Perfectly Natural: science fiction horror film about demonic possession of the for-profit corporate kind

Victor Alonso-Berbel, “Perfectly Natural” (2018)

No aliens, monsters, paranormal events or denizens of Hell or the 25th dimension abound here but this 12-minute short is as horrifying in its own apparently innocent, everyday-life-looking way as films about people being possessed by demons. In “Perfectly Natural”, the demon of possession exists in virtual technology, summoned by the corporate owners who employ Wanda as one of their company’s many IT workers. Wanda is encouraged to use the company’s babysitting service by her boss: the fees for the babysitting service come out of her pay packet and the service, using holograms and AI, supposedly streams knowledge, cognitive awareness and skills like knowing a second language into baby Max’s mind through a microchip attached to the side of his brow. Wanda discovers this service comes with many strings attached: it continually prompts her with emails sent to her computer to enroll Max into yet more programs that will stimulate his mind and intelligence, yet if she clicks on a tab in the emails to enroll him, she is hit with demands to cough up money. Gradually the realisation dawns on Wanda and her partner Zach that their baby has been captured by the corporation which has substituted virtual versions of Wanda and Zach not only to entertain and guide Max through the various cyber-territories he must navigate but to replace the real flesh-and-blood Wanda and Zach altogether. The child has become a real-life Snow White, dead to the world, while his parents face social censure and Wanda getting the sack if they withdraw Max from the company program.

The film proceeds in a straightforward way at a steady pace through the plot, the cast of three actors playing Wanda, her boss and Zach capably in the short time they have, which makes the film’s climax (when Wanda and Zach discover they have lost Max to the corporation) all the more despairing. They can rescue him physically but the program warns them he might suffer neurological damage if they pull him out too early – well, of course the program would say that, playing on the fear and guilt the parents will suffer if at some later time Max ends up being behind the other kids at school work.

The presentation is excellent with great cinematography and editing. The plot is a bit rough around the edges: the nature of Wanda’s work is not too clear and we have no idea how she came to be employed by the corporation. Why Wanda’s boss manages to raise her own children without subjecting them to the babysitting service is not explained: one would have thought such a service would be compulsory for all employees. Because the film has been made as a short, there is no explanation for the corporate agenda behind the babysitting service – a full-length film would be needed to show and tell, as well as detail how Wanda and Zach discover what their roles in the corporation are, what the corporation has in mind in using Max as a guinea pig, and how the parents manage (or not) to wrest Max and his mind away from permanent enslavement.

The Land Beyond the Sunset: a very moving and thoughtful film on achieving happiness and peace

Harold M Shaw, “The Land Beyond the Sunset” (1912)

Made in 1912 – the same year in which the Titanic set sail for its fateful meeting with the Iceberg – this short, seemingly simple live-action film is still a very moving and thoughtful drama. Young Joe is a poor newsboy who lives in a city slum neighbourhood with his alcoholic and abusive grandmother. One day he gets the opportunity to join a picnic for underprivileged children organised by middle-class women working for a charity, the Fresh Air Fund. The picnic organisers take Joe and other poor children to the countryside near the sea where they play and make friends, and eat nutritious picnic food. One of the organisers then proceeds to tell the children a fairy-tale about a boy being harassed by a witch. Some fairies rescue the boy and put him in a boat. The boy and the fairies then sail away to a fantasy place known only as the Land Beyond the Sunset. Thrilled and inspired by the story, Joe contrives to stay behind when the adults take the children back to the city and their slum communities; he goes wandering along the beach and spies an empty boat resting on the shore. An idea comes into his head at this point and he makes a choice that will undoubtedly affect the rest of his life forever …

For its age, the film still looks astonishingly clear, with none of the blur and the markings one might expect on old films. Title cards are few but viewers can follow the narrative easily: the story is straightforward but also relies on viewers’ imaginations to piece together the different scenes into the intended narrative. The end scenes are breathtaking and instill awed feelings at the natural world; however much humans may dominate and control Nature, the scale of Nature itself, especially of the seas and oceans, is still far beyond human understanding and domination. The boy can be seen to be partaking of the bounty of Nature by seizing an opportunity and opening himself up to all possibilities; yet the scenes can be interpreted differently and more negatively, by suggesting that the boy is deluded and does not realise he is going into an early death. After all, in some countries’ mythologies, the land beyond where the sun sets is often the land of the dead.

