Saturday, November 30, 2019

The Lion and the Unicorn... London Bridge is Falling

Since very late last night I have found myself censored from Twitter, unable to post anything with the London Bridge Shooting or London Bridge Attack hashtag… it appears someone reported me. I’ve hit a nerve with my questions.

By now I’m sure you’ve seen all the videos, or most of them, and have heard the official narrative about this latest ‘London Terror’ incident ironically putting the ‘Black’ into Black Friday.

There is a lot of info out there if you can be bothered to read through it. This latest story of bloody Mid-east terror intrigue to put the fear back into the population (for good reason, turning them away from their Brexit meltdown, or Royal controversy) has more twists than any best seller.

I’ll break it down into small chunks for those of my Tweeters that hate, so chew on this…

Cambridge University were holding an ‘event’ in Central London, at the Fishmongers Hall, north of London Bridge. It was a ‘Prisoner Rehab Program’ called something like ‘Learning Together’, where ex-cons and convicted terrorists attended together.

The first victim of the terror attack was Rehab Course Coordinator Jack Merritt (25) who was knifed somewhere in a downstairs room of the Hall, where other attendees then dragged the assailant, Usman Khan, out into the street. It’s not clear who or how the other (female) victim was killed. Nor is there, as yet, any information on the other victims who are apparently seriously ill in a London hospital somewhere.
Mystery victim
A convicted murderer (unnamed) was one of several people attending the conference who tussled with the assailant Kahn towards London Bridge and tried to stop him from going on a ‘rampage’ apparently. He is the man seen in videos ‘sitting’ on Khan moments before the Police open fire. Another man (unnamed) used a fire extinguisher to force Khan to the ground.

Another man, Polish chef (unnamed) had grabbed a ‘Narwhal Tusk’ from the wall of the Hall and use it as a weapon against Khan. He is seen in the videos holding something that looks like a long white pole and poking it at the assailant.

By the time this incident was in full swing, Police had cordoned off a large section of the city area, traffic onto the bridge had ground to a halt, Police had stopped a white lorry from trying to leave by doing a U-turn, and eye-witnesses on several London buses, and on foot, were filming/live streaming the incident only meters away, before armed Police moved them back.
The London Bridge location makes perfect headlines for the papers and is easy for an international audience to understand. Better than, say Westminster, or Tower for example. On viewing the videos posted during and after the incident, things begin to take on an even more surreal tone. Questions inevitably crop up.

The Assailant
Some of this if from The Guardian Online… “Usman Khan, 28, knifed five people before he was tackled and disarmed by brave witnesses and then shot dead by police at point-blank range.
He was armed with two kitchen knives and wearing a fake suicide vest when he launched his attack while attending the Learning Together event. Police said he acted alone.

Khan was a convicted terrorist released half-way through a 16-year prison sentence for a plot to bomb the London Stock Exchange.

He was automatically released on licence in December 2018 after serving less than seven years and wearing an electronic monitoring tag when he went on the stabbing spree.

In February 2012, Khan, formerly of Stoke, was given an open-ended indeterminate sentence for public protection over his part in an al-Qaida-inspired plot to bomb the London Stock Exchange and build a terrorist training camp on land in Pakistan-controlled Kashmir owned by his family.

A list of other potential targets included the names and addresses of the Dean of St Paul's Cathedral in London, then London mayor Boris Johnson, two rabbis, and the American Embassy in London.

But the sentence for Khan, along with two co-conspirators, was quashed at the Court of Appeal in April 2013 and he was given a determinate 16-year jail term and freed on licence in December last year and made to wear the tag.

The Parole Board said it had no involvement in his release and that Khan "appears to have been released automatically on licence (as required by law), without ever being referred to the board".

Khan, of Stafford, struggled as he was pinned to the ground until armed officers arrived and shot him in front of dozens of witnesses as traffic came to a grinding halt on the bridge over the River Thames.”
Knives out! And a small bag of white stuff!
The Undercover Cop, the Knives and the White Packet

So, things now become weirder as you view more and more material on the incident you will find some high-strangeness. Several plain-clothed Police officers just happened to be in the area and joined in to bring the assailant down. In one video, an officer is seen picking up a white package from the ground next to Khan and putting it into his left pocket. Moments later he grabs the knife from Kahn and moves away along the bridge shouting something to his colleagues and then to bystanders to move away. As he does so he removes the white packet from his pocket and throws it to the ground.

