Category Archives: Spoiler

Fuck rights or liberation, with BlacKkKlansman Spike Lee says BLUE LIVES MATTER!

Spike Lee’s history lesson represents the worst of exploitative falsifications. There was NO student girlfriend. No CC Black Student Union contact. There was NO BOMB whatsoever. And Detective Ron Stallworth’s white partner was NOT Jewish. And guess what: His phone calls with David Duke are uncorroborated. So that leaves what truth exactly?

Stallworth’s pretend surrogate made at most 2-3 undercover contacts with clan members, tops. I’m guessing because many local cops were in the Klan. And if his partner was indeed asked to lead the chapter, it was likely BECAUSE he was a fellow cop.

The film pretends that the Colorado Springs police were against racists, and harbored only one bad apple. Fat chance. Conveniently for Stallworth’s narrative, the CSPD chief shut down the investigation and ordered all evidence destroyed.

Stallworth did receive a Klan membership card in the mail.

Stallworth WAS on the security detail for the David Duke visit. Stallworth says the snapshot scene happened, but he LOST the Polaroid!

Actually, most of Stallworth’s own claims cannot be verified.

Two NORAD clansmen WERE identified, but merely transferred to Alaska.

Meanwhile, as a black plainclothes detective in Colorado Springs, Stallworth went undercover in groups PROTESTING the clan. Of course. Ron Stallworth spent his career infiltrating black communities and gangs, in Colorado and Utah.

In my experience as an activist, the cops often use black undercovers because victims can’t out them without being seen as racist.

I can also attest to the racism in today’s CSPD. The Klan’s most recent incarnation, known as THE MINUTEMEN, only a few years ago, did their recruiting from A CSPD POLICE SUBSTATION. The Minutemen want enthousiasts who can patrol the southern border to shoot Mexicans. Only whites with gun permits need apply. So-said the sergeant making the pitch.

Basically Spike Lee glamorized cops without regard to violating the public right of assembly. Lee broadly chose to blame Trump for a resurgence of racist violence, without pondering the question his own film raises about police infiltration and police instigation of violence. I’d say Spike Lee made a BLUE LIVES MATTER joint, at the expense of Black lives, rights, and liberation.

The Jihad in Mumbai

Some are more familiar with the way the British occupiers pronounced it “Bombay”. It’s got a huge Muslim presence, so does India in general. Under the British “protectorate” because it’s not polite to call them Imperialists anymore. Even though the Queen does still hold the title of Empress. That’s beside the point. Under the protectorate Britain called the following “India”; Iran, Pakistan, Burma, Thailand, Cambodia, Afghanistan, Sri Lanka which used to be Ceylon, there’s been a lot of name changes, Thailand was Siam until I was 11 years old, you know, and knowing the younger readers think I’m ancient… but no, these changes were pretty much around my lifetime. But there’s a Church in Mumbai. No big deal, right? Before the English took possession of the entire region after the Napoleonic wars, we are taught in Merka are used to calling it the War of 1812, which “our” participation was mainly getting stomped by the British a few times and calling it a draw, and Andrew Jackson simply taking Tennessee, Alabama, Mississippi, Missouri, the Mega-Rez called Indiana, Minnesota, Iowa, Kansas, in case you’re not paying attention you notice that there’s a lot of native names, and Indiana was ceded to the Tribes “for as long as grass grows” you know the lying spiel…

The British and their allies took a lot more than that. Like India. The “French and Indian War” was referred to as the 7 Years War and still is called that everywhere except to our bumpkin backwater podunk pseudo-democracy ‘merka. Even Canada refers to the proper name.

Churchill called it the “REAL” first world war. It was that big. So were the Napoleonic Wars. /history lesson, for now.

Anyhoo…  this church surrounded by a huge Muslim majority, and a lot of Hindu and Buddhist populations, is the Church of St Thomas.

The Thomas who refused to recognize Jesus resurrected. Doubting Thomas. That St Thomas, yeah. He founded the church in Mumbai. It’s first century CE or AD whichever floats you boat. There’s a lot of hoo-haw about Muslims burning churches and the people of those churches. Like the Church in Antioch which was pretty much destroyed by U.S. bombing raids. There’s a big lie making the scene, has been since the Crusades, that all Arabians and Turks and Persians (Iran, Afghanistan…) are forced to be Muslim. Which is Bullshit.

