"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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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 Only Thing Dumber Than the #HandsOffAnastasia Twitter Furor is the Dreadful Movie That Sparked It

Estimated Reading Time: 3 minutes 28 seconds

Some Russians have taken offense at Anastasia Romanov’s cartoonish depiction in a low-budget movie released earlier this year. They shouldn’t waste their energy on a criminally stupid piece of film making.

In case you haven’t heard, #HandsOffAnastasia is the outrage du jour on Twitter. If you were unaware of this controversy, I deeply envy you. Here is a quick breakdown of how #HandsOffAnastasia came to be. 

In Spring of this year a terrible movie titled Anastasia: Once Upon a Time came and went and no one cared because it was laughably low budget and hysterically awful. The film is a live action kids movie that tells a fantastical tale of Anastasia Romanov time traveling, with the help of a wizardly Rasputin, from Russia in 1918 to Madison, Wisconsin in 1988 in order to evade Vladimir Lenin and Yara the Enchantress’s malevolent grip. To give you an indication of the caliber of movie that Anastasia: Once Upon a Time is, here are some highlights…Rasputin has a break dance battle at a mall, plays video games and models in a fashion show, there are some absurdly random musical numbers, and a Filipino comedian plays Lenin.

I am no expert on Russian history, but I am pretty sure the film is not entirely historically accurate. And this is where the outrage comes in…apparently some Russians are up in arms that “Hollywood” would denigrate Russian history and besmirch a Sainted Russian figure like Anastasia Romanov, who was brutally murdered by Bolsheviks at age 17 with the rest of her family, by comically re-imagining her tragic tale…thus #HandsOffAnastasia was born.

More kindling on the #HandsOffAnastasia fire is a clip from the film circulating online that shows Anastasia eating spaghetti with her hands, thus implying she, and all Russians, are uncivilized barbarians.

Sadly for me, this whole #HandsOffAnastasia situation forced me to watch this stupid movie. My assessment is this…how do you say “much ado about nothing” in Russian?

First things first…Anastasia: Once Upon a Time is obscenely amateurish and ridiculously imbecilic…but it doesn’t make Anastasia out to be some Neanderthal anti-princess. The spaghetti eating scene isn’t mean spirited or even “anti-Russian”, it is just unconscionably lazy movie making.

The other thing, and this is the most important point, is that this film is so inconsequential as to be absurd. Why anyone, anywhere would care what it says or does is beyond me.

This is not some “Hollywood”, big budget operation backed by the marketing muscle of Disney. The movie was produced by Congolomerate Media and distributed by Freestyle Digital Media…not exactly Hollywood heavyweights…in fact they don’t even qualify as flyweights…or Hollywood, which is why no one has ever heard of this film until this silly controversy.

The budget for the film is bare bones, and it shows in the locations, cheap special effects and shabby costumes. Whatever money they did have seems to have been almost entirely spent acquiring the rights to the Cindi Lauper song “Time After Time”, which it uses liberally (without Lauper’s pricey vocals) throughout the film for no discernible reason.

If I could point to one remarkable thing about Anastasia: Once Upon a Time it would be that it boasts the largest collection of the worst Russian accents ever captured on film at one time. The biggest star in the movie is Brandon Routh who plays Tsar Nicholas II. Once upon a time Routh played Superman on the big screen, and in Anastasia he reveals his kryptonite is twofold…acting and a Russian accent.

The film is produced by Armando Gutierrez, who also did no one a favor by casting himself in the critical role of Rasputin. The film would have been better served casting an inanimate carbon rod in the role instead of Gutierrez.

On the bright side, there is exactly one good performance in the film, and that comes from the talented Amiah Miller, a young actress who played Nova in War for the Planet of the Apes.

Besides that the only interesting thing about this movie is that on its IMDB page it actually lists Anastasia Romanoff as one of the screenwriters. That is an intriguing marketing ploy but simply cannot be true because if the real Anastasia ever had to watch this dreadful movie she would run into the basement and shoot herself just to end the misery and embarrassment. I am sure that last joke offended some people…but here is the thing, if you have the time and energy to get upset about that lame joke or about this nonsensically preposterous movie, then you really need to get a life.

This isn’t to say that Hollywood, like the rest of America, isn’t Russophobic. It certainly is. It isn’t to say that Americans aren’t historically illiterate about Russia and ignorant about Russians. They certainly are. It is to say that this third rate clownshow of a movie is so laughably trivial that it should never ever generate any emotion, be it positive or negative, from anyone, anywhere.

#HandsOffAnastasia is, like so much of Twitter culture, a function of people with too much time on their hands searching high and low, far and wide for something, anything about which to be offended.

In conclusion, the hypersensitive Russian woke folk of #HandsOffAnastasia desperately need to keep their hands off Twitter and go out and re-connect with their heritage by doing truly Russian things…like competing in a break dancing battles at the mall, or modeling in impromptu fashion shows, or eating spaghetti with their hands.

 A version of this article was originally published at RT.

©2020

UNpregnant: A Review and Commentary

****THIS REVIEW CONTAINS SOME MINOR SPOILERS!!! THIS IS NOT A SPOILER FREE REVIEW!!****

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. This stillborn comedy is a mess of a movie but it does succeed as a piece of pro-abortion agitprop

Last week was a good week if you crave poorly crafted movies designed to trigger culture war clashes, but a bad week if you’re a cinephile more interested in quality cinema than political posturing.

On September 9th, Netflix defecated Cuties, the controversial French film that hypersexualizes 11 year-old girls, onto an unsuspecting and uncomfortable public.

The very next day, September 10th, HBO Max picked up the gauntlet of inappropriateness and released UNpregnant, its teen girl, road trip, abortion buddy comedy.

Thankfully UNpregnant is rated PG13, which means the scantily-clad, twerking 11 year-olds of Cuties only have a two year wait before they can watch the movie-version of the abortion handbook that is UNpregnant.

UNpregnant is the story of Veronica (Haley Lu Richardson), a 17 year-old over-achiever in Missouri who asks her misfit former friend Bailey (Barbie Ferreira) to give her a ride to New Mexico for an abortion.

Missouri and its surrounding states all have laws against minor’s getting abortions without parental consent, and Veronica is afraid to tell her “Jesus freak” Catholic parents, so she needs to hit the road to the Land of Enchantment for the no-strings, underage abortion at the end of the rainbow.

In mythical girl power fashion, Veronica and Bailey’s journey is undertaken in a Pontiac Firebird, because like a phoenix, these girls will rise from the ashes of the patriarchal society that oppresses them…or something like that.

Unfortunately, UNpregnant is a painfully conventional and relentlessly dull film. It’s ironic that a movie burdened with such flaccid performances and impotent comedy should be about a pregnancy borne out of unrestrained virility.

The film’s dreadful script, which is in part written by Ted Caplan and Jenni Hendriks and is based upon their book of the same name, reads like the exposition Olympics, and Rachel Lee Goldenberg’s direction is abysmally amateurish.

The two leads, Haley Lu Richardson and Barbie Ferreira, try as hard as they might, lack any comedy chemistry whatsoever. Both of them push so hard to make something funny happen that you’d think they were actually in labor…but the fruits of that labor never appear as apparently the comedy in their performances was aborted too and never had the chance to grow beyond a miniscule fetus.

UNpregnant wraps itself so tight in liberal political correctness it could pass for a social justice mummy. The movie has all the right heroes and heroines and all the proper enemies to appease the woke faithful.

For instance, the film exerts a great deal of energy proving it isn’t racist by having every single black person in the movie be wonderful allies to the abortion cause.

Yes, these black people, like Peg, the pawn shop owner with the heart of gold, Jarrod, the local cowboy with the heart of gold, and Bob, the apocalyptic conspiracist with the heart of gold, are all edgy and dangerous, but ultimately, due to their previously mentioned hearts of gold, end up being kind and extremely helpful to Ivy league bound, suburban white girl Veronica in her abortion quest. 

And just in case viewers were confused about the cultural politics of the movie, there’s a superfluous lesbian romance thrown in too.

As for the villains, there’s Kevin, Veronica’s white, empty-headed yet controlling, stalker boyfriend, who intentionally failed to reveal the condom broke. Like all straight white men in Hollywood movies nowadays, Kevin is simply no good.

The most deplorable villains in the movie though are a family of pro-life, white Christians who are the personification of evil. This family is meant to represent the pro-life movement, as unsubtly indicated by their secret “pro-life” room in their home, and by their mobile pregnancy and ultrasound equipped recreational vehicle, which they use to chase down Veronica and Bailey.

The sequence with the evil pro-life family is so farcical and tonally out of step with the rest of the movie, it feels like it is intentionally placed there for no other reason than to denigrate and inflame Christians.

Needlessly ridiculing Christians is not exactly a sound marketing strategy if, like UNpregnant, you are trying to make a popular movie and not some niche arthouse film. Proof of this is that UNpregnant currently has a 40% audience score at Rotten Tomatoes, which makes total sense since 65% of Americans identify as Christian.

The film does currently boast an 85% critical score at Rotten Tomatoes, but I think that has everything to do with it being a shameless advertisement for abortion and woke utopian wet dream of anti-Christianity for establishment liberals rather than any honest analysis of its artistic or entertainment merits.

As a cinematic venture, as a comedy and as a piece of entertainment, UNpregnant fails miserably, but as a piece of agitprop that normalizes abortion, which I believe is the movie’s ultimate intention, it thoroughly succeeds.

