"Assassinated" Arizona congressional Rep. Gabrielle Giffords is UNDEAD

She has become Ligeia, every simultaneously living and dead character straight out of Poe's short stories. The press disagrees all over the place: She's alive, she's dead, she's in critical condition--no, no, wait, she's dead, really, we mean it this time, really.

Welcome to the (mis)information age. One story has it that she's alive one moment, the next, that she is dead. No one needs to be told to jump to conclusions when the press has already done it for them in this era of instant gratification.

Nothing is true, everything is permitted--under copyright law. Welcome to the 19th century, it's back, and everyone's an expert on anything you can name, regardless of whether they have any credentials or not.

Breaking News: Gabrielle Giffords is undead, undead, undead, undead...

http://news.google.com/news/story?hl=en&q=Arizona+congresswoman+dead&um=1&ie=UTF-8&ncl=dyWPwW5FGhNgspMMUxFOa5u4-U5_M&ei=vMkoTZ6OOISq8AahufT8AQ&sa=X&oi=news_result&ct=more-results&resnum=1&ved=0CBkQqgIwAA

"You can't change the world"

WWW--Ever heard of global warming? Economic development? You know, I was hoping to change the world by lunch tomorrow, but I can't fit it into my schedule--could you do it on the way home? And get some milk too? Thanks. I can't think of a better example of a straw man argument than that one. You express outrage over the way things are and you automatically get branded Superman, the messiah, the one who's supposed to fix it all. You know: daddy. I'm not saying everyone who pulls this kind of a move is being dishonest on purpose; were it that easy.

This is all about will which the status quo at least shows, as destructive as it is. One should hardly be surprised at their contempt for the victims that don't fight back. "Can't change the world?" They never heard of it, there's no such thing. What does someone mean when they say it then? That they feel powerless and that they've given up on doing anything at all. And who said confronting power had to be unpleasant? I'm having a very entertaining ride, yes indeed, it's not boring.

It's very simple: either you've accepted the mantle of victimhood, or not. If you reject it that then means you have to make some kind of effort at thinking about your place in the scheme of things and what you might have to contribute to the struggle against unaccountable power everywhere. That's inconvenient, a cardinal sin in a consumer society, so it's all on the "complainer." That's skyhigh B.S. and a defense mechanism.

Contrary to what some say, this does not mean that the entire fate of the world rests on your shoulders, a contention that needs no further comment. In other words, this is about getting real, which is the last thing most Americanized people are capable of. When you express hope for change and the fact that citizenship is a lifetime responsibility, you're reminding someone who has given up that they've copped-out and they're being irresponsible. The world is broken-up generally into "hawks" and "doves," victims and victimizers. That's not happy wisdom, but there it is. Struggle is eternal, accept it, or it will come looking for you one day.

Why else would someone irrationally put the entire onus on you? Now you understand the meaning of the term "working stiff." Dead man walking, dead man walking, dead man walking...

Night of the Living Dead: The "lost" scene, a fictional and political allegory of our times

Ed.--This was brought to my attention by a little bird who "claims" it's a "lost scene from the original Night of the Living Dead screenplay," circa 1968 (Click to enlarge). I make no claims as to its authenticity, or that of our current president...

Coming soon: A fictional satire on our new president as seen through the eyes of an imaginary George Romero, circa 1968!

WWW--Yesssssss, it's coming, so be forewarned. Our imaginary researchers have found what appears to be a missing scene that was removed by George Romero and John Russo from an imaginary version of the original screenplay because...you'll see. Duane Jones, RIP. Let's just say that President Obama is no Duane Jones, here to save the day.

Back in February, I had to at least give our new president a chance, and he's delivered in a few areas, but otherwise, he sucks, he's just another shill beholden to Wall Street and the rest of the cuddly people who are catapulting us towards a man-made Apocalypse (can't lose those privileges!).

1968: the year that I was born, a year of incredible ferment that's sure to be dwarfed very soon, regardless of what road we decide to take as a nation and a species. That wall is fast-approaching...will the Black guy board-up the windows and tell the Goldwater moron to get back into the basement? Nahhh, Obama's too "reasonable" (meaning he's full-of-shit...).

There was only ONE Duane Jones, ever.

Barack Obama is Duane Jones and we're inhabiting the plotline of Night of the Living Dead

A'murka--The above statement is so true. We're faced with an unprecedented economic crisis--the zombies are crashing the doors down--and all these clowns can think of to do is to go hide in the basement because "it's safer."

These goofballs are as reckless and nuts as that bald Goldwater moron in George Romero's original "Night of the Living Dead," it's uncanny, astounding. It's life imitating art. Where's that post-9/11 bluster from all these "patriots," all those people beating their chests about how strong America is and displaying their "pride" with their "Support our Troops" bumper stickers? They're hiding somewhere, someplace, at some undisclosed location with Grover Norquist and some quaking Libertarians.

But you do this when you're out of your depth, when everything you held up as true was shown to be a dumb lie, and that you don't have any answers to the mess you've gotten yourself and your family into mainly because you're a pig-headed ass. Look at how scared the bald moron is in NOTLD sometime, it's almost as pathetic, fear-inducing, and hilarious to watch as the old man that rose up screaming, "There are socialists taking over!" at a 2008 McCain rally. Pathetic. Moronic. Ignorant. Dangerous.

