"Everything is as it should be."

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Exterminate All the Brutes: A Documentary Review

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

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. A pretentious disappointment.

If you’ve ever wanted to know what it feels like to be stuck on a four-hour flight sitting next to a rambling, drunken college student who just read their first book about colonialism, genocide and white supremacy and mistakenly thinks they have some profound insights, have I got a documentary series for you…

Exterminate all the Brutes is the new unconventional, four-part docu-series from filmmaker Raoul Peck now available on HBO and HBO Max that explores the vast history of colonialism, genocide and white supremacy from a non-white and non-European perspective.

The documentary is based on the books Exterminate all the Brutes (Sven Lindqvist), An Indigenous People’s History of the United States (Roxanne Dunbar-Ortiz) and Silencing the Past (Michel-Rolph Trouillot), and chaotically mixes documentary footage, home movies, popular films, animation, and fictional scripted scenes to create a sort of experimental, impressionistic cinematic essay instead of a straight forward documentary.

Exterminate All the Brutes, a phrase which comes from Joseph Conrad’s masterpiece Heart of Darkness, highlights the greatest hits of horror in the history of humanity and is divided into four parts titled, “The Disturbing Confidence of Ignorance”, “Who the F*ck is Columbus?”, “Killing at a Distance”, and “The Bright Colors of Fascism”.

From Europeans explorers, to the plundering of Africa and the slave trade, to the eradication of the Native American population, to Hitler, the Holocaust and the bombing of Hiroshima, the documentary leaves no stone of brutality, barbarity and white supremacy left unturned.

The series attempts to tie together the genocide of the American Indians, slavery and the Holocaust in order to expose the unique evil of white supremacy and its impact on modern Western civilization.

The writer and director Raoul Peck, who’s documentary on James Baldwin, I am Not Your Negro, was nominated for an Academy Award in 2017, should be applauded for his ambition on Exterminate All the Brutes, but certainly not his execution. Ultimately, in his attempt to create a profound, personalized poem, Peck instead produces a painfully pretentious polemic.

The series is not so much thorough as it cluttered, and while it has a specific topic, it is devoid of a distinct thesis. I would probably agree with Peck’s argument regarding colonialism if I could actually discern what exactly it was. As a result of this lack of a detailed thesis, the documentary comes across as a distracted, incoherent, stream of consciousness diatribe fueled by an adolescent, if not infantile, intellectualism. It feels more like a tantrum resulting from deep frustration and helplessness than a dissertation born out of intense study.

Peck’s journey into the heart of darkness of colonialism, slavery and genocide may very well be a noble venture but it is also egregiously narcissistic. Peck not only tells you what he knows but endlessly recites how and from whom he came to know it.

Peck also vents his rage at individuals he dislikes, like Donald Trump, and groups he despises, like the Scots-Irish…boy does he have a bug up his ass about the Scots-Irish.

Peck’s anger also distorts his argument as he makes contradictory statements regarding his flawed premise. For instance, he brushes aside the “Guns, Germs and Steel” hypothesis and calls early Europeans backward and uncivilized, but then describes that Europeans came to dominate African peoples simply because they were able to create advanced technology and weapons that Africans could not.  

The greatest flaw of the documentary though, and there are many, is that as it guides viewers through the history of white European atrocities, it never breaks new ground or reveals unearthed truths. Anyone with half a brain in their head is aware of the horrors of colonialism, slavery and genocide by now. The fact that the U.S. was born on the back of African slaves and the genocide of American Indians isn’t exactly breaking news. But as Peck himself states in the film, “it is not knowledge that we lack”, which begs the question…if we don’t lack knowledge then what is the purpose of this four-hour monstrous mess of a docu-series?

Peck is also his own worst enemy as a storyteller as he narrates the series and his voice-over is, without exaggeration, the worst in the history of the spoken word. Never has someone talked so much (and so inaudibly) and said so little. Peck’s droning, garbled voice isn’t helped by the insipid platitudes he mutters like “neutrality is not an option” and “there are no alternative facts”.

That sort of overwrought emotionalism and intellectual vapidity is the life-blood of Exterminate All the Brutes. This is most evident in the cringe-inducing and laughably ludicrous scripted dramatic scenes haphazardly inserted throughout the series.

Actor Josh Hartnett is tasked with playing the embodiment of white supremacy and white privilege throughout history in the series of amateurish scenes, and his performance entails shooting a lot of brown people in the head and looking menacingly at the ones he hasn’t killed.

These scenes, and the scenes from Peck’s earlier dramatic films also shown, reveal the director to be a middling-at-best filmmaker, and Exterminate All the Brutes seems to be a case of an artist and pseudo-intellectual biting off considerably more than he could ever possibly chew.

In conclusion, I watched Exterminate All the Brutes so that you don’t have to. And trust me…you don’t have to…you really don’t have to.

 A version of this article was originally published at RT.

©2021

Coded Bias: Documentary Review and Commentary

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

My Rating: 2.5 out of 5 stars

My Recommendation: SEE IT/SKIP IT. The film tackles a fascinating topic but is too narrow and shallow to be of much use.

Coded Bias, directed by Shalini Kantayya, explores how artificial intelligence algorithms propagate racial and gender bias.

Big tech totalitarianism is one of the most important issues of our time, and I’m on board with any film highlighting the inherent perils of over reliance on insidious technologies. But Coded Bias, while being somewhat informative, ultimately falls flat because its focus on race and gender is much too narrow.

The film sets out to show how artificial intelligence dehumanizes people and encodes racial bias into the job, college, mortgage and loan application process as well as the criminal justice system, but this misses the techno-tyranny forest for the trees and is akin to complaining about a lack of art by people of color on the walls of the Titanic.

MIT computer scientist Joy Buolamwini opens the movie by recounting how she discovered racial bias in facial recognition software and then documents her attempts to combat it with her collection of activists named the Algorithm Justice League (AJL).

Buolamwini makes for a compelling protagonist on this journey into the Orwellian hellscape of artificial intelligence due to her superior knowledge of the subject matter and magnetic personality.

Equally compelling is the disturbing information about the totalitarian use of algorithms by the Chinese government to control their populace through a social credit system and the U.K.’s baby steps down the same authoritarian path as it implements its own flawed facial recognition program.

Americans are under the same invasive surveillance and are imprisoned by a similar social credit system, the only difference being that they are unaware of it and it’s being done by big tech companies like Google, Facebook, Amazon and Apple.

But these issues are painfully complex and Coded Bias is often at cross-purposes with itself when confronting them. For instance, the film highlights the Chinese and U.K. government’s draconian use of technology, but then spotlights activists demanding the American government assert itself more aggressively regarding oversight.  

The same is true when Buolamwini takes her racial bias study to IBM to show them that their facial recognition tech fails to adequately work on black faces. In response, the company fixes the problem, which results in…more black people being able to be put in facial recognition databases. This pyrrhic victory makes the AJL seem like controlled opposition.

In this way the AJL is reminiscent of Black Lives Matter, in that they’re really a grievance delivery system designed to divide people and distract them from the much bigger issue. The race and gender obsessed AJL, just like BLM, makes enemies of potential allies by refusing to see all victims as equal.

For example, the conservatives and “conspiracy theorists” that have been de-platformed by algorithms from Twitter, Facebook, Google and YouTube are not considered worthy victims of tech totalitarianism by the AJL (and are never mentioned in the movie), but these ‘deplorables’ could be powerful allies in the fight to rein in the Sauron of Silicon Valley.

In one scene Republican Congressman Jim Jordan of Ohio is aghast at the power and pervasiveness of the FBI’s extra-judicial facial recognition program. The AJL no doubt loath Jordan (an easy thing to do), but he could be an effective asset in attempting the Herculean task of restraining the tech behemoth.

In contrast to Jordan, in the same congressional hearing Democrat Alexandria Ocasio-Cortez ignores deeper concerns and instead theatrically focuses her ire at the majority “demographic group” that writes the code for artificial intelligence…white males.

