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Movie review: Top Gun: Maverick

Sounding like a nattering nabob of negativism is not my thing, so suffice it to simply say Hollywood is an overflowing sewer of anti-Americanism, anti freedomism, anti rule-of-lawism, anti-religionism (except radical Islam, which the areligious ethnic Jews of Hollywood looooove), anti Constitutionalism etc. Meaning that Hollywood rarely produces anything of value or anything worth seeing any longer, unless you are so desperate to see anything at all on the big screen that you also like clawing out your own eyes afterward so you can un-see the garbage Hollywood poured into them.

Suddenly, enter Top Gun: Maverick, a new re-make update from the fun, cool, and patriotic 1986 military movie Top Gun. People (Hollywood movie “critics”) complain that actor Tom Cruise (center stage in both Top Gun movies) plays pretty much the same masculine stud role in almost all of his movies (Mission Impossible, Jack Reacher, Top Gun, The Last Samurai etc), but who else in Hollywood is going to or even can actually act like a real man these days? Radical feminism axe murdered masculinity, and so Hollywood is now filled with lisping, mincing, Valley Girl talking actors born with boy parts down there, but who can not possibly be mistaken for a man’s human shell with a hint of testosterone. And Brad Pitt traded in his masculine stud acting persona for something a lot more drunk, high, and pathetic in real life.

So, fact is, Tom Cruise has the masculine stud role market cornered. He is the only Hollywood male who could play the role of fighter jock Maverick. I think he does it well, and he plays a compelling guy with feewings, too. Actor Tom Cruise has depth and breadth, in addition to acting skill. Thank you, Mister Cruise.

At a time when America is being purposefully failed and destroyed from within in every way, it is refreshing to watch a movie about American freedom’s greatness and motivational patriotic grit. Unique aspects of our nation that we took for granted. Top Gun: Maverick does this very well, as well as delivering on all of the military technological finery one had come to expect from America just 18 months ago. Before the Biden Administration began shoveling our most valuable technology out the door to our enemy China on purpose.

America needs heroes now, and especially military heroes, and no, a guy pretending to be a woman in a military uniform is not a hero. From the time of Ulysses, Samson, and Achilles until just 18 months ago, a military hero has always been a strong man (and occasionally a really impressive and brave woman chopper pilot) who is brave enough to risk his life in combat for the safety of America (or any other nation under risk of failure). Treading on dull military procedural failure at every step, Tom Cruise’s ultimately successful character Maverick gives us that heroic figure here, exceptionally well.

It feels good to believe in a free and robust America again, even if just for two hours and ten minutes. Go see this fantastic movie, which also has a classic early Kawasaki Z-1000 superbike (Mad Max), an original Mustang P51 fighter plane, and some other classic gas guzzlers whose presence once highlighted and then underpinned American greatness. It is worth the price of admission, and your buck sends a message to Hollywood that they will ignore, but which the normal people in America will understand.

10/10 rating here (I liked it even more the second time).

 

Alec Baldwin’s snuff film

Hollywood goof Alec Baldwin just gunned down an innocent person on the mismanaged set of his new movie in the making, “Rust.”

There is all kinds of analysis and hand wringing and wonderment about how this murder ever happened, and who is really responsible for it. Let’s take a look at this issue, and in the end I will present my own take on ‘what probably really happened’.

Some people say that Baldwin is 100% responsible for the murder of Galina Hutchins and the serious injury of Joel Sousa, because he ignored Rule #1 of gun use: Never point a gun at something or someone you do not want to destroy (shoot). And of course it is difficult to argue with this line of reasoning. I agree with it. But others have sought to dilute and undermine this thinking.

Other people, notably the establishment press, are trying to find anyone to throw under the bus to save a bona fide Hollywood actor from being held accountable. Remember how much effort went into protecting Hollywood scumbag Harvey Weinstein? And Weinstein really was a lecherous monster who was feared and loathed by most of Hollywood. So how much more so will the establishment wagons be circled to protect a just regular kind of gay-hating, violent jerk like Baldwin?

