. The common refrain from those critics who saw it at Venice, and those who hadn’t, was that the film was “dangerous” because it would incite disaffected white men to become violent. In researching an article I recently wrote about the controversy, I came across a stunning number of articles with the imploring and weak-kneed headline, “Joker is Not the Movie We Need Right Now”. Of course, the converse is true because Joker is exactly the movie we need right now.

The critical opinion of Joker, especially among the critics at influential media outlets such as The New York Times, The Washington Post, The Boston Globe, The Guardian, The New Yorker and Time, is aggressively negative and dismissive, riddled with a belittling and condescending commentary. The criticisms leveled at the film from these effete establishment critics are obviously contrived, petty, personal, political and entirely predetermined. The amount of intentional obtuseness on display about Joker, its cinematic sophistication and its artistic merits, by these supposed important critics is stunning and revealing.

The critical malevolence toward Joker is undoubtedly fueled by a need to virtue signal and pander to woke culture, and is born out of personal contempt for the filmmaker (who dared defend himself against “woke culture”) and manufactured anger at the subject matter. The poor reviews of Joker by these American critics says considerably more about those critics, their dishonesty and lack of integrity, than it does about Joker. Make no mistake, Joker is a masterpiece in its own depraved way, and the critics who succumb to the myopic social pressure and cultural politics of the moment by reflexively trashing the movie as immoral and artistically and cinematically unworthy, will be judged extremely harshly by history.

In looking at the review aggregator website Rotten Tomatoes, Joker currently has a critical score of 69 and an audience score of 91. The disconnect between critics and audience on Joker is similar to the disconnect on display regarding Dave Chappelle’s recent Netflix stand up special Sticks and Stones. Chappelle’s show was pilloried by critics who were horrified by the comedian’s “unwoke” and decidedly politically incorrect take on the world, as the critical score is currently at 35, while the audience score is a resounding 99. It would seem that in our current age, bubble-dwelling, group-thinking critics in the mainstream media, are no longer interested in artistic merit, cinematic worthiness, skill, craftsmanship or talent, but rather in personal politics, woke ideology, political correctness and conformity, and are dishonest brokers when it comes to judging art and entertainment.

Joker is a watershed for the comic book genre. In the future film historians will look back on this time and say that there comic book films pre-Joker and comic book films post-Joker. There is no going back for the genre. That does not mean that Marvel will immediately crumble and fall into the sea, but it does mean that the genie is out of the bottle, and there is no getting it back in. Jason Concepcion and Sean Fennessy at The Ringer recently pondered if Joker is to the superhero genre what The Wild Bunch was to westerns back in 1969. They are not so sure, but I certainly think is as genre redefining or killing as The Wild Bunch. The Disney/Marvel model, post-Endgame and post-Joker, will only see diminishing cultural resonance and relevance, as well as financial returns, from this point forward. The superhero genre will not disappear overnight, but it has begun its long retreat from its apex, and God only knows what will eventually replace it.

In conclusion, 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. Joker is unquestionably one of the very best films of the year and should be, but probably won’t be, an Oscar front-runner for Best Picture, Best Director, Best Actor and Best Screenplay. I highly recommend you go see Joker in theatres as soon as you possibly can, as it is must-see viewing for anyone interested in cinema, art or in understanding what is rapidly coming for America.

©2019

Anecdotal Observations on Elizabeth Warren

ESTIMATED READING TIME: 4 minutes 28 seconds

This past weekend a poll of Iowa voters came out and showed that Massachusetts Senator Elizabeth Warren was leading the pack in Iowa, having jumped ahead of front runner Joe Biden. The poll has Warren at 22%, Biden at 20% and Bernie Sanders at 11%.

Warren has been climbing in nationwide polls as well and is currently perceived as having a great deal of momentum while Biden seems to be floundering and Bernie seems to be dropping.

I wrote a few weeks ago that I thought that Biden looked painfully doddering and dead eyed, and it seems that sentiment, while vociferously pilloried by the media, is gaining traction with some Democratic voters. In the last Democratic debate, Julian Castro got into a heated exchange with Biden and accused the former Vice President of not remembering what he had said just moments ago. In response, the media went apoplectic on Castro, calling the remark a cheap shot and ageist while they circled the establishment wagons around poor hapless Uncle Joe.

I did not watch the debate but saw the exchange later and I noticed something that I think other “regular” people saw that is at odds with the media reaction. What I saw is that Castro challenged Biden’s mental capacity, no doubt due to age, and then a dead-eyed Biden proved Castro’s point for him by turning to Bernie Sanders, who is actually two years older than the decrepit Biden, and asking “what did he say?” Biden looked like Grandpa Simpson in his underwear looking for his false teeth, which made Castro’s attack all the more effective, at least in wounding Biden. For this reason and others, Biden’s drop in the polls is no surprise.

As for Warren’s jump in the polls, I have no insightful explanation except to say that while she too is no spring chicken, she certainly has considerably more vim and vigor than “Retirement Home” Joe....or is it “Funeral Parlor” Joe?

The only insights I have regarding Elizabeth Warren are entirely anecdotal, and should be taken with the grain of salt that type of information deserves. Here they are…

While the last Democratic presidential debate raged, my 4 year old son and I entertained ourselves by watching Be Be Bears, a Russian produced cartoon about the misadventures of two bears, Bjorn and Bucky, on Netflix. Bjorn is a polar bear who has left his frozen home in the Arctic to venture a bit further south where he has befriended Bucky, a brown bear who is extremely confident in all things, most notably his inventing ability.

In the episode we watched, Bucky had invented a bunch of robots to clean his house, but the robots, like all robots, turned on him and imprisoned Bjorn and Bucky. Bjorn and Bucky’s female friend, Little Fox, came to their rescue and distracted the robots and assisted Bucky in unplugging them. It was a quality episode of Russian bear wholesomeness.

When Be Be Bears ended I turned off Netflix as it was bed time for my little bear. When Netflix went off, the regular tv came on and just so happened to be on the channel showing the debate, which at that moment featured Elizabeth Warren giving an impassioned speech about…something. My son never watches regular tv, and when I watch regular tv around him, it is always just some ballgame…so his seeing a political debate was a bit shocking to him. As I searched for the remote to turn off the tv, my son got up, walked over to the tv and pointed right at Elizabeth Warren and proclaimed, “I DON’T LIKE THAT LADY!” My wife and I looked at each other puzzled. He then said, “she looks like Granmo.” (Granmo is what he calls his grandmother).

This seemed contradictory as my son loves his Grandmother so I asked him, “Do you not like Granmo?”

He replied, “I love Granmo…but I don’t like that lady”, pointing at Elizabeth Warren’s enlarged face on the television screen.

I asked him why he didn’t like her and he said, “I just don’t like her at all”.

