h/t The Burning Platform
h/t The Burning Platform
Why not make Zelensky Time’s person of the year? Barack Obama got a Nobel Peace Prize and rumor has it that Fauci is up for the Nobel Prize in Medicine. Caitlin Johnstone lets the sarcasm fly at caitlinjohnstone.com:
Everyone’s talking about the hit series Proxy War, an astronomically high-budget production based on an actual military conflict whose season finale is set to air this month.
Promotional materials for the episode hint at a heartwarming season wrap-up that’s sure to make wholesome viewing for the whole family, with series star Volodymyr Zelensky being awarded 2022 Person of the Year by Time Magazine.
This will cap off a wild first season which has seen our hero appear on the cover of Vogue, deliver speeches for the World Economic Forum, the New York Stock Exchange, the Grammy Awards and numerous film festivals, as well as having high-profile meetings with celebrity actors and rock stars.
It’s easier to fantasize about the future than it is to live, really live, in the present. From Caitlin Johnstone at caitlinjohnstone.com:
I don’t desire a future for humanity like the ones imagined by our culturally designated future-imaginers. I don’t want humans living in Elon Musk Mars colonies or Jeff Bezos space cylinders. I don’t want us to fly out into the stars, to disappear into virtual reality universes, or to move away from our humanness by becoming cybernetic organisms.
Not yet anyway. Not for a long time. Not until we’ve done what we need to do here first.
Have you ever noticed that most books, shows and movies set in the future tend to depict a humanity that’s more technologically advanced than our own, but thinks and behaves in basically the same way? In the average sci-fi story people are still waging wars, still fighting, conquering, subjugating, toiling and surviving just like today, except they’re doing it out in space surrounded by a bunch of aliens (who are also oddly entangled in the same egoic patternings as humans in the 21st century).
In this common vision for the future, we have mastered space travel but still haven’t mastered basic psychological health. Our technology has enabled us to kill, enslave, manipulate and exploit among the stars so that we are no longer confined to killing, enslaving, manipulating and exploiting down here.
The once iconic company has debased its product and insulted its core audience. It may never come back. From Tyler Durden at zerohedge.com:
The company that once defined family entertainment is going from media giant to epic failure, suffering over $1.4 billion in streaming losses and a stock drop of around 39% for the year. And, it would appear that these financial declines are inevitably leading to employee layoffs.
Disney has put a freeze on hiring, it is limited employee travel and is also reviewing workers for efficiency with plans to introduce cuts as a means to make the company “more nimble.” CEO Bob Chapek noted in a leaked memo to senior staff:
“As we work through this evaluation process, we will look at every avenue of operations and labor to find savings, and we do anticipate some staff reductions as part of this review.
…I am fully aware this will be a difficult process for many of you and your teams. We are going to have to make tough and uncomfortable decisions.”
Chapek mentions in the same memo the problem of “macroeconomic factors” out of Disney’s control. He does not, however, mention his habit of bending the knee and groveling to woke activists, attempting to sabotage Florida’s anti-grooming legislation for public schools, or the company’s steady supply of content that pushes far-left narratives.
You may not like Pink Floyd, but Rogers Waters pisses off all the right people. From Ed Masley at azcentral.com:
There are those among us who believe the stage is not the place for artists to share their political views. A Roger Waters concert is the last place you should venture if that’s how you feel.
Fans entering the Pink Floyd bassist’s This is Not a Drill Tour stop in Glendale on Monday, Oct. 3, were greeted by a woman distributing stickers that read “U.S. militarism fuels climate crisis.”
Just behind her, two men were encouraging people sign a petition to stop the U.S. extradition of Julian Assange. A banner at their table read “Free Assange” and depicted the WikiLeaks founder being muzzled by an American flag.
It was the type of greeting you’d expect if you’ve been following Waters with even one eye since the ’70s.
“If you’re one of those ‘I love Pink Floyd but I can’t stand Roger’s politics’ people, you might do well to (expletive) off to the bar right now,” he announced in a video message just before he took the stage. Hilarious yet sage advice.
Kanye West’s appearance on Tucker Carlson didn’t work out as planned. From John Derbyshire at unz.com:
My normal routine on a weekday evening is to sit down to dinner at 7:30, eat steadily for half an hour while making light conversation with Mrs. Derbyshire and such family members or friends as may be present; then, at 8 o’clock, move to the living-room, usually clutching my half-eaten dessert, switch on the TV, and watch Tucker Carlson’s show.
