Lost Transmissions [2019)

This is the worst movie I’ve ever seen.

QAnon.

Katharine O’Brien should have failed film school.

Or she should enroll in film school, submit this film for her final project, and then flunk out.

This is the most unartistic hunk of shit I have ever sat through.

For fuck’s sake.

It takes a special lack of talent to make a Simon Pegg movie suck.

But this bitch did it.

And she had some help.

Juno Temple is a horrible, talentless fucking actress.

Jesus God.

So bad.

Especially next to the amazing talents of Simon Pegg.

Pegg is decent here.

Juno Temple is all-world bad.

Born of a communist family.

Makes sense.

Nina Temple.

U.K. commies.

Nina.

Sister of Julien Temple.

Nepotism.

No-talent Juno gets this gig.

Julien Temple has talent.

A lot of it.

Juno Temple has no talent.

At all.

Whatsoever.

But just when you think this film can’t get any worse, Harley fucking Quinn pops up courtesy of vapid null Alexandra Daddario.

Lots of nepotism.

Emilio Q. Daddario.

Connecticut.

Democratic Party.

OSS.

Fort Meade.

You are watching a movie.

One in which Nakasone kisses Michael Hayden’s ass.

And Colin Powell’s ass.

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Who else inflicted this film upon the world?

Filip Jan Rymsza.

Shame!!!

Shame!!!

The music isn’t horrible.

Hugo Nicolson does alright.

Gravitas Ventures should have chucked this film directly in the nearest trash bin.

Straight-to-video would have been too good a fate for this moronic feature.

Tribeca Film Festival should have categorically denied this film a venue.

Because it is utter shite.

De Niro loves the Chinese commies.

Li Shaohong.

Liu Fendou.

Li Yang.

Keep the money flowing to De Niro and Tribeca.

Then we have to suffer through the maudlin coda with Tao Okamoto.

Nepotism everywhere.

Richard Harris’s son Jamie.

No talent anywhere except for Simon Pegg.

And Hugo Nicolson.

But mainly Pegg.

This is a fucking movie.

Q:  What makes for a good movie?

A:  The exact opposite of all the rubbish crammed into this godawful flick

Nepotism.

Robert Schwartzman in his cousin Sofia Coppola’s films.

Sofia has talent.

Quite a bit of talent.

Unlike the director of Lost Transmissions.

What ever happened to Q?

Almost one year since the stolen election.

Our military cucked out.

A bunch of fucking pussies.

Commies.

Mark Milley.

Michael Gilday.

Lloyd Austin.

Commies all.

Fuck ’em!

Talia Shire’s son.

Talia had talent.

A lot of it.

Unlike Juno Temple.

Who has none.

Then you get Schwartzman’s nepotism brother Jason.

Jason Schwartzman.

Band Rooney for Robert.

Geffen.

Must be nice.

Phantom Planet for Jason.

Epic MCA Geffen (2) Interscope.

Must be nice.

Polish Jews.

You don’t say…

Italian Catholic.

Ok.

Uncle Francis Ford.

Cousin Nicolas Cage.

Nepotism.

Jewish Catholic.

Uh huh.

Weezer.

Lame.

The Strokes.

Must be nice.

But the main offender is the screenplay.

By director Katharine O’Brien.

For fuck’s sake.

Ten minutes worth of material spun out into a 105-minute wank fest.

Yeah.

O’Brien does not have control of her craft.

No one (not even herself) should have funded this folly.

This film has no plot.

…and not in a cool way!

It is just the Jew bitch with the big nose chasing Simon Pegg around screaming “Theo” for 105 minutes.

Lame, nepotistic tripe.

The Prague International Film Festival should be ashamed for enabling this shit.

Best actor?

Ok.

Best actress?!?

You gotta be fucking kidding me!!!

And the GRAND PRIX???????

God damn.

ANYTHING would be better than this film.

Give me 105 minutes of Czech TV commercials.

It would be better than this.

Trump loves Pfizer, Israel, and America [maybe].

In that order.

https://finance.yahoo.com/news/donald-trump-i-got-the-pfizer-125703879.html?guccounter=1

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https://www.jpost.com/diaspora/antisemitism/trump-says-israel-literally-owned-congress-in-interview-683759

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Trump lost me when he started shilling for Pfizer.

https://www.cdc.gov/coronavirus/2019-ncov/vaccines/safety/adverse-events.html

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CDC lowballs it.

https://openvaers.com/index.php

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For a person who supposedly reads several newspapers a day, Donald Trump sure is one dumb motherfucker.

He owes at least 9,367 apologies to the families of those who perished due to the vaccines he rushed to market through Operation Warp Speed.

But he’s not fighting for you, Mr. and Mrs. America.

As you are losing your jobs because of the Biden vaccine mandate.

Trump wants us to fight the rigged election.

But he is not fighting for us.

He is ENCOURAGING people to get these deadly shots.

How many newspapers does one have to read in order to pretty quickly conclude that the COVID vaccines are neither safe nor effective?

And in case you wanna pretend Pfizer (the most deadly vaccine in America according to VAERS data) didn’t get any OWS funding, you must admit that the MASSIVE U.S. government preorder allowed them to scale up production.