The very open-ended vagueness of the film’s climax and ending may astound and horrify viewers, but it also plays a large part in the film’s thoughtful and melancholy character. A boy from a dreary, unfulfilling and oppressive background is given a choice between two very different worlds and the decision he makes is momentous. How brave or foolhardy would we be, if we too came from a background of poverty and abuse, and we also were faced with the same choice? The heart-breaking story is told without sentiment, and this ensures the film’s continuing attraction for viewers more than 100 years later.

The film was originally made to promote the Fresh Air Fund, a charity founded to help underprivileged city children and improve their health by taking them on short breaks to the country so they could breathe fresh air and enjoy sunshine. The charity may have long gone but the film survives and has taken a life of its own.

The Grayzone meets Venezuelan President Nicolas Maduro: meeting a determined, passionate yet humble leader

Ben Norton and Max Blumenthal, “The Grayzone meets Venezuelan President Nicolas Maduro” (The Grayzone Project, August 2019)

Filmed by fellow Grayzone journalist colleague Ben Norton, Max Blumenthal’s interview with Venezuelan President Nicolas Maduro, whose Bolivarian socialist government has been a target of regime change by the United States ever since he succeeded Hugo Chavez as Venezuela’s leader in 2013, is a highly revealing conversation about the South American country’s determination in forging ahead with a new revolutionary society and the extent of American and Western criminality in trying to destroy that society and its leaders. The interview took place outdoors in a lovely garden setting in Caracas with both journalist and leader in a relaxed mode and Maduro in his ubiquitous tracksuit jacket.

The two discuss how Maduro’s legitimacy as President was affirmed by 120 countries which also condemned US economic, trade and financial sanctions against Venezuela at the ministerial summit of the Non-Aligned Movement in mid-2019. Issues of climate change, efforts to achieve peace and avoid or prevent war, control of natural resources, and concerns over conventional, biological and chemical weapons of war were also aired. Several countries that sent representatives to the summit themselves are also subject to US sanctions, which led Blumenthal and Maduro to discuss the ways in which Venezuela is resisting the sanctions and building relationships with other sanctioned nations to resist US hybrid warfare. Maduro ticks off the ways in which Venezuela is being pressured by the US: expropriating Citgo, a US-based petrochemical corporation in which Venezuela holds a majority shareholder stake through the state energy company PDVSA; freezing over US$1.4 billion of Venezuela’s gold reserves together with the British government; and preventing Venezuela from obtaining essential foods, medicines and other much-needed goods. He expounds on current government programs aiming at supplying and distributing subsidised food products to families and communities.

Blumenthal and Maduro also discuss the US drone assassination attempt on Maduro in August 2018; Maduro links this assassination attempt to Venezuela’s politics and practice of democracy, and claims to have evidence of the identities of the people who ordered the attack on his life. He admits there is corruption within his government and that a number of senior government officials have either been charged and jailed for corruption or have fled the country for safe havens in the US and Europe. Maduro then talks about the political opposition in Venezuela and how it is controlled by Washington DC.

What viewers are likely to come away with from the interview is an impression of Maduro as a passionate and determined fighter who deeply believes in the ideals of Bolivarian socialism and whose faith in the revolution begun by his predecessor Hugo Chavez in 1999 is firm and unshakeable. He emphasises that everything that Venezuela has striven for and achieved over the past 20 years was attained through sheer hard work, often in the face of global hostility and aggression, and through the practice of open democracy. The man’s humility – Maduro refers to himself as a humble bus driver – is in stark contrast with the cynicism and vicious behaviour of Western leaders towards their publics and beyond their nations’ borders. The interview ends on a high note of hope that the truth about Venezuela and US aggression towards the country will prevail among the American public.

