It’s necessary to understand exactly how Avril Haines was promoted to her CIA position (by John Brennan) and what position she was rewarded (?) with soon after Biden took office (Director ODNI [head of entire American intelligence apparatus]).
CEPI and Moderna were working on a vaccine when there were only 600 cases and 26 deaths worldwide from COVID-19.
“John Brennan on Thursday recalled being asked a standard question for a top security clearance at his early CIA lie detector test: Have you ever worked with or for a group that was dedicated to overthrowing the US?”
It failed to account for (or warn against) totalitarianism rising from the Left.
We saw it in Hillary Clinton.
And we now see it in the authoritarian communism of Big Tech and the Democrat Party.
Keep in mind that V for Vendetta hails from the first War “on” Terror: in which the United States subjected Muslims worldwide to horrible treatment (based on the lie that the terror attacks of 9/11 were the work of 19 beardy guys with box cutters).
I fought in that war.
I fought against the lies.
I called out Dick Cheney and Donald Rumsfeld as being two of the primary authors of the attacks.
That was called 9/11 truth.
Subsequently, I voted for Barack Obama in 2008 solely because I thought he would bring these same neoconservatives (Paul Wolfowitz, Richard Perle, etc.) to justice.
He did not.
And now the second War “on” Terror is upon us: the one where everyone who voted for Trump (all 78 million of us [McInerney numbers]) are domestic terrorists.
This amazingly prescient Event 201 which had a scenario (see above link) that mirrors the present coronavirus outbreak almost exactly (transmission of a coronavirus from bats to humans…misunderstanding of community spread dynamics owing to mistaken comparison to SARS) was headed and funded almost entirely by left-wing, globalist people who support the Democratic Party in the United States. The only “foil” might be the Carlyle Group presence on WEF’s board (a connection to the equally-globalist, anti-Trump Bush family).
The Clintons and the Bushes. Lots of money. Unequivocally anti-Trump. And they just happen to run a coronavirus simulation a few months BEFORE the current outbreak even began in China.
Bill Gates has plenty of money.
He can withstand the shock to his personal bank account.
The Democrats (and Marxist globalists) were unable to impeach Trump. Before that, they were unable to have Robert Mueller (former FBI Director) bring down Trump for “colluding” with Russia in the 2016 election.
So what did they have left in their effort to unseat the populist Trump?
Were they backed into a corner?
Was their collective corruption about to come to light?
Perhaps they played their last card: attempt to destroy the U.S. economy with a pandemic PSYOP.
An average of 25,000 American die every year from the flu, but we don’t close the whole country down.
In 2017-2018, the CDC estimates that 61,000 Americans died from the flu.
Finally, how did a Johns Hopkins website become the end-all/be-all source for global and American coronavirus statistics? Why was Johns Hopkins working with the Gates Foundation for the 10/19/19 bat coronavirus simulation Event 201 in NYC? Has the simulation now become “real”?
Which brings us back to Gauguin…and Godard.
And part two of the greatest film ever made (in my opinion).
Histoire(s) du cinéma.
Godard contends in this 42 minute segment that cinema (the movie industry) is really a part of the cosmetics industry.
Everything is masked (and anonymous).
All is façade.
Godard further excoriates Hollywood by calling it a minor branch of the industry of lies.
Quite a humorous and pithy insult.
It is true that Godard was an avowed Marxist.
And even a Maoist.
And so it’s no surprise that he references Bertolt Brecht.
But Godard was, at this point in his career, becoming less of a radical (politically) and more of a humanist.
He was mellowing as a political firebrand.
But he was hitting his apex of creative experimentation.
I must admit.
This section is not the strongest of his eight-part masterpiece.
Section one Toutes les histoires is a tour de force.
But section two, Une Histoire seule, is a bit of a sophomore slump.
Or a lull.
A composer cannot maintain a fever-pitch indefinitely.
The great auteur got our attention in the first section.
And then he eases up.
He played the “head” (as in jazz).
And now he is beginning to improvise.
At first, he loosely pounds out the melody à la Thelonious Monk.
It sounds like more of the same.
And it is.
But it’s subtle.
It is a creator pondering his own creation.
“What have I just created?”
He turns it over and surveys it.
He feels its dimensions.
He tosses it and catches it like a baseball.
He estimates its weight.
The greatest movie ever made, Histoire(s) du cinéma, is not a movie in the strictest sense of the word.
It is not a narrative film per se.
There is very little NEW footage within.
Just like James Joyce’s magnum opus Finnegans Wake, it is not a novel.