It was an advance.

Hell…Trump even funded the AstraZeneca clot shot.

https://web.archive.org/web/20201219231756/https://www.hhs.gov/coronavirus/explaining-operation-warp-speed/index.html

N.B.  Janssen = Johnson & Johnson [vaccines developed in the Netherlands by Belgian JnJ subsidiary Janssen Pharmaceuticals]

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Recapping:

Johnson & Johnson [Janssen] $456 mil. + $1 bil. = $1.456 bil.

AstraZeneca at least $1.2 bil.

Pfizer $1.95 bil.

Moderna $4.1 bil.

Again, Trump RUSHED these vaccines to market.

And left us at the mercy of Joe Biden and the globalists who are now killing us with them.

Either we can take the #NeitherSafeNorEffective vaccines, or we can lose our jobs.

We can be refused organ transplant surgery.

We can be kicked out of the U.S. armed forces.

We can be fired from NYPD and FDNY.

Where’s Trump?

Sure would be nice if he called the vaccines bullshit (which they most certainly are).

He is so at ease in calling bullshit on ANYTHING in this world, but not when it comes to these vaccines.

Ask yourself Y.

Let’s go, Brandon!

-PD

The Good Shepherd [2006)

Sending under duress.

Orlando Furioso.

Ezra Pound.

Fighting in the captain’s tower.

Two Sikh kids.

Kim Philby.

Gladio.

Mossad.

Deep state.

Jay Lovestone.

Fake socialist?

Fake communist?

Real CIA asset?

Fake AFL-CIO advisor?

American exceptionalism.

Anti-communist unions?!?

Philby defected.

Golitsyn as Snowden.

Timothy Dalton.

Cello.

Don’t know the Russian soul.

Continually insisted.

Analysis paralysis.

Beware China.

Israeli nukes.

Trudeau communist.

John Watkins.

Death during questioning.

Montreal hotel room.

RCMP.

ASIO.

Resigned 1974.

Rehired 1975.

The Wohlstetters plotting 9/11.

Teaching false-flags to chickenshit Wolfowitz and others.

Perle.

Rumsfeld.

Focusing on Pearl Harbor.

Telegraphing “new Pearl Harbor”.

PNAC.

Red October.

Colin Powell gone.

Alec Baldwin bizarre shooting.

Red October.

Halloween Massacre.

Pipes.

Grand Forks.

Finland.

Buckley.

Skull and Bones.

Fake collapse.

Physical surveillance of Brit Hume.

Reading Jane Fonda’s mail from the Soviet Union.

Opening of PRC mail at JFK NYC.

MKULTRA.

Surveillance of dissident groups.

Surveillance in Detroit.

Victor Marchetti.

Approximately 10,000 US citizens under CIA surveillance for being antiwar.

Michael Gilday loyalty in question.

Frank Olson “jumped” out of a window.

Why did De Niro trash Trump for four years?

De Niro is CIA.

Why does Jolie push climate change bullshit?

Jolie is CIA.

Why was Alec Baldwin [real or simulated] made to assassinate his own director of photography?

Because he had mocked Trump for four years by way of impersonation.

Because he had become anti-American.

Because he repeatedly belittled half the country (the half that voted for Trump) on Twitter.

Because he was in The Hunt for Red October.

Because this was planned long ago.

Putin jails Navalny.

Xi launches a hypersonic, Earth-orbiting, nuclear-capable missile [space nuke].

U.S. military intelligence and special operations quietly take out Rumsfeld.

Then Colin Powell.

And then a masterfully-inscrutable humiliation PSYOP involving Alec Baldwin.

The message to Russia and China from Q group?

Don’t fuck with us.

A flourish.

A show of capability.

To infiltrate.

To message [signalling].

To rule the airwaves despite Chinese infiltration.

To operate and engineer.

To pull off a flawless mission.

Was Alec Baldwin given an offer he couldn’t refuse?

Perhaps Baldwin has been receiving money from the PRC?

In exchange for leniency, he was asked to do what he does best: act.

He was asked to pretend to shoot his director of photography.

Or one bullet was loaded and Baldwin was humiliated in a much darker way.

Perhaps Halyna Hutchins was fitted with blood packs.

Squibs.

Moving along a continuum, there are many possibilities.

But the purpose was to send a message to Russia and China.

All were told to keep quiet on the grounds of national security.

Six crew members leave.

Who do you think replaced them?

Special tactics.

-PD

Kamikaze 89 [1982)

Here is a strange case.

I thought I was watching a movie by Rainer Werner Fassbinder.

The first I had ever seen.

But I was not.

And I still haven’t seen a Fassbinder movie per se.

This movie was directed by the late- Wolf Gremm.

Gremm might be most well-known for the 1980 film Fabian.

For that movie, Gremm adapted a work of Erich Kästner.

Kästner was always a bridesmaid and never a bride.

Nominated four times for the Nobel in literature, Kästner nevertheless was an important writer in that he used cinematic techniques in his literature.

Think about that for a second.

What might that mean?

Jump cuts, anyone?

‘Tis now that we pay homage to the great Jean-Paul Belmondo.