For example, the establishment press keep writing that the revolver was a “prop gun.” Ummm no, no it wasn’t. It was a real gun. Obviously. But that doesn’t stop the mainstream media from trying to pretend this away as some sort of non-gun-gun-non-crime.

The establishment press also tries to say that other people were more responsible for the gun and how it was loaded etc etc than Baldwin could be. Again, no, because that danged real gun was used for target practice by many of the actors and set workers in the desert surrounding the movie set. They all knew it was a real gun and that bullets had been shot out of it a lot.

Here is what I think probably really happened: Rust was a snuff film, a la Jeffrey Epstein’s way of just having fun and never being held accountable for it, no matter how evil and wicked.

Recall ol’ Jeffrey Epstein, the child sex slave trafficker whose pedophile island hideaway was frequented by the rich and famous like Bill Gates, Hillary and Bill Clinton, and others. The same Jeffrey Epstein who was strangled with a wire garrote in his prison cell while the cctv cameras were turned off and the guards mysteriously walked away. A guy with a lot of names and knowledge in his head, who had to be shut up before things got public and messy.

This is to say that with incredible wealth and power comes incredible debasement and debauchery. Harvey Weinstein and Jeffrey Epstein epitomized the more openly grotesque aspects of it, as well as Epstein’s teenage girl sex party guests, and I think the murder of Galina Hutchins was probably a more subtle expression of one untouchable person’s secret desire to do something unimaginably evil, in the open, and then get away with it.

If this is true, and why not, then Alec Baldwin purposefully murdered Galina and then tried to blame it on everyone else. But inwardly he is gleefully laughing — he got away with it! With murder. And no one will ever try to hold him accountable for it. Because bully boy Baldwin is one of the many untouchables in America these days. People who commit pedophilia rape, murder, treason, and simply walk away from the scene of the crime because the entire cultural and political establishment surrounds them and protects them.

It is quite probable that Rust was actually a cheap and slovenly run movie set because it was never meant to actually be a movie. It was probably just an elaborate opportunity for Baldwin to live out one of his many sick fantasies, and never be held to account for it.

Just my theory, anyhow. It certainly is possible, because if we look at all the insane crimes that all the other American elites have gotten away with (and I am not even mentioning innocent young Mary Jo Kopechne, the sweet girl murdered by Democrat senator Ted Kennedy, another untouchable elite), murder in the open was just the next logical thing for one of them to do and then go laugh about behind their closed doors.

Talk about rust, this murder is an example of how America is becoming a diseased, corroded hell hole from all this unaccountable elitism. Like a bunch of Emperor Neros prancing around, hurting people and hurting America, with zero consequences…but unlike the Roman citizenry, we Americans do have the means to take matters under control.

But do we have the will power?

Dune 2021 Movie Review

Setting aside Regal Theaters’ ear-splitting volume emitting from every theater room as well as the one we sat in, and setting aside our thoughts on the 25 minutes of shallow woke commercial bombardment before the 2021 movie Dune even started, we did enjoy the movie, if not the venue.

A cult classic movie, like the 1984 version of Dune, is usually a cult classic for good reasons: Excellent acting, good props and sets, good costumes, and fealty to author Frank Herbert’s vision all make the 1984 Dune movie a timeless classic with a cult following. You can watch it once a year and never grow tired of it.

Yes, to follow the 1984 version, a viewer must already be somewhat familiar with the book Dune and with its general story line to begin with. But it covers and tracks well with a lot of the 1,000-page book’s territory. For example, the 1984 Dune has a highly compelling and truly evil Baron Harkonnen, literally bathing in the blood of his slain enemies and reveling in the blood of a sexually molested slave boy whose heart plug he just pulled in front of his two nephews (one of whom, the actor Sting, evinces morbid fascination and horror turned to sadistic glee all too well).