Abortion in UNpregnant is depicted as a gateway to freedom and truth and an undeniable good. Abortion is portrayed as this wondrous and physically, mentally and emotionally painless procedure that leaves girls emphatically relieved and joyously buoyant in its wake. As post-abortion Veronica sums up to her mother at movie’s end, “I don’t feel bad…”

I’m glad at least someone didn’t feel bad at the end of the movie, because I sure did, and not because of UNpregnant’s political stance on the complex issue of abortion, or its ham-handed cultural politics, but because it is an unfunny, cliché-ridden, mess of a movie that is poorly written, acted and directed.

In conclusion, UNpregnant is a stillborn cinematic dud that should have taken its own advice and aborted itself in the first trimester of its creative process.

 A version of this article was originally published at RT.

©2020

Cuties: A Review and Commentary

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

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. The deviant, under-aged sexuality in Cuties doesn’t make the middling movie an art house gem. It’s incredible some critics are blind to its toxic depravity just to score political points.

Cuties premiered on Netflix this week amid much controversy and fanfare. As a film critic, I am willing to give the artistic benefit of the doubt to most any movie, so as I sat down to watch Cuties I was conscious of the controversy surrounding the film, which started three weeks ago after Netflix’s marketing material made the movie look like it was sexually exploiting 11 year-old girls. But I was also open minded enough to think the film might not match the marketing.

Cuties starts off with an intriguing premise that is bursting with dramatic potential as it tells the story of Amy, an 11 year old immigrant from Senegal, as she navigates the clash between her old world, Islamic family, and the modernity and libertinism of her new French friends.

Unfortunately, Cuties pretty quickly devolves from its powerful premise and becomes licentious and lurid rather than dramatically lucid. Director Maimouna Doucoure makes the egregious error of trying to make a social commentary about how modernity hypersexualizes young girls by actually hypersexualizing young girls. It is like making a social comment on animal cruelty by actually torturing animals on film.

I am a cinephile, not a pedophile, so I found Doucoure’s repeated and extended shots of 11 year-old girl’s scantily clad, gyrating pelvis, buttocks and groins to be gratuitous, shocking and frankly, repulsive.

It is amazing that there are people out there, like highly respected film critic Richard Brody of The New Yorker, in a lather vehemently defending the film. Brody’s review is not so subtly titled, “Cuties, the Extraordinary Netflix Debut That Became the Target of a Right-Wing Campaign” praises the film but ultimately indicts the critic.

Brody boasts, “I doubt that the scandal-mongers (who include some well-known figures of the far right) have actually seen “Cuties,” but some elements of the film that weren’t presented in the advertising would surely prove irritating to them: it’s the story of a girl’s outrage at, and defiance of, a patriarchal order.”

I’ve seen Cuties and I’m not a right-winger, and yet I’m able to see the insidiousness of exploiting little girl’s sexually under the guise of being against the “patriarchy”…why isn’t David Brody? Brody and his ilk are so eager for a culture war fight they are completely blind to the striking malevolence of Cuties.

For Brody, Cuties is just another opportunity to signal his alleged liberal virtue as evidenced by his statement, “The subject of “Cuties” isn’t twerking; it’s children, especially poor and nonwhite children, who are deprived of the resources—the education, the emotional support, the open family discussion—to put sexualized media and pop culture into perspective.”

It would seem Brody is over estimating the power of education, as he is a Princeton grad and yet he is incapable of putting the deviant sexuality of Cuties into proper perspective. Brody’s review comes to a close by stating, ““Cuties” dramatizes what people of color and immigrants endure as a result of isolation and ghettoization, of not being represented culturally and politically… it’s enough to give a right-winger a conniption.”

To Brody and other Cuties defenders, and there are plenty of them as the film has a 90% critical score on Rotten Tomatoes, Cuties is just another gateway drug to the cultural narcotic of racism, sexism, xenophobia and all the rest, and is just another cudgel against “right wingers”.

The beauty of it is that Brody is chastising “right-wingers” for politicizing Cuties by politicizing his review of Cuties, just like the film comments on the hypersexualization of kids by hypersexualizing kids. This is Matrix level, multi-dimensional chess of the highest order.

On a purely artistic and cinematic level, Cuties is a decidedly middling affair. Director/writer Doucoure makes some rudimentary structural and character development errors that undermine the film to a great degree.

In addition, despite its one good shot, which is its final one, the film has no distinct visual flair and only seems capable of mimicking the style of those creepy American Apparel ads that were shot by…not surprisingly…famous photographer and alleged sexual predator Terry Richardson. 

There is one scene where 11 year-old Amy is basically possessed by some evil, uncontrollable twerking demon, where in close-up she is sprinkled with water and gyrates in skimpy underwear, that was particularly reminiscent Richardson’s lascivious style.

What struck me as I watched Cuties was that there was a much more interesting, complicated and artistically worthy subject hiding in plain sight and that would be a story where one of the truly awful little girls in Cuties, who dresses like a whore and twerks and watches porn, actually leaves her religion of libertinism and becomes enamored and engrossed in an old world religion like Islam, Catholicism or Orthodox Christianity, or Orthodox Judaism. 

Brody and his companions in the elite establishment would despise that version of the movie because it would show the depravity of the chaotic libertine world they cheer while showing a viable, and although not perfect but much more ordered, alternative.

In conclusion, being a film critic is sometimes a good job and sometimes a bad one. On the good days you get paid to watch a Terrence Malick film…on the bad days you are forced to endure Cuties. I highly recommend you do yourself a favor and skip Cuties and spare your mind and soul from being subjected to the toxic depravity of little girls being drowned in the most repugnant of cinematic sexual stews.

A version of this article was originally published at RT.

 

©2020

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

The Taboo Against Erections on TV Crumbles Just as New Taboos Around Speech are Being Erected

Estimated Reading Time: 3 minutes 39 seconds

Sexual libertinism is on the rise, including on British TV where Channel 4 was happy to show men’s erections in all their glory. But at the same time, liberal freedoms protecting speech and thought are quickly disappearing.

Channel 4 showed an erect penis on air last night, which was the first time a male member ever stood at attention on British television.

The erections in question, there were eight in total, rose to the occasion on the aptly titled documentary, Me and My Penis, which explored issues of masculinity through the radical portraits of fine-art photographer and artist, Ajamu. 

As someone raised in the schizophrenically Victorian culture of America, where an exposed breast or bare-bottom on network television is cause for alarm but pornography is a booming multi-billion dollar business, I always assumed that the erectile Rubicon had long ago been crossed in that hedonistic paradise that is Great Britain. Silly me.  

The U.K. certainly does have a long history of showing limp dicks on television, like Tony Blair, Boris Johnson and Piers Morgan…and Channel 4 often shows flaccid penises too, especially on their nudity packed dating game show Naked Attraction, but My Penis and Me made history by rising up and breaking the boner barrier.

Channel 4 didn’t so much circumnavigate the erectile Maginot Line as stroll across an imaginary line. It ends up the long held taboo against showing a raging phallus on television in the U.K. was more a gentleman’s agreement rather than a rock hard rule (that’s what she said!).

There was a long-standing myth of an unofficial ‘Mull of Kintyre’ guideline, which supposedly stated that any penis on tv could not be shown in a more erect state than the outline of the Scottish peninsula, which is such a gloriously British thing it makes my teeth turn crooked. I mean, who exactly is supposed to measure the angle of the penis in question? Do they use a special pecker protractor? Is that a union job?

Thankfully it turns out, according to Ofcom - the UK’s communications regulator, there actually is no ban on boners as long as they are ‘justified by the context’ – which is a rule I think we should all try and live by.

As ridiculous as this all seems, what interests me most about the breaking of the British tv boner boundary is that just a week ago a story broke about how ITV nixed Spitting Image from showing the puppet penises of Boris Johnson, Trump and Putin. So apparently the British public are resilient enough to see a human erection on their tv sets but incapable of withstanding glimpsing a puppet penis? Churchill would be so proud.

What is most striking to me about this odd disparity is that it highlights both the deconstruction of sexual taboos, be they regarding erections on television, or gay marriage or transgenderism, and the construction of new taboos meant to limit and control speech and thought.

Agree or disagree, Spitting Image was making a political statement with their puppet penises, whereas on My Penis and Me the erections are the statement…one was censored by the corporate powers that be, the other endorsed.

As more is allowed in the realm of public sexuality, less is being allowed in the realm of public speech. You can be, do, show and watch what you like in terms of sex nowadays without any consequence, but try saying exactly what you think if it contrasts with the woke establishment’s beliefs and you’ll be met with a brutal backlash.

So now there are erections on Channel 4 and “WAP” (Wet Ass Pussy) on the top of the music charts, but you can’t say ‘All Lives Matter’ or ‘only women menstruate’ or ‘sex is real’ without great risk of being cancelled and losing your livelihood.

This strange brew of hypersexual libertinism mixed with the puritanical policing of speech and thought has an extremely unnerving late period Weimer Republic feel to it.

As libertinism waxes and liberalism (in the philosophical sense) wanes, it seems we are quickly devolving into a dystopian hellscape with the distorted sexuality of Huxley’s Brave New World combined with the brutally restrictive politics and language of Orwell’s 1984. Soma and Two Minutes Hate for everybody!

That comparison may seem hyperbolic, but considering how steep the slippery slope has been over the last four years alone, with the pandemic of wokeness, and its accompanying objective reality defying symptoms of Black Lives Matter, #MeToo and transgenderism, spreading like wildfire, it strikes me as uncomfortably accurate.