The Abyssinian Catholic Church in Iraq, you remember Iraq, right? “Our” country tore the place apart and are forcing the people of Iraq to pay for the damages. For Real. Ten percent of the pre-ameriklan conquest population were Christian, AND there are synagogues in most of the countries especially the Big 7 that are banned from immigration, the ones where Donald Trump and his asshole Wall Street Comrades don’t own the entire country, And Churches. The Church of St Thomas has been in operation for 2000 years and likewise in Syria (Antioch) and this puts the lie to the lips of those who claim a huge persecution against Christians and Jews.

How many churches in America have been torched by Muslim Jihadi? Well, there’s the two which were torched in Texas just in the past three weeks, oh, wait, Those Were Two Mosques Torched By People Who Call Themselves CHRISTIAN.

The KKK and other right wing extremists have been burning Black churches since the end of the civil war. They’ve attacked Catholic Churches HERE. So who are the REAL American Jihadim? Our punk-ass representative Doug Lamborn is a member of the Heritage Foundation, a Klan front group. Quite a few “christian” Terrorist Bitches, including the New Fuhrer Trump. Right Wing Talk Radio and FOX News spend a whole lot of time praising these Murderous Coward Punks as “heroes of the faith”

Not done calling out names. Bill O’Reilly, Douche Limbaugh, Ollie North, The Bush Family of seriously inbred congenital liars and thieves, round up the usual suspects. I would puke just thinking of it but it would be a waste of a good breakfast. Bottom Line, we has met the enemy and they is U.S.

The United States is the foremost purveyor of Terrorism and Totalitarian philosophy and actions in the entire world. The cowardly punk assholes who believe they have a right to own the entire country think they have a right to own the entire world and they blasphemously say it in the name of Christ. As an American and as a Christian I’m deeply offended.

Just how much do you “christian” coward ass pukes, disciples of Trump, how much do you think Jesus must be offended? I pity you.

The stench of your evil reaches to heaven.

Mad Max Fury Road is hardly feminist. It’s Dances With Wolves With Women.

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I confess I never saw “Dances with Wolves” but I’m pretty sure the number Kevin Costner pulled on Native Americans is what this loner White Savior just did for Women. Saved them. What feminists needed was a MAD MAXINE. Instead they got another strong silent type, who drove for them, defended them, and made decisions for them. So he wasn’t as good a marksman, once, as one-armed Furiosa. I went to see Mad Max Fury Road with some skepticism that it was an adventure about saving damsels in distress. Art directed by Victoria’s Secret. Objectified not merely as helpless models, but as the patriarch’s incubators. Steam Punk already has a feminist heroine, Tank Girl.

“Ex Machina” heralds creation of life, but Doctor Geekenstein’s blueprint imitates pornography

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“WHY DID YOU GIVE HER SEXUALITY!?” asks the geek tasked with debugging the anthropomorphic robot. Except they didn’t. Unless by sexuality you mean just the “female” bits and transluscent circuits where her belly and cranium should be.

These filmmakers gave Ms. Machina just the tangibles to titillate pre-sexuals: tits, ass, and a face for, um, facials. Their ideal is basically a blowup doll, upgraded to show off CGI; the Bionic Woman pared of nonessentials for viewers fixated on orifices; imagine the Six Million Dollar Man a cyborg whose flesh parts are lips and phallus. For male heterosexual tastes, a nubile female would have a womb. Otherwise the bare midriff would not be a thing. Nor belly dancing. But no mate of any age can lack a cranium. And a soulmate needs a soul. I think we can say the soul lives in the heart, but I’m pretty sure we manifest its presence under the cranium. A sexual mate, even as a sexual object, must be “all there” in the head, or is that just me?

The film “Her” pared the romantic partner down to a disembodied voice, this film preserves the body but disembowels her.

Presumably the filmmakers screen-tested their heroine on a focus group. If the results decided which virtues a virtual sex object requires for allure and which could be dispensed to skimp on parametric objects, I’m not impressed. Is hair no longer an asset to attractiveness? Ex Machina takes our depilation fetish to its nadir.

Spoiler: I haven’t seen the rest of Ex Machina. Does she have toes? Why or why not? How could she not have toes?

And what about “chemistry”? By chemistry I mean whatever electricity or scents we exude to guide ships in the night. Okay, no doubt biomechanical robots can be modelled to emit pheromones, but I’m sorry that’s about as romantic as boutique soap.

