Sunday 30 April 2017

Cougar Town
Series 1
(2009‑10)


Summary: Behaviorist comedy that B F Skinner would have loved.

Absurdly‑gynecological rather than actually funny, this comedy possesses no profound understanding of human nature.

Although amusing‑enough about the inherent‑superficiality of White people, it does not actually explore why Whites are so culturally‑shallow. Nor does it attempt to explain why, if such cultural meagerness is rational, how it could ever be the basis of comedy; that is, laughing at what one fears?

Instead, volitionally‑trapped in a culture that deliberately‑represses them, Whites respond with the narcissistic, hysterically‑whining and emotionally‑incontinent sex‑obsession on show here – a clear substitute for the emotional‑intimacy which sexual‑promiscuity can never provide.

Where is the humor about the identity satisfactions from fulfilling sex with people of one’s choice? Where is the valid distinction between lust and desire? Where are the worthwhile gags about why Whites have the highest divorce & infidelity rates? Where are the funnies about why Whites invented Viagra, when necessity is the mother of invention? They do not exist because the humor here is an essentially‑dishonest spitting‑upon a humanity being successfully‑ and actively‑elided.

The world inhabited by these two‑dimensional characters is almost completely‑lacking in cultural or political context, since neither they nor the writers possess the courage to step outside of their social comfort‑zones to explore and find happiness elsewhere.

A comedy about why Whites feel their lives pass‑them‑by while they are actually living them and why they fight with their emotions - on a daily basis - would be far more of a hoot than this. If it were not for the delightful presence of Courteney COX, this show would be quite unbearable.

Sunday 23 April 2017

Coherence
(2012)


Also Known As:
Unknown
Version
needed to precede following dl
Languages:
English language
Length:
84 minutes (Uncut)
Review Format:
DVD
Year:
2012
Country:
United States
Predominant Genre:
Science‑Fiction
Director:
Director

James Ward Byrkit
James Ward Byrkit
Outstanding Performances:
None.
Premiss:
A passing comet has surreral effects on reality for a group of friends at a dinner party.
Themes:
Aggression | Alienation | Capitalism | Curative | Destiny | Emotional repression | Identity | Loneliness | Materialism | Narcissism | Parasitism | Passivity | Personal | Political | Political Correctness | Propaganda | Sadomasochism | Schizophrenia | Science | Self‑Esteem | Sex | Solipsism | Totalitarianism | The West | White culture | White people | White supremacy
Similar to:
Carnage (2011 film) Garden of Forking Paths (1941) Much Ado About Nothing (2012 film) Primer (film)

Would that I were you

Summary: Whiny Caucasians discover a portal to their true selves.

A group of superficial, easily‑panicked and somewhat stupid Whites gather for dinner and experience a quantum event that leaves them doubting the reality they thought they understood.

As with all White attempts to deny reality and replace it with something more interesting than the everyday, workaday mundanity that is White culture, this movie posits the idea that the thought experiment of Schroedinger’s cat makes some kind of sense; rather than being a dead‑end hypothesis of a world of physics that has simply run out of new and workable ideas.

Underneath the sans souci of White familiarity, there is paranoia, schizophrenia, insecurity & self‑loathing: The belief that talking about life is just as good as, if not better than, actually living it.

The emotional hesitancy of the characters reflects their unwillingness to understand their experience and to know what to do and, more importantly, what not to do about the essential emptiness of their lives. The fundamental fear expressed here is that one’s friends will either not mature or mature at a different rate than each other and that this will mean loneliness unless each person represses the others to prevent them from growing‑up (& moving‑on) so that the appearance of social conformity and equality can be maintained.

The characters live off each other, rather than with each other; using each other as emotional crutches because they cannot see themselves for whom they truly are since they are so busy running away from their true natures. Yet, without any self‑knowledge (subjective reality), one has no yardstick for comparison with other people’s self‑presentation. Without any grasp of the objective reality external to oneself, one similarly lacks a yardstick to compare other people’s comments or behavior to. Without a deep‑seated character to express or conceal, this movie becomes more of a horror‑story for Whites (about Whites), than the science‑fiction movie it claims to be.

There is, moreover, an odd, nosey‑parker tendency among these so‑called friends, allied with a faux‑innocent desire to convince others that everything they say is true; while being surrounded by people who disbelieve others because they are just as prone to telling lies – so think everyone else is just as mendacious. The emotional failures’ desire to be someone other than themselves is evident here but, again, is never dramatically explored.