I am one of those fools that believe freedom is a magical elixir for what ails nearly everything and everybody. 

For example, for the puritanical prudes out there alarmed by the boner brigade on Channel 4, if you don’t want to see erections on Channel 4, you are free to change the channel.

For the politically correct prigs out there who demand ideological conformity or be silenced, cancelled or fired, you are free to ignore those with whom you disagree or to grow up, debate your opponents and defend your position.

Like the erections on Channel 4, freedom is hard and takes effort to maintain but is worth it because it lets you watch what you want, marry whom you want and think and say what you want.

Sadly, freedom now grows flaccid because our culture is more interested in allowing raging boners on television than raging debate in the public square.

 A version of this article was originally published at RT.

©2020

New HBO Max Teen Comedy UNpregnant Seems to Suggest Abortion is Nothing but a Barrel of Laughs

Estimated Reading Time: 3 minutes 24 seconds

UNpregnant appears to ignore the moral complexity of abortion in favor of promoting an insidious amorality on the issue. 

UNpregnant is the controversial new abortion buddy comedy movie set to premiere on HBO Max on September 10th.

The film, based on the novel of the same name, tells the story of Veronica, a pregnant 17 year-old girl, and her friend Bailey, as they go on a wild and whacky road trip from Missouri to New Mexico so that Veronica can get an abortion.

In its trailer, UNpregnant sells itself as a zany road picture where hilarity ensues when a goofy odd couple of teenage girls steal a car and try to hop a train on their epic odyssey down the yellow brick road to abortionland.

The road picture narrative is a long time Hollywood staple, think Bing Crosby and Bob Hope with their numerous “road to” musical comedies of the ‘40’s and ‘50’s…except in UNpregnant, Crosby and Hope are teenage girls crossing state lines to get an abortion. Hilarious!

It is easy to see why pro-life advocates are up in arms over UNpregnant as the trailer makes the film appear to be a piece of pro-abortion agitprop specifically designed to antagonize them by making light of abortion and demonizing Veronica’s Catholic parents as “Jesus freaks”.

2020 has been a banner year for decidedly pro-abortion films with UNpregnant, the critically acclaimed drama Sometimes, Always, Never, Rarely, and the indie dramedy Saint Frances, which all have an amoral attitude toward abortion, all being released.

Notice I described these films as pro-abortion and not pro-choice, that is because pro-choice implies a grappling with the moral gravity of the abortion decision, whereas pro-abortion removes any moral dimensions at all, and reduces abortion to being akin to getting a nose piercing.

This amoral approach to abortion is perfectly summed up by Kelly O’Sullivan, writer and star of Saint Frances, who told Time magazine, “I wanted to write a story where it’s a non-traumatic depiction of abortion. It’s ordinary and light and sometimes funny…”

Yes, because if abortion is anything it is ordinary, light and sometimes funny.

Hollywood has not always been so devoid of nuance in its depiction of the extraordinarily complex issue of abortion.

In 2007, Juno, Knocked Up and Waitress all portrayed their female protagonists wrestling with an unwanted pregnancy and highlighting the choice part of the pro-choice position, with each ultimately choosing to not have an abortion.

These films were wildly successful, with Juno and Knocked Up raking in $231 million and $219 million respectively, and Waitress pulling in a respectable $22 million with just a $1.5 budget.

Juno also garnered four Oscar nominations for Best Picture, Best Director and Best Actress, while winning for Best Original Screenplay.

The commercial and critical success of these films was a result of their mirroring American’s extremely conflicted feelings on the subject of abortion.

Polling shows that a majority of Americans are pro-choice in some form, but as Barbara Carvalho of Marist Poll told NPR, “People do see the issue as very complicated, very complex. Their positions don't fall along one side or the other. ... The debate is about the extremes, and that's not where the public is."

In the thirteen years since Juno, Knocked Up and Waitress hit big screens Hollywood has abandoned the nuance and dramatic complexity of American’s view of abortion in favor of the extremist pro-abortion message of UNpregnant.

Tinsel Town is no longer interested in connecting with as wide an audience as possible but rather prefers to signal their self-professed virtue with cultural propaganda that directly targets underage girls while preaching to the minority of pro-abortion zealots in their midst.

Most troubling for movie lovers is that internal moral conflicts are what make for the most interesting drama and comedy, and to ignore them in favor of self-aggrandizing political posturing is self-defeating for both artists and the movie industry.

An example of a mainstream filmmaker successfully embracing morally complex issues, including abortion, is Knocked Up director Judd Apatow, who has made a career of wrapping moral debates in his signature raunchy humor.

Apatow’s films, which include 40 Year Old Virgin, This is 40, Funny People and Trainwreck, are “conservative” comedies where adult protagonists face moral dilemmas and though tempted to make the libertine choice, eventually make the difficult but responsible one instead.

As Hollywood’s cultural politics become ever more strident, Apatow’s formula, which has made him a gazillionaire, will become anathema in the movie industry and “get woke, go broke” will most assuredly be made manifest in La La Land.

The UNpregnant trailer, which boasts such cringe-worthy dialogue as “it’s my life, my choice” and the insipid tag line “when life gets off track, forge your own path”, makes clear the popular 2007 approach of entertaining adults with moral complexity is now abandoned in favor of indoctrinating kids with extremist agitprop.

Maybe when UNpregnant comes out we’ll discover that it’s a terrific film and more morally complex than its trailer suggests…or maybe it is the canary in the cultural coalmine reflective of how the new, grotesquely woke Hollywood is desperate for its cancer of vapid amorality and decadent depravity to metastasize to the next generation of girls and young women. My bet is on the latter.

 A version of this article was originally published at RT.

©2020

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

Estimated Reading Time: 3 minutes 37 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 A version of this show was originally published at RT.

©2020

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

Estimated Reading Time: 3 minutes 39 seconds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 A version of this article was originally published at RT.

©2020

The Worm Has Turned

Estimated Reading Time: 3 minutes 02 seconds

Back in 2011 I attended the USC-UCLA football game on a Saturday night at the LA Coliseum. Me and my companion - the incomparable Lady Pumpernickle Dusseldorf, were the guests of my brother and sister-in-law for the game.

The first hurdle to attending a game at the Coliseum is to find safe parking.

After driving up and down various Coliseum side streets, we noticed that all the homeowners were offering parking on their lawn, driveway and the sidewalk in front of their house for a fee. This exercise in capitalism was a robust business and families were able to cram eight, nine and ten cars onto their property at $50 a vehicle. Not a bad money maker.

We settled on a spot, parked and paid and as we prepared to walk to the stadium we were approached by a rambunctious man who was very animated, spoke very quickly and reeked of alcohol. He introduced himself to us, machine-gunning out his name in near incoherent fashion. As far as anyone could tell his name began with a “W” and so my sister in law, in as kind hearted a manner as possible, tentatively asked, “Warren?”.

It was made decidedly clear that the name wasn’t “Warren”, but clearly enunciated to be…”WORM”.

Worm was a consummate salesman. He was basically in the insurance business, no doubt unlicensed…and his pitch was simple…he pledged to “make sure nothing happened to our car” for a nominal fee.

In L.A, most particularly in bad neighborhoods, and the area surrounding the Coliseum qualified, crime is an ever-present possibility if not likelihood, so Worm’s business model was extremely sound. It seemed to me that what Worm was really saying was that if we gave him $15 he wouldn’t break into our car….which, again…is a very sound business model.

Pressed for time, we relented and agreed to Worm’s proposal.

In the midst of finalizing our transaction Worm quickly ran off to confront a car driving down the street. It wasn’t clear what transpired between Worm and the driver, but whatever it was, Worm returned in a fury.

He was shouting emotionally to anyone and everyone that could hear that the driver of the car had “called me out by name"!” Apparently calling someone out by name, whatever that may mean, was a serious violation of the code of conduct in this particular area.

Worm kept frantically repeating that phrase in agitated credulity like it was some sort of drunken mantra.

“He called me out by name!”

“He called me out by name!”

Regardless of all of the sound and fury, we finally paid Worm and went to the game and watched the Trojans obliterate the Bruins. A good time was had by all.

When we returned to our car, Worm was nowhere to be found, but he was certainly good to his word as our vehicle had not been touched. If Worm was on Yelp I would’ve given him a positive review.

The reason I tell this drawn out tale is because I thought of Worm yesterday when the PAC 12 cancelled football games for 2020.

The cancellation of college football wasnt surprising to me, as I have previously written how I thought the season just couldn’t and wouldn’t happen.

What made me think of Worm was that while no college football is sad for the college athletes and fans who’ll miss out on their sport, it is financially devastating for the people on the fringes who survive on the crumbs of the sport…like Worm and all of those home owners turned parking lot entrepreneurs.

USC plays a minimum of six home games a season which means that those parking lot/home owners were pulling in anywhere from $2,000 - $3,000 in extra money a season. That tax-free money may not seem like much, but if you are counting on it in your budget it’s a huge deal if it goes away, and can mean the difference between paying or not paying your mortgage, rent or car payment.

Worm was an independent contractor, and even though his fee was a reasonable $15 (which was on top of the $50 parking fee), he wasn’t confined to just the cars parked at one house. Worm worked the whole block.

I can’t know for sure since I haven’t seen Worm’s tax returns - and something tells me Worm LLC is based in the Cayman Islands to avoid taxes, but I’d wager Worm was probably raking in at least $300 a game, and probably much more.

For a guy like Worm, losing out on $1,800 or more from his yearly budget is catastrophic.