Hail Satan? – fun film about a Satanic movement with a serious message about social justice and religious hypocrisy and oppression

Penny Lane, “Hail Satan?” (2019)

Funny and serious at the same time, tight and well made with plenty of information on the history of religious freedom and how it has been abused by evangelical Christians and government working together (and also plenty of popular culture references), this documentary explores the agenda and development of an organisation claiming to be “religious” and to worship Satan but is actually trying to enforce religious freedom and plurality, promote social justice and highlight in a public way through staging amusing stunts the hypocrisy of government, Protestant Christianity and their allies in paying lip service to political freedoms and the separation of religion and the state. Viewers should not worry that the film shows any strange or perverted rituals as there is very little in it that can be called Satanic; what perversion or cult-like behaviour that exists in the film actually arises in the reactions of conservative evangelical Christians to the satirical stunts of self-proclaimed Satanists, and in the film’s rundown of past public scares focused on supposed Satanic ritual abuse of children which actually led to innocent people being tried, found guilty of non-existent crimes and imprisoned.

Inspired by the example of Anton Szandor LaVey who founded the Church of Satan in the late 1960s as an expression of individualism and free will, The Satanic Temple (hereafter referred to as TST) was founded by Lucien Greaves and Malcolm Jarry, though only Lucine Greaves actually appears in the film. TST first came to public attention in 2013 with its support for a bill signed into law in Florida by Governor Rick Scott allowing students to lead prayer in school; because the law does not specify which religion the students must belong to, it logically allows Satan-worshipping students the freedom to lead prayer in school. Other activities TST chapters across the United States have engaged in include rubbish collection on beaches and highways; performing a Pink Mass over the grave of the mother of the founder of Westboro Baptist Church who planned to picket the funerals of the victims of the Boston Marathon bombing; setting up an after-school program called After School Satan to ensure religious freedom and diversiy are respected, and all religions get the same rights and privileges in establishing after-school clubs; and, most memorably, setting up statues of Baphomet alongside public installations of statues of the Ten Commandments outside state capitol buildings in Oklahoma and Arkansas.

In amongst all this activity, Greaves struggles with running an organisation and movement that has grown very quickly, perhaps too fast for one or two persons to handle, and inevitably there are disagreements and conflicts over how TST followers should challenge hypocrisy, discrimination and injustice wherever they find it, with some people believing working within systems can change them, and others believing systems should be challenged and confronted, with the result that one early member, Jex Blackmore, ends up being excommunicated for supposedly threatening violence against President Trump. While TST imposes no more than seven tenets of belief on its followers (all of which are presented in the film), the interpretation of these proves to vary quite wildly among TST members.

Director Lane keeps the pace going briskly with smooth segues from one scenario to another, and adding snippets of an eclectic selection of horror movies, old newsreels, cartoons and rock music videos where appropriate into her narrative to illustrate a point or mock a particular point of view. One particular theme that stands out is how so much of Americans take for granted about their culture or the place of Christianity in US culture turns out to have been influenced by or even originated by Hollywood; another is that the US was founded as a secular nation and society by the so-called Founding Fathers (signatories of the US Declaration of Independence), a fact denied by evangelical Christianity.

There is not much in-depth examination of TST’s structure – indeed, the organisation comes across as spontaneous and organic, not at all hierarchical, in its network – and most of the in-fighting and conflicts of TST were left out of the film. Neither is there any information on the history of Satanism in Western society, how it originally arose and what the motivations behind it were. The organisation is presented as a fun bunch of witty and creative social activist trolls parodying and satirising the pomposity, stupidity – and often the plain viciousness and criminality – of mainstream Christian denominations. Criticisms of TST’s activities from other Satanic organisations or even from TST members themselves are non-existent. (Significantly the film’s director herself joined TST after editing the film.)

