"Everything is as it should be."

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Hawkeye: A Review - of the First Two Episodes

Marvel’s new series Hawkeye, at least so far, not only avoids virtue signaling and woke pandering, it’s actually pretty funny.

The show has its flaws, but it’s a breath of fresh air from Marvel, which has in recent years been more interested in preaching than entertaining.

In the wake of Marvel’s miraculous run of movies which began with Iron Man in 2008 and culminated with Endgame in 2019, Disney’s money-making superhero division has been searching for a creative way forward with their storytelling in both film and television.

That search has usually resulted in pathetic woke pandering and virtue signaling on social issues, or mind-time-world bending extravagancies, or an unwieldy combination of both.

For example, Black Widow boasted a shamelessly shallow girl power, patriarchy-busting narrative and Falcon and the Winter Soldier pathetically pandered on racism, both with lackluster results.

WandaVision and Loki, on the other hand, toyed with audience’s minds as they bent time and storylines, thankfully they were at least interesting.

And finally, What if? and Eternals both went all in on virtue signaling and off-world in terms of time bending, and ended up being excruciatingly laborious.   

Now with the new six-episode mini-series Hawkeye – the first two episodes of which began streaming on Disney Plus on Wednesday with new episodes released every week for the next month, Marvel is trying a somewhat different approach.

After watching the first two episodes of Hawkeye I can report that thus far, thankfully, wokeness has not overtly reared its ugly head and no gods or time - bending wizards have showed up to mess with reality either.

In fact, Hawkeye is the most-grounded, most “realistic” and most authentic piece of storytelling in recent Marvel history, which isn’t a high bar to reach but at least they reached it.

Hawkeye tells the story of Clint Barton, aka Hawkeye – the family man and badass superhero archer from the Avenger’s movies, and Kate Bishop, a Hawkeye wannabe who stumbles into trouble. They both end up working together after the costume of the vigilante Ronin turns up and falls into the wrong hands.

The series, or at least the first two episodes of the series, is certainly flawed, but it’s also unique and interesting because at its core it’s really a droll comedy wrapped in the superhero cloak of an action-mystery.

Marvel has always had an undercurrent of comedy in their films, but that was always more a function of the impeccable comedic timing of Robert Downey Jr. as Iron Man and the glorious obliviousness of Chris Hemsworth’s Thor, than anything else.

Hawkeye though is legitimately and genuinely funny in the most subtle, self-ware, un-Marvel way.  

For instance, the series opens with Clint/Hawkeye in New York City for the Christmas season. As a treat, one that he quickly regrets, Clint brings his kids to see the big Broadway musical hit Rogers – which is based on Captain America Steve Rogers and the Avenger’s defense of New York, of which Hawkeye was a vital part.

The scenes of the musical are hysterical, like something out of The Simpsons (another Disney property) famous Planet of the Apes Musical starring Troy McClure, not just because they’re so dreadful, but also because they’re so horrifyingly believable.

This heinously egregious Captain America musical is a gloriously savage but subtle dig at the vapid and vacuous culture that made the insidious and insipid awfulness of Lin Manuel-Miranda’s Hamilton a landmark achievement and rabid sensation.

Watching the theater muffin versions of the Avengers sing “Hulk…SMASH!” and “I could do this all day” literally made me laugh out loud, most especially because the corporate pimps at Disney are bound to produce either that exact same show or one frighteningly similar to it. It doesn’t take much imagination to conjure the painful image of say U2, who once actually wrote the score for a disastrous Broadway superhero musical Spider-Man: Turn Off the Dark, teaming with establishment darling and abysmal, talentless shill Lin Manuel-Miranda to make some corporate-friendly musical like Rogers: The Musical.

Other scenes, like the one where Clint and Kate see people dressed as superheroes and Kate opines on the superhero Hawkeye’s failure to resonate with the broader culture being a function of branding issues and poor marketing, or when Hawkeye himself goes to a LARP (live action role play) event, are Marvel making fun of Marvel to the most Marvel-ous degree.

The main reason for Hawkeye’s success though is that its stars, Jeremy Renner as Hawkeye and Hailee Stanfield as Kate Bishop, are terrific in their roles.

Renner’s gruff, dead-pan delivery is deliriously good, and the luminous Stanfield is absolutely masterful with her comedic timing as well, like when she says the name of the Track Suit Mafia is “a little too on the nose.”

In Hawkeye, Renner and Stanfield are like some bizarro-world, asexual, Marvel version of Cary Grant and Katharine Hepburn…if Grant and Hepburn had to fight and shoot arrows at bad guys.

To be sure, Hawkeye has flaws. For instance, it can be a little slow at times and the few action sequences featured so far are not very noteworthy.

But with that said, I found myself pleased to see Marvel trying something new that didn’t involve overt woke preening and aggressive virtue signaling.

It would appear from the first two episodes that Marvel has given us a little early Christmas present this year, as the subtle, self-aware comedy on display in Hawkeye won’t work in too many other projects going forward for Marvel, but fortunately it does work well here.

We will see where the series goes from here, but thus far, I’m grateful that Hawkeye appears to be a little piece of harmless holiday fun. Let’s hope it stays that way.

 A version of this article was originally published at RT.

©2021

Disney's New Content Warning and the Woke Slippery Slope

Estimated Reading Time: 3 minutes 38 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A version of this article was originally published at RT.

©2020

Hamilton: A Review

****THIS IS A SPOILER FREE REVIEW!1 THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Recommendation: 2 out of 5 stars

My Recommendation: SKIP IT/SEE IT. Might be worth seeing just to get it out of your system, but truly, it is not worth the two hours and forty minutes.