AND to my favorite drummer ever:  Charlie Watts.

Back to Kästner.

The Nazis burned his books.

These book burnings were instigated by (Psaki) Goebbels.

Kästner may not have really been a man of much integrity.

He wrote for UfA in 1942 under the pseudonym Berthold Bürger.

But you may know Kästner most for a Hollywood adaption of one of his children’s books:  The Parent Trap.

Made twice.

Which brings us to our film by Wolf Gremm.

It’s true:  Gremm and Fassbinder were close friends.

And I was tricked because Fassbinder is the all-consuming star of Gremm’s masterpiece Kamikaze 89 (alternately Kamikaze 1989).

Like a German version of Godard’s Alphaville.

Fassbinder is 100% Lemmy Caution.

But this whole thing needed a premise.

And that story was provide by Swedish author Per Wahlöö.

Before there was Stieg Larsson, there was Per Wahlöö.

Active between 1965 and 1975, and focusing on his character detective Martin Beck (a Stockholm policeman), Wahlöö collaborated with Maj Sjöwall on ten novels featuring Beck.

Like Erich Kästner, Wahlöö and Sjöwall were leftists.  

Communists.

Marxists.

Not unusual in Sweden.

You will find the same idealistic naïveté in the biographical details of Steig Larsson.

Gremm’s film did well as Fantasporto in Portugal.

And for good reason.

Because it is a fucking masterpiece!

The soundtrack is even by Tangerine Dream.

Edgar Froese.

Lester Bangs would have been proud.

Bangs died about three months after this film came out.

We see Brigitte Mira.

We see Nicole Heesters.

Someone briefly gets naked.

We might even see Fassbinder’s junk briefly.

I’ve gotta hand it to Xaver Schwarzenberger.

This film is stunning.

It pops!

Like a more punk version of Nicolas Roeg’s work on Truffaut’s Fahrenheit 451.

Schwarzenberger was (and is) perhaps the equivalent of Godard’s Raoul Coutard.

So what?

The world, in general, has not heard of Wolf Gremm.

So this film must be discussed in relation to Fassbinder.

Was Fassbinder as good a director as he was an actor?

I don’t know.

Was Fassbinder as good a director as Gremm?

I don’t know.

Did Fassbinder ever make a film as good as the masterpiece Kamikaze 89?

I don’t know.

Something else should be noted.

Fassbinder himself died two months after Kamikaze 89 was released.

Which is to say, a month before Lester Bangs.

Let’s talk about New German Cinema.

I have devoted plenty of time to my favorite (the Nouvelle Vague aka French New Wave).

But I do not recall ever having broached the topic of Neuer Deutscher Film.

I will say this.

I think Werner Herzog may be the most overrated filmmaker of all-time.

Right next to Tarantino.

I hate to fucking admit it, but Tarantino (whom I hate) has WAY more talent than Herzog.

But hey:  my favorite director ever is Godard.

We first join Fassbinder about 1974 with Ali:  Fear Eats the Soul.

Eight years later, Fassbinder would be dead.

At age 37.

From a cocaine/barbiturate overdose.

I have lived seven years longer than Fassbinder.

Fassbinder crammed his career into his 30s.

Bangs died of an (accidental?) overdose of an analgesic opioid (Darvon), Valium, and cough syrup.

Bangs was 33.

Someone else important died at that age.

Bangs had a great mustache.

Fassbinder had a weird beard.

A nasty, seven-day stubble.

But Fassbinder fucking had style!

1975 saw him come out with Fox and His Friends.

Fassbinder was married for two years.

He then divorced.

I feel that.

Ingrid Caven.

A beautiful lady.

They say.

Hanna Schygulla.

Godard’s Passion.

1982.

There’s a reason I like Fassbinder.

I think.

Because Fassbinder liked Godard.

The Merchant of Four Seasons.

This precedes my earlier introduction.

1971.

The Bitter Tears of Petra von Kant.

1972.

Fassbinder was bisexual.

He bought Günther Kauffman, who appears in Kamikaze 89, four Lamborghinis over the period of one year.

“calculatedly provocative”, they called him.

A verbal kamikaze.

I feel that.

The Tenderness of Wolves.

1973.

As actor.

I have focused on films available in the United States.

On iTunes.

I am.

Pauly Deathwish.

Twenty years coming.

10/11.

-PD

 

Batman Forever [1995)

Tommy Lee Jones is horrible in this film.

Sad to say.

Because he’s from more hometown here in San Antone.

Nicole Kidman is weak in this film.

She’s not even attractive here.

Her acting sucks.

Chris O’Donnell acting does a decent job.

Which is not saying much.

And as much as I hate to admit it (because I loathe this actor), Jim Carrey is brilliant here.

Indeed, he is the only entertaining, engaging element of this entire film.

The scene with the Flaming Lips song is doubly excellent.

If you’re still using Google, please stop.

As General Flynn has said (and I paraphrase), “DuckDuckGo is a perfectly fine search engine.”

And he is right.

I can’t believe I made it through this movie.

It is a gigantic hunk of shit.

-PD

Rambo: Last Blood [2019)

Here is the jewel in the crown of the Rambo franchise.

Truly.

This is the best Rambo film.