Beneath the entertainment, the stunts and TST members’ sometimes outrageous appearances – Lane makes a point of interviewing several TST members who come from all walks of life – there is a very serious message about how some mainstream forms of Christianity have suppressed freedom of religion and equality in worship, and have extended their malign beliefs and influences into everyday life to deny people control over their lives and bodies, and how people who put themselves on the front-line to fight oppression do so with very little money and support from others against insurmountable odds – yet achieve victories with courage, creativity and chutzpah.

Global hi-tech as the handmaiden of the military and intelligence agencies in “The Secrets of Silicon Valley: What Big Tech Doesn’t Want You to Know”

James Corbett, “The Corbett Report (Episode 359: The Secrets of Silicon Valley: What Big Tech Doesn’t Want You to Know)” (July 2019)

Dense with information, presented chronologically and in a way most people will find easy to follow, this documentary tells the history of how Silicon Valley came to be the metonym for the digital technological industry complex and how its transformation from a centre of horticulture in California into the global centre of digital technologies was cultivated by American intelligence agencies and their backers with the intent to capture every single bit of information about human behaviour and actions, even in real time, all the better to predict and thus control people’s thinking and actions, and ultimately to direct society into particular paths that would serve the interests of a small transnational elite. “The Secrets …” puts forward a credible narrative that the capture and control of information about people and their thoughts and behaviours have always been the main goal of the development of the hi-tech industry and the companies associated with it – companies such as Oracle Corporation, Sun Microsystems, Microsoft and Apple – right from the time the Stanford Research Institute was established in 1946 by Stanford University trustees to promote innovation and economic development in northern California. Ubiquitous technologies such as the Internet are revealed to have had their origins in Pentagon or intelligence agency research to discover technologies that could be used to control and command targeted populations or to wage war against them.

The early history of Silicon Valley’s development, starting with electrical Frederick Terman (the son of educational psychologist Lewis Terman who popularised IQ testing) returning to Stanford University as dean of its School of Engineering and turning the department into a centre of excellence, is easy enough to follow. From the outset, the university and the industrial park that grew up around it and spread outwards depended heavily on military spending and connections with the US Department of Defense, popularly known as “the Pentagon”. As Terman himself fades from the scene, and the Pentagon and US intel agencies invest more monies into research in other areas of information control and surveillance technologies, the narrative becomes more complex, its direction more arbitrary, as the voice-over narration skips from the origins of Oracle Corporation and Sun Microsystems to the foundations of search engines like Google and social media platforms like Facebook, and how they are all ultimately linked to one another and to US government departments and agencies. Viewers may find they’ll need to watch the documentary a few times to digest everything but the general theme behind it is clear.

Once viewers are aware of this secret history behind the development of Silicon Valley and the Internet, they will realise that many apparent anomalies about aspects of information technology and cyberspace start to make sense: the laxity in security in many databases, especially databases of banks and other financial institutions that people depend on to make money transactions, can be explained if such laxity enables spook agencies and others to spy on money transfers and track them. If databases are prone to hacking, that is because they are intended to be so.

The conclusion to this episode of “The Corbett Report” may be despairing – it does not recommend specific actions viewers might take to protest and stop US government intrusion into their lives, nor does it suggest cyber-based alternatives to the Internet and related technologies that cannot be corrupted and undermined by the military and surveillance organisations and their masters – but at the same time, the knowledge that Big Tech is a willing hand-maiden to Western governments can serve as one weapon out of many that we the people can use against those who would try to control us.

“Leaked Court Docs Upending Brazil!” – a brief look at news of leaked documents concerning a popular Brazilian politician

Lee Camp “Leaked Court Docs Upending Brazil!” (Redacted Tonight, June 2019)

Along with his weekly “Redacted Tonight” news / current affairs program, comedian / journalist Lee Camp occasionally uploads short rants … I mean, short talk pieces in a “Viewers’ Questions” series to the Redacted Tonight channel on Youtube.com. In this particular recent short piece, half of which is given over to answering viewer questions on other topics, he talks briefly about the current political upheaval and crisis in Brazil created by the publication of a huge trove of leaked documents and emails concerning the imprisonment of popular socialist-lite politician Luiz Inacio Lula da Silva in 2016. The documents were leaked to the online US-based news publisher The Intercept, specifically to Glenn Greenwald who lives in Rio de Janeiro.