Hamilton, written by Lin Manuel Miranda and directed by Thomas Kail, is a live recording of a 2016 performance of the stage musical of the same name. The show tells the story of Alexander Hamilton, one of America’s founding fathers, and stars Lin Manuel Miranda in the lead role, with supporting turns from Leslie Odom Jr., Renee Elise Goldsberry, Phillipa Soo, Daveed Diggs and Jonathon Groff among many others.

Hamilton hit Broadway back in 2015 and was met with universal adoration, which included eleven Tony Awards, including Best Musical, Best Book and Best Original Score and a Pulitzer Prize for Drama. The mainstream media fawned all over the show and deified its creator and star, Lin Manuel Miranda, to a striking degree…he even won a MacArthur Grant for his alleged genius. Similar to Rent, which debuted twenty years before it, Hamilton became an unabashed pop culture phenomenon and was the hottest, and priciest, ticket in any town in which it appeared.

I think the slavish adoration of Hamilton (and Miranda) by the media was a function of their aggressive affection for President Obama…as the show, with its diverse cast and devout optimism in America and its ideals, is a sort of a theatrical manifestation of Obama-ism.

The establishment’s instantaneous exalting of Hamilton was stunning to behold and raised very serious propaganda red flags for me. For that reason, and the fact that tickets were exorbitantly expensive and exclusive, I have never seen the musical on stage.

I was curious to check Hamilton out though when, thanks to Mickey Mouse shelling out a record $75 million to Mr. Miranda for the privilege of showing his work, it premiered on the Disney Plus streaming service.

In my appraisal of the show, let’s start with the good first.

Among the cast the highlights begin with Tony winner Renee Elyse Goldsberry…who absolutely crushes her songs with a vocal dexterity, ferocity and power. Even though she plays Angelica Schuyler, a somewhat secondary character in the bigger picture of things, Ms. Goldsberry is the beating, and at times bleeding, heart of the show.

Tony winner Daveed Diggs plays Lafayette and Thomas Jefferson and delivers with a palpable charisma, comedic sense and charm that lights up the stage whenever he’s on it.

Okieriete Onaodowan plays Hercules Mulligan and James Madison and brings a subtly powerful presence and striking rap style to his role, which could easily have been lost in the shuffle in the hands of a lesser actor.

Christopher Jackson’s robust voice and dramatic skills animate the role of George Washington and in the second half he nearly steals the whole damn show.

And finally, Jonathon Groff actually does steal the show in the minimal role of King George. Groff may very well be the best singer in this ridiculously talented bunch, and he belts out his songs “You’ll Be Back/What Comes Next?I Know Him” with such a delirious vigor and aplomb that it is simply intoxicating. (Groff is also excellent in Netflix’s Mindhunter!)

Now for the bad news.

By far the biggest problem with Hamilton is that the show is populated by a plethora of very talented people…but its lead, Lin Manuel Miranda, is definitely not one of them.

A musical simply cannot be worthwhile if its lead is uncharismatic, a dreadful singer, an embarrassment as a rapper and a truly atrocious actor.

I cannot tell you how shocking it was for me to behold Miranda’s severe limitations as a performer after having heard for four straight years that he was a once-in-a-generation genius. Miranda really is a stark naked emperor and it seems no one wants to admit that obvious but uncomfortable truth.

Let’s start with his singing. It is always going to be a problem when the lead of a musical can’t sing, and so it is with Miranda and Hamilton. Miranda has an extremely limited vocal range, and his voice is…and I am being extremely generous here…weak and pedestrian. The fact that Miranda is surrounded by a cast of ridiculously talented singers only accentuates his vocal impotence.

Hamilton’s big claim to fame is that it is, in its own way, a hip-hop musical, so maybe you’d think Miranda’s numerous short comings as a singer wouldn’t be that big of a deal…you’d be dead wrong. Miranda’s rapping is, unbelievably, even worse than his singing. Miranda raps with a whiny, nasally voice and comes across like a nerdy history teacher trying to be “hip” for the young people in his classroom. Watching him rap is like watching a grandparent dirty dance at a wedding…it is just a viscerally uncomfortable embarrassment.

Add to this the fact that Alexander Hamilton is supposed to be this dude that the ladies adore, and yet he is played by the ultra-anti-masculine, doughy dullard Miranda. Whenever one of the female characters are professing their love or attraction for Hamilton it made me cringe.

The funniest thing of all was in the second half of the play watching Miranda try and cover his really abysmal singing by pretending to act. Miranda repeatedly forced a fake cry in order to disguise the glaring weakness of his flaccid voice. What made this so amusing is that Miranda is just a staggeringly terrible actor…I mean he is pulling some junior high school drama class level stuff on stage.

I couldn’t help but think of Christopher Guest’s fantastic 1996 comedy Waiting for Guffman while watching Hamilton. In that film the brilliant Christopher Guest plays Corky St. Clair…the writer/director and eventual star of a play he puts on in Blaine, Missouri.

Go watch Waiting for Guffman to see Corky’s dance moves, and his stunning duet, A Penny For Your Thoughts, and you’ll see Lin Manuel Miranda in Hamilton in a nutshell.

Despite Corky being hysterically untalented, he is still adored by the rural rubes who don’t know any better. Lin Manuel Miranda is the Corky St. Clair of Broadway.