Just as Casino Royale (2006) is the best Bond film.

And it’s an appropriate reference…because Rambo: Last Blood is equal parts Sicario and Skyfall.

Sure, First Blood can never really be topped.

Hell, Rambo III is an amazing movie!

But to mix franchises again, Dr. No can never be topped.

And yet, every franchise has a best film.

And for Sylvester Stallone’s Rambo franchise, this is the one.

#AllEyesOnMaricopa

It’s all about the knife.

Variable.

Human trafficking.

Sex trafficking.

Slave labor.

Forced prostitution.

Kidnapping.

Stallone’s acting is amazing in this film.

He has honed his craft.

He is untouchable here.

Completely authentic.

A master of understatement.

Small movements.

Subtle intonations.

Interrogations.

Driver’s license.

I think they throw it back on him.

Such a taut film.

One detail only with slack.

A little bit of The Punisher.

All he needs is a hammer.

Green Beret.

Sadness of time invested.

Sadness of family lost.

Sadness of best friend gone.

The acting.

Scene with Paz Vega.

True, raw emotion.

Samuel Fuller would have respected.

And loved it.

Setting a trap.

Mother Of All Traps.

Decaffeinated?

Shocker.

Side of beef.

Memorial Day.

With General Flynn.

Michael Flynn.

May we prove to be worthy of their sacrifice.

My colonel may be long gone.

Reporting to flag officer.

You are watching a movie.

This film is a masterpiece.

-PD

Apocalypse Now [1979)

There is a war on.

Our enemy is brutal.

Our enemy is both foreign and domestic.

Domestic elements have aligned themselves with a foreign agenda.

That agenda is the agenda of communist China.

…and you will know us by the trail of dead.

Where was our airstrike?

Has the radioman been beheaded?

Now we are stuck in the morass of this fetid jungle.

Chickenhawks are the most eager to order assassinations.

Avril Haines.

PBR Street Gang.

Clean drumming.

Chef saucier with some Vietnamese and New Orleans French.

Charlie don’t surf.

But General Michael Flynn does.

Look out honey ’cause I’m using technology.

With a heart full of napalm.

Those dedicated few.

We salute you.

In some colonial outpost.

Without a commanding officer.

Mr. Arkadin.

Confidential report.

Legacy of ashes.

A willingness to serve.

Mental illness.

Psychological terror.

This is the unrestricted warfare of the Chinese.

William Colby.

Did he try to right the ship?

It is a bold stratagem.

He who dares, wins.

Canoe accident.

Purple haze.

Mama’s tape plays for dead son.

Baby driver.

The sadness.

Not your war.

What happens when it’s not voluntary.

Resentment.

Vietnam as ideological war.

And war profiteering.

Both.

Each side of the coin with heart blinded to the obverse/reverse truth.

They were only toy arrows.

To scare us.

But you insisted upon killing.

And you were killed.

You were by the book.

Yet you had no wisdom.

You could have been a great leader.

But you lacked agility.

To turn on a dime.

Mercury poisoning.

Make hats, go nuts.

Make deaths, go nuts.

Did Kathy Griffin incite violence when she held up a bloody prop head intended to look like a realistic beheading of President Trump?

Flash back.

Trip up the river.

Long, strange.

Deserter.

What a surfeit of patriotism will do.

Present a schism.

To fight harder.

To fight even after the war is over.

But it is not over.

It was a great plan.

Perhaps.

What went wrong?

Was the radioman beheaded?

Almighty standing by?

Skyking.

This is perhaps the best film ever made.

Francis Ford Coppola.

And it contains several of the greatest performances ever committed to film.

Marlon Brando.

Robert Duvall.

But the most important is Martin Sheen.

We are now living in a country strewn with decapitations.

All illusion of democracy is gone.

Our republic is no longer one where dissent is allowed.

From two parties, one has coalesced.

A totalitarism state is emerging.

Technocrats as the ruling council.

What are patriots to do?

We who are left alive?

Soon to be targeted by our own government…as if we were terrorists.

We only want our votes to count.

We only want free and fair elections.

Outcome-Determinative-Electoral-Fraud-2020

Election-Fraud-Facts-Detail

Summary+Evidence+Election+2020

What will you do, digital soldier?

-PD

Anchorman: The Legend of Ron Burgundy [2004)

The world is fucked up.

This is probably the craziest year most of us have ever lived through.

When has the world, in its entirety, faced such chaos in recent memory?

9/11 brought us terror on a horrific, spectacular* level.

Guy Debord predicted this in 1967 with his seminal book La société du spectacle.

No, he did not pull a Nostradamus (who happens to share my birthday).

He did not predict the three towers (including the 47-story WTC7) falling into their own footprints.

But he predicted something much more useful, or at least applicable, to our present times.

The “locus of illusion” that Debord talked about remains (though it be besieged on all sides) television.

For our purposes, we shall call it “video”.

Moving pictures.

Debord also predicted our current age of social-media dominance.

Though he could not name it then, he described it perfectly as, “a social relationship between people…mediated by images.”

What does the word “Facebook” evoke when you hear it?

Does it sound a bit like a dating site?

What role do memes (manipulated images) play in our social discourse?