The leaked papers demonstrate that the prosecution of Lula da Silva, running for Brazil’s Presidency in 2018, had been politically motivated with the aim of removing him from the Presidential campaign so that Jair Bolsonaro, representing extreme fascist political forces in the country, could win the election. The judge (Sergio Fernando Moro) who presided over Lula’s trial and the Operation Car Wash corruption investigations, of which Lula’s trial was part, was shown to have (illegally) worked with the prosecutors in their investigations that led to Lula’s conviction and imprisonment. As of the time of Camp’s piece, there were still documents being released that may reveal more about Moro’s biased and illegal interference in the proceedings designed to prevent Lula da Silva from contesting the Presidency.

The time allocated to this “Viewers’ Questions” episode doesn’t permit a detailed look at the recent political situation in Brazil and how that developed over time, starting with Lula da Silva’s previous tenure as President (2003 – 2010) and Dilma Rousseff’s subsequent Presidency which ended in 2016 with her impeachment, and what those two leaders managed to achieve for Brazil, that would have given viewers some background on why those leaders are hated so much by Brazilian fascists and their supporters in the middle and upper classes. Lula da Silva and Rousseff carried out programs of cautious social reforms and change that benefited the poor in a way that tried to accommodate the interests of the middle and upper classes, build political consensus and emphasise inclusiveness. However these layers of Brazil’s society turned against even this gradual policy of social reform and change, and through personalities like Sergio Moro used a wide-ranging criminal investigation of corruption in the country’s state petroleum company Petrobras (Operation Car Wash) to target and ensnare Lula da Silva and Rousseff.

The role of the United States government in assisting the fascists to target Lula and Rousseff might be relevant, in that the US ambassador (Liliana Ayalde) to Brazil at the time of Rousseff’s impeachment had previously been US ambassador to Paraguay at the time that country’s president was impeached in circumstances similar to those prevailing during Rousseff’s impeachment.

The rest of the episode is given over to Redacted Tonight viewers’ questions about topics from previous episodes including the possibility of Australian journalist Julian Assange’s extradition to the United States to answer to trumped-up espionage charges that could put him away in prison for up to 170 years! This topic in itself deserves its own episode, given that that extradition seems a certainty once Assange serves his current 1-year jail sentence in Britain for previously skipping bail.

While this “Viewers’ Questions” episode is informative on a superficial level at least, I do wish the entire episode had been longer to give its main topic a little more depth and to do justice to some of the other viewer’s questions raised.

Chan is Missing: a missing-person mystery dives into exploring a community and the immigrant experience

Wayne Wang, “Chan is Missing” (1982)

Would-be taxicab owner / driver Jo (Wood Moy) needs to purchase a licence enabling him to drive a taxi so he contacts a friend, Chan Hong, to pass on $4,000 to take to the relevant licensing authority. However Chan and the money disappear so together with his nephew Steve (Marc Hayashi), Jo travels around the Chinese community in San Francisco looking for and inquiring about Chan. What most viewers might imagine should be fairly straightforward turns into a veritable odyssey for Jo and Steve as each person they speak to about Chan has a very different opinion about the elusive man as to his personality and motivations, and a very complex and contradictory portrait of Chan develops. During the two men’s search for Chan, viewers learn a great deal about the nature of the Chinese-American community and the political tensions within it, the dilemma of the immigrant experience in a strange land, and the stereotypes and filters through which most Americans view Chinese-American people and their culture. As one character reminds Jo, Chinese people have lived in the United States since the mid-19th century yet however much they try to integrate into American society and be accepted, if most Americans do not accept them, then that is because America does not want to accept them.