Not surprisingly, Worm and the parking lot/homeowners are not going to be receiving any government subsidies for their lost revenue…they are just shit out of bucks and luck.

The parking lot entrepreneurs and Worms of the world don’t just live and hustle in Los Angeles. Every college town has a hidden infrastructure of people making money when the local team plays a home game. There are Worms in cities and towns like Ann Arbor, Columbus, State College, Madison, Berkeley, Seattle, Pullman, Eugene, Corvallis and on and on and on.

The side hustle t-shirt salesmen, food vendors, parking lot attendants, security guards and various other people, are taking a huge financial hit with the cancellation of Big Ten and Pac 12 college football. And the chance of that pain spreading to the cities and towns of the Big 12, SEC and ACC seems pretty likely if not inevitable.

I am not arguing here that the college football should happen, I don’t even remotely think that. All I am doing is shining a light on the mostly unseen suffering that is going on across America as a result of the coronavirus.

I think it is important to remember that a lot of regular, working and lower class people, like Worm, who were already hurting a great deal, are in for a whole lot more pain as the fallout from coronavirus continues.

Once again, things are going to get much worse before they ever get better.

©2020

The Pentagon and China's Propaganda Wars (Expanded Edition)

Estimated Reading Time: 3 minutes 14 seconds

The Pentagon and China are waging a propaganda war against their own people, and the greedy globalists of corporate Hollywood are happy to help

Hollywood won’t choose between the totalitarian Sauron of China and the authoritarian Darth Vader of the U.S. military, but instead will support both evils, and the people of the world and the art of cinema will suffer greatly because of it.

There is currently a propaganda war being waged by China and the U.S. military where both want to control Hollywood, and therefore the minds of their citizenry, for their own nefarious means.

Not surprisingly, like whores at a battlefield brothel, the morally ambiguous harlots of Hollywood are trying to profit by servicing both combatants.

PEN America, a group championing free expression, recently released an exhaustive report detailing how China has taken control over Hollywood.

The report states, “The Chinese government, under Xi Jinping especially, has heavily emphasized its desire to ensure that Hollywood filmmakers—to use their preferred phrase—“tell China’s story well.”

China strictly controls films released in their market, which is soon to become the largest box office in the world, and Hollywood wants in on that lucrative action, so they appease their Chinese overlords by obeying censorial demands, like whitewashing a Tibetan character from Marvel’s Dr. Strange, and strenuously self-censoring, like cancelling a planned sequel to World War Z.

The whitewashing of a Tibetan character from Dr. Strange is particularly interesting as that became the outrage of the moment back in 2016 when the movie was released. Many activists and journalists howled at the inherent racism of casting a white woman (Tilda Swinton) in a role that was an Asian man in the source material. Interestingly enough, Disney (who owns Marvel) stayed entirely silent throughout the controversy. The PEN America report shows that the reason for the whitewashing was that China wouldn’t allow a Tibetan portrayed on screen, so Disney dutifully complied in an attempt to get the film in the Chinese market. Disney also kept its mouth shut as to why it engaged in whitewashing in order to cover up its appeasement to Chinese demands.

Disney genuflecting to China should come as no surprise. In 1998, Disney’s then CEO, Michael Eisner, met with Premier Zhu Rongji to talk about Disney’s desired expansion into China and the 1997 Martin Scorsese biography of the Dalai Lama it produced, Kundun, which infuriated the Chinese government.

The loathsome Eisner said of Kundun, “The bad news is that the film was made; the good news is that nobody watched it,” Eisner then groveled further, “Here I want to apologize, and in the future we should prevent this sort of thing, which insults our friends, from happening.”

In the two decades since then, Chinese power has only grown and Hollywood has only become more and more weak kneed and reflexively compliant.

This Orwellian sentiment of controlled storytelling to fit a government-approved narrative is not limited to the communists of China though. The U.S. military has long had a very fruitful arrangement with Hollywood where they exchange free military equipment, expertise, personnel and locations in exchange for ultimate control over scripts.

Capt. Russell Coons, Director of Navy Office of Information West, sounded like Xi Jinping when he described Pentagon expectations while cooperating with a movie, “We’re not going to support a program that…presents us in a compromising way.”

PEN America notes this Pentagon propaganda program, “…the United States government has benefitted from, encouraged, and at times even directed Hollywood filmmaking as an exercise in soft power.”

But then disingenuously dismisses it, “But this governmental influence does not bring to bear a heavy-handed system of institutionalized censorship, as Beijing’s does.”

That is an absurd contention as the Pentagon picks movies based on a studio’s willingness to conform to its rigidly pro-military narrative standard, which is, in function if not form, just like China picking which Hollywood movies it allows to run in its country based on their adherence to a pro-China criteria.

Regardless, the reality is if Hollywood can financially benefit by acquiescing to the Pentagon and/or China’s demands, it certainly will.

In response to China’s Hollywood propaganda, Sen. Ted Cruz proposed the egregiously titled Stopping Censorship, Restoring Integrity and Protecting Talkies Act, or SCRIPT Act.

Cruz’s bill aims to kneecap Hollywood studios by withholding access to U.S. government support – the Pentagon propaganda program, if they alter their movies to appease Chinese censors.

Of course, SCRIPT will never go anywhere as the Motion Picture Association of America will aggressively lobby to get the whole thing scuttled to keep both Chinese and Pentagon money flowing to La La Land.

On the bright side, the SCRIPT Act has at least frightened the propagandists in the Pentagon and Hollywood enough that they are now openly touting their shadowy alliance.

For example, The Military Times recently ran a jaw dropping op-ed by Jim Lechner shamelessly espousing Hollywood’s Pentagon propaganda.

Lechner admits, “…limits on the cooperation with skilled storytellers at the American movie companies would significantly degrade the ability of the U.S. government to tell its own story…”

Lechner then boasts, “…over the decades, Hollywood has provided one of the most powerfully positive images of our military. No Pentagon-based press relations operation could come close to what Hollywood has achieved through its films.”

Over the last three decades, the Pentagon-Hollywood alliance has drastically altered American’s perception of the military and successfully neutered filmmakers as artists and truth-tellers.

For example, in the 70’s and 80’s Francis Ford-Coppola, Stanley Kubrick and Oliver Stone, made great anti-war films like Apocalypse Now, Full Metal Jacket, Platoon and Born on the Fourth of July, that explored the dark side of American militarism and empire.

That type of artistic and intellectually challenging anti-war movie went on the endangered species list in 1986 when the Pentagon collaborated on the making of the blockbuster Top Gun, and has since become extinct, which is why we haven’t had any great movies detailing the heinous fiascoes in Iraq and Afghanistan.

On a recent episode of The Joe Rogan Experience podcast, Oliver Stone spoke about how he had wanted for decades to make a movie about the My Lai Massacre but was unable to get a studio on board for funding. Stone did not explicitly state this, but the implication was clear, the Pentagon’s propaganda program not only assists pro-military movies, but intimidates studios into avoiding films that are anti-war or highlight military misdeeds.

Ironically, Top Gun has become not only a symbol of the Pentagon’s propaganda prowess, but of China’s as well. In the poster for the sequel due out this year, Tom Cruise’s Maverick is still wearing his signature leather jacket, but in order to appease Chinese censors, gone from its back are the prominent Japanese and Taiwanese flags from the original.

The modern golden era of Hollywood films exploring the darker side of China peaked in 1997 with Kundun, Seven Years in Tibet and Red Corner. China’s swift and severe reaction to those films and the studios and production companies that made them, was extremely effective as it has resulted in studios strangling any truthful artistic exploration of Chinese themes and stories in order to avoid alienating the Chinese Communist Party and potentially missing out on the ever expanding Chinese box office.

As a cinephile and a truth-seeker, I want to see films made by true artists that chronicle the dramatically potent moral and ethical atrocities of both America and China. The plethora of post 9-11 American evils (surveillance, torture, Iraq, Afghanistan) and the brutal Chinese atrocities against the Uighers, Tibetans and members of the Falun Gong, are fertile cinematic ground. But sadly…thanks to Hollywood’s insidious, incessant and insatiable greed, none of those important stories will ever be told on the big screen.

The reality is that the propaganda war is already over and the authoritarian and totalitarian corporatists, globalists and militarists of Hollywood, Washington and Beijing, have handily won…and we the people, and the art of cinema, have lost. 

 A version of this article was originally published at RT.

©2020

The Monty Python Classic 'The Life of Brian' Relentlessly Mocked Christianity Forty Years Ago, Comedy Needs to Do the Same Thing to the Church of Wokeness Today

Estimated Reading Time: 3 Minutes 33 seconds

The woke are winning the culture war and comedy needs to step up and expose these ludicrous fools for their fanaticism before it’s too late.

The Life of Brian, Monty Python’s classic cinematic mocking of Christianity, was so scandalous for its blasphemy back when it was released in 1979, that it was actually banned by some British theatre owners, while others gave it the scarlet letter of an X-rating.

An X-rating in those days was the movie rating equivalent of being stoned to death for saying “Jehovah!”

As a sign of how dramatically the culture has shifted in the last forty years, the BBFC now rates The Life of Brian a very warm and fuzzy 12A – suitable for viewers 12 and up.

The film isn’t considered dangerous for its blasphemy anymore because Christianity doesn’t much matter anymore…and I say that as a practicing Catholic.

Christianity with its endemic corruption, devout fanatics and exuberant magical thinking has been usurped in our culture by a newly ascendant religious force even more severe in nature.