After my son went to bed I started thinking about this incident and wondering why my son had such a visceral negative reaction to Elizabeth Warren. I wondered, had the notoriously nefarious Russians been up to no good? Had they hacked my son using subliminal messages in their supposedly family friendly show about a white bear and brown bear living in harmony with each other and the environment in order to turn him against Senator Warren? I didn’t know the answer…but I was intrigued.

After mulling this over for a few days I decided to call a bunch of my friends and family to get their thoughts and feelings on Senator Warren. I narrowed my calls to my plethora of family and friends who either reside in Massachusetts or at one time resided in Massachusetts and still have deep roots there. These people, the majority of which are women, are across the political spectrum, with a few arch-conservatives, a few strident leftists, and a large number of middle of the road independents. Of all of these people in allegedly liberal Massachusetts, which number into the multiple dozens…not a single one told me they like their senator, Elizabeth Warren.

Anecdotal observations are not very noteworthy, as you can find anecdotes to support whatever thesis you so desire, but the reason I am sharing this anecdotal information is that it is striking due to the anti-Warren sentiment being completely unanimous across the political spectrum. Every single person I spoke with felt negatively about Senator Warren, with some of them vociferously despising her while the rest of them unabashedly disliking her.

The women I spoke with range in age from middle-age up to retirement age, are mostly highly educated, single and successful in their careers. The men I spoke with are middle-aged to retirement age, college educated and mostly married.

Much to my shock, to a person, the female loathing of Warren had little or nothing to do with her policies and everything to do with her personality and presentation. The words I kept hearing, over and over again from women about Warren was that she was “annoying” and “unlikable”, with many of the respondents openly saying they “knew they weren’t supposed to say” that she was “unlikable”, but that was how they felt anyway. A few of the women even went so far as to say that they “hated” Warren, and these women are not raging Republicans either.

Among the men, all of them disliked Warren’s presentation and personality as well, but with the men their dislike of her was also heavily laced with misgivings about her policies. The word I also heard most often from men in describing Warren was “annoying”.

I recently saw some talking head on the television pontificating that Warren will be a shoe-in in the New Hampshire primary, which comes right on the heels of the Iowa caucus, because New Hampshire is neighbors with Massachusetts. Well…what I gleaned in my conversations with Massachusetts people is that in regards to Elizabeth Warren, familiarity breeds contempt, and so NH might not be the slam dunk some think it will be.

If Warren loses NH, it may come as a shock to the media and thus alter the narrative of her inevitability, which will no doubt be climaxing post her presumed Iowa win and heading into an expected coronation on her supposed home turf of NH. If the apple cart of this media narrative gets overturned then lots of interesting things could happen in the Democratic nominating process…from a resurrection of the not-so-good-ship Biden, to Bernie seeing a surge and scaring the shit out of the political and media establishment, to another lower tier candidate gaining some unexpected momentum which could catapult them to the nomination.

With all of that said, it is also worth noting that just because the Massachusetts people I spoke with did not like Warren, that didn’t mean they liked Trump. Across the board people disliked Trump, although a few people, very few, did support him and his policies, with one man saying he likes Trump because he “gets things done”.

It is also worth noting that the same people I spoke with in regards to Warren this year, also felt similarly about Hillary in 2016.

So this means that if 2020 is Trump v Warren, it will be a pseudo-retread of 2016 in that it will be a showdown between two candidates that people find unlikable…and we know how that ends. Although in Warren’s favor, she is less of a known commodity/liability than Hillary, who had built up 30 years of animus by the time she was the Democratic nominee for president, and thus may not be quite as hamstrung by negative sentiment by the time election day rolls around as Hillary certainly was in 2016…but that is no guarantee.

If Warren gets the nomination Americans will have spent a full year inundated by her presence. Voters may have the same immediate visceral, negative gut reaction to Warren that my son had when first exposed to Warren, or those that don’t immediately feel that way may grow to dislike her more and more the more they see of her, as with the Massachusetts people with which I spoke.

The bottom line is this, the 2020 election looks to be another year long shit show. The kabuki theatre of American democracy in 2020 will once again feature a dog and pony show starring a dog we hate and pony we loathe…with the end result being, no matter who wins, the status quo remains unchanged and awful, or gets even worse than it is now.

In conclusion, after careful thought and consideration, I have finally chosen who I will be supporting in the next election. They are kind, loyal and resilient. Yes, they are Russian, but that is a fact I am willing to overlook due to their inherent decency and unwavering thoughtfulness. It is for these reasons and more that I am proud to announce that I fully endorse…BJORN AND BUCKY IN 2020!!

©2019

Angry Americans, Shark Attacks and Synchronicity II

Estimated Reading Time: 5 minutes 29 seconds

I took a little vacation last week and headed out for some sun and fun on Cape Cod. The beach was great, and except for my one close call where I barely escaped/survived a harrowing shark attack*, my time on the Cape was thoroughly enjoyable.

What was not so enjoyable was getting to the Cape. Air travel has devolved from being a modern marvel of man’s ingenuity to being a crucible bordering on a crucifixion. The Passion of My Flight began at 4 am when I had to get up to get to LAX to run the gauntlet of both airport traffic and TSA security. My flight to Boston was delayed leaving LAX for 45 minutes because of traffic on the runway, but at least we were right on time to run into a “microburst” at Logan airport which forced us to divert to Bangor, Maine, of all God forsaken places. For three interminable hours my flight was held, Dog Day Afternoon/hijack-style, on the tarmac at Bangor while we waited to refuel and for Logan to recover from its “microbursting”.

To be fair, my stay in Bangor was not nearly as bad as it could have been. Part of what made it tolerable was that the passengers in my section all bonded over the misbehavior of two passengers who were kicked off in Bangor. I didn’t see what happened, but was informed by a gaggle of gossipy flight attendants, or as I condescendingly call them “stewardesses”, that once we landed in Bangor a guy in his 30’s or so, declared he was going to exit the plane to have a smoke. The stewardesses informed him that, no, he was not allowed to leave the plane and was not allowed to smoke. Joe Camel was having none of it and since the stewardesses had opened the cabin door in order to ventilate our plane, he forced his way off the craft and onto the tarmac to light up. The funniest part of this story, and a strong indicator of this guy’s extraordinary genius, is that he was trying to smoke right next to the fuel truck that was refueling our jet….what could possibly go wrong? To the flight crew’s credit, they put up with none of the Marlboro Man’s nonsense and called the police who quickly escorted this gentlemen to his barred Bangor accommodations for the evening (I can attest that I did actually see the Maine State troopers drive up to our plane).

To the further delight of our section of passengers, the stewardesses also informed us that Smoking Man was traveling with his mom, who was also kicked off the plane for her bad behavior, as she had berated the flight crew as they had her son arrested. The crew shared with us that this woman, who sounds lovely, had also cursed at them throughout the flight because they failed to point out the Grand Canyon to her when we flew over it. While I did not enjoy my brief time in Bangor, I can only imagine that this mother and son combo REALLY disliked their extended stay in Bangor.

