Sunday, 31 May 2015

Spooks
(Series 7)

Also Known As:
MI-5
Year:
2008
Country:
United Kingdom…
Predominant Genre:
Thriller
Directors:
Directors…
Outstanding Performances:
None
Premiss:
The missions of UK’s domestic intelligence organization.
Themes:
Alienation
Christianity
Corporate Power
Courage
Destiny
Emotional repression
Ethnicity
Friendship
Identity
Loneliness
Loyalty
Materialism
Narcissism
Nationality
Nostalgia
Personal
Political
Political Correctness
Republicanism
Sadomasochism
Schizophrenia
Self-belief
Social class
Snobbery
Solipsism
The State
Stereotyping
White culture
White guilt
White supremacy
Similar to:
Homeland
Review Format:
DVD

Those who cannot remember the past are condemned to repeat it

Caucasians will Save the Day - but only in Fiction

Political Correctness Gone Mad

Summary: Eurocentric and Imperialistic Caucasians Pretending they can Defeat an Enemy Without Knowing his Motivations while Doctors are unlikely to Defeat a Disease without Epidemiology.

Series about loyalty to Whites as well as to the rich who continue to expect those most loyal to them to risk their lives for little return.

Whites are shown as being so enmeshed in White supremacy that they fully-realize they will never be accepted by any other ethnic group and so are prepared to die to defend their own - even if this means doing so for people who think them socially-inferior. They are given no social alternative (& are social cowards, anyway), so this is the only sense of human loyalty they will ever know - no matter how false. No clue is ever offered as to why Whites engage in such a perversely-masochistic fidelity to others when there is so little to gain from it.

Whites hate being labeled as racist, yet are only too keen to label others by alleged group affiliation as madmen or jumped-up little fanatics; under-estimating the very enemy that has thrust so much fear into their hearts in order to vainly reduce the dread of terror they spend so much time and money trying to defeat.

No political context is ever offered for the events shown since that would mean the White response to terrorism is more of the same kind of behavior being condemned, as well as the direct cause of the terrorism the characters in the series are ostensibly fighting.

The childish political simplifications of the scripting aptly-reflect the White, cry-baby narcissism of those who refuse to accept their responsibility for the terror they claim to fight as well as the fact that they find second-guessing the terrorists they have created difficult-to-impossible. (There is even the absurd claim that there was only one Cold War, when all of the periods of peace between all of the wars were cold wars.)

Like everyone who fights a losing war, this series pretends threats can be neutralized by fictionalizing them into non-existence. Whites conflate Ethnicity with Nationality to enable their support for White supremacy and its handmaiden Political-Correctness - but what will protect us from White supremacy? No one answers this question because the series supports White supremacy by being promotional propaganda for the UK Security Service, despite the fact that it contains no admission that the so-called War on Terror is a Race war - fought solely for the benefit of rich Whites.

Whites are shown as melodramatically-brave, gratuitously-violent and violently-traumatized by the existential despair they try to inflict upon others via their eloquently-martial cultures. The White characters are fleshed-out to reveal shared suffering (rather than shared joy) as the basis for White culture - a culture lacking in substantive content; hence, the White emotional dissociation here offered as espionage cool; eg, angry enough to aggressively kill, but psychopathically-unemotional immediately afterward.

The largely-mediocre actors struggle to embody their two-dimensional characters sufficiently to make us care about what happens to them. They fail; leaving us stranded in a quagmire of melodramatic gimmicks, narrative clichés and over-acting typical of Western media in its quest for false-certainty and forced-uniformity. Its images are designed to be seen as colorless accounts of knowledge, reality, morality and human nature; while unintentionally and simultaneously revealing how biased and one-sided they are.

In no other major civilization do self-regard, self-congratulation and denigration of others run as deep, nor have these tendencies infected as many aspects of White thinking, laws and policy, as they have in the West - and its overseas extensions. Thus, preventive measures against terrorism are actually impossible for Whites since they cannot study People Of Color (POC) without first denying the humanity of the latter with a political intellectualism bent on self-affirmation rather than objective study. POC are thus never to be understood and, thus, never to be defeated through an understanding of their weaknesses, flaws & motivations. Only by great good luck could the scenarios this series offers ever come-to-pass so that one day Whites will be able to live without the fear of the bombers they have created.

Ultimately, this is not a show offering much hope that the Security Services can protect us from the terror they have been instrumental in creating, since its solutions are purely Curative rather than Preventive.

Really quite laughable.