That force is wokeness, which is accompanied by its own inquisition and enforcement wing – cancel culture.

If you doubt that wokeness is the new dominant cultural religion, consider this…in most places in the U.S. you aren’t allowed to go to church because of coronavirus but are wholly encouraged to attend Black Lives Matter protests - which apparently confer some magical and mystical powers of immunity upon attendees.

Meet the new religion…same as the old religion.

Monty Python were such a brilliant comedic force they not only obliterated the old religion in The Life of Brian, but also ridiculed the new one too, forty years before it rose to power.

In the film there is a scene - which would never get made in today’s stultifying p.c. environment - that deals with transgenderism.

Set in the Coliseum of Jerusalem, the scene shows the People’s Front of Judea…not to be confused with the Judean People’s Front…comprised of Stan (Eric Idle), Reg (John Cleese), Francis (Michael Palin) and Judith (Sue Jones-Davies), meeting to discuss their goals.

When Stan keeps interjecting feminine pronouns into the proposed language…he is asked by Francis why he keeps bringing up women?

Stan -  “I want to be one….I want to be a woman….from now on I want you all to call me Loretta…It’s my right as a man.”

Judith – “Why would you want to be Loretta, Stan?

Stan – “I want to have babies…It’s every man’s right to have babies if he wants.”

Reg - “You can’t have babies!”

Stan - “Don’t oppress me!”

Reg - “I’m not oppressing you Stan, you haven’t got a womb! Where’s the fetus gonna gestate? You gonna keep it in a box?”

After some hemming and hawing, Francis chimes in with a solution.

Francis (to Stan) - “We shall fight our oppressors for your right to have a baby, brother…ooops…sister, sorry.”

Reg - “What’s the point of fighting for his right to have babies if he can’t have babies?”

Francis – “It’s symbolic of our struggle against oppression!”

Reg – “It’s symbolic of his struggle against reality.”

It is impossible to imagine any comedy of today having the testicular fortitude to do a scene as brutally honest and savagely insightful as that.

“Symbolic struggle against reality” is the perfect definition of wokeness and this is why we need a new Monty Python-esque group to make a film eviscerating wokeness as exquisitely and relentlessly as the The Life of Brian did Christianity…maybe call it The Life of Karen.

Wokeness, with its incessant self-righteousness, aggressive illogic, absurd preferred pronouns and ridiculously insufferable p.c. jargon, is a gloriously target rich comedy environment.

Sadly, there’s no Monty Python equivalent in our times comically capable of dismantling the new Church of Wokeness. The most prominent sketch comedy show today is Saturday Night Live, and they’re shameless, politically correct lap dogs.

In stark contrast to the ballsy comedy bravado displayed by Monty Python forty years ago, watching SNL’s impotent, flaccid, woke-approved humor is like getting a scolding from a Methodist temperance movement a hundred years ago.

SNL is so neutered by wokeness, in 2019 they actually fired comedian Shane Gillis before he ever appeared on the show because he offended the Cancel Culture Centurions and Tiny Torquemadas of Twitter…the horror!

Besides suffocating the comedy of today, the woke are actively scouring tv and film history searching for retroactive blasphemers to silence.

The Office, Community, 30 Rock, It’s Always Sunny in Philadelphia, Scrubs and Fawlty Towers, among others, have all had episodes scrubbed from streaming services for their past politically incorrect sins.

Let us pray to our Lord and Savior Brian and his Sacred Shoe and Holy Gourd, that Monty Python’s glorious canon is not next on the cancel culture crucifixion list.

By today’s woke standards they’d certainly deserve it for their insightful dismantling of transgenderism, their mockery of speech impediments in the form of ‘pwonouncements’ by Pilate and his ‘fwiend’ Biggus Dickus, and for the crime of having men play female roles!!

On the bright side”…if Monty Python does get crucified at least they’ll go out singing!

The bottom line is this…wokeness must be stopped and I believe the best way to stop it is to mock it. Sadly though, the Church of Wokeness is winning the culture war because unlike Monty Python forty years ago, today’s comedy hasn’t found the courage to tell the unvarnished, hysterical truth…and we are all worse off because of it.

 A version of this article was originally published at RT.

©2020

The Woke Philistines Taking Over Hollywood Hate White Men Considerably More Than They Love Cinema

Estimated Reading Time: 3 minutes 29 seconds

Hollywood’s suffocating new wave of identity politics is targeting white men and movies and tv will suffer significantly because of it.

Hollywood, despite its reputation as a liberal bastion, has long been a hothouse of vicious reactionary sentiments.

For example, the anti-communist mania of the late 1940’s and 50’s was a particularly shameful time in Hollywood’s history. It was during this Red Scare that Hollywood studios created a blacklist where any person thought to be a communist or associated with communists, regardless of their ability, was barred from working in the industry.

Joseph McCarthy and the House Un-American Activities Committee used the threat of the Hollywood Blacklist to force many artists to become informers on their colleagues in order to maintain their livelihoods.

Not surprisingly, as the Black Lives Matter panic now rages, Hollywood is once again succumbing to the hideous Siren’s call of dehumanization and discrimination. Except this time the accusation isn’t about communism, but rather, “Are you now, or have you ever been, a white man?”

The Red Scare is now the White Male Scare. In Hollywood’s current climate of rabid, politically correct, social-justice hysteria, the message is clear…group identity trumps individual talent, skill and artistry, always and every time.

The black dye has been cast, and the end result of adhering to this devout dogma of diversity is that white men need not apply...and any white men who raise issues with this mandate are racist and will, along with any one that openly associates with them, be cancelled.

A recent example of this was when black filmmaker Ri-Karlo Handy put out a call on a Facebook group of film professionals for “black Union editors”. When white editors took offense at this rank racialization, they were called racist, and one even lost his job over it.

Black filmmaker Ava DuVernay responded by tweeting “to the white men…if you don't get that job you were up for, kindly remember… bias can go both ways. This is 2020 speaking.”

This is reminiscent of black filmmaker Jordan Peele saying, “I don’t see myself casting a white dude as the lead in my movie”. Imagine if someone said either of those things about black or Jewish people instead of “white men”.

Apparently DuVernay and Peele feel the best way to fight past racism is with more racism. How ethically and morally repugnant of them.

This whole anti-white male identity politics revolution began in the wake of the #MeToo movement, where studios, in their typical reactionary style, became adamant about telling female centric stories, regardless of their quality, and hiring women to either write, direct, star in or produce them, regardless of their talent level or ability.

This approach resulted in the murderer’s row of cinematic garbage that was Charlie’s Angels, Birds of Prey, Ocean’s 8, What Men Want, The Hustle, Late Night and Mary Queen of Scots.

Now, with Black Lives Matter the movement du jour, Hollywood is even more ferociously committed to disregarding individual talent, skill, experience and artistry (of white men in particular) in their hiring practices in favor of identity politics.

There are many who’ll cheer this anti-white male racism and say that white men have discriminated for years and they deserve the backlash. That may, or may not, be true, but regardless, these folks are cutting off their cinematic noses to spite their white-man-hating face.

The dark secret people working within the industry know, but are too scared to say publicly, is that this aggressive identity politics not only will destroy the careers and lives of completely innocent, ordinary working class folks in front of and behind the camera, but will be catastrophic for the art of cinema and the entertainment business.

Despite what the uninitiated think, making movies and tv shows is extremely difficult, making good ones is even more difficult, and making great ones is nearly impossible.

Industry professionals understand that talent and skill must be the absolute top priority when hiring or the end product will ultimately suffer greatly.

No one would dare say this publicly of course, at least not while the Woke Inquisition rages and cancel culture reigns supreme, but just like the vast majority of talented and skilled people in the NBA are black (despite black men making up only 6.5% of the population), the cold, hard truth is that not all, but the vast majority of skilled people in Hollywood are white men. That is not racist. That is reality.

Unlike the woke cultists, I’m not interested in sacrificing quality on the altar of identity. I don’t care about identity. I only care about cinema.

Like all true cinephiles, I want the most talented individuals to get hired, regardless of their group identity, in order to ensure the best movies get made.

Recently, black actor Anthony Mackie, the star of Marvel’s Falcon and the Winter Soldier, unintentionally admitted he felt the same way while, ironically, complaining about Marvel’s lack of diversity.

“My big push with Marvel is hire the best person for the job. Even if it means we are going to get the best two women, we’re going to get the best two men. Fine.”

I’d like to think that when Mr. Mackie says “we”, he means the human race and not the black race, and that he would be ”fine” if the “best person for the job” were a white man…but considering the sentiment in Hollywood right now…I sincerely doubt it.

 A version of this article was originally published at RT.

 

©2020

A Not-So-Very "Expert" Opinion on our Future with the Coronavirus

Estimated Reading Time: 3 minutes 48 seconds

Even though I am currently a student at the Hollywood Upstairs Medical College School of Epidemiology, I have, despite the status and privilege conferred upon me by my incomplete (and entirely inadequate) education, refused to indulge the urge to make pronouncements regarding the COVID-19 pandemic.

That ends today.

In the last few months I have noticed a major shift in the public’s psychology and attitude regarding coronavirus. This shift began in May, about two months into the lockdown, when I perceived that people were pretty much done with all this bullshit.

At first the shift was subtle and took the form of whispered doubts and frustrations, but then as time progressed this sentiment became much more pronounced and went from talk to action.

For instance, there are a plethora of people I know who were all in on being lockdown good citizens in April, who then questioned the validity of it all in May, and by June were throwing caution to the wind and going out to restaurants and traveling for vacation.