My return flight was no walk in the park either, as it was delayed at Logan for 3 excruciating hours before we ever boarded, and this was after I got to the airport two hours early in order to once again, run the gauntlet of traffic and security. Frustrations were running high at the gate as passengers tried to gather information on when exactly we would be leaving. Not surprisingly, airline staff on the ground were not fountains of abundant knowledge.

As far as I know, there were no arrests on this flight but there was a very tense confrontation between a middle aged father and a younger mother sitting behind him. What started it all I have no idea, as I had earplugs in…but by the time I removed them the confrontation was close to becoming a conflagration.

The younger woman, who was maybe in her thirties, had a smaller child with her, around 5 or so, and she was cursing up a storm at the guy in front of her who was with his teenage son. The guy told her to watch her mouth and not curse out his son, and she continued to “motherfuck” the both of them. The middle aged guy raised his voice threateningly in response, and then the woman played shocked and appalled that a man would raise his voice to her, and then the stewardesses arrived and did nothing but watch the argument escalate. Like the “microburst” at Logan on my earlier flight, this storm revealed flashes of shocking intensity but then dissipated into an uneasy quiet.

From my very brief observations of these two people before, during and after their confrontation, I can say with some level of certitude that both of them seemed like pretty shitty, self-absorbed human beings. The guy struck me as a total douchebag, as I had a brief interaction with him before we boarded and sensed he rated high on the asshole scale. The woman was no ray of sunshine either, as she struck me as just as entitled and obnoxious as her male opponent. If a fist fight had broken out between the two I am certain that I would have intervened, but only to punch them both in the face and lock them in the aft lavatory.

So why do I share these stories with you? Am I morphing into a travelogue writer or something? No…I share them because I think these anecdotes reveal a great deal about the current state of America and the American psyche.

One of the first things that stood out on my travels was that our infrastructure is a disaster area. Traffic both to and from LAX and Logan was an utter catastrophe. There are too many cars and too many people and not enough space. And it isn’t just the roads that are too congested…the skies are as well as my plane hit traffic trying to take off from LAX which was just as bad as the traffic on the drive to the airport.

The fragility of our infrastructure was highlighted by my flight being diverted from Boston to Bangor due to a 15 minute storm. Yes, the storm was a very intense one, but it did only last 15 minutes, and yet I had to sit in Bangor for three hours. No doubt other Logan bound flights suffered the same fate in Portland, Hartford, Providence and other mid-major cities across the eastern seaboard. The diverted flights then put strains on their new airports in the form of parking spaces/fuel etc., and then air travel along the east coast would be delayed and backed up because Logan had to land and take off the flights that were diverted/delayed before they let other flights already scheduled leave/arrive.

When you think about our civilization and how tenuous it is…it is pretty chilling. I mean, if there was some sort of solar flare or some other catastrophe that hit the U.S. and knocked out power, we would devolve into Mad Max/Escape From New York/Planet of the Apes territory in a matter of days, if not hours. It would be nice to think that a disastrous event would bring people together and illuminate the angels of our better nature, but as some of the passengers on my flight proved, that is unlikely. Considering that my toddler son behaved markedly better than full blown adults on my flights who could not control themselves or their impulses, is a pretty strong indicator that chaos is just a heartbeat away at any given moment.

In regards to the passenger misbehavior on my flights, the thing that stood out to me is that there is a palpable anger coursing through the blood of Americans. People are just really, really pissed off right now. I cannot recall a time in my life where tensions have been this high in America. People are stressed and scared and completely on edge, and the underlying tension and anxiety creating American’s anger and fury is only gaining in intensity as it expands across the country.

The Smoking Man who refused to listen to the stewardesses and tried to smoke on the tarmac while the plane refueled is a wonderful symbol of the epidemic of narcissistic entitlement spreading across the country. This guy wanted what he wanted, when he wanted it, and was willing to risk potentially blowing up an airliner with 200 people on board just to satiate his desire/addiction.

The funny thing is that everyone stuck on that plane in Bangor was so irritated and aggravated by our situation (our delay/diversion), that I am sure that if Smoking Man had caused a big headache that encompassed all of the passengers in my section, we would have torn him limb from limb like a ravenous mob. I take no pride in saying I know I would have gleefully participated in, if not instigated, that riotous behavior towards any scapegoat stupid enough to present him/her/itself.

It seems to me that America is rapidly losing its mind. We have devolved into a combustible people looking for offense, slights, or excuses to vent the rage that boils just beneath the surface of our seemingly mundane and terrifyingly meaningless lives. This perpetual state of stress, tension and anger blinds us to reality and causes us to see only those things that reinforce our worst instincts and impulses about other people and feeds our sense of dissatisfaction and disenfranchisement.

As to why we are so angry and stressed…well…the causes are legion. As previously stated, our dilapidated infrastructure is a cause of stress as it creates irritants like traffic both on our streets and in the skies. Economic and financial pressure creates stress among millions who have to work longer and harder to make less and pay for more. Politics no doubt is a force multiplier of these stresses and anxieties as absolutely everything in our culture is politicized beyond recognition. Trump, love him or loathe him, is also a major contributor to American anxiety and tension as he is virtually everywhere. It is impossible to escape Trump, or talk of Trump, or opinions of Trump, no matter where you go or what you do. Social media is a toxic vehicle in and of itself, but in the age of Trump it has become a dealer of all things Trump 24/7, that keeps the addicted high on their own supply of Trump love/hate. The media, cable news in particular, are non-stop Trump and have devolved into reality television where Trump is the character they love to hate.

I also think Americans are suffering an existential crisis, where our lives have been stripped of purpose and we are left adrift in a vacuous sea of vapid consumerism devoid of any philosophical, religious or spiritual meaning. This emptiness used to manifest itself as a sort of listless malaise and ennui, but has now morphed into a volcanic rage and fury ready to erupt in order to release the pressure building deep inside its dissatisfied core.

It seems to me that we are on a very dangerous trajectory that is fraught with peril. As the events of the last week have shown, people of all persuasions (political and otherwise) are filled with anger and hatred and are a hair’s breath from snapping and hurting or killing lots of people. As much as I hate to say it, I fear that there is no turning back from the madness that is infecting us all…and when Trump is re-elected, and from my discussions with people on my travels I think he is going to be, this country is going to detonate and we will all be caught up in the conflagration.

America is a tinderbox and tense, anxious and stressed people are going to ignore the warning signs, throw caution to the wind, and try to satiate their selfish desires and addictions by lighting up next to a fuel truck which will cause this whole shithouse to go up in flames. Sadly we are no longer equipped with the personal or national infrastructure to be able to extinguish that inferno.

My observations of Americans during my recent journey made me think of the 1983 song "Synchronicity II” by The Police. The song is off of the band’s fifth, final and best studio album, Synchronicity. Sting’s insightful and prophetic lyrics speak to the meaninglessness of our modern lives and the primal darkness that lurks just beneath the surface of our civilized/middle-class veneer, and are accompanied by an edgy and grating guitar that haunts and pesters like an infectious bug crawling just beneath our skin. This song could be America’s new national anthem.

