RUTHFULLY YOURS

https://www.nationalreview.com/2024/03/the-worst-cold-war-documentary-ever-made/

The new Netflix series Turning Point pushes revisionist history that might as well have been lifted straight from Howard Zinn’s fevered imagination.

Netflix’s new documentary series, Turning Point: The Bomb and the Cold War, opens with a captivating premise: Vladimir Putin’s war of conquest in Ukraine has imposed on the West unenviable conditions akin to those that pertained during the Cold War. Indeed, the series posits that Putin’s war cannot be understood without a study of the rivalry between the superpowers. But that pretense is swiftly abandoned. The series’ real purpose is to push a revisionist history that manages to render the Soviet Union a bit player in a Cold War narrative that might as well have been lifted from Howard Zinn’s fevered imagination. Though this could not have been the documentarians’ intention, the series might even convince some viewers that Putin has a point.

Within the first few minutes of episode one, the audience is confronted with the documentary’s true objective. “We were so good. We were the country that finally was so virtuous, in addition to being powerful,” says Overthrow author Stephen Kinzer in a blithe summary of the post-war American ethos. “And it was logical that we would then be threatened by a hostile, evil force that wanted nothing but destruction and nihilism.” The documentary then sets out to prove these two presumptions wrong.

According to the series, the Cold War begins not with Winston Churchill’s observation in Fulton, Mo., that an “Iron Curtain” had descended across the European continent but with the atomic bombing of civilians in Hiroshima and Nagasaki. These were not the first civilians wantonly murdered by the United States through nuclear warfare, of course. The first casualties were American citizens, who were poisoned by their proximity to the Trinty test and lied to about their condition by the U.S. government.

That digression aside, the film maintains that racialized caricatures of the Japanese made the atomic bombings that ended the Second World War thinkable. It was an unnecessary act of violence aimed not at ending the war — the Japanese were willing to negotiate, and the U.S. wasn’t really seeking “unconditional” surrender as advertised — but at keeping the Soviets from invading Japan. “We didn’t need to use the bomb. Japan would have surrendered. We didn’t need a land invasion in order to be victorious,” one of the documentary’s interviewees postulates.

It’s a tidy narrative, but it elides the extent to which industrial war-making facilities in Japan, unlike in Germany, were interspersed within residential areas. Harry Truman’s advisers did seek relatively intact urban targets to demonstrate the weapon’s power, but neither city subject to atomic bombing was purely civilian. Hiroshima hosted the 2nd Army Headquarters, the command in charge of the defense of southern Japan (where Operation Olympic would have begun). Likewise, Nagasaki was home to manufacturing facilities producing ordnance, naval assets, and weapons platforms.

https://www.frontpagemag.com/the-boys-in-the-boat-the-peasants-and-the-zone-of-interest/

Friend, I beg of you. Go to a theater and see three great movies sometime soon: The Boys in the Boat, The Peasants, and The Zone of Interest.

Leopold Staff, a Polish poet who survived the Nazi occupation of Warsaw, said that “Even more than bread we now need poetry, in a time when it seems that it is not needed at all.” Movies are democratic. They are accessible and they are communal. It’s fashionable to declare one’s superiority by sneering at popular culture. It’s harder to sneer when you remember that Ayaan Hirsi Ali, a fearless counter-jihadi, was inspired by Nancy Drew novels, and that Top Gun and Saving Private Ryan drove military recruitment. Politics is downstream from culture. The culture we support with our ticket-buying dollars is as important as the candidates we support with our votes.

We get something from publicly watching a movie together with our fellow citizens. The Major and the Minor is a 1942 screwball comedy. I’d watched it a couple of times at home, alone, on a small TV screen before seeing it for the first time in a jam-packed, Greenwich Village art house theater. In that crowd of rollicking laughter, I suddenly realized what a very naughty movie The Major and the Minor is. Its double entendres had flown right over my head. While watching Gone with the Wind, a loud and spontaneous sigh erupted when the camera zoomed in on Rhett Butler’s handsome face (see here). Gathering in the ladies room after a movie like that is a genre of psychotherapy. While washing your hands you ask complete strangers, “Do you think Scarlett and Rhett ever got back together?” You comfort and enlighten each other and the world is warmer, more connected, less lonely and tense. Mel Gibson’s The Passion depicts Christ’s torture, crucifixion, and death in grisly detail. Three Muslim guys took seats directly behind me. They were joking sarcastically. Clearly, they were in the theater to mock. After the film ended, I turned around to check on them. One was doubled over, distraught. His companions were rubbing his back and speaking softly to him.