Fast forward to Dune 2021, and now our evil Baron Harkonnen is merely deeply brooding and kind of distantly menacing. That he is surrounded by black-clad ministers of evil and a brutish thug nephew, and that he bathes in black used motor oil to “heal,” makes him icky and probably really bad. But we see no blood-baths, no sadistic glee as the vulnerable innocents twitch their last under his daintily painted finger nails. He doesn’t even look for Duke Leto’s ducal signet ring as the helpless prostrate mess breathes its last, a boring scene which contrasts poorly with the believable 1984 Baron, whose unfulfilled lust for the Atreides signet ring is foiled and gives way to howls of rage.

The same distance is observed between the Duke Leto Atreides character of 1984 and 2021. One radiates nobility and dead seriousness, while Oscar Isaac acts here exactly like he acts in every movie in which he appears. Which is to say weak. Oscar Isaac is literally the same character in Dune as he was in Star Wars. He emits no gripping leadership, exudes no magnetic charisma at the head of one of the universe’s greatest armies that we admire in the book and in the 1984 movie.

And again, the 2021 movie’s lack of the Sting character, Harkonnen Feyd Rautha, nephew of Baron Harkonnen, removes what was in the book the evil Harkonnen foil to young and good Paul Atreides. As House Atreides represents good, honor, justice, fairness and clean living, House Harkonnen is everything opposite- murder, coercion, violence, cruelty, sadism, greed etc. Throughout the book Dune, and in the 1984 movie, the two nephews (who turn out to actually be related by blood) ever more tightly circle each other, coming closer and closer to an in-person showdown knife fight to the death. All of this foil effect and symbolism is absent the 2021 movie

While the 2021 movie has fantastic special effects that are blended with just enough gritty sand to make them believable, today’s movie lacks the true grit, grime, and desperate feel of the 1984 version.  The 2021 space ships are superior to the almost pathetic hand-drawn ones of 1984. However, in 1984 the freaky-looking mutant spacing guild navigator folds time and space by shooting light beams out his mouth and ass, thereby connecting two distant parts of the universe and moving an entire army across the distance between the two points “without moving.”

We get no such mouth or ass action in 2021, and it is a true loss. Because no matter how good your special effects are, and no matter how much your movie watchers are supposed to innately know that eight thousand years from now weapons and space travel are really high tech, your viewers nonetheless want to see how that high tech moment is attained. That is the point of watching a movie. Having a bunch of spacing guild navigators show up in 1960s NASA astronaut space suits with their visors filled with a pink fume just does not cut it (when the Emperor’s representatives visit Caladan). That scene is oh-so Star Trek and Star Wars, and we who are in 2021 are  supposed to be oh-so-beyond those passe genres.

As much as I expected to be bothered by the woke racial aspect of the 2021 Dune movie, because Hollywood has done such a good job of butchering otherwise ok movies on the altar of PC, I was pleasantly surprised at how well it worked. In case you missed it, Hollywood now demands that non-white-skinned people appear in all kinds of movies in roles that were originally written by, of, and for white-skinned people. As a result, this ‘woke’ virtue signaling gone super foolish now has unfunny black women trying to play the humorous roles of truly funny Italian and Jewish guys in Ghost Busters IX or whatever. Go woke, go broke making stupid movies appealing to no one but Hollywood insiders.

But here, in this movie, the roles are believable. Even the role of Dr. Liet Kynes, who in the book is a tough guy, and who in the 1984 movie is played very well by a big tough guy, is now switched to a black lady. I think she carries the role off well and believably. And so do the varied multi-racial Fremen, whose skin tones run from crusty white to deeply black. The 1984 movie had some blacks and American Indians in military roles, which was avante gard for its time. Here, the pursuit of heterogeneity is not forced, and it flows. Thank Shai Hulud.

In sum, the 2021 Dune movie is pretty good. I say A for weapons and action acting, B for acting, A for special effects, C+ for script, A for props and sets. My son said they should have simply used the 1984 script verbatim or close to it, and he is right.