SYNCHRONICITY II

Another suburban family morning/ Grandmother screaming at the wall/We have to shout above the tin of our rice krispies/We can’t hear anything at all

Mother chants her litany of boredom and frustration/But we know all her suicides are fake/ Daddy only stares in to the distance/ There’s only so much more that he can take

Many miles away/ Something crawls from the slime/ At the bottom of a dark Scottish lake

Another industrial ugly morning/ The factory belches filth into the sky/ He walks unhindered through the picket lines today/ He doesn’t think to wonder why

Secretaries put and preen like cheap tarts at a red light street/ But all he ever thinks to do is watch/ And every single meeting with his so-called superiors/ Is a humiliating kick in the crotch

Many miles away/ Something crawls to the surface/ Of dark Scottish loch

Another working day has ended/ Only the rush hour hell to face/ Packed like lemmings into shiny metal boxes/ Contestants in a suicidal race

Daddy grips the wheel and stares alone into the distance/ He knows that something somewhere has to break/ He sees the family home now, looming in his headlights/ The pain upstairs that makes his eyeballs ache

There’s a shadow on the door/ Of a cottage on the shore/ Of a dark Scottish lake/ Many miles away/ Many miles away

Sting is right…and that primordial beast crawling out of an ancient Scottish loch is no longer slouching towards America…it is here, it is angry and there is no stopping or controlling it.

*Shark Attack - My shark attack story is this…there have been a plethora of shark sightings on the Cape this summer, so much so that the Boston Globe even had a front page story with the headline “Sharks on Cape Cod: Just how scared should we be?”. The Globe answers its own question with a resounding…”VERY SCARED!”. For this reason and because the absolute only thing in the entire world that I am afraid of is sharks, I was not going to go into the Atlantic during my vacation. I was assured by everyone I spoke with that the location of my Cape beach was on the Martha’s Vineyard sound, which would have no seals at all, and since it has no seals there would be no sharks. People were adamant that our beach was safe and that no seals had ever been spotted there and certainly no sharks. I admit I found this story to be at best dubious, but due to peer pressure I relented and trepidatiously ventured into the dark unknown of three feet of Atlantic ocean.

Except for the fact that there were dozens of shark sightings at other Cape locations, the vast majority of my Cape vacation went well…UNTIL…on my second to last day, I narrowly escaped death at the hands of a massive and ravenous Great White shark.

What happened is this…as I exited the water with my toddler son, I glanced east along the beach and saw…something. I stopped and focused my gaze to the spot where there was an anomaly in the water. There was a group of about ten kids playing on flotation devices in that exact spot and my mind raced back to the movie Jaws, where a little kid, Alex Kintner, gets eaten by the shark while riding on a flotation deviced, blood splattering everywhere. I could feel the camera zoom in on my face just like it had on Chief Brody when he saw the shark attack Alex Kintner on the flotation device…my mouth went agape as I saw…something!

Then the lifeguard blew their whistle and frantically yelled for everyone to get out of the water. I threw my son to my wife and ran down the beach towards the commotion. People were standing in my way so I courageously knocked them over and pushed them into the water in order to keep a barrier between me and the hungry shark. Then…the beast poked its massive head above the water, baring its razor sharp teeth…it was as clear as day…it was horrifying…it was a ferocious….SEAL!!!

To be clear…I’ve seen seals before…but this seal was absolutely massive. He deceptively rolled over onto his stomach in a playful manner and dove under and surfaced again, much to the delight of the crowds gathered at the beach but I wasn’t fooled. I knew that I had just come within inches of being mauled by a shark…because as everyone knows…where there are seals…there are sharks!

I was assured by the same liars and deniers who told me that a seal had never been spotted on this beach before that the seal I just saw was just “lost”. “Lost” my ass..that seal knew EXACTLY what it was doing. And regardless of whether this seal is “lost” or not...what is to stop a “lost” Great White from following this seal, coming to this beach and taking a giant bite out of my obviously delectable ass?

In conclusion…when I say I survived a shark attack what I mean is that I saw a seal playing about twenty feet from the shore at a part of the beach where I wasn’t swimming. This was a close call indeed.

©2019

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

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

My Rating: 4.5 stars out of 5

My Recommendation: SEE IT.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2019

The Emotionalist Buffoonery of Charles Blow


Estimated Reading Time: 5 minutes 22 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2019

The Souvenir: A Review

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

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. No need to ever suffer through this meandering art house pretender.

The Souvenir, written and directed by Joanna Hogg, is the story of Julie, a film school student who falls into a relationship with Anthony, a mysterious older man. The film stars Honor Swinton Byrne as Julie and Tom Burke as Anthony, with a supporting turn from Tilda Swinton.

Joanna Hogg (no relation to Dukes of Hazzard’s Boss Hogg or Sir Denis Eton-Hogg of This is Spinal Tap) is a British filmmaker who in the last decade has made a bunch of fringe art house films that have occasionally garnered some mild critical attention. I have never seen any of Ms. Hogg’s previous work, and after seeing The Souvenir, I don’t feel obliged to.

The Souvenir is a narcissistically indulgent art house poseur of a film that has pretensions of profundity but ultimately is nothing more than an exercise in cinematic futility and philosophical frivolity.

Ms. Hogg’s film school training is noticeable as she is proficient in the technical aspects of filmmaking, some of her shots of wonderfully framed for example, but she is totally devoid of even the most minute storytelling or character developing instincts. The Souvenir’s characters, relationships and narrative are so poorly constructed the film has no foundation upon which to build any sort of dramatic momentum.

The characters have absolutely no arcs to them at all, they start in one place and end in exactly the same place. No one goes anywhere or learns anything…things just happen and time goes by and then, mercifully, the movie is over. The movie is so devoid of any dramatic pace or rhythm, the film’s meandering two hour run time drags on and on. It seems Ms. Hogg’s greatest skill as a filmmaker is the ability to make two hours feel like eight.

The film is a semi-autobiographical story about a relationship Ms. Hogg was in during her film school days, and it shows. Ms. Hogg takes for granted the character’s motivations and their connections because she has lived them, but she never does the work of conveying those things to the audience, so we are left with no connection to anything or anyone on the screen.

The film not only has no answers, it has no questions, but instead spins its wheels in the muck and mire of its own emptiness. Nothing makes sense, nothing means anything, and nothing matters. I sat watching this film wondering why on earth Julie would spend time with this dullard and dope of a man Anthony who brings nothing to the table…nothing…he is not charming, smart, funny, good-looking or charismatic.

Honor Swinton Byrne (Tilda Swinton’s daughter) is a pleasant screen presence as Julie but is not developed enough as an actress to be able to carry a film like this which, if made correctly, would need a complex performance at its center. Byrne may well grow and mature into a more formidable actress, but for now her charm and quirky, but undeniable, beauty can only carry her so far and do not make up for her lack of skill. That said, I do look forward to seeing where she goes from here.