The arch-villains of big tech expanding their surveillance capabilities without the slightest thought to ethics or human rights makes the possibility and probability of a dystopian corporate and draconian governmental future (and present) extremely high, but the film and the AJL are simply incapable of moving beyond their slavish devotion to identity politics and their own biases against white men to focus on that truly horrifying bigger picture.

The reality is that artificial intelligence doesn’t just dehumanize black people, it dehumanizes all people, and any movement that fails to put that fact front and center is deserving of distrust if not disdain.

If the AJL were serious about stopping techno-tyranny they’d be fighting vociferously to restore every person’s right to privacy and freedom of speech, especially if that speech is ugly and hateful, and for the right of people to own their personal information and data, and to stop tech companies from collecting and selling that data, and to either shatter the tech monopolies into a million pieces or transform them into public utilities. But they aren’t serious and they don’t aggressively address any of those issues.

Coded Bias ends by recounting the true story of Stanislav Petrov, a Soviet soldier in 1983 who defied technology during a missile scare and refused to launch a nuclear counter attack against the U.S. The film states that if the artificial intelligence of a Strangelovian “doomsday machine” were in charge, and not Petrov’s humanity, then the world would have been obliterated. This nod to individualism is a nice sentiment but rings hollow after 90 minutes of relentless identity politics. It’s also somewhat amusing since the heroic Petrov is a member of the dreaded white male demographic.

In keeping with the Dr. Strangelove metaphor, Coded Bias and the activists it spotlights unfortunately aren’t truly interested in fighting against big tech’s artificial intelligence “doomsday machine”, they just want to make sure the war room is diverse and inclusive enough.

 A version of this article was originally published at RT.

©2021

MLB Needs to Stop Playing Politics and Start Playing Better Baseball

Estimated reading Time: 3 minutes 27 seconds

This past weekend Major League Baseball announced it was pulling this season’s All-Star game from Atlanta, Georgia because it believes a new voting bill recently passed in that state’s legislature is racist.

In a rather amusing coincidence, a poll came out the same day revealing that 34.5% of fans are watching fewer sports due to political and social messaging by leagues and players.

As the saying goes “Get Woke, Go Broke”, and the poll, done by YouGov/Yahoo News, robustly reinforces that mantra.

According to the poll, nearly half of all Americans changed their viewing habits in the wake of last summer’s social justice protests at sporting events, with 34.5% watching less and 11% watching more.

Apparently performative virtue signaling like kneeling during the anthem, adorning stadiums and arenas with “Black Lives Matter”, and millionaire NBA players wearing jerseys with such inanities written on the back as “Love Us”, “See Us” and “Group Economics” is a turn off to many people, imagine that.

As the YouGov/Yahoo news poll reveals, significant numbers of fans across the political spectrum are tuning out, with 19% of Democrats, 53% of Republicans and most importantly 38.6% of Independents, decreasing their sports consumption due to social justice and political advocacy at games.  

The television ratings for sports in 2020 reflect the poll results and the frustration many feel toward the constant sloganeering and political pandering.

In 2020 the ratings for the NBA Finals were down 49%, the Stanley Cup 61%, the NFL regular season 7% and the Super Bowl 9%, and the World Series was the least watched in history, down 32% from the previous low.

These numbers are certainly not solely due to sports going woke, but the mainstream media claiming the political/social justice shift in sports has nothing to do with the decline in viewership are whistling past the graveyard.

What makes MLB’s swift decision regarding moving the All-Star game so odd is that no one within the sport was asking for it. For instance, the MLB players association weren’t demanding action and none of the league’s high-profile stars had raised a protest flag over the new Georgia law.

Adding to the oddity of MLB’s decision is that interpretations of the bill in question vary wildly. Republicans claim the bill secures elections and expands voting opportunities and believe the bill is being misconstrued and distorted by Democrats in Washington.

Meanwhile Democrats are calling the bill “Jim Crow in the 21st Century” for among other reasons that it requires voters to provide photo I.D., which is amusing in the context of MLB’s social justice preening since the league itself demands fans show photo I.D. at will call ticket booths and to purchase beer in stadiums.

Considering the disparity of opinions on the Georgia bill and the fact that MLB’s viewership and attendance was already in a steady decline you’d think that they might be more wary of alienating a good portion of their fanbase, which skews older and white, over an issue the league seems to not know enough about.

The problem for sports leagues across the board is that watching sports has already devolved into a tortuous experience regardless of all the social justice posing and pandering.

The NBA is basically unwatchable. The game has deteriorated into a carnival of entitled primadonnas hurling up thirty-footers, incessantly bitching at refs and flopping so flagrantly that it would shame the most flamboyant of Italian soccer players.

Watching the NFL is now an absurd exercise in capitalism porn as games are reduced to one endless commercial break after another with minimal on-field action.  

MLB gameplay has become unbearable too, with contests resembling monotonous marathons of swing and miss and miss and miss again. Chicks may dig the long ball but they aren’t going to sit around four boring, strikeout filled hours on the hopes of seeing one.

Baseball has been hemorrhaging fans for decades because the game is just too slow for younger viewers with shorter attention spans. Is MLB signaling a woke corporate virtue by pulling the All-Star game from Atlanta going to turn that tide? No. But maybe moving the mound back a foot, implementing a pitch clock and outlawing defensive shifts might.

The truth is I don’t care about Georgia’s voting rules…you know why? I don’t live in Georgia. If Georgians don’t like the voting rules, then they can vote to change the legislature that passed these new rules. If the new voting rules are unconstitutional, then the courts will intercede. That’s how democracy is supposed to work.

The bottom line is that I hate politics and I especially hate politics in sports. I hate the players kneeling during the national anthem just as much as I hate that they play the national anthem at games. I hate the militarization of sports with the fucking flyovers and honor guards and all that other militarized Nuremberg-esque nonsense just as much as I hate the woke preening by self-serving, millionaire morons on teams and in league offices.

Sports fans like me are simply exhausted by the endless hyper-politicization of everything in our culture and we look to sports to escape, not to be politically assaulted. MLB would be very wise to avoid playing politics any further and instead focus on fixing their ailing game and playing decent ball.

 A version of this article was originally published at RT.

©2021

The Asinine and the Absurd 78th Annual Golden Globes Awards

Hollywood once again proved itself to be the moral authority of our time when a bevy of stars took to the stage Sunday night at the 78th annual Golden Globes Awards to rail against President Joe Biden’s unconstitutional, murderous air strikes in Syria, his caging of illegal immigrant kids, and his failure to fight for a $15 minimum wage, Medicare-for-All and a $2,000 stimulus check during this calamitous coronavirus lockdown.

Just kidding.

With the bad orange man gone from the White House it was back to Hollywood business as usual at the painfully lackluster, socially-distanced Golden Globes where there was a lot of performative virtue signaling regarding diversity but no actual political courage on display.

The Golden Globes have long been a running joke as the Hollywood Foreign Press (HFPA), a collection of 89 “foreign entertainment journalists” who vote on the awards, notoriously care less about artistic quality than lining their pockets, corporate swag and basking in star power.

The L.A. Times recently did a searing investigation of the organization and, shock of shocks, found them to be corrupt…I think Captain Obvious was the reporter who broke the story. 

Hollywood’s big takeaway from the L.A. Times story though was that the HFPA is racist because it has no black members.

This was highlighted throughout last night’s show as flaccid comedy duo Tina Fey and Amy Poehler, as well as numerous presenters, made snide comments about the racial “scandal”. This led to one of the more riotously funny moments when an Indian woman and Turkish man who are members of the HFPA had to grovel on live tv about how bad they were for not having black people in their group. Diversity!

Ironically, after all the bemoaning of HFPA racism the three of the first four awards given out went to black actors, Daniel Kaluuya for Judas and the Black Messiah and John Boyega for Small Axe, and to the first black led Pixar film Soul.