It is easy for me to say that it could have been better, and I am but one lone watcher in a sea of watchers. But then again, I am a customer and my opinion is supposed to count with the people selling this movie. After all, Dune is the first movie I have gone to see in a couple years, maybe even three years. That is because Hollywood has turned out endless nonstop trash and junk that is either not entertaining, or not meaningful, or shallowly PC woke preachy and annoying. At this point, I now simply refuse to transfer my hard-earned wealth into the pockets of Hollywood America haters. When a decent movie comes along that promotes family, loyalty, fearless stoicism and fearless warriors, vision for a better future, risk and sacrifice, why then Hollywood can expect a donation from me.

This Dune was part one, and that is one of its main superior aspects over the 1984 movie, which tried to do too much in too short a time. To serve up the book well and just, one must convey it in bites that can be consumed and digested. Such is part one here. I am looking forward to part two, and hopefully more intensity and inward awareness from the protagonist, Paul M’uad Dib Atreides aka Timothee Chalamet.

One call I won’t take

Phony, fraudulent telemarketer calls are super annoying, and like you, I am fed up with them.

Another phony call just arrived, called “Call of the Wild,” a new movie loosely based on a Jack London book by the same name.

Jack London’s stories of tenuous life in the Yukon and Alaskan interiors are the stuff of pre-internet American boyhood. Just like coonskin Davey Crockett hats were all the rage among American boys in the 1950s and 1960s after Fess Parker starred in the same-named TV show, so too did London inspire many young men to get their forestry degree, build a canoe, cut down their grandmother’s favorite apple tree with a hatchet, or move to Alaska. His stories of nail-biting survival and creeping or sudden death in the boreal forests and frigid back country rang true, and a number of movies have been made about them. Some better than others, but all of them pretty good just because the story line is great.

London’s story about a young man caught at sundown in the winter time Alaskan bush, unprepared for the minus-forty-degree night, who gets down to his last match and finally succeeds at lighting a life-saving fire, only to have the snow from the branches above fall and smother the fire, is classic.

This latest iteration involves an unrealistic CGI human-like dog that giddy un-wilderness urbanites will fawn over. It also includes Harrison Ford, a man blessed with poor acting skills who nonetheless has landed a huge list of Hollywood roles and who made a huge pile of money. Play acting and playing dress-up; not exactly brain surgeon level or even bank teller level stuff.

And to be fair, Ford’s best movie roles are those that fit his kind of simple, bland, taciturn persona, like the Jack Ryan character, or Indiana Jones, or the emotion-less Blade Runner cyborg cop. Or those roles that are actually enhanced by his lack of acting skills, like Star Wars‘ Han Solo. Whenever Harrison Ford is tasked with actually acting, his lack of nuance or depth shines through bright and shiny. One suspects that this Call of the Wild will be one such role and performance. Or maybe not, because the 2020 movie poster for it shows Ford looking all serious and taciturn.

Now, because I am a wilderness hunter, fisherman, and trapper, any new movie like Call of the Wild immediately gets my attention. Bad acting or no, evil corrupt anti-America Hollywood or no, CGI human dogs or no, it is a movie I would naturally be inclined to go see. It is about nature and outdoor adventure, my favorite things. However, Harrison Ford finally performed honestly the other day and thereby blew up any chance of me seeing his film, and probably many other people feel the same way.

Last week, Ford appeared on not-funny Jimmy Kimmel’s late night show, and blasted Preident Trump, calling him “a son-of-a-bitch.”

Out of nowhere, and for no particular reason. Other than pandering to Hollywood.

What a shame, because at one time Ford was a spokesman for Conservation International, a worthy environment protection organization. His other opinions about so-called climate change and carbon reduction are the usual Hollywood hypocritical hilarity, because Ford is also the guy who flies his own plane on a 400-mile round trip to get a single hamburger to satisfy his craving for fast food. Talk about a carbon footprint, and yet his lecturing never ends.