“The spectacle”, Debord told us, “…turns reality on its head.”

How much of what you hear “on the news” (whether that be television, radio, Internet, social media) do you trust?

Because you are smart, dear reader, you consider the source.

And so do I.

Debord wanted to say something about fakes.

The epigrammatic beginning to the first chapter of The Society of the Spectacle gets right to this point.

It was the philosopher Feuerbach who said that in, “…the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, the appearance to essence…illusion only is sacred, truth profane.”

Ludwig Feuerbach wrote those words in the 1800s.

But the Irish rock band U2 would come to a similar epiphany in their song “Even Better Than the Real Thing”.

Debord wanted to talk about fake-ness.

But he also wanted to qualify his description of “the spectacle”.

For Debord, “reality erupts within the spectacle, and the spectacle is real”.

To translate (from French to English to philosophy to layman’s terms), there are some aspects of our image-driven information culture that are real (though a good deal of fake news exists).  But owing to the lack of a competing narrative to the overwhelming chorus of voices in agreement (corporate news), “the spectacle” (whatever the talking heads tell you) is, de facto, real.  Never mind that it might all be rubbish.  The sheer repetition of certain truths–day after day, hour after hour (from all the many “options” [ABC, CBS, NBC, New York Times, Washington Post])–renders those “truths” the currency of “factual” discourse.  Without an independent, competing narrative from alternative news sources (which currently lack the scale and reach to pose a symmetric threat to “legacy media”), whatever the aforementioned “usual suspects” (ABCBSNBC…) tell you is TRUE becomes “truth” the moment they report it.  The national news coverage of American current events is indistinguishable whether one has ABC, CBS, or NBC dialed up on the tele.

But the times, they are a-changin’.

Donald Trump’s 3+ years in office have been “a moment of falsehood”, which is to say, truth.

As Debord wrote, “In a world that really has been turned on its head, truth is a moment of falsehood.”

Debord seemed to be describing the “legacy media” when he wrote of an entity “out of reach and beyond all dispute”.

Of particular concern in this current situation (which already existed in Debord’s day) is the role that vision plays in our mediated understanding of the world.

As Debord wrote, “…it is inevitable that it should elevate the human sense of sight to the special place once occupied by touch…”.

He goes on to describe “sight” as, “…the most abstract of the senses, and the most easily deceived…”.

Think about a painting by Monet.

Waterlilies.

What are you seeing?

You are seeing the work of someone [Monet] whose eyesight was impaired.  Literally.  But though it be impaired, he still painted wonderful, huge canvases which EVOKED the atmosphere of a pond with waterlilies.

You are seeing blurry images.

Your brain has to fill in the details.

You are not seeing a high-definition photograph.

Furthermore, you are seeing oil paints which have been applied to a cloth canvas.

You are seeing a depiction.

This takes us all the way back to Plato’s “cave”, but I digress…

What happens when the big three TV networks in the U.S. get something wrong?

What about the New York Times and Washington Post (to just name the two most widely-distributed offenders)?

Do any of these entities make a concerted, SINCERE effort arising from true integrity to correct their previous, faulty coverage on events?

Debord could answer before the question was asked…because he knew the nature of these organizations (even in his native France).

He wrote, “The spectacle is by definition immune from human activity, inaccessible to any projected review or correction.  It is the opposite of dialogue.”

Social media changed this briefly.

But now, Twitter is acting like the generalissimo of a banana republic by banning accounts which “promote” the “conspiracy theory” known as QAnon.

This is just one example–from one social media platform–where the fleeting dialogue which threatened (?) “the spectacle” has been shut down.

Google, working closely with the communist Chinese government, is all too happy to facilitate similar totalitarian censorship in China…all for a buck (or yuan).

So let’s talk about vision/sight for a moment.

Did George Floyd die under the knee of Derek Chauvin?

All of the “usual suspects” (ABCBSNBC) tell me he did.

And there’s video!

Video never lies, does it?

I mean…movies are all true, right?

Is the video that Darnella Frazier ostensibly shot on her cell phone “documentary” footage?

It may be more than one thing.

It is possible to honestly document fake-ness (without knowing you are filming a pageant).

Have you ever seen an actress cry on command?

I have.

It is quite an astounding thing.

I have a friend who is a major motion-picture actress.

She once burst out in tears…right next to me.

I started to offer my condolences.

I was generally concerned.

I almost started crying.

Then she abruptly jumped out of character with a smile…to let me know she was just pranking me.

It was VERY convincing.

She had never done that to me before.

It was novel.

I had no experience against which to measure her crying fit.

I thought of her as a friend first and as an actress second.

I forgot, temporarily, that she was unequivocally a professional faker.

But Guy Debord saw more to “the spectacle” than just a stream of fake-ness.

Debord seemed to also sense an approaching hour when human relations would become totally stifled.

To hear Debord tell it, “Separation is the alpha and omega of the spectacle.”

Both its goal and its essence.

While mass media seems to bring us together (shared touchstones, talismans…), in actuality, it separates us more from one another.

We are always obliged to mention what “the news” says about a certain topic.