Thursday, 28 May 2015

Older than America

Also Known As:
Older than America
Year:
2008
Country:
United States…
Predominant Genre:
Drama
Director:
Georgina Lightning…
Outstanding Performances:
Entire Cast…
Premiss:
Woman’s haunting visions reveal a plot to silence her mother from speaking the truth about the atrocities that took place at her boarding school.
Themes:
Alienation
Christianity
Coming-of-age
Compassion
Corporate Power
Courage
Curative
Destiny
Emotional repression
Empathy
Erotophobia
Ethnicity
Family
Friendship
Genocide
Grieving
Gynophobia
Identity
Individualism
Justice
Loneliness
Love
Loyalty
Materialism
Narcissism
Nationality
Nostalgia
Personal
Political
Political Correctness
Preventive
Republicanism
Sadomasochism
Schizophrenia
Sexual Repression
Snobbery
Solipsism
The State
Stereotyping
White culture
White guilt
White supremacy
Similar to:
Candyman
Poltergeist II
Review Format:
DVD

Evil that White Men Do

Kill the Indian; Save the Man

Summary: Horrorific Psychological Affects of White Supremacy on Victims and Victimizers: The Genocide that Never Appears in White History Books.

Clever horror-movie-that-isn’t-really-a-horror-movie about White supremacy where the abused ghosts of the past return to haunt the present. These ghosts are both the underlying progenitors of ones culture and the traumatized dead who refuse to let the living alone until they are properly laid to rest; making the horror format an ideal vehicle for this story of the return of the repressed.

The depiction of Whites here is spot-on in revealing them to be people who instinctively-believe themselves superior to People of Color POC - in both overt and covert ways such as condescension and the belief Indian land can be exploited without permission, respectively. The irrational selfishness and lack of human warmth is palpable and profoundly-accurate and a perfect analogy to the leech-like nature of Whites within the context of a horror movie.

Whites here are especially affectionless and emotionally-blackmailing as regards other Whites who possess empathic human emotions; expressing the price Whites are expected to pay if they wish to grow to affective maturity: Social ostracism from other Whites.

White attempts to brainwash Native-Americans into believing White is best is shown via so-called Indian Schools whose sole purpose was to destroy Indian culture and history by separating children from parents and brainwashing them into becoming red-skinned Caucasians - or literally kill them. All this to suppress the White guilt feelings concerning the genocide, rape and looting so prevalent in the White sense of who they are: As if Whites are the landlords of the world to whom everyone else must pay rent. (One wonders if Whites invented ECT precisely for the purpose of committing emotional murder of undesirables in the guise of science: A demented desire to forestall revenge for past abuse by neutralizing the source of the potential threat. That such behavior proves White guilt is lost on Whites.)

Needless to say, all this is ably-supported by the usual Christian backing for genocide that made Christianity the global political force it is today; enabling the White Christians (people who do not believe in god so much as believe they are god) to patronize the Indians foolish enough to believe in a White Jesus who hates Red culture: Collaborators in claiming POC are paranoid schizophrenic savages. Whites definition of civilization is to call others savage and then murder, sexually assault and use them in medical experiments.

The film falters in trying to encapsulate all Native-American experience into a simplistic genre format like a horror movie (there is enough material here for half-a-dozen movies) but it proudly wears its ethnic identity on its sleeve to present both a convincing horror movie and a searing indictment of endemic Caucasian injustice; while creating reasonable characterizations.

A perfect dramatic argument against racial integration or assimilation and a savage indictment of the physical abuse, emotional violence and barely-suppressed anger inherent in Christianity as it is actually practiced - as well as of White psychiatry and its desire to pathogise anyone not White. Facing-up-to the ghosts depicted here keeps us grounded and far less prone to the self-delusion and lack of cultural rootedness arising from unresolved issues that is so common among Whites.


Copyright © 2015 Frank TALKER.
Permission granted to reproduce & distribute this posting in any way, shape or form; provided you mention this Blog.
All other rights reserved.

Wednesday, 27 May 2015

Psychopath Test

Subtitle:
Journey Through the Madness Industry
Year:
2011
Country:
United Kingdom…
Predominant Genre:
Non-Fiction
Author:
Jon Ronson…
Outstanding Performances:
None
Premiss:
White society is fundamentally irrational and motivated by insanity.
Themes:
Alienation
Curative
Destiny
Emotional repression
Ethnicity
Guilt
Loneliness
Materialism
Narcissism
Personal
Political
Political Correctness
Role modeling
Sadomasochism
Schizophrenia
Sexual Repression
Snobbery
Solipsism
Stereotyping
White culture
White supremacy
Similar to:
Unknown
Review Format:
Book

Psychopathy According to Caucasians

Summary: Semi-Humorous Trawl Through the Stygian & Crepuscular Gloom of Caucasian Psychopathy.

Desperate, guilt-ridden White evasion of the basic issue in psychopathy: Why are the vast majority of psychopaths White. And is this why so many Whites think there are so many psychopaths lurking out there, in the bushes; waiting to murder them in their beds?

Because psychopathy is vaguely-defined by Whites, it is hard to predict whether or not convicted criminals will re-offend after serving a custodial sentence. So the PCL-R is used to subjectively assess public fears as to the incidence of re-offending behavior and, as if by deliberate planning, finds the vast majority of such people to be unreleasable.