These folks, who all happen to be liberals of varying stripes, still “believed” in coronavirus and would say that it was happening and was serious, but that “belief” was almost entirely more politically driven rather than driven by sober, rational thought, and was most definitely betrayed by their actions.

I totally empathize with these folks as the desolation of our current cultural Manichean paradigm of good v evil forces us into binary labels and thus encourages and enables cognitive dissonance to thrive in the absence of nuance. For instance, the media has repeated over and over again that only “bad people” don’t believe in coronaviruas or the lockdown, so right thinking “good people” couldn’t say that too even if they had doubts about the efficacy of the lock down or the dangers of the disease. This results in many “good people” (liberals) acting, mask wearing aside, almost identically oblivious to the danger of coronavirus as the “bad people” (Trumpers), but just labeling their actions and intentions differently.

The thing that stood out to me about this shift of thinking and behavior among these “good people” was that it was almost entirely a function of emotional and mental fatigue as opposed to the animating principle of the “bad people”, defiance. The “good people” who dutifully obeyed the lock down in April grew fed up, sick and tired and wanted coronavirus to be over in May, and by the time June rolled around they simply acted as if coronavirus was over, even though it wasn’t. Yes, these “good people” were certainly conscious and conscientious enough, to wear masks out in public…but also unconscious enough to consistently go out in public when it wasn’t even remotely necessary.

I understand the feeling, as the mental and emotional pressure of living in lockdown is something that most people, regardless of the supposed comfort of their gilded cage, simply cannot handle.

Luckily for me, despite my decidedly ungilded cage, I am a monk at heart and in practice, so isolation is less of a burden. That said, even I have felt the sting of lockdown and the pang of yearning for normal to return. I can only imagine the intensity of that feeling for normal people who want to get out and interact and socialize and “live”…of course the irony of that is that getting out and “living” in the age of Covid 19 can lead to dying.

This blatantly obvious spike in cognitive dissonance regarding the coronavirus by the general public over the last two months was mirrored by health officials. The greatest example of this was the collection of “health officials” that signed an open letter stating that coronavirus is a deadly serious pandemic but that people should ignore lockdown protocols and get out and protest against racism, but that going out or protesting for any other reason was a function of white supremacy.

This is, of course, absurdly insane, as the virus does not recognize the righteousness of whatever cause someone is protesting for or against…it just wants to propagate itself.

The fact that these "health officials” would so quickly and willingly sell their professional integrity for politically correct social status is a stunning thing, and glaring evidence of a powerful cognitive dissonance and confirmation bias at work.

The New York Times did an article on these “health officials” a month after their letter was released and it is simply remarkable to behold, not just for the “health officials” abject denial of reality and lack of any self-reflection, but also for the Times utter dishonesty and blatant bias.

The result of these “health officials” selling their integrity will only result in the public not believing what health officials tell them…not a good thing during a pandemic. This distrust is only accentuated by the fact that both Dr. Fauci and Dr. Birx lied to Americans at the beginning of the pandemic when they told them that they didn’t need facemasks. This lie was told in order to avoid a run on facemasks…which is not a reason that will bolster confidence in the pronouncements of Dr. Fauci and Birx. At this point, why would anyone believe anything any health professional ever said?

The media is equally to blame in all of this as they have long hyped the dangers of coronavirus but totally ignored the health danger of mass protests in the wake of the George Floyd killing because that didn’t fit their narrative. Just another of many reasons to distrust the long ago discredited news media.

This recent spate of decadent madness among the establishment and the hoi pollloi, where social justice trumps science and where emotionalism trumps logic and reason, is a symptom of an empire in very steep decline….and it is only going to get much, much worse at an accelerated pace.

Which brings us to where we are today.

In the coming days, weeks and months and years coronavirus cases are going to spike…then fall off…then spike again. Deaths are going to spike…then fall off…then spike again.

People are going to lose their minds because the normal they so crave is not coming back anytime soon, if ever.

And as people lose their minds, their will be more and more civil unrest…which in turn will lead to more and more spreading of the disease. Eventually there will be a very strident, dare I say, tyrannical lockdown to try and stop the spread…but that is a bit farther in the future.

As for the here and now…this is what I think is on our doorstep.

It bums me out to say this but…sports is not coming back. The NBA, NHL and MLB are trying to re-start and start their seasons but this won’t last very long. The coronavirus situation will become too untenable and all three leagues will have to shut down their seasons for good.

The NFL and college football will suffer the same exact fate. They may try and start things up in the fall but that attempt will pretty quickly fail.

You may think that sports don’t matter…but I beg to differ. I think the lack of sports was a major contributing factor in the intensity of the civil unrest in the wake of George Floyd’s killing. Sports are a psychologically and culturally necessary vehicle for catharsis. Sport is contained and controlled tribal violence…and without it and its cathartic effects on the population, that violent instinct gets released through uncontained and uncontrolled violence…hence the rioting and looting and large spikes in crime in the last few months.

Of course, if the sports leagues would listen to my expert advice and simply fill every arena and stadium with fans holding Black Lives Matter signs, which according to “health officials” and the mainstream media apparently confer immunity to coronavirus onto the sign holder and anyone in their vicinity, then sports could flourish once again and I could get my well-deserved Nobel Prize in Medicinery.

Another big problem in the coming weeks and months is that, as much as parents want it to happen, schools are not going to open in the fall, or if they do open, they wont stay open for long. Kids may not get very sick with coronavirus, but they spread it, and parents and teachers can and will get sick as a result.

Kids not going to school is a major issue as this puts an enormous amount of stress on parents, who are already stressed out. The pressures of trying to either work, or being unemployed, while not just raising but teaching a child full time, is a really bad combination that will only further increase the emotional and mental pressure cooker.

As stated, that pressure will not be released through watching sports…it also won’t be released through going to the movies, or concerts or to bars or out to restaurants. None of those businesses will re-open, and if they do it won’t be for long.

The economic situation will also continue to spiral out of control too as businesses will be unable to open. The cascading effects of this will be a tidal wave of bankruptcies and commercial and residential real estate evictions followed by foreclosures. It will be like 2008…only much worse because it will be happening across the country and with no end in sight.

Here in Los Angeles…things will be really bad, as film and tv production will not be coming back any time soon. This means that large swaths of the city will be unemployed for great periods of time, leading to evictions and foreclosures and a general economic and personal depression.

The lack of new movies and tv shows will also contribute to the general anger and fury growing in America, as a population used to being distracted by sports and entertainment, will have little or none of either.

This means that the election in November, whether it happens or not, is going to be extremely volatile…and no matter who wins…there will be either spasms or volcanic eruptions of violence as a result. I actually think there will be less violence if Biden wins, but there won’t be no violence, as Trump supporters, denied their choice for president and their football, will be extremely on edge.

On the other hand if Trump wins (by vote count or by other means)…God help us all. This country…or at least large swaths of it…will explode and will make the George Floyd protests, riots and looting look like a church picnic. There will be massive amounts of civil unrest in the wake of a Trump victory…probably followed by strong arm totalitarian tactics to quell it.

Maybe I am wrong. Hopefully I am wrong. But I can’t help but notice a less than subtle shift taking place now where the wishful thinking of those who were “done” with coronavirus back in May and June is running head first into the brick wall that is the coronavirus reality…and that is causing a tremendous amount agitation and anxiety that is building up to dangerous levels.

Look, I get it, people are tired, emotionally spent…but the virus doesn’t care about your feelings. It doesn’t care about anything but spreading, and all we need to care about is surviving.

Sadly, we as a people have no leadership…anywhere. Not in our federal, state or local government. And when we need each other the most, when we need community…we have none. We are all on our own and that isolation will break a lot of people and will cause others to try and break what is left of our civilization.

The bottom line is this…that the normal so many are yearning for is not coming back anytime soon….and we all need to get used to the new normal of no normal at all.

©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

Horny Women of the World Unite! Don't Let Woke Puritans Cancel the Steamy Netflix Movie 365 Days!

Estimated Reading Time: 69 seconds

A vocal minority of totalitarian busybodies is taking on the lustful populist majority in trying to censor the racy fan favorite. While it’s a terrible movie, pulling it would be a very bad day for film.

The controversial erotic romance 365 Days has been among the most watched movies on Netflix since it premiered last month, and may very well end up being the most popular film of the year on the streaming service.

Some passionate fans have been so enamored with the steamy Polish movie, which chronicles the decidedly unorthodox relationship between studly Italian mob boss Massimo, and Laura, the gorgeous Polish woman he kidnaps, that they are clamoring for a sequel.

Despite its lascivious appeal to millions of mostly female viewers, there is a vociferous minority demanding Netflix pull the movie from its service because it allegedly glorifies kidnapping and rape.

This brigade of uptight scolds has even launched a petition at Change.org calling for the film’s removal from Netflix, and as of this writing, it has garnered an anemic 6,300 signatures.

My advice to these 6,300 fragile woke puritans is that 365 Days is not the hill to die on…and they will die on it because the hordes of hellaciously horny lady philistines that need some escapist release will not take losing their harmless cinematic guilty pleasure lying down.

Thankfully, Netflix has thus far resisted the mob’s demand to pull the film…but the damage may already be done. Under politically correct pressure the media messaging around 365 Days has quickly turned from a knowing wink to a judgmental scowl.

For instance, on June 17th The Daily Mail ran a story highlighting fans desperation for a sequel to the sex filled movie. On June 19th columnist Amanda Platell wrote an article stating she was seduced by the film, which she described as a “guilty pleasure” for women stuck in coronavirus lockdown, and that she saw “no harm in it”.