Tom Burke as Anthony does as well as he can with the very little he is given. Anthony is a vacuous and vacant character, a cardboard cutout from Ms. Hogg’s perspective on her own history. Burke gives Anthony a distinct and precise manner but cannot give him any specific intentions because the character has none.

Tilda Swinton plays a small role as Julie’s mother and brings a noticeable amount of dramatic heft that is missing from the rest of the cast. Tilda Swinton elevates the proceedings a great deal but is not a miracle worker.

Seeing this film made me remember being in a play a few years ago. In the play I played a date rapist and had to simulate a rape on stage. My scene partner, who is one of the loveliest people I know, was also the writer and star of the production and she had written the play about her own personal experience. Obviously, rehearsing this scene was difficult because of the emotional minefield we were walking through. In one rehearsal I improvised by changing one small word in a line, and my scene partner/writer and her director friend got very upset. They said that I shouldn’t change the word, and when I told them that the way I changed it actually conveyed the emotional sentiments more clearly and with much more dramatic impact, they countered by saying with the utmost sincerity and earnesty, “but that isn’t what he said in real life”. Needless to say, I bit my tongue, I am not going to argue with that statement in that situation. But the reality was and is that it doesn’t matter how it happened “in real life”…what matters is how you convey it to the audience and how they perceive it. How does the audience receive and process the information you are giving them? By sticking to strictly “what really happened”, the essence of that rape scene, and its horror and emotional power, were diluted due to a sort of emotional narcissism more akin to psychotherapy than drama/art/entertainment. While that may benefit the actress/writer, it didn’t benefit the story or the characters and therefore the audience.

It struck me watching The Souvenir that Ms. Hogg seemed to be re-litigating an old relationship and using cinema as the vehicle for her therapy. While that may be good for her, that is not so good for us because her therapy is not dramatically sound, artistically worthy or even remotely compelling or engaging.

After seeing the film I thought to myself that, like her young star Honor Swinton Byrne, Ms. Hogg may well grow to be a formidable filmmaker as she matures and grows as an artist. Due to the film’s rather immature philosophical perspective and myopic artistic vision I assumed Ms. Hogg was a young woman in her twenties who was basically still trying to figure out who she is as an artist. Then I looked Ms. Hogg up and was dismayed to find that she is a 60 year old woman. If she doesn’t know who she is as an artist and a person or what she is doing as a director by now, she never will.

In conclusion, The Souvenir is a piece of art house fool’s gold that sells itself as a sort of artistic journey but is neither a piece of art nor does it go anywhere. Ultimately, the film is a frustrating, dare I say irritating, cinematic experience, and for this reason I contend that no one ever needs to see this film at any time or any place for any reason.

©2019

Shadow: A Review

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

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. A wonderfully made, visually stunning and dramatically and psychologically satisfying Chinese action film in the vein of Crouching Tiger, Hidden Dragon and Hero.

Shadow, directed by iconic Chinese film maker Zhang Yimou, is the story of Jingzhou who is trained from a young age to be a double/shadow for military leader Ziyu. The film stars Deng Chao in a dual role as Jingzhou and Commander Ziyu, with supporting turns from Sun Li and Zheng Kai.

Shadow is best described as a Wuxia film, which is a genre of Chinese fantasy/fiction that revolves around “martial heroes” in a world of magical realism. Notable examples of Wuxia films are Ang Lee’s Crouching Tiger, Hidden Dragon and Hero and House of Flying Daggers by the same director as Shadow, Zhang Yimou.

Yimou, who is one of the great directors of his generation, has a flair for unique fight choreography and paints his films with a striking palette and dramatic visuals. In Shadow, Yimou and cinematographer Zhao Xiaoding use a muted grey, black and white as the dominant color scheme but the film’s visuals crackle with a stunning intensity. The film is beautifully shot, highlighted by Xiaoding’s gorgeous framing (just look at the poster above) and use of a crisp and clear contrast between the blacks and the whites, the shadow and the light. Yimou and Xiaoding’s masterful use of contrast creates a visual clarity and coherence that is a joy to behold.

Shadow is a psychologically and dramatically rich story that deeply mines the Jungian concepts of the shadow. The most obvious example of this is that Chao plays both Jing and Ziyi, who are essentially the same entity with two different elements of its psyche projected into the outer world, each vying for control. Jing “the shadow”, must be identical to Ziyi, and in a delicious bit of Jungian symbolism, must have the identical “wound” as Ziyi. Ziyi in turn must integrate his “shadow” in order to make himself whole again, or face the consequences of being overcome by his psychological shadow.

The shadow is a complex and dramatically potent psychological premise used to great effect by other film makers from the East, most notably Japanese master Akira Kurosawa in the terrific film Kagemusha (Shadow Warrior). Like Shadow, Kagemusha also effectively used a single actor (the great Tatsuya Nakadai) to play both the role of the man of power and his shadow. Yimou dives even deeper into Jungian shadow psychology than Kurosawa though by emphasizing the anima (the feminine) and the imperative to also integrate that feminine power in order to become whole.

The ying and yang and wholeness are dominant themes throughout the movie (again look at the poster above) and Yimou emphasizes that battle/balance between the opposites not only visually with the black versus white color scheme, but dramatically with opposing masculine roles and opposing feminine roles. Just as Ziyi has Jing as his literal shadow (and vice versa), Ziyi’s wife, Xiao Ai has a symbolic opposite/shadow in Princess Qingping. That sort of balance in the narrative makes the film dramatically and subconciously very satisfying even while it maintains a pronounced assault and challenge upon our storytelling expectations.

Wholeness is also represented in numerous ways in the film, most notably by the umbrella. A circle is the symbol for wholeness and in Shadow, Jing integrates his masculine and feminine sides by using a circle, an umbrella, as a weapon not only of defense but of offense. Jing’s learning the use of the umbrella is an integration dance between the masculine and the feminine. The use of the umbrella is not only psychologically resonant but is visually striking as well.

The cast all do solid work with Deng Chao in his dual role and Sun Li as Ziyi’s wife being the most notable. Chao is really remarkable as both men and it is easy to forget the same actor is playing both roles. Sun Li’s work is incredibly layered and she brings a palpable humanity and fragility to the role that profoundly accentuates the drama.

The fight sequences are all so unique, original and compelling that they are a wonder to behold. Since The Matrix and Crouching Tiger became such big hits twenty years ago, slow motion martial arts moves have become passe, but Yimou fantastically turns everything on its head in Shadow and creates vibrant and vivid fights that are gloriously choreographed and cinematically mesmerizing. Yimou also wisely uses water and rain to further visually enhance the fight sequences.