Of course, the media, like the know-nothings in Blaine, give Miranda a pass for his weakness as a performer because they think he is some sort of musical theatre genius. I obviously disagree. But even if that is true, the bigger problem to me is that the only reason Miranda stars in the play is due to his obviously over-sized ego. Even Miranda fans must admit that there are hundreds (if not thousands) of Broadway performers who could do a better job in Hamilton than he did. Hell there are a handful in this actual production who could do the part better than him…like Leslie Odom Jr.…or Daveed Diggs…or Anthony Ramos…or Christopher Jackson and on and on.

Also, in terms of Miranda’s ego…Steven Sondheim and Andrew Lloyd Weber didn’t star in their musicals…so what kind of ego must Miranda have to think he needs to star in his, especially when he lacks the requisite skills to pull it off?

In regards to the music in the show…well…there is not a single memorable song to be found in Hamilton despite the fact that there are numerous performers giving memorable renditions of the material. Not one. Part of that, but not all of it, can be written off to the use of rap, which is an art form that generally does not age even remotely well. (Here is another comedy that I thought of while watching Hamilton - The Simpsons Planet of the Apes Musical, which uses rap music about as effectively as Hamilton…so Lin Manuel Miranda is both Corky St. Clair AND Troy McClure!)

As for Miranda’s creative genius…I don’t get it. I mean, I guess it is clever to adapt Ron Chernow’s book Alexander Hamilton into a musical…but it feels like he just put history to rhymes. Does that rise to the level of amazing? Count me unimpressed.

So basically, everything wrong with Hamilton falls on Miranda’s shoulders and boils down to an egotistical, self-reverential and underwhelming songwriter trying to carry a pop-music/rap musical despite being an insipid and abysmal performer.

But besides that…how was the play Mrs. Lincoln? (See I can use historical references too! Where’s my MacArthur Grant!)

Hamilton has been praised for its color conscious casting…in other words, its decision to cast of actors of color in the roles of white people of history. This is obviously a grand symbolic gesture…but of what? Diversity? Sure. Inclusion? Ok. But this soft gesture of inclusion and diversity, which won over rich, white, Obama-ite neo-liberals, also has a shadow to it, as the only white actors with prominent roles in the show play the villains, King George and the cowardly and incompetent Charles Lee. Both King George and Lee aren’t just villainous, but also clownishly effeminate…much in contrast to the actors of color surrounding them who are robustly masculine. One can’t help but conclude from the evidence presented that Hamilton is not only pro-diversity and inclusion, but insidiously anti-white, particularly anti-white masculinity (not to mention that no white woman at all appears in any roles but the ensemble).

Hamilton has not aged well in its five years of existence, and as previously mentioned that could be a function of using rap and popular music as its backbone. This is heightened by the fact that even politically the show has gone from darling to doubted among the media, which now has seconds thoughts about Hamilton, which is likely a result of the media’s succumbing to the cult of wokeism.

You see, it is difficult to cheer the tearing down of statues of Washington and Jefferson for being slave owners, and then celebrate them in a musical even if they are played by black actors. In this way, Hamilton is, like Obama himself, painfully outdated for the era of rabid social justice and, ironically, Black Lives Matter.

Also outdated is the notion of celebrating the founding fathers and their accomplishments which include quaint ideas such as freedom of speech, which were radical in their day and have, incredibly, become radical once again in our own. In the era of cancel culture, BLM and SJW’s, free speech is anathema, and the founding fathers are criminals to be posthumously punished, not heroes to be celebrated and humanized.

After sitting through the seemingly endless two hour and forty minute run time my conclusion is this…I found Hamilton to be little more than Sesame Street social studies for rich, self-loathing white neo-liberals who want to bask in the warmth of their own self-righteousness and self-deluded coolness. It is a sterile, vanilla, Disney-fied piece of dramatic preening that poses at intellectual depth but is as shallow as a kiddie pool.

In terms of its cinematic worthiness, the staging of the play does seem impressive in a sort of “wow the drama club did a really nice job this year” sort of way, but it, like nearly every stageplay ever photographed, does not translate well to film.

The bottom line is this, I am glad I finally got see Hamilton if for no other reason than I now know I do not need to see Hamilton. I am also glad that I never got suckered into the Hamilton hype and got fleeced for a ticket, and instead only had to pay $4.99 for my Disney Plus subscription to find out that the show is a glittering piece of musical theatre fool’s gold. For all the folks who fell for its alleged, in the moment, 2016 charms…the joke is on them, as history once again has the last laugh.

©2020

We Need a New, Anti-Woke TV Channel To Stave Off Comedy’s Impending EXTINCTION at the Hands of Cancel Culture

Estimated Reading Time: 3 minutes 48 seconds

We Need a New, Anti-Woke TV Channel To Stave Off Comedy’s Impending EXTINCTION at the Hands of Cancel Culture

With political correctness running roughshod over Hollywood, now is the perfect time for a billionaire to invest in a streaming service that prioritizes entertainment over wokeness.

We now live in an age where the Cancel Culture Clan routinely don their white robes of self-righteous totalitarianism and roam the comedy landscape of today and yesteryear searching for any heretics who have violated the ever changing rules of the Church of Wokeness.

It was either Sir Isaac Newton, Huey P. Newton or Fig Newton, I can’t remember which, who once famously said, “for every action there is an equal and opposite reaction”…and so it is with the politically correct panic of our time. 

This is why I believe that anti-wokeness is poised to be a major growth sector in the entertainment industry in the coming years.

My idea to cash in on the current woke hysteria is to start a comedy streaming service dedicated to being resolutely anti-woke.

I call this streaming service…F.U.T.V.