It is rare (almost impossible) that two people have a conversation where they each give their opinion of a recent event and “the spectacle” (a mass, homogenized media) is not invoked (in deferential terms) at some stage as a reference point.

Debord describes the “weapons of that system” as ranging “from cars to television”:  all meant to “reinforce the isolation of ‘the lonely crowd'”.

But Guy Debord was not merely taking aim at television and mass media.  He saw further.  He seems to have, though writing in 1967, seen the inevitably of the Internet.

As he describes it, “The spectacle is a map of this new world–a map drawn to the scale of the territory itself.”

While this is indeed a reference to a story by Borges (the world=the map), Debord’s insight in applying this to mass communication and information dissemination is extraordinarily prescient.

Guy Debord, it must be said, was not without fault.

Most importantly, he was an avowed Marxist.

So his perspicacity ended where mass media stops and economics begins.

Which brings us to the film Anchorman…

Will Ferrell is awkward here.

And gloriously so!

We get gender division.

1970s.

As today we continue to get race divisions.

Who is driving this?

Cui bono?

The British were quite good at “divide and conquer”.

In the Indian subcontinent, Hindus and Muslims had lived relatively peaceably together…until the British decided to stoke this latent division for cynical ends.

“If the Hindus and Muslims are fighting each other, they can’t pose a unitary threat to us.”

That is what I can imagine British military strategists saying at the time when India was under their occupation.

And it worked.

It was brilliant.

Evil, but brilliant.

Ask yourself a question:  who benefits (cui bono) from blacks and whites and Hispanics and Asians and police and civilians in America being divided and at each other’s throats?

What series of events led to the isolation (frustration) needed to create the current powder keg that went up in smoke with the George Floyd event?

Ron Burgundy will read anything that is put in front of him on a Tele-Promp-Ter.

…as evidenced by his most unfortunate sign-off, “Go fuck yourself, San Diego!”

Which brings us to Joe Biden.

FDR managed to keep it a secret that he was stricken with polio.

He was carted around in a wheelchair during his Presidency.

He had the Resolute desk in the Oval Office modified so that a panel on the front obscured the prying eyes of news cameras.

You could not see his legs fastened to his wheelchair.

And the press obliged.

They loved FDR.

Good old liberal, Democrat FDR.

Elected to the Presidency FOUR times (an American record).

In the White House for over 12 (!) years.

Our Constitution was amended to make this impossible from there on out.

Now the limit is eight years (two terms).

All that notwithstanding, FDR never lost his mental faculties to any significant degree.

He had a physical disability which prevented him from ambulating fully.

Joe Biden can walk fairly well.

Sadly, there is no desk panel that can hide his mental deterioration.

It is there.  It will be there.  And it will get worse.

Which makes Joe Biden a FAR MORE RIDICULOUS candidate than Donald Trump.

And again, “the spectacle” is running defense for Biden.

Making excuses.

Tossing softball questions (if any at all).

The best thing that vicious, Marxist Democrats in the United States can come up with is a dud missile named Joe Biden.

He is harmless (to extend the missile metaphor), and in that he is very harmful.

He is, as regards the responsibilities of the Chief of the Executive Branch, useless.

Which gives us just one more example of how fakes are being foisted upon us.

Never has there been such a poor candidate for the American Presidency as Joe Biden.

It is becoming apparent to all that, if elected, he would not run his own government.

What a sham!

Why didn’t the Democrats have the foresight to nominate Cory Booker or Kamala Harris?

It couldn’t be because they are RACIST, could it?

Remember, Donald Trump is such a horrible misogynist.

How was it that the Democrats failed to nominate Elizabeth Warren or Amy Klobuchar?

Democrats REALLY care about Latinos in the U.S.

That’s why they failed to nominate a guy named Castro.

Democrats are so diverse!

That’s why they passed on nominating a guy named Yang.

And what did the Democrats end up with?

A halfwit, old, white man named Joe Biden.

Halfwit is really too kind a descriptor here.

The mobs wanted Ron Burgundy’s head.

Because he told them to “go fuck themselves”.

But it was a false-flag.

Did Ron Burgundy write the line, “Go fuck yourself, San Diego!” on the Tele-Promp-Ter?

No.

Veronica Corningstone did.

Did the truth about who REALLY wrote it come out?

No.

Not even from a news organization.

Burgundy was summarily fired and his life went to shit.

He ended up wandering the streets like a cross between fat Jim Morrison (Val Kilmer-influenced) and Brian Wilson.

Bathrobe and cheeseburgers.

Nilsson Schmilsson.

Drinking milk in the…hot sun!

But what goes around comes around.

Ms. Corningstone is pushed into a bear pit at the zoo.

An unenviable position, that.

And it takes a little dog to diffuse the situation.

A mob of bears.

A proud species.

Wronged by this intrusion into their hibernation.

But Baxter, the little dog, has a message.

“These are not the droids you are looking for.”

The bears consider the source.

They will not take Ron Burgundy’s word for it.

They will not take Veronica Corningstone’s word for it.

But they will listen to a fellow creature from the animal kingdom.

“I know your cousin,” Baxter says (and I paraphrase).

Baxter’s message rings true.

The bears reconsider.

They are able to retreat gracefully.