Now, everyone is entitled to their opinions, and like Ford, I am entitled to mine, too. And my opinion is that I will not support with movie ticket purchases those celebrity Hollywood actors who insult me, my values, my lifestyle, or the people I vote for. So I will not be answering Harrison Ford’s Call of the Wild. Though I might play it on one of the many black market bootleg websites, just so I can take from Ford a tiny bit of what Ford took away from me: A good feeling.

Below is just one video of Harrison Ford actually whining about his wild success, as if it ruined him as some sort of serious artiste. Oh please. Ford is just another out of touch, spoiled rotten Hollywood jerk. Where is comedian Ricky Gervais when we need him most? Every Hollywood actor like Harrison Ford should have to spend a week with Gervais following him or her everywhere they go, commenting on their vapid lives and stupid statements.

Time for a new Dune movie

The 1965 book Dune was to a great extent the basis of most futuristic science fiction books and movies that followed. Star Wars is based on Dune, even beginning on a desert planet where the hero, Luke Skywalker, has been tested and hardened into a ready warrior by the harsh landscape around him, like the Fremen of Dune’s desert planet Arrakis.

“Dune” author Frank Herbert was an eclectic guy, a deep and creative thinker. One might say he was unusual, even by modern terms.

He was against racism but believed in the importance of human genetic improvement through select breeding. Focusing on the importance of tribalism, Herbert nonetheless elevated the self-reliant individual as the highest achievement a person could aim and hope for.

He was for the concretely purposeful use of mind-expanding drugs, such as religious experiences, saw warfare and killing as hardly noticeable inevitabilities in a well-ordered human universe, believed in God and the power of prayer, supported the ongoing evolution of technology, but then elevated the supremacy of human evolution and the human spirit, including personal fighting skills, over that same technology.

If his amalgamation of nearly all current religions on Planet Earth into one or two future strands of religious thought is any indication, Herbert is suggesting that all religions pretty much point us in the same direction, though some are scarier than others.

Herbert was firmly against artificial intelligence and the delegation of human decision making to machines. In Dune, it is the ‘Butlerian Jihad’ that wipes out most computers and all AI, leaving only those computers that could perform the basic elementary functions in lieu of humans, after a close call where AI and its robots nearly took out all humans. On this subject, it could be said that Herbert was prescient and, like many other sci-fi writers, ahead of his time. Even now we childishly rush into AI as if it is just a silly game, when in fact it could quickly kill every human and every other life form on Planet Earth.

In 1984 director David Lynch produced a pretty good movie that captured a lot of the book Dune. No small feat, as most great books result in terrible movies. The David Lynch movie was good because it embraced the book and did not try to dance around it. Its acting was mostly excellent, and some of the scenes are perfectly gritty. But in other ways the 1984 movie is very weak. Its special effects are almost sad, even by the standards of that time. Very 1950s.

A miniseries was attempted years later, and many Dune devotees believed it was a failure in every way. Lacking even the punch of the 1984 movie, it certainly was not what people had hoped for or imagined.

We need a new, updated Dune movie. No, we demand one. A Dune movie that is absolutely true to the book, that has the same quality actors as the 1984 version, and which has updated technology, sets, and special effects. It will have to be long, three hours, to capture the most important scenes and subtle nuances that make the Dune story so powerful.

C’mon, Hollywood, do something good for once. Give us a new Dune movie that is worthy of the name and the book.

Movie review: “White Tiger”

When we think of Russia today and now, our mind might wander off into brutal poisonings of ex-spies across international borders, brutal assassinations of journalists inside Russia, brutal repressions of Chechen independence movements, brutal invasions of South Ossetia, Ukraine, and Georgia (THAT Georgia, not our Georgia), poorly chosen relationships with Iran and Syria, and the current czar riding around bare-chested on a horse with a rifle slung over his back.

Perhaps it was always thus. But if we think and search back a hundred years or more, we will stumble upon buried treasure in the farthest reaches of Russia.