It is hard to prove that one is sane, so one must pretend to be insane, accept treatment and then pretend to get better; knowing all the while these behaviors can be seen as psychopathic since such pretense fits the broad definition of psychopathy: A classic Catch-22.

The White obsession with social conformity as a means of pretending they have a substantive culture to adhere to leads them to diagnose difference – as such – as automatically pathological, in much the same way Black people, say, are judged by Whites to be unintellectual because they are not frightened of sex.

Psychiatry is simply a political tool used by Whites for labeling, controlling and punishing those of whom the psychiatrist disapproves (much like drapetomania) as well as for providing drug companies with invented disorders for which they can invent medications.

Psychiatry is clearly a profession that attracts the mentally-disordered to its ranks; psychiatrists often being more deluded than their clientele. PCL-R comes across as nothing less than Whites projecting-and-displacing their own inner turmoil onto others so that they can feel that their ability to hide the symptoms of their collective delusions (eg, racial, intellectual ∓ cultural superiority) is the one true sign of their (self-diagnosed) normalcy. This means that pretending ot be a psychopath is evidence that one is one - and you cannot get more White than that. It means that if Whites think they auperior to People of Color - they are. If White men blieve they are superior to women - they are. If White social snobs believe they are superior to the poor - they are. One wonders if Whites make themselves crazy just to get a few years respite from the White Man’s Burden: The stresses and strains of being the Master Race and of trying to run the world.

Tediously-written so that it can be padded-out to book-length, this is the kind of journalism that could so easily have been short and more to the point. There is no real insight, here, just journalistic prose and description. Fortunately for the author, being a mediocre one is not a sign of insanity.


Copyright © 2015 Frank TALKER.
Permission granted to reproduce & distribute this posting in any way, shape or form; provided you mention this Blog.
All other rights reserved.

Tuesday, 26 May 2015

Novecento (1976)

Also Known As:
[Twentieth Century]; 1900
Version:
Language:
English
Length:
302 minutes
Review Format:
DVD
Year:
1976
Countries:
France…
Italy…
West Germany…
Predominant Genre:
Drama
Director:
Bernardo BERTOLUCCI…
Outstanding Performances:
Laura BETTI…
Robert DE NIRO…
Gérard DEPARDIEU…
Sterling HAYDEN…
Burt LANCASTER…
Dominique SANDA…
Stefania SANDRELLI…
Romolo VALLI…
Premiss:
The lives and interactions of two men: One born of peasant stock; the other to a land owner.
Themes:
Alienation
Atheism
Christianity
Coming-of-age
Compassion
Communism
Corporate Power
Courage
Destiny
Emotional repression
Empathy
Family
Friendship
Grieving
Identity
Individualism
Justice
Loneliness
Love
Loyalty
Materialism
Narcissism
Nature
Nostalgia
Personal
Personal change
Political
Political Correctness
Republicanism
Sadomasochism
Schizophrenia
Sex
Sexual Repression
Social class
Society
Snobbery
Solipsism
The State
Stereotyping
Totalitarianism
White culture
Similar to:
Gattopardo

The Poor You Will Always Have With You

Summary: Five hours of Marxism for kids - yet riveting.

Ravishing to look at and superbly-acted Socialist epic, but the well-tuned operatic performances and fine music cannot completely conceal the disjointed, agitprop nature of the endeavor.

Here, Fascism is at the core of Aristocracy and inevitably produces the nationalist wars which serve as distractions from internal political-strife as well as being culls of the poor whenever there is economic hardship and too many mouths to feed. This is perfectly-captured by an abrupt change in dramatic tone from bucolic sentimentality to agrarian realism after Mussolini rises to power in Italy and sets in motion temporarily-insane political changes. Yet over-simplified politics and some inaccuracy in its portrayal of the reasons for the rise of Fascism make this a weak anti-fascist movie.

Rich landowners are presented as solely-responsible for sponsoring Fascism. Keen to maintain feudalism, they encourage and turn blind eyes to the violence of the Blackshirts: A well-depicted, morally-decadent  aristocracy somewhat out of touch with reality. Yet, for Fascism to spread, it must have possessed some kind of psychological attraction for the common people, too. Mussolini was not a member of the social elite, but he could speak to the crowds in their own language; more accurately explaining his general popularity.

The usual sexual repression & resultant perversion, well-evidenced in all White cultures, becomes the simplistic explanation for so much that happens here that one begins to wonder if Whites are totally sex-obsessed. Either that or they just do not know any better. The big failing of this movie lies in its characters being brilliantly-acted but under-written ciphers whose rather dull personal neuroses eclipse the political drama unfolding so beautifully before our eyes.


Copyright © 2015 Frank TALKER.
Permission granted to reproduce & distribute this posting in any way, shape or form; provided you mention this Blog.
All other rights reserved.

About Us:

My photo

Frank TALKER - Truth-Teller