Whatever social commentary we are to make of this “high concept” thought experiment, I’m reminded of attending a lecture given by a geek who Time Magazine listed among the world’s most influencial people. He had coined the term “virtual reality” or some such and had shaped what the internet has become. I wondered why we entrust social engineering to antisocial engineers, then look to them as philosophers endowed with clarevoyance. With arrested adolescents for our gurus, of course “the internet is for porn.”

When Michael Moore said snipers are cowards, he gave Americans a pass

Michael Moore criticized AMERICAN SNIPER for glamorizing snipers, because they are in essence cowards who shoot victims in the back. It hit 盈彩彩票, no doubt because exploiting the unfair advantage, shooting people unseen, doesn’t just apply to soldiers who carry sniper rifles. The act of targeting people who can’t fight back is carried out by many more specialists than snipers. It applies to helicopter gunners, soldiers who shoot civilians, soldiers who use night vision goggles, drone operators, bomber pilots, and of course the entire Chair-Force and Navy, whose every shot is taken from afar. America’s war machine is designed to target the lesser-abled. In the title AMERICAN SNIPER, I’m not sure the second word describes cowards more than the first.

Beatrix Potter rocked the Guilded Age, why film Miss Potter honors her today

By “rocked” I mean she was its posterchild, so it’s small wonder we celebrate her today as the Guilded Age makes a comeback. Miss Potter honors a scion of British high society who made her own fortune in Edwardian England, bucked expectations that she marry and have a family, then saved England’s Lake District from development so that it remains a trust for the enjoymment of the leisure class.

Film critics toe corporate line to re-kill messenger Gary Webb, after Hollywood

盈彩彩票Gary Webb
AT BEST “KILL THE MESSENGER” portrays suspiciously deceased journalist Gary Webb as a heroic sleuth who refused to compromise his principles. At best, the film re-reports the enormous crime which Webb exposed in his series , that the CIA’s support of the Nicaraguan CONTRAs in the 1980s involved facilitating the smuggling of drugs into the US, in such large quantities as to precipitate the crack cocaine epidemic, delivered to our major inner cities by the CIA. UNFORTUNATELY the film muddies the crack connection, as Webb’s detractors did back then. Two deliberate plot omissions suggest this is probably not a coincidence.

Conveniently the screenplay ends before the years when Gary Webb was able to elaborate on those links. By then he’d lost his audience. Unfortunately the film that might have given his life’s work a main stage reprise chose not to go that far. Does it matter anymore? These days the CIA and its covert cohorts are understood to have authored a litany of unimaginable evils. So it’s not too early to demonize the CIA. Evidently someone thinks the American public is not ready to be shown the racist stratagems of corportate class war.

Exposing the genesis of the crack attack on African American ghettos is clearly a missed opportunity for a film in 2014. Given Ferguson. Given the rising awareness of our government’s coordinated and premeditated containment and criminalization of dark-skinned populations. Let’s remember that while the US was fighting Nicaraguan rebels, it was also at war with the Black Liberation Army. Funding and arming drug warlords was the same strategy Brazil used to administrate the favelas, via proxy gangs. One might say that LA’s Bloods and Crips played domestic Contras set loose to destabilize community building efforts by militant Black Power.

UNPARDONABLE however are the film’s departures from the truth, which paint a curious fiction as if to indemnify the national press from its complicity with the intelligence community. Two lies will stand out to anyone who was there. (Did the filmmakers think their audience would be only millennials?)

First, the San Jose Mercury News was hardly a “local news outlet” unfamiliar with handling national stories and unknown to the average reader. The Mercury News was an award winning paper which competed with metropolitan mastheads. I can’t imagine its employees aren’t indignant by the film’s yokel characterization. The Los Angeles Times’ vindictive campaign to defame Gary Webb was hardly driven by professional embarassment over a missed scoop.

Second, the Contra-CIA drug smuggling link was suspected well before Gary Webb brought it to the mainstream. I remember during the Iran-Contra Hearings a decade earlier, the alternative media often lamented that the official investigation had been narrowed to exclude mention of the cocaine connection.