As a character‑study, this movie fails to differentiate its characters, so that they all appear to be facets of a single, energetic Caucasian; bereft of any full grounding in the facts of objective reality. The movie occupies the same quantum space as its characters; allowing the audience no opportunity to properly reflect on what is being watched because the film itself possesses no self‑understanding that would make any rational comprehension possible.

Entertaining, but ultimately as thin, meager & as unfulfilling as its characters, plot & story.

Sunday 16 April 2017

Camp on Blood Island
(1957)


:
Unknown
needed to precede following dl
:
English language Image of the national flag of Japan
:
80 minutes (Uncut)
Review Format:
DVD
:
1957
:
United Kingdom
Predominant Genre:
War
Director:
Director

Val Guest
Val Guest
:
Outstanding Performances

Barbara SHELLEY
Image of Actor Barbara SHELLEY
Premiss:
Wartime brutality and sadism.
Themes:
Aggression | Emotional repression | Narcissism | Political | Political Correctness | Propaganda | Sadomasochism | Schizophrenia | Snobbery | Solipsism | Stereotyping | Terrorism | Totalitarianism | The West | White culture | White guilt | White people | White privilege | White supremacy
:
The Bridge on the River Kwai (1957) Empire of the Sun (1987) Paradise Road (1997 film) Tenko (TV series) Three Came Home (1949) A Town Like Alice (1956 film)
Spin‑offs:
The Secret of Blood Island (1964)

Jap War Crimes Exposed!

Summary: An emotionally-sensational movie, with little else to offer.

Although well-made, this is the usual White whining about how awful Japanese imperialists were - with no mention of how awful British imperialists were. (For a film set in the past, it is completely lacking in historical context, as if the events depicted had only happened on another planet.)

Rank with the hypocrisy of White supremacy, this is an angry movie made by Whites who think only they have the right commit atrocities they conceal, while other ethnic groups must be tried for their crimes. This anger at such barbarous behavior comes from those who did not experience it at first-hand; making it feel like a tale told by an armchair brigadier; imagining the combat he would fear to face in real life. More the product of White supremacist anger, bitterness & resentment than an exposé of inhumanity: It is Lest we forget – when Whites are degraded – but Get over it!, when anyone else suffers.

The Japanese are racially‑stereotyped in a way that Germans (in White war movies) never are. The implication that Asians are genetic inferiors and, thus, much more prone to such barbarity is belied by the equally-barbarous Caucasian cruelty, sadism & savagery of the British Empire; revealing Caucasians to be just as potentially awful as the Asians condemned here.

The Japanese are poorly-characterized and their fears masked by their sadism are not dramatically explored; leading us to the White supremacist conclusion that they are somehow less than human beings. Even the White characters the film focuses upon are little more than ciphers‑to‑be‑abused - the excellent actors doing the best they can with underwritten parts.

Despite claiming to show the brutal reality of some human nature as honestly as possible, this movie has no real understanding of that nature. It is a fundamentally‑dishonest and amoral pretense; allowing Whites to wallow in the degeneracy of others in order to occult their own and, in the process, claiming Aryan supremacy over those they ultimately defeated for preaching and practicing Whites’ own, selfsame political & moral ideology: A classic example of smashing a mirror because of the terrifying accuracy of its reflection.

The rampant hypocrisy of Whites in rarely exposing Caucasian war crimes is elided here in favor of claiming the movie is based on actual events. But this does not excuse the one‑sided portrayal of those events: If it did, then the Nazi extermination of 6,000,000 Jews would be fully justified - at least from the Nazi point‑of‑view.

Despite fine acting, the screenplay lacks a political context that would explain the behavior on show, allow audience empathy and, thereby, reach some kind of understanding of the events depicted. Fully‑realized characters in drama exist precisely for the purposes of empathy, yet the only empathy the film seeks is that of a White audience for its White characters, in commercially‑exploiting the White supremacy inherent in White culture. This supports the White delusion that only other ethnic groups can ever be institutionally‑barbaric, but not the fact that the Japanese in East Asia were little more than the Eastern counterpart of White, Western barbarity.

This stance of Caucasian propaganda is maintained throughout and remains entertaining despite it offering only the pornographic and pseudo‑cathartic sensational release – without an emotional or a spiritual dimension – so typical of White supremacy. Unlike its contemporaries (eg, A Town Like Alice or The Bridge on the River Kwai) this film is deliberately shot as a horror movie, rather than as a less melodramatic and more insightful work; counter‑productively trivializing the suffering on show in offering a nightmare‑without‑meaning, rather than an example of how real people respond to genuine adversity, in terms of human suffering and inhumanity and the will to endure despite the odds.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.