Throwing the nose candy?
The Taser, the Shooting, and the Instagram Video

Police are clearly seen with their guns drawn (possibly SIG516s) pointed right at Khan only meters away. At this point Khan is on the ground kicking his legs up in the air, he’s being held down on the ground by the (unnamed ex-con murderer). One officer holds a Taser over Khan. However, this doesn’t appear to have been deployed, as the Police pull the ex-con murder from on top of Khan, and bystanders move back. One armed officer then shoots Khan in the back of the head as he attempts to get up.
Interestingly, late last night a Twitter poster re-posts a video found on Instagram which shows another angle. The time is unclear, but Khan is supposedly lying dead on the ground with no one (no one visible in the shot) around him. Khan then appears to actually get up. The video causes confusion but corroborates eye-witness statements that ‘several’ gunshots were heard and not just one or two. Khan was presumed dead but was then re-shot to make sure – the video shows that this was NOT at point-blank range. This is the Instagram video reposted but now removed from Twitter and Instagram. All messages and posts surrounding this video have been deleted by the users. My Twitter timeline no longer shows the video, the comments around it and the name of the original Instagram poster have simply vanished.

While in the midst of full-on Tweeting comments and re-tweets were disabled around this. A couple of other tweeters were actively trying to save the posts and video but were unable to, watching them disappear in front of their eyes. Social Media censorship in full swing.

I attempted to comment on someone’s thread that I didn’t believe this was a false flag operation but rather something else that has been obscured by clever media manipulation. However, I was immediately blocked from using any of the related hashtags. My attempts to save the comments and video were to no avail.

Then Sky News joins the furore by Tweeting a clip of their documentary where they admitted that they were actually filing in real-time when the terror attack began:

The Sky News Documentary

This is the moment members of the elite Police Territorial Support Group responded to the London Bridge attack. Our Home Affairs Correspondent @skymarkwhite was filming with them when they got the call.”

As this is doing the rounds, other commentators state that there just happened to be a BBC reporter on the scene too, while others posting on the ‘London Bridge Attack’ thread with screenshots showing that the incident was reported online before it took place!
Time lapse?
This latest event ranks as one of the strangest yet. Some heavy high strangeness and synchronicity at work. The Narwhal tusk thrown into the mix, once thought to be proof of Unicorns back in the day, makes this a sort of fantasy fiction story, especially when you see that the Unicorn symbol, so beloved of kids these days, forms part of the emblem for the United Kingdom and on crests everywhere, including the London Police. The Lion and the Unicorn symbols full of esoteric meaning. The Police and the Public fighting a terror threat in full view of the world on a bridge in the middle of the most famous city in the world. You couldn’t write this stuff, but there it is on your TV news at two o'clock in the afternoon. Do you believe everything you see on TV these days?


Saturday, October 5, 2019

Joker Aside

Spoilers Abound
Forget dark knights and flying mammals, this is one sad/sick tale that ’al have you nervously looking over your shoulder in the day-time. It’s a reimagined Gotham City circa 1980. This is not from the annuls of the DC Comic Batman universe you know and love(sic). A stand-alone movie, Joker is a parallel universe much like the timeline disturbance of Back to the Future II, where that dark dirty violent world is actually your reality.

Writer/Director Todd Phillips and co-writer Scott Silver’s homage to movies Taxi Driver (1976) and The King of Comedy (1983) is obvious here. What’s not so obvious is the storyline and what it’s actually trying to tell us. Joker is subversive, perhaps one of the reasons it won the Golden Lion award at this year’s Venice Film Festival.  
Clown Wars - everything must go
Another reason could be Joaquin Phoenix as Arthur Fleck/Joker, the ultimate anti-hero. He puts up a mirror to the world and shows us that it doesn’t matter who you are, what you do, there are always forces with greater power out there. You beat them by destroying them and replacing them with something more powerful. Our protagonist Arthur knows the difference between right and wrong, Joker doesn’t, as he asks us to examine our heroes. Do we know who they are? The people we worship and love, are they worthy of our affection?