Friday evenings I’m under pressure to get my podcast finished and posted. I don’t let that interfere with my normal routine, though. I have to eat dinner; and, having eaten it, I have to sit still and do something undemanding while my digestive tract grinds through its work. There aren’t many things less demanding than watching TV; so, the eating done and digestion well under way, I watch Tucker before returning to my podcast labors.
Leftists are trapped in a prison of their own making: they care far more about controlling other people and what they think than about beauty, creativity, imagination, and universal truth—the stuff of great art. From Brandon Smith at alt-market.us:
When was the last time you saw an original story out of Hollywood that was worth watching (not counting Top Gun: Maverick)? When was the last time you experienced creative storytelling that did not involve the co-option and retelling of a previous work? When was the last time you saw a protagonist that was relatable, interesting and endearing? Hell, when was the last time you were actually excited to go to the movies or relax in front of the television to watch something new?
Reboots, soft reboots, remakes, live action remakes, re-imagining, gender swapping, race swapping, “rainbow washing” (making classic straight characters gay for virtue signal points): This is a list of new media tropes that have invaded entertainment in the past six years and all of them have been used so frequently that productions can now be quickly identified as woke propaganda by a mere two minute trailer.
The fascinating thing is, almost all of these productions fail miserably. In recent weeks alone we have seen the attempted woke re-writing of history with The Woman King, which fell flat at the box office after opening week, not even making enough money to cover production and advertising costs.
Then there was the gay romantic comedy “Bros” which imploded, causing the lead actor, Billy Eichner, to flip out on social media and blame “homophobia” (somehow he actually believed a movie filled with gay orgies was going to appeal to mainstream audiences). Eichner went on to argue that people MUST go see his movie in order to make a “political statement.” This was the same argument made by Woman King actress Viola Davis – Don’t see the movie because it’s well made, see the movie so you can stick it to conservatives.
From The Babylon Bee:
LOS ANGELES, CA — The gay romantic comedy Bros saw a disappointing first weekend at the box office. Box office analysts are shocked that a movie aimed at 2% of the population fell short of attracting a broader audience.
“Once again, straight Americans have failed the gay community at the box office – we said the movie was not for cis-hetero oppressors, and they still failed to show up!” Director and star Billy Eichner sent a series of tweets condemning straight viewers for failing to see the movie that he had specified was not for them.
Industry analysts have weighed in, confirming that they do not expect global ticket sales to exceed domestic sales, since even fewer people in international audiences are part of the target audience for the film, and also since most Middle-Eastern and Asian countries announced the death penalty for anyone caught watching it.
Eichner seems to recognize that the domestic box office haul is pivotal, as his Tweets condemned “all the philistine homophobes who don’t want to see my gay movie!” The analysts have also suggested that timing may have been an issue, as there were several major league soccer games occurring at the same time.
At publishing time, Bros director Billy Eichner was seen covering his movie’s posters and box office placards with Morbius ads to trick more people into buying tickets.
At seventy-nine-years-old, Pink Floyd’s Roger Waters hasn’t lost his youthful idealism. From Joe Lauria at consortiumnews.com:
Roger Waters’ music and video spectacular is like WikiLeaks set to music: exploding myths, and exposing the ugly reality, writes Joe Lauria.
The show stays outside. The reality is inside the arena.
Roger Waters’ ongoing 40-city North American tour is an eviscerating attack on a pretend America, exposing the nation’s brutality at home and abroad.
In an elaborate production playing on stages across the continent, Waters rips the cover from ruling myths enforced through education and the media, myths he has been fighting his entire life.
He reaches back to the early years to include Pink Floyd songs that were warnings, written during the relatively free 1970s, which looked forward from where we were to where we were headed — the mess we’re in today.
The performance is a startling defense of victims of U.S. state violence, searingly portrayed in video and music: indigenous, homeless, working class and developing world people who have nothing to do with power and how it’s used against them.
Waters argues that elite impunity allows a managed population to be rendered comfortable in its numbness, becoming part of a wall of ignorance erected by the state, behind which it commits its crimes.
Waters smashes that wall.