We saw BROS again Friday night. Not just because we weren't interested in anything else but also because my girlfriend's brother hadn't seen it. When I think of gay males nervous to buy a ticket, I think of gay males in their teens living in the deep south or something. We're in Connecticut and he's 31. But he was planning on seeing it at home on streaming when it came out. As an African-American male, he was cautious about buying a ticket. (After a Pride event when he was 20, in Pennsylvania, he got jumped and ended up in the hospital so please grasp that he does have justified reasons for being nervous.)
My girlfriend called me Friday afternoon around two and asked if we could see BROS again and told me why and I told her I was down with it, that I could see it every weekend until it comes out on streaming. This was my third time seeing it. (I saw it last week on Friday and on Saturday.) It just gets funnier.
I do want to throw that out, though. About my girlfriend's boyfriend. Because you may know someone who's out gay and they may want to see the film but not alone -- either due to safety concerns or maybe they just don't want to go to a movie alone. So if you've got a relative who's gay or a friend who is, think about asking if they want to go see BROS with you.
I really like that scene -- the song's Joan Armatrading's "Love & Affection" -- and I wish more people saw that. But I especially wish UNIVERSAL had used the scene by the bike rack in the ad or as a clip they posted online. Billy and Luke have had a big fight and aren't speaking and then Luke sees Billy in the club and they go outside -- by a bike rack -- to talk. It's not a funny scene at all. But it does go to the romance of the film and it is a touching and important scene. In a clip, they didn't have to do the whole scene but Luke talking about how he made a mistake really should have been part of the promotion.
So I've seen BROS now three times, I hope you've seen or will be seeing it soon. If you don't like comedies, don't see it, that's fine. But if you do like comedies, you really do need to see because you will laugh over and over. And there's been a lot of scary hate online about BROS so I do understand if you're nervous about seeing it. Invite a friend or two. But don't let hate win.
And let me say thank you to C.I. She's repeatedly championed the film, of course. But she's also done a three part series on it in this week's snapshot that has made a number of people rethink -- and I'm talking about in my own world. "Iraq snapshotm" "Iraq snapshot" and "Iraq snapshot" -- those are the three parts.
Last Monday, when I went to work, a number of co-workers were like, "You liked it?" And they were in disbelief. And they were falling for the backlash. On Wednesday, when C.I. first started taking it on the snapshots, two co-workers came up to me and said, "She's right." And by Friday, C.I. had changed the conversation in the office I work in. We were talking about real issues impacting the film and impacting how people saw it and why and how some people were attacking it.
Okay, one of my favorite performers is Sigourney Weaver and Eric e-mailed an interview with her from ALIENS.
Thanks, Eric, it's a good interview and I'd never seen it.
French-Swiss filmmaker Jean-Luc Godard died September 13 at his home in Rolle, Switzerland, at the age of 91.
Godard came to prominence in the early 1960s as a member of the French “New Wave,” which also included such filmmakers as François Truffaut, Eric Rohmer, Claude Chabrol and Jacques Rivette. Like many of the latter group, Godard was first a film critic in Paris, often associated with the magazine Cahiers du Cinéma (founded in 1951).
In the late 1960s and early 1970s, Godard made a number of politically radical films. The mass general strike of May-June 1968 in France figured prominently in his development at this time. From the mid-1970s onward, disoriented by national and global events, Godard experimented with images and sound in a series of increasingly gloomy, incoherent works. Many of his later films are virtually unwatchable.
Godard’s body of work, which includes nearly 50 feature films and dozens of shorter ones, is peculiar in that, at the time of his death, it could be argued that he had not directed a genuinely significant work in half a century. The key to that does not lie in the filmmaker’s mysteriously losing his touch, although no doubt there was a personal intellectual decline (almost a dissolution), but in the political and artistic environment in which he worked for decades, dominated by demoralization and pessimism.
Going out with C.I.'s "Iraq snapshot:"
Too many movies -- and TV shows (think NAOMI) -- are just spitting out characters and confusing audiences.
The reason films used "types" -- Thelma Ritter and others for character roles -- was to help the audience follow. It's also why famous and semi-famous people are often cast in roles. Outside of Margaret Cho, most of the cast is unfamiliar to movie goers. Joel' screenplay starts with too many characters and they really needed to cast recognizable faces or at least distinct ones. CLUELESS, another update of Jane Austen, worked because it established characters and used 'types' -- the skateboarder, the preppie, etc.
Iraqi Prime Minister Mustafa Al-Kadhimi's visit to Erbil looks like a courageous step in the current delicate circumstances that Iraq, one of the most important countries in the region, is going through.