Later in the night the Best Actor and Best Actress in a Motion Picture Drama awards also went to black artists, the late Chadwick Boseman for Ma Rainey’s Black Bottom and Andra Day for The United States vs. Billie Holiday.

Stupid Golden Globes can’t even stay on brand when it comes to their own racism.

One of the few bright spots in previous Golden Globes has been comedian Ricky Gervais serving as ornery host. Gervais’ scathing opening monologues at the Globes are some of the best comedy of recent years. Never one to pander or genuflect to his star-studded and empty-headed live audience, Gervais instead consistently eviscerated the cavalcade of self-satisfied and self-righteous stars luxuriously partying before him.

Unfortunately, this year Gervais wasn’t hosting so instead of his uncomfortably honest and gloriously cutting comedy we were stuck with the insipid nice girl comedy of Tina Fey and Amy Poehler.

Another redeeming quality of the past Golden Globes awards has been watching celebrities get drunk at the dinner party style affair. Sadly, this year’s show was “socially distanced” so random shots of sloppy drunk celebs were replaced with awkward moments on zoom. .

Sans Gervais and drunk celebs the Golden Globes were reduced to being nothing but a handing out of awards no one, even the people winning them actually care about.

Besides the endless babbling about diversity and inclusion, the political talk was pretty minimal. Sure, Borat made some stale Trump and Giuliani jokes, and Mark Ruffalo bemoaned the “hideous dark storm” of Trump “we’ve been living through” and Aaron Sorkin mentioned democracy being under siege, but that was about it.

What is so striking is there were ample opportunities for Hollywood heavyweights to speak up about current issues, but they refused.

Sean Penn, one of my favorite actors and activists, was there, and besides looking like Moe from the Three Stooges, he didn’t do much of anything except display a shocking lack of testicular fortitude. He could’ve spoken up about Biden’s illegal attack on Syria, like he had done about the Iraq War…but he didn’t.

Jodie Foster won best Supporting Actress for her work in the film The Mauritanian, a movie about the injustice of a prisoner held in Guantanamo Bay for fourteen years without charge. But Foster never mentioned Guantanamo Bay, injustice or the immorality of the War on Terror in her acceptance speech.

Famed anti-war activist Jane Fonda, who once went to North Vietnam while the U.S. was at war with them, was awarded a lifetime achievement award but never mentioned Biden’s illegal airstrikes in Syria, or his support of murderous tyrant Mohammed bin Salman in Saudi Arabia, or the continuation of the “kids in cages” immigration policy. She instead just regurgitated the usual woke pablum of diversity and inclusion.

Chloe Zhao won best director and best drama for her film Nomadland, which examines those crushed under the boot of American capitalism. Yet she never once mentioned Biden’s failure to push for the $15 minimum wage, Medicare-for-All or a coronavirus stimulus check which he promised, three things which would immeasurably help the suffering people featured in her film.

With Trump gone and the corpse of Joe Biden being the one obliterating Syrians and caging kids at the border, Hollywood elites are now all too happy to lose their stridently socially conscious rhetoric in favor of status quo cheerleading and social justice ass-kissing.

In 2017 in the wake of Donald Trump’s election Meryl Streep “bravely” spoke out in defense of immigrants at the Globes, which was curious since she had been completely silent during the previous 8 years when Obama set deportation records and put “kids in cages”.

It seems Hollywood is following in Queen Meryl’s faux-noble footsteps by deciding to stay quiet now when speaking up would take courage.

Everyone knows Hollywood is not exactly filled with the bravest souls that are driven purely by integrity and their commitment to principle. But the amount of self-righteousness mixed with craven cowardice on display at the Golden Globes last night was remarkable even by Hollywood’s depraved standards.

In conclusion, if the Golden Globes are any indication, awards season is going to be filled with the most venal, vacuous and vapid posing and preening imaginable, but it won’t feature any principled protests against Biden administration policies, no matter how abhorrent they may be.

A version of this article was originally published at RT.

©2021

Amend: The Fight for America: Documentary Review and Commentary

My Rating: 1.75 out of 5 stars

My Recommendation: SKIP IT.

Amend: The Fight for America’, Netflix’s new painfully woke docu-series, is only interested in indoctrinating, not educating

The series is a ludicrous exercise in politically correct performance art that is allergic to intellectual seriousness or nuance.

Amend: The Fight for America, is the new Netflix docu-series hosted by Will Smith that examines the history and impact of the 14th Amendment, which addresses citizenship rights and equal protection under the law.

The series is broken down into six episodes. The first three episodes cover the 14th Amendment in relation to the black struggle for equality from slavery to Black Lives Matter, while episodes 4, 5 and 6 focus on the women’s movement, marriage equality/gay rights and immigrant rights respectively.

The docu-series is a high-end public service announcement featuring stars such as Pedro Pascal, Mahershala Ali and Joseph Gordon Levitt, and is obviously meant as a teaching guide for children and teenagers.

One of the big problems with Amend though, and there are many of them, is that it presents itself as a serious work of history, but is really just a blatant work of advocacy.

There is nothing wrong with advocating, but doing it under the guise of teaching history, makes Amend an insidious piece of propaganda.

As propaganda it is very slick as it has all the trappings of a serious historical documentary, but it’s violently allergic to nuance. The series’ shameless embrace of woke identity politics is never countenanced with even a rudimentary glimpse of oppositional ideas and beliefs except to label them as obviously and irredeemably evil.

For instance, in the episode about women’s rights and the Equal Rights Amendment (ERA), anti-abortion beliefs are only seen as tools of misogyny and the patriarchy, and the potentially rich and fascinating topic of the clash of 14th Amendment rights of the unborn child versus those of the pregnant woman is never broached.

The series’ intellectual petulance is also highlighted in this episode when one of the talking heads is incapable of even saying famed ERA opposition leader Phyllis Schlafly’s name. She stumbles over it numerous times and then finally gives up only to be quickly replaced by another talking head who simply calls Ms. Schlafly, “Mean Phyllis”. Apparently in an attempt to appeal to grade school children the docu-series decided to act like a grade school child.

Preferring this slavishly woke, blindly Manichean perspective on every issue guts the project of any intellectual seriousness, and its relentlessly self-righteous snickering at opposing arguments cheapens the project and transforms it from being potentially laudable to ridiculously laughable.

Speaking of laughable, Amend’s credibility is further damaged by “comedian” Larry Wilmore. Wilmore, a producer on the series, keeps showing up to mug for the camera for no discernible reason and is so tonally out of place as to be painful. Wilmore’s “comedy” is always impotent and grating, but in Amend his shtick is even more insipidly limp and irritating due to the supposedly serious context.

The docu-series is obsessed with narratives and messaging, as it repeatedly talks about the evil of  “messages of fear and hate” from small-minded bigots used to rile the masses. Trump is repeatedly conjured in this context to accentuate the point.  This is curious since the series espouses its own message of fear and hate by continually denigrating “white men” and ringing the alarm bells over the boogey man of  “white supremacy” which is supposedly lurking under every bed and around every corner.

This anti-white attitude is evident when the over 300,000 white men who died to free the slaves in the Civil War are studiously ignored, but the black soldiers who fought are celebrated. It’s also evident when minority actors Pedro Pascal and Graham Greene play Lincoln and Ohio Senator John Bingham, the principle founder of the 14th Amendment, respectively yet white actor Joseph Gordon Leavitt plays the villainous, N-word spouting Andrew Johnson.

Another telling moment that spotlights the series’ manipulative mendacity and deceptive intentions is when activist Britney Packnett Cunningham recounts her experiences as a protestor in Ferguson, Missouri in the wake of the 2014 shooting of black man Michael Brown by police officer Darren Wilson. 

Video and photos of protestors fill the screen as Ms. Cunningham states “the call on the streets was ‘hands up don’t shoot’ because what we were being told was that Michael Brown had his hands up in the air when Darren Wilson shot him”.