Instead of the fear of offending the delicate sensibilities of the most fragile among us being our guiding principle, F.U.T.V. will make the unorthodox decision to actually treat viewers like adults and let them decide for themselves whether they choose to watch whatever “offensive” comedy has been targeted by the snowflake Savanarolas looking to fuel their bonfire of inanities.

We just need a rich bastard with enough testicular and fiscal fortitude to fund this noble venture. There has to be some billionaire entrepreneur out there who realizes that as the corporate behemoths of Hollywood cave to the incessant bitching of the p.c. mob by casting aside controversial comedians, shows and movies, a gaping void is being opened, and an anti-woke streaming service can profitably fill it.

For instance, in recent years a cavalcade of wildly popular sitcoms such as Friends, Seinfeld, The Office, 30 Rock, The Simpsons, Family Guy, and South Park have all been branded with the scarlet letter of “P” for problematic, due to various woke infractions regarding insensitivity towards race, ethnicity, gender, sexual preference and diversity.

“Problematic” is always and every time the first step on the journey down the very slippery slope that inevitably ends with crucifixion by the centurions of corporate cancel culture.

These tv shows are huge money-making properties but in short order they will be available for pennies on the dollar because the weak-kneed buffoons in corporate Hollywood, who are scared to death of the tiny Torquemadas of the Woke Inquisition, will gladly sacrifice their comedy golden gooses on the altar of political correctness in order to appease the angry gods of social justice.

Stand up comedy will fare no better as venues such as Netflix, which have branded themselves the home to comedy, have already begun to cower to the Robespierres of the Woke Revolution and pulled a variety of “racially offensive” comedy shows.

The thing to understand about the woke mob is this… their greatest fear isn’t that someone, somewhere is being offended, it is that someone, somewhere is actually enjoying themselves.

No matter what you do to appease these dour and depraved scolds, it will never be enough, for they are voracious and insatiable in their appetite to destroy anyone and anything that makes them feel uncomfortable.

Netflix has given an inch, and I guarantee you these totalitarian tools will take a mile, and won’t relent until Dave Chappelle, Bill Burr and Ricky Gervais’ heads are on a platter.

Comedy history too will be raped and pillaged by these woke barbarians as they inevitably push for greats like George Carlin, Richard Pryor, Bill Hicks and Billy Connolly to be purged from cultural memory for the crimes of wrong-think and political incorrectness.

The goal of comedy fans everywhere should be to extend a giant middle finger to all these repugnant woke simpletons by supporting comedians doing what comedians are supposed to do…rebelling against the small, closed minds in the culture that are trying to censure, censor and suffocate them.

In conclusion…here is a top six ranking of some of the comedians and their routines that are no doubt on the endangered species list in this toxic age of wokeness. Let’s hope F.U.T.V. can get funding and stave off the incessant waves of woke whiners and bring to a halt comedy’s impending extinction.

6. Bill Burr

Burr stomps on the toes of political correctness and jokes about sexual assault…both hanging offenses in the People’s Republic of Wokestan.

Sexual Assault

PC Culture

5. Richard Pryor

One of the greatest stand up comedians of all-time would have a woke bulls-eye squarely on his back if he were around today. This penitentiary routine would certainly have raised the ire of the social justice Bolsheviks and their demand to “abolish the police”.

Penitentiary

4. George Carlin

It is a tragedy Carlin isn’t around to obliterate the insipid vacuity of the woke brigade. There is no doubt that in 2020 the p.c. police would vastly alter his iconic routine of “words you can never say on television” by expanding it to be more “socially conscious” and applying it to every day life.

“Seven Words You Can Never Say on Television”

3. Chris Rock

Speaking of words you’re not allowed to say…the electrifying Chris Rock and his blistering take on racial issues from 1996 sure as hell wouldn’t fly in 2020.

Bring the Pain

2. Louis C.K.

If Louis C.K. hadn’t already been cancelled back in 2017, he certainly would’ve been if he tried these routines in 2020.

The “N” word

Child Molesting

1. Dave Chappelle

I’ll give the last word to Chappelle, who is public enemy number one of the woke because he is so brilliant at eviscerating their vapid, emotionalist drivel. In 2019 his Sticks and Stones wowed audiences but P.C. critics deemed it “regressive”, which must be another term for “honest and funny”…I’ll let you decide.

Chinese

Women Equality

A version of this article was originally published at RT.

 

©2020

Kamala and Krusty the Clown

Estimated Reading Time: 5 minutes 49 seconds

On Tuesday December 3, 2019, California Senator Kamala Harris ended her bid for the Democratic nomination in the 2020 presidential election. My reaction to this news was inspired by The Simpsons episode "The Last Temptaion of Krust”, where Krusty the Clown calls a press conference to announce his retirement from show business. After Krusty’s attempt at a profound retirement statement is scuttled by an intrusive press corp, he is barraged by a series of questions, one of which is “Krusty…why now? Why not twenty years ago?” My question for Kamala Harris and her supporters would be, “Why now? Why not ten months ago?”

I wonder if like Krusty, Kamala has simply faked her own demise and will resurface, sans clown makeup, under the name of Rory B. Bellows. Could Rory B. Bellows make an appearance at the Democratic convention? Could Rory B. Bellows be a VP candidate? Who knows…who cares?

Let’s be very clear about something…Kamala Harris was a dreadful candidate from day one who was solely motivated by her personal ambition and not any guiding political principle. A shamelessly shallow, woke posing, neo-liberal dedicated to maintaining the status quo, Harris attracted vociferous support from the media and middle-aged bourgeois white women. In a brazen display of identity politics at its worst, a certain faction of woke posing bougie white women loved Harris for the sole reason that she is black and a woman and gave them a chance to clearly signal their virtue. It seems obvious that these Harris supporters are as devoid of any guiding principles, core political beliefs, morals and ethics as their black lady savior.