But by July 2nd the worm had turned after the vocal minority made their displeasure known, and so The Daily Mail began running headlines like “Is this the most degrading, sexist show Netflix has ever aired?”

This type of flip in media messaging used to take years to achieve but it now takes mere days for the establishment press to quickly move to alter the public narrative to appease the woke mob.

One can’t help but wonder if all of this negative media noise about 365 Days will succeed in scuttling the planned production of the sequel or will make Netflix choose to either dump the original or not run the sequel, thus leaving the movie’s ravenously libidinous fanatics high and dry.

I support Netflix’s decision to ignore the calls to pull 365 Days not because I think it is a good movie…it sure as hell isn’t – it is so bad it makes 50 Shades of Grey look like Citizen Kane…but because audiences should have the right to watch, or not watch, whatever the hell they want no matter how terrible it is.

As for the charges that 365 Days, which I found more neurotic than erotic, promotes kidnapping or rape…that is just ludicrous. The movie is so absurd as to be ridiculous, as it more resembles a raunchy live action cartoon than reality.

Consider the intricately incoherent details of the plot. The wealthy and impossibly handsome Massimo kidnaps the impossibly beautiful Laura because she perfectly matches the vision of an angelic woman that appeared to him right after he momentarily died during a mob hit. Massimo then gives Laura 365 days to fall in love with him while in his custody.

That plot isn’t a handbook for wannabe sexual predators, it is escapist soft-core porn for concupiscent middle-aged women who want to curl up on the couch with a bottle of wine and a “neck massager” and indulge in some secret “guilty pleasuring”.

Even Oprah Winfrey’s magazine O says of the film, that it is among many erotic movies that are "guilty pleasures"—though why feel bad about what you like?” Exactly.

I would go a step further and ask not only why feel bad about what you like, but also, why demand others not be allowed to like the things that you don’t like?

This is the main problem with the manic religious fervor of wokeness as it promotes the tyranny of the fragile and the thin-skinned over the popular opinion of…in this case…the horny majority.

If the ever-expanding politically correct bonfire of the vanities does engulf 365 Days, it would not exactly be a major crime against the art of cinema, but it would be a very bad sign for our culture.

This exceedingly cheesy movie has become an unlikely canary in the entertainment coalmine. If Netflix does cave to the small but vocal woke mob regarding 365 Days (or its planned sequel) as decisively as the news media has, then it portends a very dark, yet ironically vanilla, future for choice in film.

The healthiest outcome for all of us is for the horny majority to reign supreme in the Battle of 365 Days. For in movies as in sexual attraction, there is no accounting for taste, or in this case - lack thereof…but it is imperative that we as a culture suppress our totalitarian impulses and grant each other the freedom to indulge our bad taste.

A version of this article was originally published at RT.

©2020

The New Movie Mr. Jones is a Timely Reminder of the Cowardice of our Current Press

Estimated Reading Time: 3 minutes 27 seconds

In 1933, British journalist Gareth Jones risked life and limb in service to the truth, while in comparison, the journalists of today only care about access to power and towing the elite’s ideological line.

Mr. Jones, a new film by esteemed director Agnieszka Holland, tells the true story of Gareth Jones, a Welsh journalist who travels to the Soviet Union in 1933 and uncovers the Holomodor, Stalin’s genocidal famine of Ukrainians.

Sadly, Mr. Jones, which boasts a fantastic cast of James Norton, Vanessa Kirby and Peter Sarsgaard, is a terrific story wrapped in a bad, dramatically unfocused and meandering film.

But thankfully, despite its cinematic unworthiness, the movie still contains important insights very relevant to our current time.

What makes Mr. Jones noteworthy is that the film’s noble protagonist is, unlike our current corrupt press corps, a dogged journalist more loyal to truth than to ideology, and more interested in maintaining his integrity than gaining access to power and wealth.

The film opens with Jones fresh off his 1933 interview with Hitler that leaves him convinced that war is ultimately inevitable. This belief gets him ridiculed for being naïve and hysterical by the stodgy and comfortable old guard of the British press.

Jones then sets his sights on the Soviet Union and tries to figure out how Stalin has been able to pull off his economic boom while the rest of the world is mired in depression, so he goes to Moscow in search of answers.

Upon arrival he finds not the worker’s paradise that fellow journalists, like the New York Times’ Pulitzer Prize winning reporter in Moscow, Walter Duranty, have been deceptively portraying to the world, but instead discovers firsthand the repressive and totalitarian nature of Stalin’s Soviet Union.

Jones then follows a lead and risks his life by sneaking off a train and going to Ukraine, where he is thrust into the horrors of the Holomodor, which are brutally and effectively depicted in the film.

When Jones exposes this calamity to the western world, political expediency causes it to be met with either skepticism or indifference. Unlike other journalists of his, or our, age, Jones refuses to tell people in power what they want to hear, instead telling them the truth, and is essentially blackballed and exiled because of it.

No doubt the same would happen today to any reporter brave enough to go against the officially approved narrative.

Our current press corps is inhabited by truth-disdaining, sycophantic stenographers more akin to the villainous Walter Duranty, a propagandist for the cause who sold his journalistic soul in exchange for a decadent and depraved lifestyle, than the truth-seeking Gareth Jones.

It is ironic that journalists of yesteryear, like Duranty, were complicit in positive falsehoods about Stalin’s Soviet Union, while journalists of today are complicit in negative falsehoods about Russia.

The cavalcade of journalistic failures and fiascos directly or tangentially related to Russia in recent years include, but are not limited to, the distortion of truth about the Maidan uprising, the supposed Syrian chemical weapons attacks, the ridiculous Cuba microwave weapons story, and of course, Russiagate, the biggest journalistic fraud perpetrated upon the American public since the Iraq War. And just this week we have added to this cornucopia of corporate media crap the ‘Russians pay bounty to kill American soldiers in Afghanistan’ nonsense. All of these stories are vapid, thin, propagandistic gruel, devoid of any depth, insight or actual reporting.

One glimpse at the ever-growing list of recurring journalistic farces involving Russia and it becomes glaringly obvious that Operation Mockingbird, the Cold War CIA program that planted stories and journalists in newsrooms across the media, is alive and well in practice, if not in name.

It is readily apparent that just as Walter Duranty was getting his marching orders from Moscow, reporters of today get their marching orders from Langely.

Of course, the truth-averse, ideologically driven journalism of the corporate media isn’t restricted to just Russia stories, as evidenced by the slavish and slanted coverage of Black Lives Matter and other woke endeavors.

The thing that I find most grating about the reliably deceptive establishment media is their incessant complaining about Trump’s alleged war on the press.

These same news outlets were conspicuously silent when Obama prosecuted whistleblowers nine times, which is three times more than all of his predecessors combined.

There was also nary a word of dissension from the intrepid souls in the media when Obama’s Department of Justice and FBI spied on reporters and tried to coerce them to expose their sources.

The most glaring example of the ideological cancer in journalism is the cheering by the establishment media of the prosecution and persecution of Julian Assange, who has done more to inform the public of the truth than any corporate-controlled reporter at any news outlet in the world, and may very well die in prison for it. 

The current crop of subservient sycophants play-acting as journalists in the corporate media are an utter disgrace to their profession, and they dishonor the staggering sacrifice that people like Gareth Jones made in service to truth.

Mr. Jones is not a great movie, but it does chronicle the great struggles of a noble man. If only we had many, many more like him today, maybe truth would be revered and the powerful held accountable. 

 A version of this article was originally published at RT.

©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

Revisiting 'Orlando and the Rough Beast'

Estimated Reading Time : 7 Minutes

Four years ago on June 23, 2016, in the wake of three horrific tragedies in Orlando, Florida, I wrote an article titled “Orlando and the Rough Beast”. The article seems somewhat prescient now in light of current events as the center is fraying and most certainly cannot hold, and the ravenous Rough Beast is lustily slouching unhindered through our world, our nation and our hearts.

What follows is that article in its entirety. Please read it, and as you do, understand that our most recent cultural, social and political conflagration definitely isn’t the beginning of the end of the Rough Beast’s rampage…hell… it isn’t even the end of the beginning of its ferocious frenzy.

ORLANDO AND THE ROUGH BEAST

On the night of Friday, June 10th, singer Christina Grimmie, a 22 year old former contestant on the NBC show The Voice, was shot and killed by a deranged fan after a performance in Orlando, Florida. The next night, June 11th, Omar Mateen, a 29 year old American man of Afghan descent, walked into the Pulse nightclub in Orlando, Florida and shot over a hundred people, killing 49 of them, in the worst mass shooting in U.S. history. The following Tuesday, June 14, Lane Graves, a two year old boy visiting Disney World from Nebraska with his parents and four year old sister, was snatched and killed by an alligator while wading in shallow water in a lake in Orlando, Florida.

These three stories share much in common, violence, tragedy, grief, frustration, heartbreak and, oddly enough, geographic location. From a human perspective, these stories illicit a great deal of emotion, as we are all able to project ourselves or our loved ones into their horrific circumstances. From a mythological/psychological perspective, these stories reveal something much deeper and much darker about us, our collective unconscious, our time and what lies ahead for us all.

The Religion of Fame and Celebrity

The Jungian psychological symbolism of these three attacks are relatively obvious, and strikingly ominous, for anyone looking for them.