This is an intentionally misleading statement as Ms. Cunningham, who is featured throughout the series as some kind of expert, knows it isn’t true and that she is perpetuating the false narrative surrounding Brown’s shooting, that’s why she couches it with “we were being told”. Brown didn’t have his hands up when Wilson shot him and yet Ms. Cunningham and Amend prefer that lie because it fits their narrative instead of the truth that destroys it. (Watch an infinitely more insightful documentary, What Killed Michael Brown? for the truth.)

If you like deceptive docu-series that indoctrinate instead of educate, and enjoy watching solemn faced actors babbling about “inclusivity” while pushing so hard to conjure non-existent gravitas it seems like they could soil themselves at any moment…then Amend is definitely for you.

After suffering though all six hours of Amend: The Fight for America, my biggest takeaway is that we need a new constitutional amendment to protect me from the torture of watching the vapid Will Smith mimic sincerity while spouting woke talking points as if they’re holy decrees from God on high. 

 A version of this article was originally published at RT.

©2021

Judas and the Black Messiah: A Review and Commentary

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

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. A flawed but fantastic film that vibrates with a formidable vitality that also features two Oscar-worthy performances by Daniel Kaluuya and LaKieth Stanfield.

Judas and the Black Messiah, which opened in theatres and on the streaming service HBO Max on February 12th, recounts the true story of the betrayal of Fred Hampton, the charismatic chairman of the Illinois chapter of the Black Panthers, by Bill O’Neal, an FBI informant.

The flawed but fantastic film, written and directed by Shaka King, features a fascinating story and scintillating performances from Daniel Kaluuya as Hampton and LaKeith Stanfield as O’Neal, which makes it among the very best movies of this thus far cinematically calamitous year.

I have never been much impressed by Daniel Kaluuya as an actor. I thought Get Out was ridiculously overrated and thought his performance in it was too. But as Fred Hampton, Kaluuya utterly disappears into the role and creates as charismatic and compelling a character as has graced screens all year. Kaluuya’s Hampton vibrates with a natural magnetism and intensity that is glorious to behold.

As great as Kaluuya is, and he is great, LaKieth Stanfield actually has the harder job and does equally outstanding work. O’Neal is a tortured and tormented soul, and Stanfield masterfully shows us all his shades. Stanfield’s subtle, complex and detailed work is most definitely Oscar-worthy, and is a testament to his impressive skill and craftsmanship.

Other performances don’t fare quite as well as Kaluuhya and Stanfield though. Jesse Plemons, an excellent actor, does the best he can with a terribly under written role as an FBI agent, and Martin Sheen, also an excellent actor, is so dreadful as J. Edgar Hoover it is like he’s acting in a different, and much worse, movie.

The biggest issue with the film is that its secondary narratives, one which involves Hoover and the other involves Hampton’s girlfriend Deborah Johnson, lack a dramatic cohesion and power, and they distract from the main story and scuttle much needed momentum. The Hoover angle is distractingly cartoonish and the love story between Hampton and Johnson is uncomfortably lifeless, as Dominique Fishback is, to put it mildly, underwhelming in the role of Johnson.

Other issues with the film are that Shaka King’s direction was not quite as deft as I would have preferred. The script and the editing also could have been a bit tighter, but with that said, the film definitely has an undeniable energy to it and pulsates with a power that is impressive.

One final issue was the sound mixing. I watched the movie on HBO Max and the sound mix was utterly abysmal. Much of the dialogue, Daniel Kaluuya’s most of all, got lost under the music in the mix. This could be a function of HBO Max, which unfortunately is a horrible technical streaming service, or it could be I am going deaf, or it could be the sound mixing was atrocious…who knows…but it was irritating.

Predictably, most critics are using the film to connect the more recent Black Lives Matter movement with the revolutionary Black Panther movement of the 1960’s spotlighted in the film.

This is an intellectually egregious and mind-numbingly vacuous interpretation of the movie and its narrative.

The film isn’t about our current manufactured myopia regarding race, it’s about power and the great lengths those with it will go to subjugate those without it and maintain the status quo.

Infamous FBI Director J. Edgar Hoover, embarrassingly portrayed in the movie by Martin Sheen in an obscenely amateurish prosthetic nose, deemed the Black Panthers “the greatest threat to the internal security of the country” for among other reasons because their free breakfast program for kids wasn’t just for black kids but for all kids.

In response Hoover unleashed COINTELPRO (Counter Intelligence Program) and its dirty tactics on the Black Panthers just as he had done previously to Malcolm X and Martin Luther King and other leftists.

As highlighted in the film, the Black Panthers/Hampton were seen as direct threats to the power structure of the U.S. because they worked to bring all poor and working class people together, be they black, Native American, Latino and even Confederate flag-waving whites, against a common enemy, the ruling class, which subjugated and abused them.

Hampton, MLK and Malcolm X weren’t targeted by COINTELPRO’s massive surveillance and infiltration operation and ultimately assassinated under extremely suspicious circumstances because they were standing up just for black people, but because they were working to bring all peoples together to fight against the corrupt and criminal political power exploiting poor and working class in America and across the globe.

In comparison to the towering revolutionaries of Hampton, King and Malcolm X, Black Lives Matter are shameless courtesans to the establishment.

The FBI obviously don’t see BLM as a threat, hell it is such a collection of useful idiots the feds probably started it in the first place. The power structure’s greatest fear is that poor and working class black and white people will stop directing their anger at each other and start directing it at Washington, Silicon Valley and Wall Street. BLM is a critical tool to thwart that impulse and keep the proletariat separated by race…conveniently divided and conquered.

This is how something as innocuous as “All Lives Matter” is transformed into a racial slur instead of a rousing rallying cry. BLM gives away its establishment protection game by so aggressively making enemies out of potential allies, proving they’d rather separate people than bring them together for a clear common cause – stopping police brutality.

There are other signs that BLM is the establishment’s controlled opposition.

For example, when a protest by QAnon clowns at the capitol building turned riot it was immediately labeled an “insurrection” and false stories about it were propagated throughout the mainstream media and the feds hunted down the perpetrators, but these same feds and media supported the BLM “mostly peaceful protests” that attacked police stations and government buildings and took over portions of major cities like Portland and Seattle and turned other cities into looted, chaotic, burning madhouses for months.

Another example is highlighted in the film when Hampton belittles the idea of a school name change as some kind of substantial victory. BLM specializes in this sort of self-righteous symbolism, empty sloganeering (Defund the Police!) and toothless grandstanding that intentionally doesn’t address the actual conditions under which poor people suffer. It is all style over substance, as BLM would rather bring down statues than hunger, homelessness or homicide rates.

What makes Judas and the Black Messiah so poignantly tragic is that it shows that the FBI, which the left now adores, have always been the frontline workers for American fascism and their victory over genuine dissent has been spectacular.

This is why we now have vapid, race-hustling racial grievance grifters like Al Sharpton instead of intellectual giants like Malcolm X and MLK. And why we got the “hope and change” charlatanry of Barack Obama, a maintenance man for the status quo who dutifully bails out Wall Street while Main Street crumbles, instead of the revolutionary Fred Hampton. And why we are fed the lap dog of Black Lives Matter play-acting at defiance while being whole-heartedly embraced by the corporate and political power structure, instead of the bulldog of the Black Panthers putting genuine fear into the establishment.

The Black Lives Matter contingent think they’re Fred Hampton, but they’re frauds, phonies, shills and sellouts, just like Bill O’Neal. And that’s why I recommend Judas and the Black Messiah…not just for the film’s cinematic dynamism or the standout performances of Kaluuya and Stanfield but because it rightfully exposes those bourgeois BLM bullshitters.

 A version of this article was originally published at RT.