While Shadow can be a bit confusing at first, especially if you go in unaware of the plot, once it hits its stride it is truly fantastic. I loved the film because it is such a dramatically, psychologically and cinematically rich example of the magical realism of Wuxia in action. If you are a fan of Wuxia or Yimou, rush out and see this movie in the theatres immediately. If you are less a Wuxia enthusiast, but enjoyed Crouching Tiger, Shadow may be a little tougher to penetrate because it isn’t as easily digestible or romantically sweeping as Ang Lee’s epic, but it is equally beautiful to look at. But with all that said, even if you are on the fence about going to see Shadow, why not give it a shot….the shadow you save might just be your own.

©2019

United Sheep of America: Assange, Fascism and Liberal Hypocrisy

Estimated reading Time: 3 minutes 48 seconds

LIBERALS BETRAYING ASSANGE EMPOWER FASCISM

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2019

Russiagate: Puzzlements and Lost Causes

Estimated Reading Time: 9 minutes 11 seconds

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

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

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

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

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

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

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

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

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

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

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

CONSPIRACY THEORY

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

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

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

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

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

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

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

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

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

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

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

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

RUSSOPHOBIA, MICROWAVE WEAPONS AND CRICKETS

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

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

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

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

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

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

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

ASSESSING THE ASSESSMENT

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

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

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

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

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

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

CONFIRMATION BIAS

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

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

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

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

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

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

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

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

MEDIA MALPRACTICE

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

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

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

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

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

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

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

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

RUSSIAGATE AUTOPSY - HOW AND WHY

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

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

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

TRAUMA

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

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

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

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

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

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

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

ON DEATH AND DYING

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

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

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

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

HELLO, COG DIS MY OLD FRIEND

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

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

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

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

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

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

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

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

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

More from my Chris Kyle article,

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

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

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

NEO-CONNING

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

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

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

CONSEQUENCES

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

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

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

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

LOOKING IN THE MIRROR

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

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

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

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

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

ADDENDUM

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MY BEST GUESS

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

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

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

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

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

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

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

Deconstructing Criticism of Oliver Stone’s The Putin Interviews

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

Stephen Colbert Goes to Russia Looking For Laughs

Has the Fear of Putin Seized Hollywood?

Echoes of Totalitarianism in #MeToo and Russia-Gate

Hollywood’s Malicious Propaganda Dehumanizes All Russians

Captain America v Trump in Battle of the Useful idiots

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

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

©2019

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

Estimated reading Time: 3 minutes 56 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2019

Cold War: A Review

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

My Rating: 4.5 our of 5 stars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2019

22 July: A Review

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

My Rating: 3.25 out of 5 stars

My Recommendation: SEE IT. Not the best film of the year but maybe the most important film of the year.

22 July, written and directed by Paul Greengrass, is based on the book One of Us: The Story of a Massacre in Norway and Its Aftermath and tells the true story of the infamous 2011 terrorist attacks in Norway committed by right wing extremist Anders Breivik which killed 77 people. The film stars Anders Danielsen Lie as Brevik and Jon Oigarden as his lawyer Gier Lippestad.

I have been a fan of director Paul Greengrass since I first saw his film Bloody Sunday in 2002. Greengrass’ direction on Bloody Sunday was extraordinary and his frenetic cinematic style made that film a viscerally unnerving movie to experience. As a first generation Irish-American, my attachment to the Irish people protesting against the British in Bloody Sunday was already entrenched, but Greengrass’ innovative visual approach made the film and the horrific slaughter it depicts so emotionally jarring that I had difficulty containing myself as I watched.

Greengrass has tackled other emotionally raw material besides Bloody Sunday, as he also made the 9-11 film United 93, which told the story of the passenger rebellion against the 9-11 hijackers on that ill-fated flight that crashed in Shanksville, Pennsylvania. On United 93 Greengrass’ signature mixture of documentary-style realism combined with a hectic stylized hyper-realism through manic camera movement made that already emotionally combustible story all the more charged.

Grenngrass has used his style on other films such as Captain Philips and three of the Bourne franchise movies to good effect even though those stories were not so emotionally imperative and volatile as Bloody Sunday or United 93.

Which brings us to 22 July. 22 July is a very emotionally potent story even without Greengrass’ cinematic maneuvers, as it deals with children and young adults being in mortal peril. Any story dealing with the violent targeting of children is bound to arouse an emotional response from viewers, especially parents. I don’t know this for sure, but I would assume that the response of being revolted and unsettled at the sight of children being harmed is hardwired into the human brain. (and this biological auto-response is a useful tool for propagandists, as I have written before).

As I watched 22 July for the first time, as a father I found my reaction to be similar to my reaction to Bloody Sunday, I was shaking with emotion, projecting my son onto the children in peril in the film. But I also noticed something peculiar about the film, namely that as much as I was shaken by it, Greengrass actually seemed to be pulling his visual punches in telling the story. The scenes of Breivik’s attack on youth campers was jarring, but the way Greengrass shot it actually felt a bit watered down. The violence was palpable and garnered a visceral reaction from me but it was not even remotely explicit. Even Greengrass’ shaky camera seemed tamed down a bit.

I don’t blame Greengrass for being more strategically sensitive in his depiction of such an atrocity, but that decision to soften the blow of the tragedy a bit seemed to permeate the rest of the story. The more I watched the more I felt as though the drama Greengrass was trying to build was being undermined by the earlier decision to spare the audience of the grueling physical aspects of Breivik’s carnage.

After the attack sequences, which as I stated, were emotionally effective if visually subdued, the film struggles to maintain a compelling pace and narrative, as it focuses on the struggle of the survivors to come to grips with Breivik’s destruction.

The action skips between the Rocky-esque physical, mental and emotional recovery story of a young man and the story of Breivik’s attorney, who accepts the thankless job of defending this monster.

The survival story is uncomfortably trite and feels as though it is from another movie altogether as it is paced differently and thematically is out of rhythm. Jonas Strand Gravli plays the wounded young man, Viljar, and he gives a good effort to a very difficult role, but he never quite moves beyond indicating and graduates to experiencing. Viljar is not as multi-dimensional a character as he needs to be, whether that is Gravli’s fault or the fault of Greengrass’ script is open to debate, but regardless, the film suffers because of it.

The lawyer story though, is fantastically compelling, and is in many ways the best part of the movie. The lawyer, Gier Lippestad, is precisely and exquisitely portrayed by Jon Oigarden, who is a fantastic actor. Oigarden plays Lippestad as an understated hero, an archetypal Knight in Invisible Armor who does his duty because it is the right thing to do even if he doesn’t want to do it.

For those not familiar with the Norway Massacre upon which the film is based, which is probably true of most Americans, 22 July will be a startling and unnerving revelation. Breivik accurately foretold of the coming populist and nationalist wave that is currently engulfing the entire planet. In some of the darker corners of the web, Anders Breivik, who massacred 77 people, 69 of them children, is referred to as St. Breivik because he is part prophet/part martyr for the cause of European ethno-nationalism. Breivik told Europe, the U.K. and the world what was coming, and no one listened to him. Breivik may be evil, he may be mentally ill, but he certainly wasn’t wrong.