Arthur’s motives throughout are in fact honourable and good. He’s disillusioned he says because he doesn’t know he exists, but he also clearly advertises that he has a brain injury, while teasing the cops that he might not. His mother loves him though. (Frances Conroy as Penny, Arthur’s elderly mother, doing a sort of Room 237 prequal scene is so good here.) 
What happens to a mad man when he has nothing left to lose? Actions have consequences, however strange that may seem in this Joker’s universe, and those consequences lead to metamorphosis of a very menacing kind. Are we seeing reality from his point of view, is it all in the mind, just an illusion, a magic trick?

The way Phoenix handles Arthur’s depths of despair and the journey is awe inspiring too – from the nuanced looks to the way he smokes that cigarette, you gotta hand it to him, he’s as good as he was in ‘The Master’ (2012) and ‘You Were Never Really Here’ (2017). I had to look away at one ultra-close-up violent scene, as I’ve become squeamish to fake blood in my old age, not so desensitized yet.
Critics are divided on the influential nature of the violence portrayed in this movie. What can’t be denied is the orchestration and musical score, the soundtrack, complimenting a familiar skyline, that is not your usual superhero/supervillain landscape. Touching a little too close to home, where people wear their clown masks on the tube to demonstrations, like the 99% and Anonymous fans wore theirs once, while on their way to Manhattan or DC. The violence is straight from the streets of Paris at the weekend and Hong Kong last night.

When a dubious friend gives clown-for-hire Arthur a gun to protect himself, you know where that’s heading. The girl next door makes a joke about blowing brains out, you know where that's going, his idol takes him down on live tv… you know how that’s going to end up too. (Robert De Niro as Murray Franklin, who I’ve lost respect for, does a fine job).

Arthur writes in his daily diary that, “the worst thing about having mental illness is that people want you to act like you don’t”! This is the problem, no one is listening, but by the end of the movie they won’t be able to ignore him anymore. 
With titillating billboards lighting up the city streets, adding a comic touch to a tragic scene of murder and mayhem, the Joker is reborn. Culminating this surreal vision, Arthur Fleck is no more. 
The film reveals to us that we’re living in a sick world, and it’s no joke. Watch at your peril.

Sunday, September 29, 2019

There's Always a Joker...

We're All Clowns!

By pure chance I heard an song sung by Anthony Newley on the radio this morning, called ‘There’s Always a Joker’ (from 1965 movie soundtrack of 'The Roar of the Greasepaint). Listening to the lyrics got me thinking about the upcoming movie starring Joaquim Phoenix, ‘Joker’, which I hope to post a review of, as soon as it opens here in the UK.

Loren Coleman just posted on his blog, ‘Twilight Language’, about the possibility of the ‘Copycat Effect’ being activated on opening weekend of the film in the US (or elsewhere). Strangely, or rather, predictably, Joker symbolism is now all over the place and slowly permeating the imagination of the population.

I’m seeing correlations appearing in the recent entertainment news with up-coming movies showing a distinct synchronistic flavour. Just a small selection below...

Anthony Newley as the Mad Hatter, Alice in Wonderland

 'Pure Imagination' from Charlie & the Chocolate Factory was co-written by Anthony Newley
Johnny Depp as Mortdecai, also known for Charlie & The Chocolate Factory, and Alice

Here IT is again

Thursday, September 19, 2019

Ad Astra ultra

Once upon a time... in a Galaxy...

-Spoilers Abound-
My love of sci-fi had me chomping-at-the-bit to see this movie. As soon as it opened at my local cinema I was there, I left work early especially to be one of the first people to see it.

Now this love of sci-fi stems from many things in my past. Mostly a childhood built around outer space adventures, dreams of world-saving heroes, and seeking out the mysterious, searching for answers to life’s unknowns. The trailer for Ad Astra, or ‘To the Stars’*, seemed to tell of just such a space adventure.

My love for Brad Pitt films on the other hand, well that’s quite a different story. I lost my interest after Ocean’s 11 and it’s taken a while to rekindle. Angelina had a lot to do with it, but I digress…

Ad Astra gives us a glimpse into a ‘near future’ where entrepreneur extraordinaire Elon Musk’s vision of space exploration has come true. So, we have a Subway sandwich to look forward to on the Moon among other things. 