The loss of public movie-going erodes not just community, but also art. Ali’s well is a famous, eight-minute scene in Lawrence of Arabia. Most of what we see is a completely flat, lifeless, tan desert landscape against a blue sky unbroken by any cloud. Two men draw water from a desert well. A tiny dot appears on the horizon. Slowly we realize that that dot is a man approaching on a camel. He shoots one of the men to death. As we wait, and wait, and wait for the approaching man  to arrive, we experience a fraction of the desert: the emptiness, the boredom, the terror, the sudden and irrational violence, the value system so very different from our own. That scene could never move us in the same way on a small screen. And, when we are watching alone on a small screen, we can fast forward through the parts we don’t like, like, say, the grim depictions of the Holocaust in Schindler’s List.

My students, trained on media that rushes and delivers jolts of violence and sex aimed at the lizard brain’s reward-squirting mechanisms, lack the ability to sit through a scene like Ali’s well. They also have trouble sitting through a complex lecture on current events, or a long story of personal struggle told by a friend. Movies, like all art, have the potential to train us to be our best selves.

This movie punctures the political correctness that heaps praise on  Black novels and films, even when they are trash.

Monk as the chief protagonist is named, devises an outlandish book of his own, under a pseudonym and false claim that he is a convict. Critics rave in hilarious scenes of White hypocrisy and condescension. rsk

https://www.manhattancontrarian.com/blog/2024-2-19-please-watch-and-share-juice-power-politics-and-the-grid-by-robert-bryce

Most of what Robert Bryce covers in his new documentary Juice won’t be news to you if you’re a regular reader of this blog. However, it is exactly the tool we need to bring everyone else into the fold.

It’s gripping, well produced, and covers a ton of ground in short, extremely digestible, 20 minute episodes. In 5 parts (so about an hour and a half total), Bryce and director/producer Tyson Culver cover: how the energy market developed; where we are now; the politics and profits driving decisions; why solar/wind energy will never work; and hope for a possible nuclear renaissance. And they do it all without ever getting too technical for the average viewer.

The first three episodes should be required viewing for everyone, in my opinion, and provide a thorough overview of the grid, the players, and the politics. The last two episodes are very focused on nuclear as our best option for reliable, carbon-free energy, which comes off as hopeful and solution oriented, but may be much further from realization than Bryce optimistically portrays.

If you read this blog, I can safely assume you already know a lot about energy and why current government policies towards energy are absurd at best and dangerous at worst. But it’s just as likely that you have several people in your life who struggle to understand your obsession with energy policy or can’t see why it’s so important, so fundamental to modern society, and on the cusp of turning into the biggest political issue of our time.

You can start with the first episode, linked here, and then send it to someone you think could be convinced.

https://www.frontpagemag.com/the-zone-of-interest-2023/

Friend, please do something for me. Put this article aside and find the nearest theater showing The Zone of Interest. Walk into the theater knowing as little as possible about it. Then return to this article so we can exchange notes. I need to talk about this movie with others.

The Zone of Interest is going to generate a great deal of talk. There will be debates and podcasts. There will be university courses and peer-reviewed scholarly articles. There will be a backlash industry pooh-poohing every accolade the film receives. If you wait too long, your chance to have your own experience of the film may slip out of your hands. You may feel, “The Zone of Interest is its own industry. Seeing it would be too much like homework. I’d prefer the latest superhero movie.”

You may be thinking, “Another Holocaust film. They’re just are fishing for an Academy Award! Why can’t we have movies about other atrocities? And I don’t like watching people being tortured.”

First, there is no torture, and almost no violence, in this movie. I cry at movies and I didn’t cry while watching Zone. Days later, while merely thinking about it, I cried. I had nightmares. Even in my nightmares, there was no blood. There were merely well-groomed, clean people behaving in accord with their value system, their character, and their mental defenses. And we need Holocaust movies because the Holocaust was a big deal. And we can have movies about other atrocities, too, like Twelve Years a Slave and Killers of the Flower Moon.

Zone is universal and timeless, like W. H. Auden’s poem “Shield of Achilles,” which uses Jesus’ crucifixion and Achilles’ shield to discuss twentieth-century atrocity. Both Auden’s poem and Zone say as much about slavery or the Cambodian Killing Fields or the Gulag as films directly addressing those topics.

https://www.danielgreenfield.org/2024/02/mrs-gates-and-mrs-jobs-make-racism-movie.html

Origin, the movie, claims to be about the origin of racism in America, but its own origin story lies with the Ford Foundation, Laurene Powell Jobs, the widow of Steve Jobs, the Apple guru, and Pivotal Ventures, the nonprofit started up by Melinda French Gates after she dumped Bill Gates, which provided much of the money needed to fund the $38 million smear of the United States.

What kind of movie would two wealthy woke white women fund? A pop history take on racism.