Harris’s army of woke bourgeois white women routinely use terms like “racist”, “misogynist”, or my favorite, the painfully pretentious “misogynoir” (hatred of black women), as a defense mechanism against any and all questions about Harris’s worth as a candidate. In the wake of Harris’s demise they are now furiously hurling those same invectives around like syphilitic monkeys throwing poop in a frenzy at the zoo. Thankfully for them they are so full of shit that they will never run out of ammunition. What is so revealing about these tactics from pro-Harris white women is that they are routinely employed against “people of color”, like Andrew Yang and Tulsi Gabbard…apparently when you are a bougie white woman Harris supporter, racism and misogyny are things of which only other people are guilty.

It should come as no surprise that these empty-headed Harris supporters who are now so triggered by her failure, are the same collection of mindlessly rabid Hillary hypocrites from 2016 who consistently alienated anyone and everyone with their entitled, self-serving bitching. Just like when they blamed Hillary Clinton’s 2016 defeat on Bernie Bros and Russia, these Harris supporting woke bougie shrews will now blame everyone and everything else for their idols humiliating and catastrophic failure. Old dogs never seem to learn new tricks…like how to actually think…or take responsibility…or how not to get emotionally attached to a political candidate.

Speaking of not thinking…the New York Times published two op-eds in Thursday’s paper on the topic of Kamala Harris dropping out. One was from the reliably inane and emotionalist Charles Blow, whose column is once again a case study in buffoonery. The piece, titled “What Kamala Harris’s Campaign Teaches Us” is a masturbatorial exercise in delusional racism porn.

Blow opens the piece by describing how last January, Kamala Harris came into the presidential race with a bang and a resoundingly warm welcome. Blow recounts how Harris raised a substantial sum of money, sold a great deal of merchandise and had 20,000 people at her Oakland announcement. He then describes how polling guru Nate Silver of FiveThirtyEight published a piece just after her announcement that touted her as the front runner. Silver also proclaimed he was “skeptical” of “Biden, Sanders and Klobucher” but “more bullish about Kamala Harris, Beto O’Rourke and Corey Booker”.

Of course, these Nate Silver quotes are pretty hysterical in hindsight as Kamala and Beto are out of the race and Booker might as well be, and Biden and Bernie are among the top three candidates. Silver has once again revealed himself to be a charlatan when it comes to political prophecy but this hasn’t stopped him from becoming the establishment’s favorite numbers nerd, and this partially accounts for why woke bourgeois white women swarmed to Harris…she had gotten the stamp of approval from Silver and the rest of the mainstream media.

Blow then papers over the problems with Harris as a candidate and her campaign, and boils down her failure with this wonderfully obtuse paragraph.

“It is fair to ask what role racism and sexism played in her campaign’s demise. These are two “isms” that are permanent, obvious and unavoidable in American society.”

Blow is a high priest of the Church of Identity Politics and a guru in the Cult of Victimhood, so his racism addled brain believes everything is because of racism. Proof of this is on display in his article when Blow goes through all the of the structural racism Harris failed to overcome in her bid for the nomination…from debate rules about funding to a primary schedule that opens with two “white” states Iowa and New Hampshire. See, according to Blow it wasn’t Kamala Harris’s fault that she failed, it was the racism and misogyny of white Democrats.

Of course, Blow’s thesis is obliterated by reality, as in the last three presidential elections, Democrats have nominated a black man (Obama) twice and a white woman (Hillary) once, with Obama getting the momentum to his first nomination in 2008 when those rascally racist white Iowans came out en masse for him, but Charles Blow never let’s facts get in the way of his idiocy.

Another piece of information that destroys Blow’s thesis is that Beto O’Rourke, a white man who also got Nate Silver’s stamp of approval and who also hit the ground running with a well received campaign, went out of the race with merely a whimper even before Kamala Harris after voters got to know him and realized that toothless dog won’t hunt.

My favorite part of Blow’s article is when he finally acknowledges the black elephant in the room that stomps his thesis into the dust when he mentions that it wasn’t just white voters who rejected Harris…it was black voters. Blow has a theory about black voter’s reticence with Harris too. He writes,

“But there is something else that we learn — or relearn — from Harris’s run: the enduring practicality of black voters. They, in general, reward familiarity, fealty and feasibility.”

According to Charles Blow, when black voters reject Kamala Harris it is because they are practical and pragmatic, whereas when white voters reject her it is because of racism and misogyny. Charles Blow is a social justice hammer who thinks the whole world looks like a rusty racist nail.

The second Times piece, “Why There Won’t Be A Black Woman Running for President” is from Melanye Price, a professor of political science at Prairie View A&M. Prof. Price makes similar arguments in her piece as Charles Blow. What is striking about Prof. Price’s op-ed is that , similar to Blow’s column, its internal logic is entirely at odds with itself. For instance, Price states,

“Any time a black politician has to demonstrate her blackness or prove her connections to the black community, she is already in serious trouble. But why were blacks so suspicious? None of it seemed to be enough — not her decision to attend a historically black college, join a black sorority, not even her black father. This I still don’t understand.”

What is so odd about that statement by Price is that literally in the next paragraph she answer’s her own questions. “Why were blacks so suspicious?”…as Price tells us,

“In black circles, the “she’s a cop” refrain was heard most often. Her role as California’s attorney general — its “top cop” — was a major source of criticism during her presidential run. Police officers of any gender or race are wildly unpopular among blacks.”