Shot in black-and-white, this cheap and cheerful film partakes quite liberally from the classic film noir genre – in particular, the uncle-and-nephew sleuthing tag-team and Jo’s voice-over narration recall the Charlie Chan films of the 1930s – 50s in which the Chinese-Hawaiian detective occasionally ropes in his eldest son to help solve crimes. Jo and Steve visit a fair few eccentric characters in their quest, including a restaurant cook wearing a “Samurai Night Fever” T-shirt who is tired of cooking sweet-and-sour pork several times a day every day; Chan’s wife and wise-cracking daughter; Chan’s migration sponsor; people at a Filipino seniors’ community centre; an unseen Chinese immigrant apartment dweller who can’t stand other Chinese people; and George the English-language teacher who discusses local Chinese-American politics with Jo. A sub-plot revolving around whether Chan was involved in a flag-waving dispute over whether the Taiwanese flag or the flag of the People’s Republic of China should be used during a Chinese New Year parade, and which resulted in a fight and a man’s death develops and adds comic frisson to the film: later in the film, Jo discovers a gun and is frightened that Chan may have killed the man. At critical points in the film when a character talks about Chan to Jo, loud music blares out which blurs the conversation and adds to the mystery of Chan and his motivations.

The search for an elusive character who may not actually exist leads into an exploration of the diversity, individuality and eccentricity of a community that has long been viewed through filters and stereotypes encouraged by the news media and Hollywood culture. Jo and Steve’s quest ultimately becomes a quest for identity and connection with the culture and country of their ancestors, a country neither of them has visited. A number of film noir elements are brought in for comic effect in the film’s second half: long shadows in Chan Hong’s hotel room (enhanced by the monochromatic film); suspenseful, almost shrill and hysterical music; shots of Chinatown itself from behind the wheel of a car; and even a gangster moll in the form of Chan Hong’s girlfriend. The sequence in which Jo fears he is being followed by another car is an affectionate send-up of the Charlie Chan films which partly inspired this film.

Wood Moy as the ageing world-weary taxicab driver carries the whole film capably on his shoulders but Hayashi is just as effective as his impatient nephew and the cast generally acquit themselves well in a film where it looks as if improvisation in the story-line is the major feature and the narrative meanders at will depending on whom director Wayne Wang was able to rope into participating in the film.

It seems that absence does make the heart fonder, for a transplanted Chinese culture that is slowly disappearing as its generations age and pass on.

Investigating trauma and how a society deals with uncomfortable truths in “America in denial: Gabor Maté on the psychology of Russiagate”

Anthony DiMieri, “America in denial: Gabor Maté on the psychology of Russiagate” (The Grayzone Project, May 2019)

For two years from the time Donald Trump won the US Presidency, the United States has been gripped in a collective hysteria over his campaign’s supposed collusion with the Russian government to capture the nation’s leadership from his rival Hillary Clinton. It was only in April 2019 that Special Counsel Robert Mueller, after conducting an investigation from May 2017 onwards, finally submitted his report to US Attorney General William Barr (and published it in redacted form in April) in which he concluded that there was insufficient evidence to charge the Trump campaign with collusion or coordination with the Kremlin. The curious thing about Russiagate is not that this hysteria and obsession with Russian wrongdoing or interference in US politics existed at all but that it lasted as long as it did across the political spectrum, to the extent that nearly the entire nation believed in a rumour that, when exposed to light, had no legs; and moreover, when the rumour was exposed, so many people erupted in anger and disbelief and refused to believe that they had been deceived. Despite Russia’s protestations that it had never interfered in the 2016 US presidential elections, the lie continues; if anything, it has become a permanent part of the nation’s cultural belief set that Russia is continuing to undermine American politics, even when evidence can be found that other nations are trying to influence US politics and policy.