Origin is based on Caste: The Origins of Our Discontents, another one of those 2020 books about a racial reckoning of the kind that Mrs. Jobs and Mrs. Gates would have encountered in book clubs and while browsing The Atlantic (Mrs. Jobs owns it) or Slate (Bill Gates used to.)

Isabel Wilkerson, the protagonist of book and film, is another one of those critical race theory ‘public intellectuals’ with a media platform, a former New York Times bureau chief, who stars in it because it follows her deep thoughts about race which unroll with the depth and sophistication of a college freshman browsing Wikipedia while pulling an all-nighter to turn in a midterm paper.

Like Between the World and Me by Ta Nehisi Coates or Ibram X. Kendi’s How to be an Anti-Racist, Caste tried to pretend that its familiar and simplistic premise, (‘America is racist’) had some kind of depth by inappropriately linking it to other people’s historical experiences, the Holocaust and the caste system in India, while filtering it all through Wilkerson’s deep thoughts.

Trayvon Martin, Wilkerson’s personal life and Nazis goose stepping through Berlin all get mixed up in some intersectional tangle of narrative oppressions in both book and movie. Wilkerson taking plane trips to Germany or India allows her to bag up and appropriate two very different sets of histories to bolster her own feelings of oppression as a New York Times bestselling author.

https://www.frontpagemag.com/leftists-civil-war-fantasies/

I’m really confused about the new movie trailer for the leftist insurgency fantasy flick “Civil War” because it seems to think that the military guy who is hassling journalists with his M4 is the bad guy. I must have got that wrong. Clearly, whoever is opposed to the regime media is the hero, right? Maybe his weird, red Elton John glasses are supposed to signal to me that he’s evil, but I’m just not seeing it. At one point, one of the reporters tells him they are Americans and he asks, “What kind of American?” Frankly, that seems like a pretty good question.

After all, I was told by the desiccated, corrupt, old pervert who Alex Garland – the guy who made this piece of crap movie – a undoubtedly supported, there are a two kinds of Americans. There are good, upstanding, woke Americans who buy into all the communist garbage, and there are normal people who he calls “MAGA extremists” who are bad and scary insurrectionists and hate our democracy and are also racist and transphobic and everything else that is bad. They also cause inflation and climate change. These people should be shamed, persecuted and hounded from society, disenfranchised, disarmed, and, according to this movie, shot. So, the “What kind of American are you?” thing is not going to shock us because it is already happening, and here’s the punchline – if you’re reading this, you’re probably the bad kind of American, according to the Hollywood jerks and our senile, evil president.

The movie doesn’t really make clear what’s going on in its scenario, and to the extent it does, the scenario is pretty stupid. Apparently, there’s a president who likes God, so that your subtle hint that he’s the bad kind of American. He’s on his third term in office, which it meant to be an issue, which is weird because I was informed that the Constitution that bars three terms is an evil document of oppression designed by dead white male slaveholders, but apparently it’s a good thing today. Maybe I just haven’t got my daily Constitution status memo. There was nothing in the trailer about prosecuting your political enemies on trumped–up charges, but I’m assuming that’s a good thing until it stops being a good thing when applied to Democrats.

https://amgreatness.com/2023/12/20/netflix-and-the-erasure-of-history/

Trust should not be doled out easily to anyone, especially white people.”
– Excerpt from “Leave the World Behind,” released on Netflix December 8, 2023

If anyone thinks Netflix has abandoned the so-called woke programming that earned them sustained criticism back in the spring of 2022 and may have played a role in their cratering stock price at the time, their new movie should put that thought to rest. Woke, for lack of a better term, is alive and well at Netflix. Their cozy relationship with nouveau plutocrat power couple and White House alumni, Barack and Michelle Obama, and the blockbuster bomb of a movie they’ve produced together, epitomizes the culture of Netflix today. Such casual racism. “Don’t trust white people.” It’s ok when they do it. But don’t you dare.

To truly appreciate where Netflix is today, one must recall how they began. During the golden age of movie DVDs, in the late 1990s, Netflix arose as the mail-order alternative to renting videos from walk-in stores. But creative destruction never ends. Just as Netflix movies by mail drove corner movie rental stores out of business, streaming made DVDs delivered by mail obsolete.

On September 29, Netflix shipped their last DVD to subscribers and cancelled the service. And with that, one of the last, best windows into nearly a century of American culture was closed forever. At its peak around 2019, more than 100,000 movie titles were available on DVD, arriving in the familiar red envelopes. But as the subscriber base for DVDs shrank and competition from other streaming services grew, Netflix management decided the juice wasn’t worth the squeeze.

