Category Archives: Entertainment

A Clockwork Orange: Waiting for the Sun, by Doug “Uncola” Lynch

This will appeal to a certain type of philosophically speculative mind. From Doug  “Uncola” Lynn at theburningplatform.com:

 Society should not do the wrong thing for the right reason, even though it frequently does the right thing for the wrong reason.

History has shown us what happens when you try to make society too civilized, or do too good a job of eliminating undesirable elements. It also shows the tragic fallacy in the belief that the destruction of democratic institutions will cause better ones to arise in their place.

Stanley Kubrick on “A Clockwork Orange”, an interview with film critic Michel Ciment

An obscure Texas political consultant named Bill Miller once said “politics is show business for ugly people”.  It’s true for the most part, aside from the consequences.  This is because the theatrics of politicians result in policies that affect the lives of others; often against the will of the governed. In books and movies, however, the characters are much ado about nothing. Until, that is, life imitates art.

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Michael Moore’s “Fahrenheit 11/9” Aims Not at Trump But at Those Who Created the Conditions That Led to His Rise, by Glenn Greenwald

This movie has got to be better than another comic book film. From Glenn Greenwald at the intercept.com:

2017 AP YEAR END PHOTOS - Donald Trump is sworn in as the 45th president of the United States by Chief Justice John Roberts, as Melania Trump and his family looks on during the 58th Presidential Inauguration at the U.S. Capitol in Washington, on Jan. 20, 2017. (AP Photo/Patrick Semansky)

Donald Trump is sworn in as the 45th president of the United States by Chief Justice John Roberts during the 58th Presidential Inauguration at the U.S. Capitol in Washington D.C., on Jan. 20, 2017.

Photo: Patrick Semansky/AP

“FAHRENHEIT 11/9,” the title of Michael Moore’s new film that opens today in theaters, is an obvious play on the title of his wildly profitable Bush-era “Fahrenheit 9/11,” but also a reference to the date of Donald J. Trump’s 2016 election victory. Despite that, Trump himself is a secondary figure in Moore’s film, which is far more focused on the far more relevant and interesting questions of what – and, critically, who – created the climate in which someone like Trump could occupy the Oval Office.For that reason alone, Moore’s film is highly worthwhile regardless of where one falls on the political spectrum. The single most significant defect in U.S. political discourse is the monomaniacal focus on Trump himself, as though he is the cause – rather than the by-product and symptom – of decades-old systemic American pathologies.

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Hollywood Can’t (Won’t) Make Awesome Movies Anymore, by Kurt Schlichter

Hollywood can’t even make moderately likable movies anymore. From Kurt Schlichter at theburningplatform.com:

Hollywood Can’t (Won’t) Make Awesome Movies Anymore

When Burt Reynolds drove his celestial Trans-Am into the Great Beyond he took a significant chunk of America’s dwindling reserve of testosterone along with him. Unless you grew up in the ‘70s, its hard to understand his influence and impact, and how he reflected what Americans (particularly American men) wanted to be. Flicks like The Longest Yard, Smokey and the Bandit, and the criminally underrated Sharkey’s Machine, all offered us a tough but funny hero who took on the bullies in authority with a smirk, a joke, and when appropriate, a football to the “nether regions.”

Of course, you couldn’t make any of those movies in 2018. They are all too subversive, and Hollywood – a key component of the elite establishment – isn’t interested in subversion. It’s won. It’s taken power. Now it’s interested in submission.

Your submission.

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The Freedom to Destroy You, by Porter

Where current trends will take what’s left of our civil liberties—we won’t have any. From Porter at kakistocracyblog.wordpress.com:

I hope you won’t think me anything less than a grinning optimist if I were to opine that the path from corporate censorship to corporate oppression is practically frictionless. Social media, Internet infrastructure, and now even payment processors have raised their red flags in a coordinated assault. It’s been quite a demonstration of malice. And I suspect it’s one that’s barely even begun.

That’s because the corporate-left’s attacks have all been ad-hoc to this point. Think of it as artisanal totalitarianism. All communist heroes and no five-year plans. The entire process relies too much on individual bolshevik valor. Normally it requires a twitter bugler to scream anathema, which may or may not generate the necessary prog frenzy, which then induces the relatively slow corporate gears to grind the offender into unpersonhood. It’s effective, but inefficient. And inefficiency is something corporations can efficiently resolve. But they formal need policy and procedure. Continue reading

He Said That? 9/10/18

From Burt Reynolds (1936–2018), American actor, director and producer:

My movies were the kind they show in prisons and airplanes, because nobody can leave.

The Bandit is Gone . . . And Not Just That, by Eric Peters

Here’s a nice tribute to Burt Reynolds and the spirit his films captured. From Eric Peters at theburningplatform.com:

Burt Reynolds is gone and with him a different America.

He was in his early 40s when Smokey and the Bandit appeared back in 1977 – at first, regionally. The flick was meant for Southern audiences but grabbed traction and quickly became a national sensation on par with Jaws and Star Wars in terms not only of the money it made but the effect it had on an entire generation of Americans.

Me among them.

I was just a kid, years away from being even big enough to drive let alone legally drive but when I saw that movie I knew I wanted to drive.

And what. Continue reading

Giving Anarchy a Bad Name, by Jeff Thomas

No government on the planet is ever going to have a kind word for anarchy. From Jeff Thomas at internationalman.com:

Here we have a photo of Corporal Maxwell Klinger, a character in the American television comedy, M.A.S.H., filmed in the early 1970’s.

The Klinger character was written as a soldier in the Korean War, who hoped that, if he became a transvestite, he’d qualify for a Section Eight discharge and would be sent home. In this photo, Corporal Klinger was taking part in a troop inspection.

In the early 70’s, America was still involved in the Viet Nam War. The liberal press graphically covered that war and its travesties – to the point that a majority of Americans became sick of the seemingly endless (and pointless) conflict and thoroughly sympathized with the Klinger character.

But, make no mistake about it: Corporal Klinger was an anarchist. Continue reading