The Lippestad character is the one that viewers should focus on if they are looking for a way to quell the call of St. Breivik upon their countrymen and the equally thoughtless reaction of liberals to Breivikism. Lippestad does not embrace emotion, he does not embrace revenge, he does not embrace reactionary measures to silence dissent. What Lippestad does is pledge his loyalty and his life to the law. Lippestad understands his place in Norwegian civilization, and his critical role in keeping it afloat. Lippestad’s courageous decision to defend the heinous Breivik, despite what it costs him personally and professionally, make him a hero not just for Norway, but for all of Western Civilization.

The U.S. is well beyond repair now because it has long lacked people like Lippestad, most strikingly in the wake of 9-11. The Patriot Act, the expansive surveillance, the torture, the illegal wars…all of it…were a result of America and Americans embracing myopic and emotionalist vengeance. As is always the case, when emotion is your guide and an eye for an eye is your philosophy, everyone ends up blind.

Besides embracing the Lippestad ethic, viewers would be wise to not label Breivik as an irrational loon or outlier and should focus more on answering the legitimate questions he asks and the problems he raises. Breivik was not created in a vacuum, and while it would be comforting to simply try and eliminate or ignore him and his far right acolytes, the idea that propels them is uncontainable and on the loose, you ignore it or try to banish it at your peril. Liberal’s tactic of reducing their opponents to nothing more than irrational “racists” not only doesn’t solve the problem, it greatly exacerbates it. Stifling debate, delegitimizing serious concerns and ignoring observable reality is a sure fire way to radicalize opponents even to the point of violence. If liberals shut down the immigration debate with cries of “racism”, that doesn’t mean they’ve won it, or changed people’s minds, it just means they’ve abandoned the debate and shoved the resentment of their opponents into the closet, thus turning it into a shadow element that grows in power and intensity in the dark. Breivik is a fungus that grew in that shadow darkness…and he won’t be the last.

Breivik is a monster, but he was also right. Immigration is a major problem in Europe. European cultures are under siege and attack and Breivik’s logic was pristine when seen through that lens. Ignoring these realities doesn’t make you an enlightened liberal, it makes you a damn fool. When a people or culture are under attack one of two things can happen, these people can either capitulate or they can fight. Throughout human history the usual response has been for people to fight. You can see this in recent history, from the Middle East to Britain. Not surprisingly America was not welcomed as liberators in Iraq…or Afghanistan…or Syria…or Yemen…or Libya…or anywhere else. Just like the waves of African, Middle Eastern and Asian immigrants have resulted in Brexit, Viktor Orban, the Five Star Movement, Geert Wilders, Marine Le Pen and Trump and every other anti-immigrant, pro-nationalist movement on the rise in Europe.

As I have written before, when an invasion occurs, war breaks out. Whether that invasion is of military troops or migrants makes no difference. And when war breaks out, always bet on the home team…that is why the U.S. has lost in Korea, Vietnam, Iraq and Afghanistan and elsewhere. And that is also why the nationalist surges in Europe and even in the U.S. are the favorites to prevail.

An example of why this is can be seen in the behavior of my liberal friends out here in Hollywood, where everyone likes the idea of diversity, but once it costs them a job, or their children an opportunity or puts their children at risk, diversity goes out the window. People either fight or they capitulate. Here in Los Angeles, a very diverse city, many of my liberal friends who literally say that “diversity is the most important thing” to them, don’t send their kids to the very “diverse” public schools, but rather move to a tony neighborhood where the diversity isn’t “so diverse”. Either that or they send their kids to extremely expensive private schools in order to embrace “diversity” but just not too tightly. Like most things, diversity is great in theory, but more difficult in practice. In most cases when it comes to Hollywood liberals, “diversity” is deemed mandatory but only for those “racist” other guys, which is just like the Hollywood liberal approach to immigration, which they wholeheartedly support just as long as it doesn’t negatively effect them.

In conclusion, while 22 July is not the best film of the year, it is among the most important ones. I urge people to steel themselves and watch it, especially because you can see it on Netflix for free. 22 July asks viewers very uncomfortable questions that we all need to find the courage to deeply and honestly ponder, as we might not like the truth that presents itself when we look deep enough to find the answer. For me, the greatest takeway from 22 July is that Breivik was a prophet of doom and Lippestad is the needed antidote to Breivikism. The unsettling reality is that the Breivik infection has spread while the Lippestad antidote is in very short supply.

©2018

If Beale Street Could Talk: A Review

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

My Rating: 2.5 out of 5 stars

My Recommendation: SKIP IT. A Beautiful mess of a movie that is gorgeous to look at but story wise is derivative and dull, making it difficult to sit through.

If Beale Street Could Talk, written and directed by Barry Jenkins, is an adaptation of the James Baldwin story of the same name that follows the travails of two African-Americans, Tish and Fonny, as they navigate the perils of young love in a racist New York City of the 1970’s. The film stars Kiki Layne as Tish and Stephon James as Fonny with supporting turns from Regina King and Brian Tyree Henry .

If Beale Street Could Talk, director Barry Jenkin’s much anticipated follow up to his 2016 Best Picture winning Moonlight, is another in a long line of disappointments on the very bumpy ride of cinema in 2018.

Based on the James Baldwin story of the same name (which I have not read), If Beale Street Could Talk is a beautiful mess of a movie. It is at once visually stunning yet also narratively pedestrian and culturally juvenile.

Let’s start with the good news. Cinematographer James Laxton delivers an impeccably lush and cinematically vibrant aesthetic to the film. Laxton’s camera engages in an exquisite dance with his subjects while painting the world of the film with a delicate and ethereal palate that is not only gorgeous to behold but narratively profound. Laxton’s work on Moonlight was equally sublime and dramatically insightful, and with If Beale Street Could Talk, Laxton has shown himself to be not only a master craftsman but a powerful artist.

Sadly, Barry Jenkins script never lives up to Laxton’s stirring cinematography. Jenkins inability to write efficient and effective dialogue and build a coherent and compelling narrative make If Beale Street Could Talk a frustratingly uneven and ultimately unsatisfying film to watch.

When Jenkins (and Laxton) flashes back and focuses on the blossoming first love of Tish and Fonny, the film crackles with life. The chemistry between actors Kiki Layne (Tish) and Stephon James (Fonny) in these flashback scenes is palpable, and Laxton superbly bathes them in gorgeous light, shadow and color as he lets the viewer see the characters as they see each other, through the prism of unabashed love.

It is when the film shifts to the present moment and its drama of “legal peril”, which is decidedly stale and stultifying with cringe worthy dialogue to match, when the wheels come of the cinematic wagon. An example of which is that there is a scene between Tish and Fonny’s families that is so poorly written, poorly directed and poorly acted that it was like watching kids put on a play…a very bad play…in their basement.

The “legal peril” storyline is so trite, hackneyed and derivative it seems like it was lifted from an episode of Law and Order or some equally awful television show. Anytime the focus of the film shifts to the legal story and its adjacent narratives, it serves as little more than an irritating distraction.