©2021

China's Totalitarian Rules for Performers are a Perfect Fit for Unrelentingly Woke Hollywood

Estimated reading Time: 3 minutes 19 seconds

In honor of China’s Orwellian rules for entertainment industry right-think, I’ve compiled a comparable list for working in equally unforgiving Hollywood

The two global gold standards when it comes to open-mindedness and tolerance for diversity of opinion have always been Hollywood and China.

Like Sauron and Saruman’s two towers in Tolkien’s Lord of the Rings, Hollywood and China are monuments to artistic freedom and freedom of expression, at least I think that’s what the two towers stand for since I’ve never actually read the book or seen the movie because of my egregiously short attention span and intellectual laziness.

China has long had an informal list of rules and requirements, or as I prefer to call them, “right-think guidelines”, that its entertainers must follow in order to stay in the good graces of the totally non-totalitarian government.

Recently, the Chinese Association of Performing Arts made these informal rules official so that performers can better “self-regulate” and avoid punishments that could include a lifetime ban.

As a resident of the People’s Republic of La La Land, I believe that Hollywood should boldly follow this shining example and make their unofficial right-think rules official, so that the crucial cultural trait of artistic “self-regulation” becomes more efficient and effective here in America.

China’s rules, such as its demand that performers “ardently support the Communist Party’s line, principle and policies”, and that they become an “art worker for the new era…by using literature and art to serve the people and socialism” are conveniently very adaptable to Hollywood.

Hollywood already rightfully demands that performers ardently support wokeism and never deviate from the woke party line, principles and policies.

 For example, Gina Carano just got fired from The Mandalorian for allegedly equating woke cancel culture with the Holocaust, while her co-star Pedro Pascal committed the same exact crime but over Trump’s immigration policy with no consequences. Obviously, Carano is a wrong think hate criminal, and I say good riddance to her and to her free speech…oops…I mean hate speech!

And as evidenced by Hollywood’s endless cavalcade of insipidly sub-par yet gloriously diverse virtue signaling movies and tv shows, art and entertainment has thankfully already been thoroughly transformed into a conformist cultural propaganda machine, and thank god for that…or how else would we know the right thing to right-think?

China’s rules also demand that celebrities should “guide minors to establish the right kind of values and actively resist uncivilized behavior”, which is perfect for Hollywood since it has a very long and rich history of guiding and grooming minors that speaks to the industry’s uniquely affectionate and insatiable love of children.

To be blunt, some of China’s rules simply won’t translate to Hollywood…except in reverse. For instance, China bans obscenity, pornography, gambling, drugs, drunk driving and “endangering social morality” for its performers, whereas those things are basically mandatory in Hollywood.

Another Chinese rule that won’t make the cut here is the ban on lip-syncing at live performances. China deems it “deceptive”, but if America bans lip-syncing then 97% of pop stars will be unemployable except maybe as prostitutes…but I repeat myself.

The rest of the right-think rules for working in Hollywood are quite obvious but a bit different from China, so I will state them clearly here.

First off there is the ‘diversity/inclusion lack of responsibility’ rule, which states that if a female filmmaker’s movie is terrible, it’s because of misogyny, and if a black director’s movie is bad it’s due to systemic racism.

Speaking of diversity, every commercial, no matter the product, must always feature either a person of color, or a bi-racial couple, or a gay couple, or best of all a bi-racial gay couple. Every. Single. One.

Also, and I cannot emphasize this enough, cis-gendered actors CANNOT play trans characters. EVER. And straight actors cannot play gay characters. Basically straight actors, particularly the white ones, aren’t allowed to act anymore. But gay actors can play straight characters and trans actors can do absolutely anything because we must honor, respect and worship them.

There’s also the Meryl Streep rule, where artists are wholly encouraged to bravely speak up but only when they know everyone in Hollywood agrees with them and it costs them absolutely nothing.

There’s also the straight white guy rule, where straight white guys are punished for the hate crime of being straight white guys. This is self-explanatory, as pale-faced skirt chasers like me deserve to rot in hell for our disgusting heterosexual masculinity, no matter how great our allyship and self-loathing.  

Some may think these right-think rules are dictatorial, totalitarian and draconian, but those people need to be silenced, cancelled and disappeared. The truth is that Hollywood is a bastion of free expression, just as long as that free expression strictly conforms to woke ideology.

For example, Hollywood proudly permits all sorts of vacant, vacuous and vapid virtue signaling around the topics of race, LGBTQ and feminism or any other wokefully acceptable issue. But if some too-smart-for-their-own-good performer dares to malign or denigrate the corporate hand that feeds, or targets American empire or militarism, or challenges the actual power structure in America, namely the military industrial complex and Israel, I promise you Hollywood will get medieval on their ass.

In conclusion, Hollywood should courageously follow in China’s noble footsteps (or is it bootsteps?) regarding enforcement of right-think, because as we all know, artistic “freedom is slavery”, and “ignorance is strength”, which means Hollywood is filled with the strongest people in the world.

 A version of this article was originally published at RT.

©2021

One Night in Miami: Review and Commentary

My Rating: 2.75 out of 5 stars

My Recommendation: SEE IT. A flawed film but worth seeing because it boasts strong performances, most notably from Kingsley Ben-Adir.

One Night in Miami, which is streaming on Amazon, is generating critical adoration for its powerful performances and for its supposedly timely social commentary on race and racism in America.

The movie, written by Kemp Powers and directed by Regina King, tells the story of a fictionalized meeting between Malcolm X, Cassius Clay, Sam Cooke and Jim Brown in a Miami hotel room in 1964 immediately following Clay’s victory over Sonny Liston to become Heavyweight Champion of the World.

The movie is adapted from the play of the same name and features a series of long conversations and monologues talking about “the struggle” for civil rights and about how “black people are dying in the streets…you must choose a side.”

Unsurprisingly, critics are calling it “timely” and that it “shines a light on present-day America” because of the Black Lives Matter protests last Summer.

These are culturally cheap, socially easy and intellectually shallow lessons to glean from One Night in Miami. The movie strikes me not as an opportunity to highlight how much racism allegedly still exists in America today, but instead as a testament to the staggering amount of progress made in the last 56 years.

The civil rights movement of the 20th century dramatized in One Night in Miami was one of the most extraordinarily successful endeavors in American history.

From 1964 to 2008, black people went from being second-class citizens protesting for voting rights to successfully voting for a black man for president. That black man, Barack Obama, won both of his presidential elections resoundingly.

The Civil Rights Act became law in 1964, and although it certainly didn’t happen overnight, over the course of the last 56 years anti-black discrimination has receded in America to the point where it is now deemed legally, morally and socially repugnant.

Case in point is an early scene in the movie where Jim Brown visits a family friend, an older white man played by Beau Bridges, in his home town in Georgia in 1964. After some lemonade and congratulatory conversation on the front porch, Brown offers to help the man move a piece of furniture inside the house. The man declines, telling Brown without a hint of shame that they “don’t let niggers” into their home.

That scene is so shocking and jarring because it is inconceivable in modern day America.

Cassius Clay, who shortly after the events dramatized in the movie becomes Muhammad Ali, is a perfect example of the massive change in American perspective from 1964 onward.

In 1964, Clay/Ali was reviled by most Americans for being a loud mouth, malcontent and Muslim. By 1974 he was celebrated as an iconic hero for his courageous victory over George Foreman in the Rumble in the Jungle. By 1996 he was a living legend and avatar for the very best of America as he carried the torch for the U.S. at the summer Olympics in Atlanta.

Objectively, by nearly every measure, discrimination has been so reduced as to be nearly non-existent. Subjectively though, the ghosts of oppression still haunt black minds and guilt still infects white minds. This transforms the fight against racism from an external struggle against discrimination to an internal one against perceived prejudice (which still exists among all races) and that is a much more complex, complicated and confounding battle to wage.

The chains of slavery are long gone, as are the legal discriminations of the Jim Crow era…and yet the need to project the subjective issue of prejudice into a struggle against the phantom of an external “systemic racism” and “white supremacy” in order to identify as both a noble victim and brave resistor is extremely powerful and intoxicating.