If Price wanted to understand black voter’s recalcitrance regarding Harris’s candidacy maybe she should have read her own article.

It is important to note that Harris’s history as a “cop” not only turned off black voters but poor ones as well, because in poor communities, regardless of race, the police are a malignant entity that menaces the population and is a major threat to their freedom and well-being, whereas for woke bougie white women, like Harris’s supporters, the police are a benevolent force who protect them from the dangerous world outside their privileged enclaves.

Earlier in her piece, Prof. Price writes incoherently about her thoughts on the word “electability” in relation to race and gender.

“Thrown about as an identity-neutral term, there is no doubt that, in 2019, electability means white male centrist. In the shadow of America’s first black president, it seems that only white men who take positions that are more conservative than the party’s base can overcome the misogyny and racism of the current president, not women or racial minorities and certainly not a black woman.

It is doubtful whether or not having the support of the African-American community would overcome this. Currently, Pete Buttigieg has tiny black support and he is still seen as a viable candidate. This is the challenge going forward for flawed candidates like Ms. Harris or for that perfect black female candidate people seek — convincing the media and the electorate to reject the tendency to revert to traditional understandings of who can be president. If flawed white male candidates are still “highly electable,” then where is the space for flawed black, white, Latina, Asian or Native ones?”

What Prof. Price is arguing in these two paragraphs is difficult to discern. I am certainly not as bright as a professor from Prairie View A&M, so it could be that Prof. Price is talking over my head…or it could be she has no idea what she what she is talking about or what she wants to say.

The sentence, “In the shadow of the first black president, it seems that only white men who take positions that are more conservative that the party’s base can overcome the misogyny and racism of the current president, not women, or racial minorities and certainly not black woman”, is so garbled and jumbled as to be near gibberish. My best attempt to decode this statement is that she is saying that ‘after Obama, Democratic voters believe that only center right candidates can defeat Trump’. If she believes that it would have been nice if she actually wrote that more concisely and clearly.

It only gets worse in the second paragraph as the claims in one sentence that she doubts that African-American support would overcome this bias (towards white, male centrists), but then points out that “Pete Buttigieg has tiny black support but is still seen as a viable candidate.“ This is such an odd argument. Pete Buttigieg IS a white, male centrist, so in keeping with Prof. Price’s thesis Democrats…including black ones who shunned Harris, would support him due to his “electibility”.

Price then claims in her next statement that the challenge going forward is for flawed minority candidates to convince the media and electorate to “reject the tendency to revert to traditional understandings of who can be president”. By using Pete Buttigieg as her nefariously centrist, white male example, Prof. Price scuttles her entire flaccid thesis, as Mayor Pete is NOT someone who would be categorized under “traditional” in terms of being president due to his youth, inexperience and most notably his being gay. If Mayor Pete became president he would be the very first openly gay person to do so…that hardly seems traditional.

In the last sentence of the paragraph in question, Price moves the goalposts considerably when she says flawed white male candidates are considered “highly electable”, when in the preceding sentences she used the lower bar of the term “viable” to describe Buttigieg. This is not a difference without a distinction, as being a “viable” candidate and being a “highly electable” candidate are very different things. “Viable” and “electable” mean the same thing, but “viable” and “highly electable” are miles apart.

Prof. Price and Charles Blow obviously both believe that Kamala Harris’s campaign was destroyed because of racism and misogyny. They can’t prove it, and that is very clear from reading their articles, but they just KNOW it must be the truth. They know that even though Harris was a dead eyed, impotent candidate, the reason she failed is because of some deep seated bias in Democratic voters. Harris’s woke bougie white women supporters fervently agree with this critique and are all too happy to shout it from the mountaintops because it proves the most important thing to them, that they aren’t racist, but everyone else is…including apparently, black voters, who en masse rejected Harris.

The bottom line regarding Kamala Harris is this…and Prof. Price, Charles Blow and the Harris fan club will never be able to see or admit this…but Kamala Harris has risen in her political career from local, state and now federal government, and all the way up to being a “viable” candidate for president when she first got into the race, not despite her gender and skin color, but because of it. Obama didn’t become president despite his blackness, but because of it. Liberal white guilt is a real thing and a potent political force in the hands of a skilled politician. To be clear, Barrack Obama was an awful president, just look at his selling out of working people with his handling of Wall St. and Obamacare…and his disgusting chicanery in Flint, but he was a miraculously gifted, once in a lifetime political talent. Obama’s talent was enhanced by his “compelling narrative”, which like “electable” is a code word, but for “race/gender/sexual orientation differences”. Americans were attracted to Obama’s “compelling narrative” and elected him twice to the highest office in the land, just like Californians were entranced with Kamala Harris’s “compelling narrative” and voted her into state office and then a senate seat. Regardless of white liberals infatuation to Harris’s “compelling narrative”, she ain’t no Obama, and never will be, and thus white liberal guilt was not enough for her to overcome the fact that she alienated black voters. Harris is a third rate political hack whose only skills are shamelessness and woke pandering…and, white liberal guilt or no, that does not play quite so well on the national big stage as it does in California.

Prof. Price finishes her piece by writing,

“But there is vetting a candidate using reasonable metrics and there is scrutiny that some reserve for certain categories of candidates. We should consider whether some of Ms. Harris’s detractors fell in the latter category.”