This step proves that Kadhimi, although he leads an outgoing government, wants to be the prime minister of all of Iraq and of all Iraqis.
Iraqi Shia cleric Moqtada Al-Sadr today announced the freezing of all his armed factions across Iraq, except the northern province of Saladin.
Saleh Mohamed Al-Iraqi, a leader of the Sadr's movement, said the influential cleric also "banned the use of weapons in all provinces except Saladin and Samarra city."
It was not yet clear why Saladin province was not included in the ban.
Iraqi also called on the commander-in-chief of the armed forces Kadhimi to control the “disrespectful” militias of Qais al-Khazali, secretary-general of AAH, as they “know nothing but terror and money and power.”
Land of short attention spans
Nothing is savored
Long enough to really understand
In every culture in decline
The watchful ones among the slaves
Know all that is genuine will be
Scorned and conned and cast away
Dog eat dog
People looking seeing nothing
Dog eat dog
People listening hearing nothing
Dog eat dog
People lusting loving nothing
Dog eat dog
People stroking touching nothing
Dog eat dog
Dog eat dog
On the one hand, Assange’s wife Stella Moris outlined the dire precedent that the US is seeking to establish by prosecuting a journalist for publishing true information. She spoke eloquently in defence of the democratic rights of Assange and the population at large, as well as on the importance of upholding international legal norms.
On the other hand, John Bolton, a lifelong Republican politician and state apparatchik, ranted and raved as he asserted the “right” of the American government to ruin the life of anyone who gets in the way of its “national interests.”
The program was broadcast on British television’s TalkTV station, and has already been watched hundreds of thousands of times on social media.
The response demonstrates the true public opinion of Assange, which is generally buried by the official media. Moris has received widespread praise for her thoughtful and principled comments, including her statements on Bolton’s own relationship to war crimes. Bolton’s remarks have been condemned as dangerous and frightening.
Morgan began by noting that Assange has been locked up in Britain’s Belmarsh Prison, a “very high security” and “grim” facility, for almost four years, following seven years of arbitrary detention at Ecuador’s British embassy. Where did Moris think the case would go, and what did she hope to achieve, he asked.
Moris, who is herself a widely-respected human rights lawyer, explained: “Julian faces a potential sentence in the United States of 175 years for doing journalistic work. For receiving information from a source and publishing it, and it was in the public interest. It was about US war crimes in Iraq and Afghanistan, and he revealed tens of thousands of civilian deaths that had not been acknowledged before.”
Morgan said that he would play “devil’s advocate,” repeating the oft-repeated claim that while the Guardian and the New York Times had redacted the material from whistleblower Chelsea Manning, WikiLeaks had dumped it online, placing individuals at risk.
Asked if she accepted this argument, Moris replied forcefully: “I don’t accept it, because it’s not true. WikiLeaks did actually redact all of those documents that Manning gave to WikiLeaks, and in fact it was in cooperation with those newspapers.”
WikiLeaks, Moris noted, had withheld 15,000 documents from the US army’s Afghan war logs, and had been criticised by some for extensive redactions of the Iraq war logs. The publication of 250,000 leaked diplomatic cables, in full, had not been the doing of WikiLeaks. Instead it was the outcome of Guardian journalists recklessly publishing the password to the tranche in a book.
The week-long meetings in Washington by the fascist delegations, who were warmly greeted by Republican and Democratic politicians alike, have gone virtually unreported in the press.
In their posts first exposing the visit, journalist Moss Robeson revealed that one of the Azov soldiers that visited the Capitol was Giorgi Kuparashvili. Robeson wrote that Kupraashvili is a “a co-founder of the Azov Regiment and the leader of its Yevhen Konovalets Military School, named for the founder of the fascistic Organization of Ukrainian Nationalists.”
The Azov Battalion was founded in 2014 by white supremacist Andriy Biletsky. The organization is teeming with fascists and racists who idolize Stepan Bandera, a fascist who as a member of the OUN-B collaborated with the Waffen SS during World War II in carrying out the Holocaust in Ukraine.
The embrace of neo-Nazis in the Capitol by both big-business parties obliterates any pretense that the US government is fighting for “democracy” or “human rights” in Ukraine, or anywhere else.
In publicly available Telegram posts, the Association of Families of Azovstal Defenders, an organization comprised of family members of Azov soldiers, boasted that Kateryna Prokopenko, Yuliya Fedosyuk and Alla Somilenko joined Azov soldiers, Kupraashvili, Vladyslav Zhaivoronka and Artur Lypka in holding face-to-face meetings with Democratic and Republican legislators alike.