There is a certain sense of cos-playing in the current “anti-racist” movement. It is an existential yearning for purpose and meaning by trying to emulate the greats of the civil rights movement who succeeded in changing the country.

Every woke poseur, be they white or black, thinks they’re John Brown, Malcolm X and Huey P. Newton all rolled into one. They aren’t, they’re puffed up toddlers ranting and railing against the imaginary monsters hiding under their bed.

The subjective, self-serving yet self-defeating woke hyper-racialization of recent years has turned demands for equal treatment into the cries for special treatment, and has transformed MLK’s dream of judging people by the content of their character into racism, and judging people by the color of their skin into enlightenment.

This immoral madness puts us on a downward trajectory that only leads to calamity in the form of a catastrophic conflagration.

As for One Night in Miami, I recommend it as it is a flawed but captivating film that boasts two Oscar level performances from Kingsley Ben-Adir as Malcolm X and Leslie Odom Jr. as Sam Cooke.

Near the end of the movie there’s a scene where Sam Cooke sings his civil rights anthem, “A Change is Gonna Come” on the Tonight Show.

The song’s soulful chorus is, “it’s been a long, long time coming, but I know, a change gonna come”.

Thanks to men like Malcolm X, Muhammad Ali, Jim Brown and Sam Cooke and countless courageous others, change has come… and One Night in Miami is an excellent opportunity to acknowledge it.

A version of this article was originally published at RT.

 

©2021

Crack: Cocaine, Corruption and Conspiracy - A Review

My Rating: 2.5 out of 5 stars

My Recommendation: SKIP IT/SEE IT. Although the film features some compelling talking heads, its thesis is too shallow and one note to compulsory viewing.

The new Netflix documentary ‘Crack: Cocaine, Corruption and Conspiracy’ pulls its conspiratorial punches in favor of the establishment friendly route of blaming racism

 The documentary lacks insight and profundity because it studiously avoids the hard questions in favor of easy answers.

Crack: Cocaine, corruption and conspiracy, directed by Stanley Nelson, recounts the rise of crack cocaine in the 1980’s and the calamitous War on Drugs unleashed in response to it.

Cocaine, corruption and conspiracy are three things I can’t get enough of, so when this documentary was released on Netflix January 11th, I dove right in. The movie certainly lives up to its name as it does chronicle cocaine and corruption, but when it tries to tackle conspiracy it stumbles noticeably.

The film opens strongly with a chapter titled “Greed is Good” that highlights the ties between the muscular American capitalism of the Reagan revolution of the 1980’s and the explosion of the drug trade in America’s inner cities. 

The drug dealer as a black market, underclass extension of the archetypal American entrepreneur, is a compelling idea, but unfortunately, the film quickly eschews such high-minded observations and devolves into purely race-based analysis.

The film’s thesis is that crack, the media and political response to it, and the War on Drugs, were a function of racism.

The documentary repeatedly makes this assertion and assumes it to be true but unfortunately never actually proves it. In fact, the movie is often at cross-purposes with itself over its race-based contention.

For instance, the film claims that due to racism, law enforcement originally didn’t police black neighborhoods and therefore let drugs flourish. When black communities demanded aggressive police action to combat crack and officials responded with increased policing of black neighborhoods, that’s deemed racism too.

The documentary is chock full of this sort of circular logic, confirmation bias and shirking of responsibility.

Another racial argument is that the government’s amenable response to the opioid crisis, which affects more white people, as opposed to its draconian response to the crack epidemic, which affected poor black neighborhoods, is proof of racism.

This ignores a fact that the film details extensively, that the crack epidemic was accompanied by massive gun violence, something that hasn’t occurred with heroin.

Drug gangs selling crack engaged in gun battles over territory that resulted in many deaths, but it wasn’t just drug users and dealers that were dying, it was civilians caught in the crossfire too. This led to much public outcry and government officials resolving to stop the bloodshed.

As Sam Quinones reports in his 2015 book Dreamland, Mexican heroin dealers in the U.S. use a very different approach than violent crack dealers. To avoid police attention, these dealers don’t carry guns or use violence, and target smaller cities with a customer friendly approach that includes phone orders and direct delivery. In essence, these dealers have become like the Big Pharma companies that pushed the scourge of opioids onto the American public with the blessing of the government and medical establishment in the first place.

The documentary ignores these facts in favor of reducing everything to simple racism.

As for the “conspiracy” in the film’s title, the movie raises but then refuses to answer whether the CIA smuggled cocaine into the U.S. from Central America (thus creating the crack epidemic) during the Iran-Contra affair.

This “conspiracy” is referenced numerous times but while never refuted, it’s also never endorsed. The furthest the film goes is to say that it’s understandable that black people believe in this conspiracy since they’ve been so victimized by the government and the war on drugs.

There is compelling evidence that the CIA did smuggle cocaine into the country and were responsible for the explosion of crack and guns in inner city neighborhoods.

Gary Webb famously wrote about this in 1996 for The Mercury News and in his 1998 book, Dark Alliance.  In response, the mainstream media quickly jumped to the defense of the CIA and pilloried Webb, essentially ending his career. Webb ended up “committing suicide” in 2004 by shooting himself twice in the head.

An Inspector-General’s report later verified much of what Webb claimed according to journalist and Webb biographer Nick Schou who wrote, "The CIA conducted an internal investigation that acknowledged in March 1998 that the agency had covered up Contra drug trafficking for more than a decade."

The CIA is ruthless and amoral, so their use of the drug trade as a social destabilizer and off the books income source shouldn’t be shocking.

Alexander Cockburn details the intelligence community’s history of llegal drug operations in his 2014 book Whiteout: The CIA, Drugs and the Press. According to Cockburn the CIA was testing LSD on unsuspecting civilians in San Francisco and smuggling heroin from Vietnam in the 60’s, running cocaine and guns from Central and South America in the 80’s, and restarted the opium trade in Afghanistan after the U.S. invasion in 2001.

The documentary dutifully ignores Webb and Cockburn’s conspiratorial context, and its cowardly agnostic approach make the film seem like controlled opposition, as it simply recycles establishment sanctioned talking points around the war on drugs and uses racism as a shield to avoid bigger questions. In other words, the movie is just another opiate for the myopic mainstream masses.

Racism and a CIA conspiracy can both be, and probably are, major contributors to the moral atrocity and social calamity that is the War on Drugs, but shouting one and tap dancing around the other turn Crack into just another documentary that would rather tell people what they want to hear, rather than tell them the whole uncomfortable truth.

 A version of this article was originally published at RT.

©2021

Top Ten Virtue Signalers of 2020 - Entertainment Edition

Estimated reading Time - 3 minutes 56 seconds

This year has been a bad one for most of us, but for the woke virtue signalers of the entertainment world, it has been the very best of times.

It is unsurprising that the entertainment industry, which naturally attracts the intellectually vapid, the emotionally insecure and the rabidly self-absorbed, boasted some of the most egregious and aggressive virtue signaling in the history of the art form in 2020.

Anyone who has ever waded through the intellectual cesspool of our narcissistic culture is all too familiar with the compulsive public expressions of moral superiority and shameless self-righteousness of entertainment industry wokeness.

In 2020 entertainment industry virtue signalers, in a desperate attempt for attention and validation, vomited such copious amounts of their odious, self-serving woke bile into the public sphere that it felt like we were all living in a giant virtue vomitorium.

In honor of the worst year in recent memory, I have put together a list of the ten worst virtue signalers in entertainment for 2020. Enjoy!

10B. New York Times Film Critics – The NYT’s list of the 25 Greatest Actors of the 21st Century (So Far) and the Best Actors of 2020 studiously ignored talent, skill and reality and instead went all in on virtue signaling by including a cavalcade of minority, foreign and elderly actors as well as ridiculous Tik-Tok performers. The final result is a human resources department’s wet dream and looks more like the waiting room at a casting call for a diversity and inclusion public service announcement than a collection of best actors.