The word “consider” is doing a lot of work there. Prof. Price and Charles Blow don’t so much as “consider” Democratic racism and misogyny in Harris’s fall, but insinuate and assume it. This is an important lesson for anyone who is a liberal or progressive, know that no matter a candidates qualifications, talents or skills, if they are black, a woman or both, if you don’t mindlessly support them you are infected with the disease of racism and misogyny. This does nothing but alienate potential allies, and reduce the much needed critical thinking function from political debate and decision making…which is not a positive development.

One thing about Harris’s failed campaign that neither Price nor Blow “consider” is that her inability to generate support is not a function of racism and misogyny but rather of voter maturity. Could it be that after at least thirty years of progressive voters being conned by neo-liberal bullshitters like Bill Clinton and Barrack Obama who, like Kamala Harris, had no core political belief beyond gargantuan personal ambition, they have finally woken up to the scam, and Kamala Harris is just a casualty of that awakening? Maybe, just maybe, Kamala Harris’s dismal showing in the presidential campaign is a sign that the scales have fallen from liberal eyes and they now possess the ability to discern who actually cares about and will fight for working people and the poor and not simply be a corporate shill in progressive sheep’s clothing. I certainly hope the scales have fallen from liberal eyes and they can now see the light through the deceptive haze…but Joe Biden’s and Pete Buttigieg’s continued popularity does not leave me optimistic.

Prof. Price writes in her final paragraph a sentence that is just remarkable for its obviousness. She writes,

“I am still trying to make sense of her (Harris’s) candidacy and its larger implications.”

Great. How about this Prof. Price, how about you and Charles Blow go “consider” Kamala Harris’s candidacy and its larger implications, and THEN write an op-ed about it, instead of vomiting upon New York Times readers this vacuous and vapid word salad totally devoid of any insight or meaning?

Much like Kamala Harris’s campaign, both Prof. Price and Charles Blow’s op-eds are self-serving embarrassments that should be ignored and forgotten as soon as possible. Good riddance to bad rubbish.

©2019

Inherent Vice : A Review?

****THIS IS A SPOILER FREE REVIEW!!! THERE ARE NO SPOILERS IN THIS REVIEW!!!

Inherent Vice, directed  and written by Paul Thomas Anderson, is an adaptation of the Thomas Pynchon novel of the same name. The film stars Joaquin Phoenix and boasts supporting performances from Josh Brolin, Owen Wilson and Reese Witherspoon among many others.

At this point in writing a review I will usually give a brief synopsis of the film's story. As I hopelessly stare at this ever ravenous and judgmental computer screen, with it's incessant hunger for words, wisdom and insight, I realize I am intellectually barren on this topic, hollow at my core, devoid of even the most primitive capacity to explain the labyrinthine plot of Inherent Vice. I have scoured my brain, even put on the complete Pink Floyd collection in search of inspiration, but to no avail. To paraphrase Ned Flander's beatnik parents on The Simpsons, who didn't know how to discipline young Ned, "I've tried nothing and I'm all out of ideas!"

The revelation that has dawned on me is that this is not really a 'review', but would more accurately be described as a 'viewers guide'.  Inherent Vice is a mystery, wrapped in a riddle, surrounded by rolling papers. I have seen it twice already and it wasn't until well after the second viewing did things start to take shape for me in regards to figuring this film out. What I hope to do in writing this 'guide' is not explain the film to you, I think that is an impossibility, since my experience of the film will most assuredly be different from yours, but instead of explaining, I hope to help prepare you for your experience of the film. 

Inherent Vice is a film that is like a delicious Duncan Hines yellow cake with chocolate frosting, so dense and layered that it can be exquisitely delectable but at the same time down right overwhelming. The film is really three layers/films in one, if not many more. The key to watching Inherent Vice is to choose which version, or level, of the film you think you will most enjoy and gorge on it from there.  Here are the three scrumptious layers that are most apparent to me. Mmmmmmmm, yummy layers.

1. The Surface Level. On the surface level, Inherent Vice is a stoner mystery comedy. Think Cheech and Chong meet Chinatown. Personally, I don't get into stoner films, they just aren't my cup of tea, or drug of choice, or whatever metaphor you'd be more comfortable with. So I didn't appreciate the film on this level a great deal, although I admit it is pretty fun trying to figure out what is actually real and what is a just a hallucination in the mind of Joaquin Phoenix' character "Doc". A lot of people do dig stoner comedies though, and if you do, you may very well really like Inherent Vice just as an entertaining, fun movie and nothing more. If that is the case with you, then dive right in and enjoy. If not, then head to level two.

2. A Political/Social Commentary. Dig a little deeper with Inherent Vice and you will find a meditation on American corruption, fascism, and the exploitation of the individual and collective psyche by government and corporate interests through marketing and manipulation. On this level, it is all about the co-opting of the sixties liberation and freedom movements, both personal and political, by the establishment. As you watch, take note of how nothing is ever what it seems on the surface, like the dental conglomerate that is really an Asian drug cartel, or the drug-addled-hippie-musician who is really a spy for Nixon. Everything is something other than what it appears, every person and every group has a hidden nefarious motive at the core of their actions. So, don't have a freak out man!! Remember...paranoia is just a heightened sense of awareness!!

Level two is also riddled with political and social symbolism. As a prime example of level two symbolism, take note of one scene as an example,  in which Josh Brolin's "Bigfoot" character, the symbol of the establishment, kicks in Doc's door and then gobbles down marijuana by the handful as an intimidating show of power, which is really an allegory for the usurping of marijuana culture by the establishment in the form of legalization. Weed is now 'officially' integrated, and by being so legitimized, it loses it's mysterious power. Weed has now been neutered as a political statement and muted as a sacrament for the counter-culture and a symbol of their anti-authoritarianism and rebelliousness.