Yes, it is true, Russia was not always just a military force to be reckoned with, it was also a significant cultural center of the very highest magnitude, the very highest achievement. World class music, literature, arts and crafts, poetry, ballet, and so on all were major hallmarks of the Russians.

Not of the oppressed Soviet satellite states, but the actual Russian people themselves.

Rachmaninoff, Dostoyesky, Faberge, and so on, so many great minds contributing in a singularly unique way, native to Russian culture.

Russians had this knack for art that you would not necessarily see if you looked at the simple surface of their culture or landscape. Behind the eightball on technology, Russian writers and poets and musicians bedazzled Westerners with their brilliance and inspiration.

That all started to die in fits and starts after the violent 1917 revolution led by the Democrat Party of that day and place, but nonetheless art persisted until the 1950s, when Soviet socialist control firmly held every thing and every person in its crushing grasp.

To dissent from all that big government with a pink pussy hat or with a snarky hashtag was unthinkable. Not that people wouldn’t try to do it, but the Soviet thought police, much the same as our own politically correct thought police in America today, would catch the thought crime even before it had taken physical form, and, as our own thought police openly wish they could do, WHOOSH, off to a starvation diet in Siberia went that ‘evil’ free thinker.

I am not sure that the Soviets used the words “sexist,” “racist,” homophobe,” “Islamophobe,” and other overdone American generalities meant to crush dialogue and debate, but if they could have used these terms, they would have. Different words then, but the same anti-democracy process then and now.

So for the past seventy years Russia has had an especially harsh Russian winter, art-wise, because of the Soviets and then their control freak successors, whatever Mr. Putin’s political party is named.

To be an artist in that Russian cultural winter was to walk around every day muzzled, daring not to say much less think your own creative thoughts. Too much was at stake.

But somewhere, somehow, that beautiful old Russian voice began to quietly break through the repressive walls. Finding acceptable subjects and means to convey them became a new form of creativity in and of itself.

Nationalism, patriotism, history are all legitimate subjects of artistic creativity, and so Russian artists have adapted. Very, very well. Albeit with throwback Soviet-style imagery, which is lamentable. Gosh, if the Russians could only be our friends…the things we could achieve together.

And so here we now have a truly artistic Russian movie we can all be proud of, in the mould of the old-time Russian artistic capacity. It is called White Tiger and debuted about 18 months ago. I have been wanting to write about it since watching it back then, but as we know, the past 18 months in America have been pretty intense.  Every time I thought I could breathe again, some new issue would pop up. There was more compelling competition for writing space and creativity of my own.

At least this is how I have experienced the past 18 months.

If you are afflicted with a love of liberty, as I am, then you have shared my somewhat anxious condition as the American “deep state,” or Obama holdovers, or career bureaucrats, or whatever you want to call them, have attempted to reverse the outcome of a presidential election they thought they would win and still cannot stomach the thought of losing, by any means necessary. Which means illegal, unethical, immoral, un-American, anti-democratic means.

That all seems to be unwinding now.

And so now, for this moment, I get to bask in the glow of art, thanks to the Russians. And I really mean it, thank you. Seeing this movie took me way back in time to when my own mind was creative and artistic.

Dear Russians, I lift my glass to you: Tvoye zdorovye!

White Tiger is on its face a war movie set in World War Two. It is about Russians versus Germans, good guys versus bad guys, the Eastern European version of cowboys versus Indians. It is also about tanks and heavy armor, about technological superiority versus the grass roots spirit to survive, and history. Lots of history. And lots of action.

At its core, this movie is mythological and Darwinian, with a lot of symbolism, not the least of which is the theme music, an artfully done refrain of Wagner’s pilgrim’s chorus.

If you care to pay careful attention, and walk a mile in a Russian tank tread, you will end up being impressed by this low-budget, high-performance film.

Briefly summed up with no spoilers, the unlikely (and yet so likely…there’s that symbolism thing) Russian hero is reborn, a plausible enough biological fluke consistent with species adapting.