10A. Berlin International Film Festival – The home of the famous Golden Bear and Silver Bear Awards announced this year that they were going gender neutral in their acting awards…how very Weimar of them. Next up - Golden and Silver Bears announce their pronouns are they/them and zi/ze.

9. HBO Max – Put a warning label on Gone With the Wind so that people knew they were bad for watching it and evil for liking it. Also put out UNpregnant, a zany, whacky, fun-loving teen abortion movie. So much virtue to signal! 

8. Kristen Bell – Bell had an All-Star caliber virtue signaling year…she quit a voice role because she is white, did the ‘I Take Responsibility’ video – the gold standard of the virtue signaling art form, then said she raises her kids anti-racist and doesn’t care about their sexual choices. The Quadruple Crown of virtue signaling! Ask not for whom the virtue signaling Bell tolls…it tolls for all of us!

7. Richard Brody, Film Critic at The New Yorker – Brody turned the virtue signaling up to eleven this year by being inappropriately amorous with the pedophile starter kit known as Cuties and by ranking Spike Lee’s abysmal and amateurish Da 5 Bloods as #2 on his ‘Best of the Year’ list. Apparently Brody doesn’t care if people think he’s a pedophile, but he REALLY doesn’t want people to think he’s racist…now that’s some quality virtue signaling!

6. Late Night Comedy – As evidenced by the insipid woke comedic stylings of Saturday Night Live, Jimmy Fallon’s impotent apology for wearing blackface 20 years ago, Stephen Colbert literally crying about Trump, and the eunuch brigade of Jimmy Kimmel, John Oliver and Trevor Noah going all in on the safest, wokest, establishment-approved comedy imaginable, virtue signaling has spread like a contagion through late night comedy. These flaccid, pandering clowns make Jay Leno seem downright Carlin-esque. Yuck.

5. Disney/Hulu – Disney attached absurdly verbose content warnings to some of their classic animated films like Dumbo and Lady and the Tramp and Hulu (which Disney controls) pulled episodes of 30 Rock, It’s Always Sunny in Philadelphia, Scrubs, Golden Girls and Community for committing the sin of comedy “black face” in the past. Disney - where adults get treated like children!

4. The Oscars – The Oscars opened 2020 by virtue signaling about the environment and ended it virtue signaling about diversity.

 To paraphrase Schindler’s List, the Oscars’ new diversity and inclusion initiative isn’t just some good old fashioned hating of straight, able-bodied white men…it’s official policy now.

If the Academy Awards’ goal is to signal its virtue enough to make straight, able-bodied white men persona non grata in Hollywood, destroy cinematic quality and bankrupt the film industry, they are succeeding spectacularly. Bravo!

3. “Imagine” VideoImagine being so self-absorbed that you think making a video of you and your wealthy friends singing the saccharine anthem ”Imagine” from your mansions during a pandemic when ordinary people are suffering unimaginable-to-you hardships such as losing their jobs, their homes and their loved ones, is a really good idea.

I ‘Imagine’ a glorious utopia with no jackass celebrities or pathetically pandering corporations and certainly no virtue signaling. I know it will never happen, but it is a pleasant dream.

2. NBA/LeBron James – This year the NBA emulated the flopping and vacant histrionics of its players by doing an extravagantly exaggerated, dramatically over-the-top embrace of “social justice”.

In the NBA bubble in Orlando – The Happiest Place on Earth,  ‘Black Lives Matter’ was painted on every court and players wore trite woke slogans on the back of their jerseys. The absurdity and obscenity of filthy rich, pampered, dim-witted athletes, safely sealed in five star hotels with all expenses paid, adored by millions of people worldwide, wearing jerseys demanding fans “See Us” and “Love Us” is so astronomical as to be immeasurable.

Then there is the MVP of Virtue Signaling, LeBron James, who should trade in his Nikes for clown shoes after he wore a Breonna Taylor “Say Her Name” t-shirt and did an egregiously adolescent and nauseatingly pretentious Wakanda salute when Black Panther actor Chadwick Boseman died. Yikes.

LeBron’s won the NBA Championship in 2020 and nearly took the virtue signaling title too!!

1. “I Take Responsibility” video – A collection of imbecilic, dead-eyed actors morally preening by reading words on camera so that everyone knows they hate racism and “take responsibility” for “every not so funny joke, every unfair stereotype” is the Mona Lisa, the Hamlet, the Beethoven’s Fifth and the Citizen Kane of virtue signaling.

 This video is a pure masterpiece and the apex of the art form. It will never be equaled or topped…well at least not until the next shameless spectacle of woke virtue signaling comes along in 2021! Virtue signaling – the gift that keeps on giving.

Congratulations to all the virtue signalers of 2020. Your grating, self-serving displays of phony virtue are a towering monument to your own shamelessness and self-righteousness.

A version of this article was originally published at RT.

©2020

Death to 2020: A Review and Commentary

In a year ripe for satire, Netflix’s predictable mockumentary ‘Death to 2020’ is proof of comedy’s calamitous demise

The film’s tepid and establishment friendly comedic takes on 2020 feel like the final nail in comedy’s coffin.

Death to 2020 is the new Netflix mockumentary that sets out to humorously sum up the nightmare that was 2020. The film, which premiered on the streaming service on December 27th, recounts the actual terrible events of the past year and has fake experts played by actors such as Samuel L. Jackson and Lisa Kudrow on as talking heads to comedically comment upon them.

The makers of Death to 2020, Charles Brooker and Anabel Jones, are best known in the U.S. for their terrifically terrifying and unnervingly prescient sci-fi horror show Black Mirror. But U.K. viewers first got to know them from their more comedy-oriented projects like the “Wipe Series”.

Death to 2020 is much more like the Wipe Series than Black Mirror as it attempts to be a comedy. Unfortunately, it fails in that endeavor.

What makes Death to 2020 so irritating is that it has nothing unique to say and it doesn’t even say the same tired old stuff uniquely.

Granted, some of the jokes are mildly amusing, and some of the performances are good, Tracey Ullman as Queen Elizabeth II, Hugh Grant as a stuffy and ornery British historian and Diane Morgan as one of the top five most average people in the world, are well done. Others, such as Leslie Jones as a behavioral psychologist and Lisa Kudrow as a conservative spokeswoman, are decidedly not.

Ultimately the film has the comedic heft, impact and staying power of a snide and snarky tweet.  At best it resembles a high-end, star-studded 2020 version of one of those silly Best of the 80’s clip shows on VH1.

The biggest problem with Death to 2020 though is the problem with most comedy nowadays, in that it is such a suffocating and stultifyingly safe and painfully predictable exercise as to be frustrating and fruitless.

If you have seen a single monologue in the past year by any of the sanctimonious, self-righteous serfs to the establishment on late night tv, such as Jimmy Kimmel, Stephen Colbert, Jimmy Fallon, Bill Maher, Trevor Noah or John Oliver, then you’ve experienced the same impotent comedy of Death to 2020

The tired formula of the late night comedy eunuchs, where they flaccidly recite establishment-approved witticisms devoid of insight and edge, is dutifully replicated here just in mockumentary form.

The result is, not surprisingly, that there’s not an ounce of originality or profundity found in the hour and ten-minute film that is too long by roughly an hour.

Also clearly lacking from Death to 2020 is any semblance of comedic testicular fortitude as the usual safe targets are held up for ridicule. Of course Trump is pilloried because he is a walking punchline, as is clueless Joe Biden, who, amusingly, is referred to both as a “prehistoric concierge” and a ”civil war hero”, but obviously none of that is even remotely daring.

“Karens”, conservatives and anti-lockdown activists are also the butt of many jokes, but the equally golden opportunity to lambaste the illiberal left for laughs is never taken. For instance, the comedy rich environment of the Black Lives Matter movement is not mocked, and the “protestors” looting and burning businesses in the name of George Floyd don’t get taken to task either.