To this end, Grayzone journalist Aaron Maté sat down with his father Gabor Maté, a physician and expert on mental health and the effect that childhood traumas can have on future adult life, to discuss the Russiagate phenomenon and how the election of Donald Trump as US President was received by thousands if not millions of Americans as a traumatic and emotionally scarring event. The half-hour conversation between the two ranges across various cultural and social psychological phenomena that have shaped American thinking over decades, perhaps even the past two centuries, that have come together not only to predispose Americans into believing that a foreign enemy they have long been taught to fear is attacking them using underhanded methods but to invest considerable effort into maintaining that belief even when it has been shot down. Psychological projection of one’s own sins onto another, scapegoating, the cult of victimhood and that peculiarly American custom of reducing and personalising complex politics and history into one person and making that person the epitome of Evil, with the result that US foreign policy ends up focusing on taking that person out, leaving chaos behind once that person is gone and having either a vague plan or no plan at all for reconstruction and rebuilding a defeated rival country: these are topics discussed in a fairly cursory manner, with no examination of how such American characteristics might have arisen in the past, and what contexts and institutions helped to birth those characteristics.

Gabor Maté comes close to choosing Hollywood as a major source of the various narratives that encourage Americans to adopt quite infantile views of how the world operates, focusing on individuals with particular psychologies and powers rather than on the long-term sociological processes that shape individuals’ mentalities and careers and which push them in certain directions. In such narratives, people and nations are either Good or Evil, America is always on the side of Good and those who oppose America are always Evil, and Good always vanquishes Evil. For many Americans, Donald Trump is clearly Evil and so it is natural that he and that other personification of Evil, the Russian President Vladimir Putin, should have put their heads together and plotted to make Trump President. (Of course there are also many Americans who regard Trump as Good.) It is a pity that father and son Maté do not trace this thinking back to the days of the Pilgrims and other early settlers who compared themselves to God’s Chosen People sent to America to tame it (and exterminate the indigenous people who owned the land) and claim it for their own. The journalist and his physician Dad unfortunately do not examine the role of Hollywood, mainstream news media and education in constantly repeating the idea of America as God’s Chosen and Exceptional Nation, to whom all other nations bow down and regard as their spiritual and moral better.

The interview also ranges across the reality of America meddling in other nations’ affairs to the extent of choosing those nations’ leaders, forcing them to sack leaders America does not like or even carrying out regime-change activities that include violence, invasion and warfare. Robert Mueller, appointed to investigate Democrat claims of Trump’s collusion with Russia, comes in for examination as a saviour supposed to deliver America from the clutches of Evil by finding incriminating evidence that will suffice for an impeachment of Trump. People clearly had unrealistic expectations of what Mueller was supposed to achieve and the actual result would have been traumatic for them.

I would like to be able to say that the conversation between the two men was bright and scintillating but while some of the issues they brought up were interesting and thought-provoking, their actual conversation droned quite considerably and keeping up with their monotone without feeling drowsy was hard. Fortunately a transcript of the interview is available at The Grayzone Project website.

At the end Gabor Maté says that being disillusioned and facing the truth is much better than continuing to believe in illusions and risk being traumatised when the illusions do not work out the way they are expected to; but beyond seeing the truth, he does not say how people should come to terms with the truth and the trauma it causes, and how they should act on the truth and become more open-minded and less inclined to follow fantasy illusions promoted by Hollywood, governments, academia and the news media.

Exposing propaganda at work in “The Thom Hartmann Program: The American Destruction of Venezuela – The Real Story”

“The Thom Hartmann Program: The American Destruction of Venezuela – The Real Story” (21 February 2019)

In recent months, with the 2020 US Presidential year looming on the horizon, there has been talk of a set of programs and policies known as the Green New Deal (named after former US President Franklin D Roosevelt’s New Deal programs in the 1930s that invested in infrastructure construction and stimulated job creation and employment during the Great Depression) to address national issues such as failing infrastructure, climate change and its effects, unemployment and rising social inequalities across the nation. A major objection to the Green New Deal, usually lobbed by neoconservative politicians and think-tanks, is that its programs will lead to hyperinflation and economic / political instability of the kind currently (or supposedly) present in Venezuela under Nicolas Maduro’s Bolivarian socialist government. On this radio talk-show, host Thom Hartmann invited Dr Richard Wolff to discuss this objection and the real agenda behind the false association of the social-democratic policies proposed and the economic situation in Venezuela.