He goes on to learn his enemy’s ways, to anticipate his next moves, and in the end, he goes on a ghostly chase into both past and future, bound up in one of Russia’s most enduring identities: Not German!

And speaking of German, Germany, and World War Two, no better representation of Adolf Hitler has been captured in cinema than the movie’s very last few minutes, where Satan’s boots on the ground has a heartfelt confession with his sponsor, who sits patiently listening in the shadow.

White Tiger.

And as an aperitif, try this Russian music to settle your soul before bed time.

NFL – “No F@#*n Loss”

As part of the entertainment industry’s decades-old war on American culture, ESPN and now the NFL have joined the politically correct pile-on.

Hollywood has led the way, surely, with its movies’ power of suggestion.

That Hollywood increasingly excretes unvarnished political activism in the guise of children’s movies as well as rated R adult movies is a thing of pride to that city; no one there even denies it. Hollywood is really just a communication propaganda arm of one political party.

But you cannot discount the increasing effects of ESPN reporters who now openly write that President Trump and his supporters are “white supremacists,” among many other examples of overt daily political activism by ESPN staff.

When I write “effects,” I mean the boomerang effect, which is where the intended results of one’s actions negatively rebound and injure the person who started it. These are ironic consequences, the best, most well-earned.

Perhaps the pinnacle of this boomeranging political activism is the anti-America statements by NFL players. Taking a knee and not standing during the national anthem wasn’t enough. Now some NFL players are making political videos that are shown at the game opening, or at half-time.

Well, removing the ESPN application from my iPhone was easy. There, ESPN, I am done with you. You are out of my life. See ya!

Over the past few years, ignoring the latest crop of poorly acted, poorly scripted, CGI-heavy Hollywood movies was a little more difficult, because Saturday night out at the movies with ice cream afterwards is a regular family thing. Even a lame movie would nonetheless entertain us and provide food for discussion later on. Like, was the movie’s symbolism consistent with its message? Did the message flow, or did acting anomalies and hiccups sidetrack the message? Was the message worthy, or was it muddled, or even negative?

These kinds of conversations with our kids were always stimulating, because as parents we enjoy watching our children grow. Nonetheless, unless a movie is exceptional in every way, we now decline to spend our money on a product from Hollywood, because that city is constantly at war with our values.

Now we have the National Football League, the NFL, getting all poseur-like. The NFL, too, is starting to see a substantial decline in business income. Why?

Illiterate men of the NFL, who have earned tens of millions of dollars in a few brief years’ time simply for running up and down a field, are out complaining about their station in life. You cannot make this stuff up. We indeed have phenomenally successful young men from disadvantaged backgrounds, whose wealth is largely accumulated from admirers of a different skin color, now claiming discrimination. And therefore, they take a knee during the American anthem.

In short, they tell their audiences and fans to go to Hell.

I don’t deny these guys have a right to stage their silly protests. But I have no duty to watch them, or to listen to their nonsense. And I have the right to stop watching their football games altogether, which is what I have now done.

This past January I called the NFL headquarters in Manhattan. Sharing my opinion of the league’s unwillingness to bring the football games back to being just about the games was the goal of the call. But, try as I might, finding a live human being was impossible. The phone menu just kept rotating through, taking me back to the beginning each time.

So I just started punching random numbers in to the phone.

Next thing I know, I was into the voice mail of a young NFL staffer, whose name I do not recall. But you know I took that opportunity to leave a detailed message on his voice mail.

My message to him was simple: Since I was eleven years old, I have looked forward to new NFL seasons. I always enjoyed watching NFL games.  But that enjoyment has diminished lately because of all the fake moaning, fake victimhood, fake whining by these anti-America grandstanders on the football teams. And so I kindly asked the league to give players a simple choice: Dear employees, play, or leave, but no more political crap on someone else’s dime.

Unsurprisingly, I did not get a call back from anyone at the NFL. The organization seems to take people like me for granted. At their own peril.