All is not what it seems in this latest tale of man’s thirst to discover new planets, and new life. With an opening scene to die for, and a premise to intrigue, Ad Astra’s hero Roy McBride (Pitt) is on a top-secret mission, a quite personal mission, with a remit to save the universe.

Some fine acting on show here from the likes of Tommy Lee Jones as H. Clifford McBride, and a personal favourite of mine Donald Sutherland, as a rather worn-out companion/handler Thomas Pruitt. 

What I found exceptional about the film is the fact that it is full of homage to many other films on the subject, from the reflective visors and orchestrated space-station moves of Kubrick’s 2001:A Space Odyssey (1968), to mirroring Planet of the Apes, to styling ideas taken in copy from Chris Marker’s, La Jetee, (1962), of which Terry Gilliam’s 12 Monkeys (1995) is based – coincidentally another movie featuring Brad Pitt.

This film is expertly executed by writer/director James Gray, with spectacular cinematography (a name and a half 'Mr Hoyte van Hoytema'). The action, when it comes, and goes, is thrilling, and you certainly want more of it, but as our hero approaches his goals, things turn dark.  Pitt is superb in the role for once, as he broods and mopes, stares into space, barely cracking a smile. 

Nothing beats that feeling of travelling through the solar system alongside our protagonist. The further away from earth he gets, the deeper into space he reaches, the more isolating and depressing it becomes. Earthlings are bad tourists, bringing their usual crap with them, when not at war, they’re disrespecting the environment.

With deep space comes deep sadness, ‘We’re all we’ve got’, Roy tells Clifford. There you have it, the denouement delivered deadpan by our hero, sealing the deal on this being one of the most interesting yet depressing sci-fi experiences. 

As a final note, I’ll leave a warning to any future space captains out there. When a national hero says, “You don’t need to answer that call”, listen to him, k?

*=Seneca: “Per aspera ad Astra.” Through Hardships to the Stars

Tuesday, September 10, 2019

The Mirror Cracked?

Once Upon a Time in Hollywood (2019) - The Autumn Queen
In the above screenshot we see Margot Robbie as the fated Sharon Tate dancing around her bedroom. After this shot, you get to see the mirror on the wall behind her very closely. I was speculating on why Tarantino chose to deliberately slow-pan the camera across the mirror. It’s a familiar mirror, dating from the early 70s, not really the 60s though. A lot of younger girls had/have one of these on their bedroom wall. They came in various sizes, with a multitude of designs copied from Czech artist Alphonse Mucha’s Art Nouveau collection, known as ‘The Seasons’, I had a smaller version of ‘The Summer Queen’. Here we see a very large version of ‘The Autumn Queen’, chosen perhaps to send a message? 

Mucha was influenced by symbolism and by the social aspects of William Morris' Arts and Crafts Movement in England during the early part of the 20th century. He gained notoriety with his work co-mingling art deco designs with advertising of the period. He even designed Paris’ Metro-station signs and billboards. It’s interesting to note that Alphonse Mucha, apart from being a renowned painter, much copied and re-printed, was very active in his native country as a member of various secret societies, and a high-ranking vocal proponent of Freemasonry.

Tuesday, September 3, 2019

Once Upon a Time in Hollywood (2019)

Wise guys and Convertibles
As I've now lost access to my own movie review blog of old 'Celluloid Seduction', I've posted my spoiler-light film review here. Comments welcome!

There’s a clue in the title, Once Upon a Time... is a fairy tale, a modern Grimm, where truth and fiction mingle. The trouble with Tarantino’s latest fable is that there isn’t much of a moral to the story and his monsters, witches, and princes, are actors with ‘use by’ dates. 

It’s April 1969 in sunny California. In the background of the opening scene, a car radio blurts out a news report with familiar names from the era. Sirhan Sirhan has been sentenced to death for the murder of Robert Kennedy. 

Our protagonist (Leonardo Di Caprio as fading actor Rick Dalton) and sidekick in sideburns (Brad Pitt as his stuntman double Cliff Booth) are has-been players in the fickle world of cinematic entertainment, about to get their just rewards as they calculate their headcount of fictitious ‘kills’. 