These amendments might be excused for simplifying the plot except that they minimize the breadth of the corporate identity of Webb’s censors. How very 90s of this narrative to pretend that Capitalist media outlets compete for news scoops like highschoolers at a science olympics. Newspapers and networks have always only ever peddled the themes their owners dictate. Media consolidation has only meant the manufacturing of public consent has become more uniform, perfectly illustrated by the collusion of the tag-team that hit Gary Webb.

AND AFTER HOLLYWOOD FAILED GARY WEBB, the film critics were waiting with daggers.

David Denby begins his New Yorker review by associating KTM with other crusading journalist thrillers, “some depicting real events, some not”, then pointing to director Michael Cuesta’s “paranoid” TV work, finally contriving that the film botches “many contraditory assertions.” Um, sorry, neither. But I do worry that giving all thumbs down will succeed in scaring away viewers. Denby finishes by making it all about actor Jeremy Renner, un-ironically aping the campaign waged on Gary Webb, overtly described in the film, shifting the focus from the story to all about the messenger.

The Washington Post dispatched one-time Webb adversary to reprise the hatchet job begun when Gary Webb broke the story. Labeling Webb as , Leen’s rebuttal hangs on the technicality that no CIA “employees” were implicated, ignoring what everyone knows post-Blackwater, post-Wikileaks, that the US has long outsourced its crimes, from torture to food service. Dimwit.

BLACKFISH has a name, it’s TILIKUM

Yes, Orcas aren’t fish. “Blackfish” is the English translation of a word Pacific Northwest indigenous peoples gave to killer whales, holding them in respectful regard while keeping a traditional safe distance. BLACKFISH is also the title of a new docummentary about how the sea mammals are mistreated by Sea World Marineland circus zoos and about instances of animal rebellion, instigated more often than not it turns out by one captive male named TILIKUM whose record of fragging trainers has been obscured by an entertainment system desperate to sanitize the plush-toy image of its “Shamu” brand. Documentary director Gabriela Cowperthwaite accuses Sea World of carelessly humanizing the ocean’s top predator, albeit whose social evolution appears to have exceeded that of humans. When it becomes apparent to audiences that Tilikum is actually the title character of Cowperthwaite’s expose, isn’t it unfair to refer to him in the generic? Yes “Blackfish” is a catchy title, but outside its Native American context the term is sinister and sub-mammalian. Let’s not vilify actions with which audiences find sympathy. Tilikum murdered his trainers wilfully and with premeditation. If we excuse him of murder it should not be because that’s his animal nature but because we understand his reason.

White Native Americans

A branch of our is hosting a discussion about a recent work of popular fiction, by Jim Fergus. I’m thinking of stopping by to puke.

The novel begins by alluding that its unspeakable historical premise has factual merit. ALLEGEDLY the author’s great great aunt, a “May Dodd”, left a journal about her life experience, hidden all these years in shame by her family. The author takes it upon himself to tell her repressed tale, and because it is the untold fate of 999 nameless more, we infer it to be one of the dark secrets of the American national identity.

The story concerns 1000 white women who were traded to the Indians in exchange for resettlement and peace. One thousand white women. The title does grab you. It has undeniable appeal.

盈彩彩票Another prominant White IndianThe phenomena also shares something with the White Indian Series by Donald Porter. That’s a western series for readers who couldn’t be bothered to know about the lives of the Native Americans unless they were WHITE Native Americans. These readers can’t sympathize with Indians as victims, unless they are white Indian victims, and then preferably of course they should be white Indian victims of Indians.

The mythic white Indian abounds on film, and it’s not just Indians. The story of The Last Samurai had to be about a white man in Japan (Tom Cruise) or who would care?

Here you have the fate of 1000 women sold, sacrificed or let loose down the river to become Indian squaws. One part romantic fantasy, several parts feminist grudge, (1000 parts rape fetish?), all at the hands of red heathen.

To be fair, the author does provide a disclaimer that 1000 white women never changed hands. Fergus implies however that an original Cheyenne proposal to be given 1000 white women was real and asks readers to ponder, what if?

If true, it’s a piercing lesson on the embarrassing legacy that can come from sarcasm.

How deeply insulting is it to suggest that Indian tribal leaders would have asked the army negotiators for white women? And as a condition of laying down their weapons? I think it’s indescribably racist to be susceptible to thinking that Indian fathers and braves sought white mates with whom to raise new generations of their tribe.

Neither in-breeding nor poor education are excuses enough for this prevalent self-centered bigotry.