Well, I did not watch one single NFL game last year, and I will not watch one single NFL game this year, either. And I will keep spending my time on other activities until the NFL gets its players to commit to just playing the game, and to stop insulting good people who have not had a racist thought in their lives. Or perhaps the time I free up that I used to spend watching NFL games on TV will become better spent, irrespective of the political landscape.

Yes, I know, it is common now for people to assert that disagreeing with them on policy issues automatically means you or I are “racist.” The contrary facts do not matter to them. As a result, nothing has done more damage to the battle to end discrimination and racism than this constant crying wolf by crybullies and rich crybabies.  I am a very good person, I am not a racist, and I am tired of being told I am a bad person because I do not share some silly ideology.

Guys, just play ball. OK?

I have now arrived at a place where the NFL has taken on a new meaning: No F@&#’n Loss to me. I don’t miss it.

 

Google, Facebook, COSTCO – each trying to suppress your free speech

If you think that social media sources like Google and Facebook treat everyone equally, you are wrong.

If you think that COSTCO treats everyone equally, you are wrong.

All three have been documented in recent days to be in an aggressive war against your free speech opportunities, and against your ability to access information that the owners (of Google, Facebook, and COSTCO) do not like.

The owners of all three institutions are liberals.

Liberalism went from a demand for fairness to an overarching totalitarianism in a few short decades.  While many people say now and said back then that the socialist and communist roots of liberalism indicated that liberals were never interested in fairness, being open-minded, or tolerant, I grew up surrounded by liberals, and it was not until the last decade that I witnessed what looked to me like a transformation.  They went from representing opposing views to crushing opposing views, terminating dissent, as soon as they had the opportunity.

For example, the gentle “peace”-loving pacifists <ahem> were on the war path at Chautauqua Institution, a place long known for providing a platform for different ideas and views.  Suddenly authors like Andrew Bostom were shut out of week-long discussions where Islamic terrorists had the stage, as though they could not possibly be balanced by another opposing view.  And it then dawned on me and many others that liberalism is just one more tyrannical, evil, cruel, divisive, phony movement designed to create winners and losers by any artificial means necessary.

Like all totalitarian movements, liberalism must be opposed in the name of freedom.  Let people make up their own minds.

If you want to see how liberals have been shutting down your free speech opportunities this past week, visit these links:

http://youngcons.com/21147/

http://www.dineshdsouza.com/news/wnd-costco-removing-dsouzas-america-shelves/

And simply use BING to search for examples of how Facebook has artificially shut down and hindered conservative Facebook pages, including our own Josh First for PA Senate.

UPDATE: How could we forget to mention that Google removed the Gates of Vienna blog without any notice to the owners, thereby violating the very terms of service that Google themselves had required. The Gates of Vienna blog is a well-known source for history and updates from around the world. But the Left, ah, the Left, they cannot tolerate dissent. So, Google, run by liberals, tried to destroy the blog. But it survived. Use BING to look up the story.

Good movies hard to come by

Zero Dark Thirty takes its name from the old saw that military duty usually begins at some dark hour long before dawn, when most people are fast asleep in cozy beds.

The movie by that name contains the same message: Americans live comfortably, while brave warriors place themselves at great risk for the greater good, often without thanks or recognition.

It’s certainly a timely message, as our current president is reluctant to lead or give credit to those who do. Americans are in grave danger around the planet, and thankfully we have citizens who still believe in the greater good, even if their current political bosses do not.

Like the movie Act of Valor, Zero Dark Thirty gives a glimpse into the harsh reality of battlefields far away from daily American life, but without which our happy existence would not be possible.

A good message, a necessary movie.

America, You’ve Got a Problem…

How does this happen? Do Americans believe this is funny? Is it funny if a white supremacist says it?
http://newsbusters.org/blogs/noel-sheppard/2012/12/10/jamie-foxx-jokes-about-killing-all-white-people-his-new-movie