Much of the first half of Hartmann’s conversation with Wolff focuses on the definition of hyperinflation (a situation in which too much money is chasing too few goods) and how the phenomenon can occur in any political / economic environment regardless of the prevailing ideology. Wolff points out that the hyperinflation argument is trotted out in public to dissuade voters and even aspiring politicians (and presidential candidates) from favouring government policies and programs spending money on infrastructure construction and maintenance projects that would generate jobs and incomes – and thus more tax revenue – and help reduce social inequalities. Such programs, including a nationalised healthcare system, have their consequences such as reduced healthcare expenditures in the future (because the population ends up much healthier if health insurance is subsidised by the government rather than privatised). Wolff says the issue is that such government policies must be paid for by increased taxation, particularly taxation of the wealthy, and this is the issue that neoconservative politicians, talk-show hosts and think-tanks (and the people and organisations who fund them) object to.

The actual discussion about Venezuela involves a comparison of the people in Maduro’s government and the Constituent National Assembly, most of whom are of mixed ancestry, and the anti-government National Assembly, all of whom are of white European ancestry. Wolff makes the point that Maduro’s difficulties in governing Venezuela and steering the nation’s economy away from disaster stem from the old Venezuelan white minority elite’s determination to maintain its power and control of the country’s resources at the expense of the majority poor, and US sanctions on the country which include the freezing of Venezuela’s financial and other assets held in foreign countries.

The discussion is densely packed with information and jumps from one topic to the next, due to the restricted time allocated to Wolff. I daresay though that viewers and listeners will learn much more about the political and economic reality in Venezuela, and the US propaganda use of that country’s dire economic straits to browbeat Americans into accepting agendas that impoverish and degrade them even more than they currently are.

Redacted Tonight (Season 3, Episode #226): rehashing stories ignored by US mainstream news media

“Redacted Tonight (Season 3, Episode #226)” (RT America, 6 January 2019)

The first episode of “Redacted Tonight”, hosted by Lee Camp, is a review of the most important under-reported or unreported news stories of 2018 as determined by the long-running Project Censored. He starts off with reviewing Project Censored stories that have already been featured on “Redacted Tonight” such as a story on unaccounted US Federal government spending of some US$21 trillion from 1998 to 2015, and one about how large telecommunications companies claimed that mobile phones and Wi-fi networks are safe. The vast majority of the stories identified by Project Censored are particular to the United States and may not be relevant – at least, not currently – to overseas audiences. Camp smoothly segues from one story (about the opioid addiction crisis in the US) to the next (homeless people being bussed out of cities and across the US to improve those cities’ homeless population statistics) though he does not do the stories in the order Project Censored orders them on its website. If a viewer sneezes, s/he might just miss some stories that are fleetingly covered. International stories include New Zealand’s recognition of the Whanganui River as a living entity and entitled to legal personhood and legal rights; and a global decline in the rule of law as determined by the World Justice Project.

The way in which Camp wanders from one story to the next (and sometimes back to a previous story) may be a bit confusing for viewers and people are best advised to refer to the Project Censored website to find out more about particular stories in detail.

The rest of the episode focuses on investigative reporter Natalie McGill’s story on how private companies profit from prisoners’ communications with their families; and Naomi Karavani’s story on how the FBI recruited Best Buy Geek Squad employees to spy on Best Buy clients’ computer databases, encouraging Geek Squad employees to actively scout for child pornography to get free change.

As with another “Redacted Tonight” episode I saw, Camp has a shouty style (which goes up several decibels in the first couple of minutes!) which can be a little tiresome, though the humour can be very sharp and witty. I’m surprised the show has lasted as long as it has with its format and style of presentation and comedy.

My only criticism of Project Censored is that so many of the stories featured in its Top 25 unreported or under-reported stories actually seem to come from quite mainstream sources like The Guardian (increasingly a neoconservative cheerleader for US and UK government policies) and not from alternative news sources.