If you have four hours to kill (in one hour increments)… a really great primer on the exploitation of the individual and collective psyche by those in power, and how they manipulate through marketing, is a series of documentaries from the BBC titled, The Century of the Self. It is about Sigmund Freud's nephew, Edward Bernays and his creation of of the public relations industry. It is long, but it is a truly great documentary, and it really lays the groundwork for understanding the massive manipulation that unfolds on level two of Inherent Vice, and in our actual lives to this day.  Here is a link…Century of the Self. 

3. A Jungian Psychological Exploration. On level three the story of Inherent Vice is really the tale of the spiritual/psychological quest for wholeness and reunification with the Self by the bringing together of the opposites. Ok, this might be the least apparent and most inaccessible level of the three described, but I found it the most interesting. The way to understand this is to see all of the characters in the story as parts of Doc's psyche. Doc, the long haired, counter-culture hippie, and Josh Brolin's "Bigfoot", the flat-topped-square-establishmentarian, are symbolic opposites of the same coin, Doc's psyche. Shasta, Doc's ex-girlfriend, represents the Anima (feminine power) and Doc the Animus (male), with Doc trying to re-connect with the anima in order to be complete and whole. Also notice the other opposites that come together, Nazis and Jews, the Black Guerrilla Family and the Aryan Brotherhood, Nixonites and hippies, etc. Another thing to keep an eye out for are the religious/spiritual symbolism, including the Christs with Uzis (no, that is not a misprint), and the Buddhas, both gatekeepers and guardians that keep Owen Wilson's character, and Mickey "Wolfmann" mentally, emotionally and psychologically hostage.

The great symbol of wholeness in the film is hiding in plain sight. It is...of all things…pizza!! Trust me, when you see pizza or hear the word pizza, pay attention. Pizza is round and is the symbol of wholeness, so when Doc, or the other characters whom are symbolic parts of his psyche, are looking for, ordering, or eating pizza, they are really searching for wholeness and reunification with the Self. Thus the eating of pizza represents the integrating of wholeness and through this synthesis with wholeness, they, and the part of Doc's psyche they personify, are healed. This is the story of level three, Doc's quest for re-connection with Self and wholeness. 

Thus ends the 'viewers guide'. Those are just some of the ways you can choose to look at the film. You will probably find much more, as the film speaks to people in the language that they can hear. I never read the Thomas Pynchon book the film is based on, so readers of that book might have a greater understanding and appreciation for the film on every level. 

Just a few quick final notes on some of the specifics of the film. First the acting. Joaquin Phoenix plays the lead role of Doc, and he is his usual stellar self. Phoenix' work in the last few years, especially his previous work with P.T. Anderson in The Master, has been so ingeniously brilliant it is beyond description as merely the craft of 'acting'. Phoenix' artistry is so rare and original that I cannot compare him to any other actor we've ever seen, but rather to another revolutionary artist from another form, Pablo Picasso.  Phoenix is so far out there in terms of what he brings to a role, his authenticity, originality and inventiveness that he can only be described as some sort of Picasso-esque mad genius. But beyond his obvious transcendent talent, he also brings an immense understanding and mastery of his craft and a painstakingly meticulous specificity to the details of his work. Joaquin Phoenix is as unique a talent as we have in the acting world, and he is at the height of his powers. We should all consider ourselves blessed to get to watch his work.

Josh Brolin has a supporting role and is as good as he's ever been. Brolin devours the role of "Bigfoot" like his character "Bigfoot" devours that platter of weed, or his Japanese pancakes ("MOTO PANACAKU!!"...Oh wow man, I just realized, just now, that a pancake is another round food symbol of wholeness!! Bigfoot is demanding, in the language of the east, more servings of wholeness to integrate!! Wholeness prepared and delivered by a man of the East!! Whoa….). Brolin brings an unwavering focus and intensity to "Bigfoot", which plays as both frightening and funny. Brolin can be an underrated actor, but here he shows he is the real deal when in the right role, and his performance is a key part in making Inherent Vice work.

Robert Elswit is the cinematographer on Inherent Vice, and his work is dazzling. Elswit has worked on many of P.T. Anderson's films, and his work is always exquisite, and Inherent Vice is no exception. This is the second film of note for Elswit this year, his cinematography on Nightstalker is stunning as well. It is without question that Elswit deserves not only an Oscar nomination but an Oscar win for his work in either Nightstalker or Inherent Vice. Elswit, like Phoenix, is another artist at the top of his game.

And there you have some random, scattered thoughts on the enigmatic Inherent Vice.  I can honestly tell you that I am not sure which parts of this 'review/guide' were real, and which were simply entertaining hallucinations, but I guess you'll figure that all out when you see the movie for yourself. 

I do hope you find the viewer's guide useful, but remember, those are just some of the ways to watch the film. You will probably find much more, as the film speaks to people in the language with which they can hear it, and that is it's greatest strength and a tribute to the mastery of director Paul Thomas Anderson. Anderson is the great filmmaker of our time, and Inherent Vice is a tribute to his complexity and the intricacy of his work. I found the film to be fascinating, I think you may too.

© 2015

FOR REVIEWS OF OTHER FILMS RELEASED DURING THE HOLIDAY SEASON, PLEASE CLICK ON THESE LINKS TO THE THEORY OF EVERYTHING , WHIPLASH , BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) , FOXCATCHER , WILD , AMERICAN SNIPER , A MOST VIOLENT YEAR , THE IMITATION GAME , NIGHTCRAWLER , STILL ALICE , SELMA , MR. TURNER , CAKE .