The film is equally abysmal when it tries to convey a political or socially conscious message. When Jenkins tries to use the movie as a statement on race in America, it reveals itself to be, at best, painfully adolescent in its cosmology.

Ironically, in its social themes, If Beale Street Could Talk is as much an unnuanced distorted Black view of America as Clint Eastwood’s Dirty Harry is a unnuanced distorted view of America through the White perspective. Both film’s are little more than wish fulfillment and fantasies driven by archetypes deeply embedded in the American psyche. In the case of Dirty Harry, it is the archetypal Righteous Gun Slinging Vigilante, who is part of the system but operates outside of it to protect Whites from those lawless “others”, most notably Blacks (think of the “you feel lucky” scene, where Dirty Harry points his .44 Magnum in the face of a “Black criminal”).


In If Beale Street Could Talk, the thematic archetype is one of the Righteous Victim (think of Fonny as the young Black criminal with Dirty Harry’s .44 in his face), who is oppressed by the system and must operate outside of it in order to survive it. In this way, If Beale Street Could Talk is social justice/victimhood porn and propaganda, which on its surface claims to be about speaking the truth of the Black perspective in America, but in reality is about reinforcing and strengthening the victim archetype and narrative.

What is striking to me about this aspect of the film, is that it also reinforces the racist tropes that fueled the Dirty Harry era to begin with and which eventually led to Clinton’s infamous crime bill in the 90’s which further criminalized Black men. For instance, the lead character Fonny which, along with Tish, is whom the viewer is supposed to identify with, and yet when we first learn about Fonny, he commits a crime, theft. Fonny’s lawlessness is not even given a second thought, but in the narrative structure of the film it subconsciously undermines the audiences connection to him to a devastating degree. This is not some personal revelation from me, this is just Cinema 101: Basic Storytelling and Character Development.

The same is true of the other Black men in the movie, all of whom are equally lawless and all of whom commit crimes. Fonny’s father steals from the docks, and his pseudo father in law not only steals but beats the hell out of his wife…and yet these men are supposed to represent “regular Black men”.

Add to that Fonny’s friend Daniel who is fresh out of prison, and just like Fonny claims he is entirely innocent of the charges against him. Apparently Fonny and Daniel are the two guys who really didn’t do it…even though we’ve already seen Fonny commit a crime and Daniel’s sketchy reputation precedes him.

While all of the Black men in the film are criminals, none of them take responsibility for their criminality. The crimes they commit are all the fault of the system that is screwing them, thus demeaning these men even further as they are deprived of any and all agency. This is the Victim archetype in full bloom, where no matter what the character does it is never their fault. This is an extremely unsatisfying quality in a cinematic Hero, as it simply castrates the Hero and asks the audience to pity them rather than relate or project on to them. It also does not allow for any catharsis on the part of the character, and that in turn doesn’t allow for any catharsis on the part of the viewer, which results in a psychologically frustrating movie-going experience.

Consider other Hero stories where the Hero is brought down by a corrupt system…movies like Braveheart, where William Wallace ultimately loses, but he goes down swinging, screaming “Freedom” at the top of his lungs as he is torn to shreds. Or think of a parallel for the Fonny character to maybe the best known Hero story of them all…Jesus Christ. Jesus is persecuted, just like Fonny, but the key to the Jesus story is that he has agency and chooses to be crucified….thus becoming Christ. Jesus is the empowered form of the Victim archetype…which is the martyr, who is victim by choice. The choice here is the important thing as it means the Hero may suffer a terrible defeat but he still maintains his agency. In contrast, the perpetually disempowered Fonny is just laundry being tossed and turned in a washing machine, who never chooses but always loses.

In terms of the criminality of the characters in the film, there are other contrasting examples, think of The Godfather or Goodfellas. The mobsters in those movies do awful things to people and yet audiences relate to them and embrace them as “Heroes” of the story, why is that? The reason for that is because those characters, from Michael Corleone to Henry Hill, embrace their criminality. They maintain their agency and don’t claim to be victims of the system, instead they are gaming the system.

These details in the DNA of If Beale Street Could Talk may seem minute to the less sophisticated viewer, but it is these specific elements that can make or break a film and its narrative in the unconscious of the audience. In the case of If Beale Street Could Talk, these subtle archetypal issues deter viewers from fully accepting and embracing the characters, story and film.

It isn’t just the Black men who fair poorly in If Beale Street Could Talk, as White men are portrayed as truly devils in this movie. White men are sexual predators (again, the inverse of the Dirty Harry movie where Black men are predators) and are inherently evil, from a lecherous perfume shopper to a cop who is so consumed with racial hatred he comes across as more than a little insane. For the White characters in this movie, just like Black characters in Dirty Harry, they are entirely devoid of nuance and are absurd caricatures. Even White characters we never see are predators, as there is one who impregnates a poor Latina women and then leaves her with nothing, and then maybe even returns to rape her.

It is for these reasons that If Beale Street Could Talk is just as insidious and insipid as the blatantly racist Dirty Harry movies.

As for the acting, Stephon James and Kiki Layne are glorious in their falling in love sequences. Laxton’s camera holds on their loving gazes for extended periods and their love for one another is tangible in these shots. But when they are asked to do more than just look longingly and lovingly at one another, the two stars lose much of their power.

James is a charismatic screen presence, but he seems rather limited when it comes to the more static shots. James is unable to compress his magnetism and dynamism when he is contained in such a confining space and he loses his power because of it.

Kiki Layne is quite engaging during the dreamy love sequences as well, but she too falls well short when things get much more complicated. Layne’s strong suit is her ability to seem to be overcome by her wonder for the world, but when the world stops being wondrous, she stops being interesting and starts being wooden.

Regina King does solid work as Tish’s mom, but she is hamstrung by being stuck in the intolerably mundane legal drama portion of the story, and while she is a compelling actress, none of her scenes are particularly noteworthy.

If Beale Street Could Talk, which may be the second most mis-leading title in the history of cinema right behind The Never Ending Story because Beale Street is never seen in the movie and all the action takes place in New York (I am kidding, the title is explained in the opening, but still…I found it funny), is another in a long line of films that underwhelmed in 2018. Barry Jenkins (and his cinematographer James Laxton) has a distinct and luscious visual flair to his work, but his storytelling and character development need serious work. Therefore I can only recommend this film to the most committed of cinephiles who would want to see the cinematography on the big screen. For everyone else, there is no reason to see this in the theatre, but if you stumble upon it on cable one night or on Netflix, feel free to check it out if you like, and tell me if I am wrong or not.

In conclusion, if Beale Street could talk, I’d tell it to shut up because while it talks a lot and does so in a beautifully melodious and mellifluous visual voice, it actually doesn’t say a whole hell of a lot, and what little it does have to say is so vapid and vacuous that it has no value whatsoever.

©2018