The incident that kicked off this horrific four days in Orlando was the senseless murder of Christina Grimmie. Grimmie had obtained a modicum of fame being a contestant on the show The Voice. Grimmie is symbolic of one of the new and powerful American religions…the religion of fame and celebrity. The talented and ambitious Grimmie was trying to climb up the ladder of success to become one of those people who are the Greek gods (immortal myths) of our time…the famous. All religions sell and profess "the light", but that light brings with it the shadow.  That which is demonized by a culture or religion, becomes the shadow of that culture or religion. The shadow of the old religions, Christianity, Islam and Judaism, is usually sex. See the child sex abuse scandal in the Catholic church as a prime example of the repressed shadow asserting itself in distorted ways. The shadow of the new American religion of celebrity is desperation and delusions of grandeur.

The fan who shot and killed Christina Grimmie was the vehicle for the shadow of the religion of fame and celebrity to assert itself. He stalked and then killed Grimmie, and then himself, as a sacrifice to this new religion. Without that level of crazed fanaticism, which is a toxic combination of desperation and delusion, the new religion of celebrity would hold no psychological power over the masses. Good can only function in opposition to evil…the famous can only be famous if there are masses of anonymous people yearning to be just like them. The brighter the light, the darker the shadow, and in this case, the darker the shadow the brighter the light. Christina Grimmie was, like more and more people in our culture, consciously acting upon the siren call of fame and celebrity, her killer, like many of the unwashed and un-famous masses, was unconsciously acting upon the siren call of fame and celebrity's shadow. In terms of the new religion of fame and celebrity and its psychology…meet the new boss, same as the old boss.

The Old vs The New

Which brings us to Omar Mateen, the man who slaughtered 49 people at the gay nightclub Pulse on June 11. Mateen, like Grimmie's killer, was playing a part in a much wider mythological struggle than just his own psychological torment. Mateen, by all accounts a closeted homosexual, was a foot soldier in the battle between the old religion and the new. The old religion, in this case Islam, which like Christianity and Judaism before it has sex as its shadow, is not going quietly into the goodnight of its evolutionary oblivion. The religion it is battling was born of its own shadow, that religion is the religion of Libertinism. Mateen was a man torn between the new religion, Libertinism, and the old religion, Islam. Mateen's biology, sexuality and western culture pulled him to the church of Libertinism, and yet his family, tradition and heritage pulled him towards Islam. The poor people slaughtered in Orlando by Mateen are just collateral damage in the war raging between the new and old religions and in his own psyche. Mateen was unconsciously mugged by not only the shadow of one religion but two. The psychological shadow of Libertinism caused him to yearn for the clarity and moral purity being offered by the old religion of Islam, while the the shadow of Islam caused him to act out his repressed sexuality and deem it "deviant", which made him hate himself for his biological urges, and then project that hate on to others who seemingly had no internal struggle over their choice of Libertinism.

Mateen's psychological (and sexual) struggle is the same struggle as the entire culture and its old religions of Islam/Judaism/Christianity. The old religion of Islam/Judaism/Christianity is trying to hold back the tide of human biological urges as well as the new religion, Libertinism, which celebrates them. All the laws, violence and intimidation in the world cannot stop what has started, namely, the decay and collapse of the old order and its religions and the rise of the new order and its religions. There is no moral judgement to be made for or against either side, only the admission of this psychological reality.

The Leviathan

And then there is the horrific tragedy of Lane Graves, the little boy snatched by a gator and killed in a Disney resort lake. Graves is symbolic of the innocent, the pure and the good. The little boy joyously playing in shallow waters with his father and then a beast rises up from the depths to snuff out his life. 

An innocent little boy killed by a beast from the depths is symbolic of the entire series of killings in Orlando that week. From the depths of the collective unconscious and the individual unconscious of the killers, a Leviathan, like that shown to Job in a vision in the Book of Job, born of the shadow of God, rose up to snuff out innocent life in an attempt to make its unconscious aspects conscious. In Jungian psychology, water is symbolic of the unconscious, and this story is about more than the Graves family tragedy, but about the beast lurking in our collective unconscious that is desperate to be made conscious and which will kill as many innocents as it can in order to bring about that consciousness. This primal, primitive unconscious energy is fighting for its survival and will do anything to stay alive (become conscious).

As a friend of mine (and a Jungian analyst) The Big Falconer, said to me recently, "the unconscious, the Self, the dark side of the God-image, doesn't care how many millions of people or how much of life is killed in the quest to become conscious…." And the horrors of Orlando are proof of that.

The Happiest Place on Earth

The fact that this horrific drama played out in Orlando, the theme park capital of the world, otherwise known as "The Happiest Place on Earth" is also of great symbolic meaning. Disney is a religion unto itself. The religion of Disney, is a uniquely American religion that sells an eternal childhood and all the innocence that comes with it. This Disney religion is puritanical, and like its sister religion of Celebrity and Fame, is also delusional and grandiose. The Disney religion ignores the darker parts of reality, namely, the impulses and instincts toward sex, violence and death. Those things, sex, violence, and death, were what came out of the shadows and into the light that bloody weekend in Orlando. The shadow will not be denied. You ignore it at your own peril. As the saying goes, "Do you believe in the Devil? You should, he believes in you."

Like Disney, the American culture has turned into an adolescent theme park and maintains the delusion of being the "happiest place on earth". Disney is as American as it gets, and to have this bloodshed on its doorstep is no "coincidence". The veil of Disney (childhood)/American (adolescence) delusion and illusion is not just being pulled back, it is being violently shredded. The scales won't gently fall from our eyes, but will be forcibly torn away. An innocent little boy, a perfect symbol for the religion of Disney (childhood), was devoured by what that delusional and illusional religion ignores, namely death, which took the form of a primitive shadow beast (reptilian instincts/alligator).

"Many miles away something crawls from the slime, at the bottom of a dark, Scottish Lake" - The Police, lyrics from the song Synchronicity II, off of the album Synchronicity

The fact that the alligator, the symbol of the lizard/reptilian brain, the most archaic part of the psyche, the home of the unconscious drives of sex, violence and fear, was lurking just below the surface of the delusional Disney (childhood)/American (adolescence) waters is striking. This primal beast, this alligator/dragon/Grendel is lurking in the depths and the darkness of America and the world, and it is hungry. The beast's hunger is for life, for consciousness, for survival. It devoured an innocent little boy (childhood) that night, but it also slaughtered an aspiring singer and 49 other people (eternal adolescence) the previous two nights. This Leviathan has crawled out of the primordial ooze of our collective unconscious and is determined to make itself known and to be made wholly conscious. 

The news is currently filled with stories of the primitive, the primal and the wild lashing out at mankind. In Florida, Gators found with human bodies in their jaws, or taking bites out of unsuspecting people. Bears, awaking from their hibernation to devour humans in Japan or attack runners in New Mexico. Mountain lions attacking young children as they play in their back yard. While on the surface these stories reek of the vacuousness of our media, mythologically, psychologically and symbolically they are harbingers of the darkness, like a bear awoken from its slumber, that is dwelling in our collective unconscious, lurking just beneath the surface of our consciousness. These stories are reminiscent of the plethora of shark attack stories in the summer before the 9-11 attack. That summer was deemed the summer of the shark, and if anyone had been paying attention, those shark stories forewarned us not of more shark attacks, but of something much more sinister stalking humanity from the depths and the shadows of our collective unconscious.

The death and destruction played out over those four days on the stage of Orlando, the "Happiest Place on Earth", is like a mini-drama of all mankind and the collective unconscious. The attacks in the "Happiest Place on Earth" are the eyes and nostrils of a gator/dragon/Grendel just breaking above the surface waters of our consciousness, that portends an ominous and powerful  dark force just beneath the surface of our awareness, that is ascending from the depths to descend upon our world.

What Rough Beast?

As W.B. Yeats wrote in his poem "The Second Coming"...

Turning and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity.

"The blood-dimmed tide is loosed, and everywhere", even, as we recently learned, at the "Happiest Place on Earth". "The Ceremony of innocence is drowned" like the innocent Lane Graves drowned underneath those blood dimmed tides of the Leviathan's lair. "The best lack all conviction, while the worst are full of passionate intensity", does this line not speak prophetically to the time in which we live today?

The rest of Yeat's poem is as follows...

Surely some revelation is at hand;

Surely the Second Coming is at hand.

The Second Coming! Hardly are those words out

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in sands of the desert

A shape with lion body and the head of a man,

A gaze blank and pitiless as the sun,

Is moving its slow thighs, while all about it

Reel shadows of the indignant desert birds.

The darkness drops again; but now I know

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,

And what rough beast, its hour come round at last,

Slouches towards Bethlehem to be born?

Yeats asks the question, "what rough beast, it's hour come round at last, slouches toward Bethlehem to be born?" That Rough Beast is now born, risen to life in the bloody waters of Orlando, and now, with its hour upon us, slouches its way to prominence and power in our world. This Leviathan is loosed upon us, and will gorge itself upon our ignorance and unconsciousness. There is a very dark age quickly descending upon us all and it will obliterate man's world and try men's souls. The Beast has been unchained…and it is desperate to feed, and we are all on the menu. This is just the beginning of the long descent into darkness…and we are not all going to survive to make it into the light.

Related Article - The Way of the Gun : Meditations on America and Guns

Recommended Reading for anyone interested in learning more about Jungian psychology and the Shadow -  Answer to Job by C.G. Jung, Archetype of the Apocalypse by Edward Edinger, Owning Your Own Shadow : Understanding the Dark Side of the Psyche by Robert A. Johnson.

 

©2016