But most telling is that also absent from the comedy firing line are celebrities, like the highly hysterical dopes and dullards who vomited out the repugnantly self-serving “Imagine” and “I Take Responsibility“ videos.

By ignoring these subjects Death to 2020 reveals itself to be little more than just another pandering video compliantly committed to kissing the right asses and devoutly dedicated to never biting the hand that feeds it.

As George Carlin famously once said of the powerful in America, “it’s a big club and you ain’t in it!” But the establishment court jesters who made Death to 2020 either are desperate to become members or are already in the club, as their resolute refusal to challenge the status quo is a perfect representation of the sad state of comedy in 2020.

Yes, there are some notable exceptions, Dave Chappelle and Bill Burr being the most prominent, but beyond that, whether it be Stephen Colbert weeping on air like one of the buffoons he used to belittle, or Jimmy Fallon castrating himself with a cowardly apology for an allegedly offensive blackface bit from twenty years ago, or John Oliver’s pathetic pandering to wokeness, or Saturday Night Live’s fierce commitment to anti-comedy or any of the other mainstream comedians who have groveled and genuflected to those who hold the power in our culture, 2020 has been the absolute nadir for contemporary comedy.

The bottom line is that 2020 has been a most brutal year that may have changed our world forever but it is also rife with profound opportunities for humor. Unfortunately for us, 2020 may also have killed comedy, and Death to 2020 is its decidedly unoriginal and unfunny death knell.

My Rating: 2 our of 5 stars

My Recommendation: SKIP IT. Although at times mildly amusing, there is nothing original or noteworthy to see here.

A version of this article was originally published at RT.

©2020

Pixar's Soul: A Review and Commentary

Pixar’s first “black-led” movie ‘Soul’ isn’t about being black, it’s about being human

Pixar went to great lengths to make sure Soul would be acceptable to black people, but that won’t stop the woke from conjuring racial criticism of it.

Soul, the new film from esteemed animation studio Pixar that premiered on the streaming service Disney + on Christmas Day, has gotten a lot of attention for featuring the first black protagonist in Pixar’s history.

The film tells the story of Joe Gardner (Jamie Foxx), a good-hearted jazz musician (who happens to be black) making a living teaching music at a New York City middle school.

On the day Joe’s life is about to change following an audition with a famous saxophonist searching for a piano player, things end up taking an unanticipated twist.

What follows is a very existential and mildly entertaining metaphysical magical mystery tour through life, death, art and New York City. 

In this era of aggressive wokeness and cancel culture, Pixar and Disney went to great lengths to make sure Soul was not deemed racist and was acceptable to black people.

According to the New York Times, “Knowing their work would be minutely scrutinized, the director Pete Doctor, the co-screenwriter Mike Jones and the producer Dana Murray, who are white, set out to create a character who would be believably Black while avoiding the stereotypes of the past.”

So the question is how could these artists, who are members of a race (white) so despicable the New York Times refuses to capitalize it, believably create a character whose race (Black) is so superior that it is always capitalized in the New York Times?

As the Times informs us, the first step in this Herculean task was Pixar’s vice president for inclusion strategies Britta Wilson building a “Cultural Trust” made up of the company’s black employees.

The second step was that the production “talked to a lot of external consultants and black organizations...”

And finally the production brought in black writer Kemp Powers as a screenwriter who then got promoted to co-director, the first black director in Pixar history.

If all of that corporate pandering, from having a vice president of “inclusion strategies” to a “Cultural Trust” to hiring racial consultants, seems transparently ridiculous, repulsively shameless and downright griftery, you are not alone. But thankfully the film somewhat succeeds despite, as opposed to because of, all of this human resources inspired nonsense.

Ironically, the end result of all of Pixar’s gratuitous genuflecting to black people is a film that is strikingly color blind in a gloriously unwoke, old-fashioned and beautifully rational Martin Luther King-esque kind of way, as Joe’s race is actually entirely incidental to the story in Soul.

To the film’s great credit it doesn’t tell a black story, it tells a human story. Soul transcends race, or any of our other superficial differences like ethnicity and gender, and highlights the fact that we are not “white” people and “black” people, but rather, just people…all of us filled with hopes, fears, dreams and heartbreaks.

The funny thing though about Pixar being so scared of being called “racist” that it bent over backwards to make Soul acceptable to black people, is that it wasn’t black people it needed to be worried about…it was the woke.

Case in point, Kirsten Acuna, a non-black, woke film critic for the Insider, was deeply disturbed by Soul’s racial politics, so much so that the rather harmless film left her “cringing up until the very last minute”.

Acuna’s specific woke complaints contain too many spoilers to share in detail, but one of her non-spoiler issues was that “Pixar’s first Black-led film should celebrate a Black man’s experience and solely focus on his dreams and desires. Instead, Joe’s life takes a backseat in order for a white woman to figure out what she wanted from life.”

Contrary to Acuna’s complaint, there is actually no “white woman” character in the movie at all. Even though the alleged offending character, “22”, is voiced by white actress Tina Fey, a major premise of the movie is that “22” is a spiritual entity capable of taking any form.

Acuna was also dismayed that Soul has a 97% critical score at Rotten Tomatoes, declaring that the majority of critics who have reviewed the movie are white, and “shouldn't at least half of the reviews for Pixar's first film with a Black lead come from critics of color?”

So if we studiously apply Ms. Acuna’s race-based test for film critics, then the obvious question becomes…why didn’t Ms. Acuna let a black critic write a review of Pixar’s first black-led film instead of writing one herself?

This is why wokeness is so insidious and why trying to appease it is a Sisyphean venture, because it is an inherently irrational, emotionally fueled exercise in grievance seeking and virtue signaling…case in point – the vacuous and vapid woke fools like Kirsten Acuna lamenting Soul’s allegedly troublesome racial politics.

As for my opinion, Soul wasn’t as great as I hoped it would be, but it also wasn’t bad. It’s an at times entertaining, thought provoking, visually gorgeous and interesting movie.

My biggest issue with Soul was that it wasn’t quite as philosophically profound as it could have been, but to my surprise and to its credit, it also wasn’t heavy-handed and politically preachy…and for that I was very grateful, and you should be too.

My Rating: 3 out of 5 stars

My Recommendation: SEE IT. A mildly entertaining movie that takes a unique look at life, death and art. Not perfect by any stretch but compelling enough to keep you engaged.

A version of this article was originally published at RT.

©2020

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

 Estimated Reading Time: 2 minutes 806 seconds

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

My Rating: 2.5 out of 5 stars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

©2020

Hillbilly Elegy and the Culture War Clash

Estimated Reading Time: 3 minutes 11 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The answer is definitely…YES…to both.

My Rating: 1 out of 5 stars

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

 A version of this article was originally published at RT.

©2020

What Killed Michael Brown? Documentary: A Review

My Rating: 4.25 out of 5 stars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 A version of this article was originally published at RT.

©2020

Bill Burr Battles the Karen Dragon on SNL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 A version of this article was originally published at RT.

©2020

The Crime of Critical Race Theory Indoctrination in Kindergarten

Estimated Reading Time: 4 minutes 11 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 A version of this article was originally published at RT.

©2020

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

Estimated Reading Time: 3 minutes 13 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 A version of this article was originally published at RT.

©2020

No Lives Matter

Estimated Reading Time: 8 minutes 46 seconds

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

BLUE LIVES DON’T MATTER

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

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

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

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

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

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

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

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

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

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

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

Which brings me to the other side of the shitshow…

BLACK LIVES DON’T MATTER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NBA DON’T MATTER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IDENTITY POLITICS DON’T MATTER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NO LIVES MATTER

This is why I say, No Lives Matter.

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

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

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

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

©2020

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

Estimated Reading Time: 3 minutes 37 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 A version of this show was originally published at RT.

©2020