Baxter has just acted as crisis negotiator.

A feel-good movie ends with former enemies expressing respect for one another.

Respect.

Not total reconciliation.

But a cessation of the mad chaos.

Brick Tamland (played brilliantly by Steve Carell) ends up (we are told) becoming a “top political advisor” to the Bush administration.

Mass media.

The spectacle.

Hollywood could not help taking a pot shot at a Republican President (even in a light-hearted comedy [and even though the bastard Bush deserved it]).

Why?

Because Bush was a (shitty) Republican (and a war criminal).

But for the eight years of Obama’s Presidency (and the eight years of Bill Clinton’s Presidency), you never saw Hollywood comment (on film) about the merits of these two Democrats.

Why?

Because the Democrat Party is inseparable from the mass media in the United States.

So let me ask you one final question:

do you think you are getting the truth about President Trump, coronavirus, George Floyd, or anything else from this tight-knit cabal of fakers?

Stay classy!

 

-PD

Boogie Nights [1997)

Something big is going down.

A country is getting taken down.

And that country is the USA.

It is getting taken down using methods suspiciously-similar to those used by the CIA in their regime change activities around the world.

Iran, Guatemala, Indonesia, Chile…

You know their work.

But this time it’s different.

Just as the American intelligence community was weaponized by President Barack Obama against Presidential candidate (and President-Elect) Donald Trump, so is the Deep State (chockfull of former CIA officers) now attempting to bring down the United States to save their asses.

Does China have any reason to attempt to totally destroy the United States AT THIS TIME?

No.  [but they are a part of (willing accomplice to) the takedown]

Does Russia have any reason to attempt to totally destroy the United States AT THIS TIME?

No.

Is there any intelligence organization in the world capable of orchestrating the total war to which the United States has been subjected over the past three months?

Only China and Russia.

And perhaps Israel.

But Israel has absolutely no reason to attempt to depose their greatest ally (Donald Trump).

Iran does not have the capability or sophistication.

Nor does North Korea.

[and North Korea, even if they had the capability (which they do not), has no reason to run a regime change campaign against the most formidable counterintelligence apparatus in the world AT THIS TIME]

And so that leaves us but one “country”:  a country within a country.

The American (Globalist) Deep State.

It is almost synonymous with the CIA.

And the CIA’s methods and signatures are all over the multi-pronged onslaught we have witnessed these past months.

It’s not necessary at this time to point out the biggest players.

Soros?  Yes.

The Clintons?  Yes.

Obama?  Yes.

Bill Gates?  Yes.

What is most important is to locate the quarterback.

And that man is (in my opinion) none other than former Director of the CIA John Brennan.

There are other traitors involved.

But let’s outline the structure of what we have endured:

  1.  Biological Warfare–Here, China sacrificed one of its own cities [Wuhan] to create plausible deniability that they were in any way waging offensive BIOWAR.  As China miraculously shielded the rest of ITS country from COVID-19, they made sure the virus made it (in droves) to the homeland of their arch nemesis:  the USA
  2. Economic Warfare–Here, the Deep State (with a giddy China looking on) watched as the U.S. economy ground to a halt because of COVID-19.  Record unemployment.  All economic activity ceased.  The greatest economy on Earth was ruined (for the time being).  Each U.S. citizen received a pittance of $1,200 which has not been enough to really sustain anyone.
  3. Psychological Warfare–The masses of Americans were told to stay home.  They were cooped up in their houses for two months.  They had nothing to do.  No place to go.  Underlying depressions and anxieties were exponentially amplified.  The populace grew frustrated.  Most of all, the PANIC was conveyed daily by news organizations with heavy connections to the CIA and Democratic Party.  This propaganda terrorized the populace into being afraid to leave their homes–being afraid even to breathe.
  4. Divide and Conquer–Whether the death of George Floyd was a real or synthetic (staged) event, the news coverage would have been the same.  In terms of planning, it is likely that the event never took place at all.  But for the sake of argument, let’s assume for a moment that a man named George Floyd actually did die as a result of an incompetent and cruel police officer.  Magically, the big bogeyman (COVID-19) WAS COMPLETELY FORGOTTEN.  All of a sudden, the pent-up rage and frustration and poverty (see #3 and #2) were activated.  This is the “match in a tinderbox” scenario.  After two months of wall-to-wall coverage of the coronavirus (which ostensibly killed 100,000 Americans by Memorial Day), ALL OF A SUDDEN…THE LIFE OF ONE MAN (george floyd) has become more important than the lives of the 100,000 coronavirus victims (assuming that death toll is accurate [which it is not…it is grossly-inflated]).

So what we have here is a VERY SOPHISTICATED campaign designed to remove Donald Trump from the Presidency.  Worst case scenario (for the Deep State), it is supposed to prevent him from being reelected.

It is also a last-ditch effort to save the asses of those Deep State members whose treason has been pinpointed and for whom justice may not be far off:

-Loretta Lynch

-Sally Yates

-John Brennan*

-James Clapper

-James Comey

-Andrew McCabe

-Bruce Ohr

-James Baker [FBI]

-Peter Strzok

-Lisa Page

-Rod Rosenstein

-Susan Rice

It is my guess that these will be the first pawns to fall.