This is a rational business decision. Netflix, a content behemoth with an enterprise value that has soared to more than $170 billion, doesn’t need the headache of managing 17 DVD distribution centers tasked with shipping and receiving actual physical media. Netflix owns server farms that dispatch movies electronically, and their investment in physical assets must now prioritize production studios where the company invests literally billions in generating original content. With more than 50 percent of all video consumption in the U.S. now consisting of user generated content at zero cost to platforms like YouTube and TikTok, Netflix’s challenge is keeping their 240 million streaming subscribers, not hanging on to a dwindling cadre of 1.2 million DVD clients.

Nonetheless, losing public access to what was, by far, the greatest collection of movies ever compiled is a tragedy.

https://jewishjournal.com/commentary/opinion/366431/in-israels-time-of-need-jewish-hollywood-has-failed-the-audition/

For a people that purportedly invented, and now control, Hollywood, Jews are awful at making demands—as Jews. There’s a reason why those early nickelodeons featured silent cowboy-westerns and scant Jewish immigrants. Jewish invisibility continued into the talkie era—more cowboys, wicked witches, tap dancers in gowns and tuxedos, a gin joint in Casablanca, and, yes, one Jewish jazz singer. Jewish characters didn’t only find themselves left out of the picture, they weren’t even on the cutting room floor. And as for silence, well, . . . that’s a Jewish specialty when it comes to standing up for their own people.

Antisemitism has overtaken America in ways not seen since the 1930s, when Hitler was ascending in Europe and the Depression caused pernicious divisions within the United States. The Jewish influence in Hollywood was never greater among studio chieftains and writers back then, but the motion picture industry had nothing to say about Hitler’s plan for European Jewry.

Some studio heads still had families in Europe. And they were at the helm of the ultimate megaphones and spotlights. But there was no golden hour for the Holocaust. Hollywood’s cameras were dark. The Third Reich was the second largest market for movies in the world—and foreign sales, in industry speak, is the Golden Calf. It wasn’t until Charlie Chaplin’s “The Great Dictator” (1940), as Auschwitz was beginning to burn, that Hollywood realized that the number of Jewish actors and extras in the world was rapidly shrinking.

And Chaplin wasn’t Jewish!

There’s a sequel to this sad story playing out all over again, an even more inexplicable example of how La La Land goes all blah blah rather raise the red flag for Jews. In the aftermath of the October 7th massacre in Southern Israel, which included the most gruesome and unimaginable of all horror flicks—the beheading and baking of Jewish babies, and the gang raping and mutilation of Israeli teenagers—sympathy for Israel evaporated before it even started. Instead, there was the surreal solidarity with Hamas. The victims were thrust into the woke paradigm as oppressors; and the terrorists were reincarnated as the resistance.

https://www.nationalreview.com/2023/12/anti-racism-is-a-religion-and-nearing-cult-status/

How much wrong is Ibram X. Kendi willing to do to prove he’s on the right side of history?
Linguist John McWhorter hit absolute paydirt in 2015 when he argued that 21st-century anti-racism is far more religious than political. “The Antiracism religion has clergy, creed, and also even a conception of Original Sin,” McWhorter wrote. “It is what we worship, as sincerely and fervently as many worship God and Jesus and, among most Blue State Americans, more so.”

Having grown up in religious circles, I don’t find it hard to look at the modern anti-racist movement and see the parallels. Racial division may not be quite as prominent a topic right now as it was in, say, 2014 and the summer of 2020, as it takes a backseat to matters such as elections, the future of our political parties, and whether Thomas Jefferson actually invented the swivel chair. But this backgrounding can help us to see what the anti-racist true believers are really up to, and where the movement is currently placing its evangelistic — yes, that is the right word — focus.

Unsurprisingly, as with many actual religions, there’s a lot of lying and manipulation going on. Ibram X. Kendi, the high priest of the American anti-racist religion, has released his newest ‘sermon’ via Netflix: Stamped from the Beginning, an adaptation of his 2016 tome by the same name. The documentary is like virtual church for anti-racists, except without . . . well, there are very few positives to virtual church, so the analogy holds. It’s exceptionally well-produced and well-told. And it’s a 92-minute tour de force in advancing the profoundly dishonest and overbroad rhetoric of the anti-racist religion promising to liberate us from America’s original sin.

“What is wrong with black people?” Such is the hopeful note that the film kicks off with. It makes the dichotomy of Kendi’s visual sermon apparent from the get-go: disagree with the story that’s about to be told, or the applications made from it, and you’re part of the group that thinks there’s something wrong with black people. And quite possibly, you’re complicit in the prejudice that has marked American history. “Often we assume that race is only about the color of one’s skin,” says presenter Angela Davis. But no: “It is about slavery.” This is when Kendi starts doing the thing he, and thousands of faith-healers before him, might be best at: telling stories that are very compelling — so long as you don’t think too hard about the bill of goods that’s actually being sold to you.