If you are a Tarantino fan there is no doubt you will enjoy this latest offering, and it’s clear to see QTs love of Hollywood shining bright. From the billboards and lights of a dozen old cinemas and theatres strewn through a 1960s Hollywood. He delights in taking the viewer on a wild ride courtesy of a fast convertible screeching around corners, passing famous mansions, through the Hollywood Hills, well before the seatbelt was compulsory.

Familiar faces pop up here and there, familiar themes of buddies on a mission, baddies with a plan, and some indulgence in revenge for the ‘what might have been’. There’s even a bit of lazy storytelling, where a few minutes of narration fills in for a missing half-hour of plot, segmented between some genius scenes of Hollywood irony.

Regarding that plot and characterization, well as the story goes, this is old Hollywood meets new age and the so-called swinging-60s. If you remember them, you were never there. It’s clear Tarantino remembers his childhood and love of teatime TV Westerns, and hippie music, and movies about Nazis, and Asians, and very, very high-cut denim shorts and… feet. I’ll leave you to ponder that one.

Without giving too much away, Once Upon a Time in Hollywood is billed a ‘comedy’, which on the most part it is. Simmering along the edges of the film, reflected in mirrors and windows, not quite taking us there, the news headlines we all know (Manson Cult/Sharon Tate murder). The sinister creeps in, together with the absurd, as the mind of the viewer is toyed with, made fun of, and generally left traumatised by the experience...
Pure Tarantino.

Friday, August 16, 2019

Lost Nora and Dora in the Golden City of Predictive Programming

Dora and the Lost City of Gold (released 16 Aug. 2019 worldwide)
Warning: this latest post may offend - approach with caution!

You may be familiar with recent sad news of an Irish teenager (Nora Quoirin) who was reported missing in Malaysia while on holiday with her family. On the morning of her first day at the Seremban Dunsun resort, on Aug. 4th, in a remote area of the Malaysian Titiwangsa Mountain range, she mysteriously disappeared. Police believed she may have exited her 1st floor cabin bedroom through an unlocked window, and vanished into the jungle. This despite her reported physical and mental limitations was the official line. Her parents stated to the contrary, that they believed she had been abducted. A widening search ensued to locate her, with rescuers, law enforcement and locals searching 24/7 to no avail.

These events have been documented extensively, and updated constantly by the British media, and on the 13th Aug. the predicted and tragic outcome to this was announced. Nora was found deceased near a waterfall in a dense jungle ravine, only a mile away from the resort. A location which had been previously searched to the astonishment of all.

The British tabloid press has been busy with headline after headline about this heart breaking story. I have wondered if perhaps there was a diabolic element and synchronicity at play with this traumatic event thrust into the public's psyche.
In an undated photo released by her parents, Nora stands near a waterfall (this was prior to her being found)

Nora wandering ALIVE for a WEEK before she died from internal bleeding caused by starvation after she got lost in Malaysian jungle, post-mortem reveals, as police say there is no sign she was kidnapped 

Nora's Irish aunt and cousins
Nora Quoirin's family 'still think she was abducted from Malaysian resort

Dora the Explorer... in the Jungle (2019)

Man who found body thinks she walked through river
A scene from the newly released Dora and the Lost City of Gold  

National deputy police chief Mazlan Mansor had earlier told reporters at a press conference that a body which "resembles Nora" had been found. He said the body "was not in any clothings".
A still from Dora the Explorer in the jungle cartoon
Elite commandos join hunt for missing girl, 15, in Malaysian jungle

The strangeness of Synchronicity comes into play with these images married to the Dora the Explorer live-action movie release and the reports of this missing girl named Nora.
The 'Shamrock' laden Golden City Restaurant, KL, Malaysia 

The below written by Dahria Beaver, Ohio State University, (2018)
Predictive Programming is theory that the government or other higher-ups are using fictional movies or books as a mass mind control tool to make the population more accepting of planned future events. This was first described and proposed by researcher Alan Watt who defines Predictive programming as “Predictive programming is a subtle form of psychological conditioning provided by the media to acquaint the public with planned societal changes to be implemented by our leaders. If and when these changes are put through, the public will already be familiarized with them and will accept them as natural progressions, thus lessening possible public resistance and commotion.” (Wood)