John Brennan is very important.

More than a pawn (in some ways).

But still a pawn.

How deep will this go?

Barack Obama?

Hillary Clinton?

Bill Gates?

George Soros?

So much depends on each move in this chess game.

Which brings us to Boogie Nights.

There’s a riot goin’ on.

Each of us has a gift.

Heather Graham is great here.

Mark Wahlberg does a really nice job.

We get the Corvette.

Symbol of summer.

Porn with “plots”.

An admirable pursuit.

Burt Reynolds is really phenomenal in this film.

But like Lovelace, this tale of sexual freedom gets darker and darker as it goes along.

You got the touch.

Feel, feel, feel, feel my heat.

Darker and darker.

But very real.

There is a great realism to certain scenes here.

Paul Thomas Anderson really does an amazing job with this one.

Even the usually-vapid Julianne Moore has some actual moments of artful acting herein.

They’re taking her children away.

Black people can like country music.

Definitely a bit of Tarantino in the donut shop scene.

But Anderson is a far superior director to QT.

QT is very talented, but very overrated.

Lots of hype…very little timeless filmmaking.

Anderson is a much more solid auteur.

There is something of Aronofsky here too.

Funny thing is, Anderson got there first.

But Requiem for a Dream goes MUCH DEEPER into drug darkness.

And yet, Anderson paints a portrait of a period of time.

So vividly.

And the colors are washed out.

The soul-eating burn of cocaine is depicted as it really is:  torrid.

Desperate.

Exciting.

Elusive.

Utterly destructive.

Psychosis-inducing.

How many more nights will the “divide and conquer” boogie?

Military police.

82nd Airborne.

101st Airborne.

1st Infantry.

10th Mountain Division.

The United States is under attack…mainly from within.

China played a small (though not insignificant) role.

The main culprits are liberal globalists.

4B.

A second wave of coronavirus will hit the U.S.

This will happen as a result of the fake-news media pushing the narrative that one man’s death (george floyd) is more important than 100,000 ostensible fatalities.

The CIA/liberal media is distracting the country from being vigilant about hand washing, social distancing, etc.

And when will this second wave hit?

Right before November 3rd, perhaps?

 

-PD

Bang Gang (une histoire d’amour moderne) [2015)

This is not a good film.

It starts well enough.

Director Eva Husson even had me thinking to myself that “the French truly know how to make films”.

And they do.

But only the first few minutes of this one live up to that maxim.

And yet, this film is addicting.

I kept wanting it to get better.

It had its moments.

Millennials partying.

Parties.

Drugs.

Sex.

Lots of sex.

And yet, this film is not a turn on.

It has no mystery to it.

No true romance.

Just a saccharine silver lining.

The characters are boring.

Two-dimensional.

Daisy Broom had potential.

She has real acting talents.

But they are wasted here (as she becomes a sort of villain).

She becomes ever more two-dimensional throughout the course of this film.

Marilyn Lima does a decent job here.

Her acting is subtle.

Sadly, she is surrounded by a shitstorm of bad filmmaking.

There are some poignant moments.

Sometimes the true rebels are cast out.

Their contributions are forgotten.

And they become conservatives.

They see the stupidity they have spawned.

And they watch from afar.

Covered with tattoos, perhaps.

They only want love.

Lorenzo Lefebvre’s character actually does have a more developed personality.

But just barely.

There are extraneous bits and pieces of meaning here and there.

And none of them are developed for the betterment of this film.

Which is to say, it’s hard to believe that a film chockfull of sex could be boring, but it can.

This one is.

So my recommendation is this.

Don’t waste an hour and a half of your life (like I did) watching this.

It’s not worth it.

It is vapid, pseudo-art-film rubbish.

 

-PD

The Actors [2003)

Here’s a lovely movie which brings together many things.

An Irish film.

Directed by Conor McPherson.

Wherein Dylan Moran gets to assume a sort of Peter Sellers breadth.

English, Irish, Scottish.

Accents.

Well done.

And bloody fucking funny.

The best is the Scot.

Where Moran describes himself in apoplectic circumcision as “bordering on genius”.

To dissect:  Moran (an actor) playing an actor (!) who is then further acting (playing a Scot in a real-life scenario rather than on stage).

I’m not sure how confusing that is.

An Irish actor (Moran) playing the role of an Irish actor (a character in this film) is really not that farfetched.

But you see how circuitous this film is.

Yes, Dylan Moran is the best thing here.

You might know him from Black Books, but he is much better here.

Michael Caine is quite good here.

And Lena Headley is a nice foil to all this nerdy testosterone.

But Michael Gambon really steals the show from Caine.

Gambon who, like Moran, is also Irish really gives this picture the color it needed.

The bathos.

The absurdity.

The contrition.

The strangest star is Abigail Iversen who comes off as a sort of Greta Thunberg savant.

She was a dead ringer for the prodigy.

Strangely, Iversen (who is Icelandic) seems to have dropped off the map in 2003 after this film and one other.

Sure, perhaps this film is no masterpiece, but it is a lot better than the gobs of shite currently mucking up most of the Internet.

 

-PD