Dangerous? Yes, dangerous. Dangerous because these clowns could take the rest of us down with them in their supreme idiocy and selfishness. They are little people, spiritual descendants of lynch mobs, just like the asshole who gets everyone killed in NOTLD--except Duane Jones--and he's killed by racist rednecks. Is that how we want America to end? Dr. King asked in the title of one of his books, "Where Do We Go From Here: Chaos or Community?" What's it going to be America? Are you going to hide in the basement--selfishly, in a cowardly manner--or go and face the problems reasonably and rationally? It's time to be Americans, the moment calls for it.

And thank God: at least we have Duane Jones at the helm and not a frightened, balding old conservative fool. It was a very close call, which is why the current misbehavior from the right should be no surprise at all.

Postscript, 08.02.2009: Hey, I had to give him a chance, but it appears he's decided to side with the crazy fucker in the basement--you know, that whole "go down in flames" meme appears to arouse him as it tends to when someone gets a taste of power and they have already have their head rammed fully up their ass. But hey, he's given me a new idea for a satire...

Grindhouse: Double Feature (2007) review

This was far better than I expected, and is probably the best deal for your money in 2007. I don't think I've seen a double-feature in over thirty years, so this was a real treat. Robert Rodriguez and Quentin Tarantino have made classics here with "Planet Terror" or "Death Proof," making some great additions to the b-movie universe.

As everyone knows by now, there are also trailers for fake-movies, and so, this review will cover each one of them as well. Remember: people used to make out and/or have-sex in the theaters while the originals were playing. They didn't usually bother to watch them--hence the term "grindhouse." I know this because I witnessed couples "doing it" in theaters back then.

"Machete trailer" (director: Robert Rodriguez): This was an obvious homage to all the revenge pictures, and some of the "Death Wish" rip-offs. It's about a Latino hired-assassin (the great Danny Trejo, who's been in almost every Rodriguez movie) a man betrayed by his latest scumbag employer (played by Jeff Fahey). Naturally, they almost kill him in a set-up, but he survives and gains a sidekick in a Catholic Priest (Cheech Marin!!). Hilarity ensues, and the voice-over is as bad and funny as all those real grindhouse trailers. Keeping-with the aesthetic of "Planet Terror," it has the scratchy-print look, frame-jumps, and crackly-sound. I loved it. Rumor has it that this is being lensed now for a direct-to-DVD release when Grindhouse is released to the format."Planet Terror" (director: Robert Rodriguez): Many reviewers have said this is the best-part of the double-feature, and I'd have to agree. That doesn't mean Tarantino's "Death Proof" isn't great, however. Most horror fans will find this satisfying: a biowarfare chemical ("DC-2") has been released and is creating a contagion of infected zombies who are...wow, pretty-disgusting. They're basically becoming swollen pus-bags that are mutating and decaying all at once.

Then, there's the military convoy that ices some Indian scientist who has something they want. He collects the balls of other men, and carries a bag of them around! Most of this is an homage to George Romero and John Carpenter, and there was even a scene where James Brolin's psychotic doctor character gets slimed that has a musical cue from Escape From New York.

In addition to being an homage to Romero's and Carpenter's films, this is a tribute to all the Italian knock-offs, like "Escape From the Bronx," and Sergio Martino's "2019: After the Fall of New York" (1983). Tarantino's cameo also has a reference to Lucio Fulci's "ZOMBI" (1979). You'll know it when you see it. Then you have the chicks: Rose MacGowan's go-go dancer character is pretty bizarre (and hilarious), while Bruce Willis's part is small, but crucial. It's a bigger part than most reviewers have reported, and he shines.

Jeff Fahey is excellent as the Texas BBQ chef, the brother to Michael Biehn's (Terminator) "Sheriff Hague." Overall, the characters are well-drawn, and we see just about every cliche of this kind of movie in Planet Terror. Best of all: we get the misogyny of the b-film with the addition of a feminist response. The women are the heroes here! This theme continues into "Death Proof" with its ending that this writer believes is the death of the "frail woman" in the movies.

I was impressed! The final scene with Bruce Willis even has a little offhanded political-statement to it about the war on terror. I won't spoil it for anyone. Pure horror bliss, and possibly a classic in its own right. Great for the intentional plot-holes, dopey dialog, and a woman with an assault rifle for a leg. Hilarious and satisfying! What could be more terrifying than the two Hispanic babysitters? Be honest.
"Werewolf Women of the SS trailer" (director: Rob Zombie): This was just kickass! Udo Kier (Blood for Dracula), Bill Mosley (Texas Chainsaw Massacre 2, Rob Zombie's Halloween, etc.), Tom Towles (Fortress, House of 1000 Corpses, Henry Portrait of a Serial Killer), Sherry Moon, and Nicholas Cage in his best performance since "Red Rock West" (1993)--this little faux-trailer almost beats the features! This is an obvious homage to the "Ilsa She-Wolf of the SS" movies from the 1970s, a guilty-pleasure! Visually, this is probably the best there is in Grindhouse, which is saying a lot, and it must have cost a fortune. Classic.

"Don't" trailer (director: Edgar Wright): This was funny, and looked like an homage to "Hell House" (1973) and "The Haunting" (1963), but really is just a great example of how wrong-headed marketing was in the glory days of the grindhouse. Alternate-titles were often picked by the distributors, rather than the filmmakers, and so you got movies with names like this! I'm guessing this is an indirect-reference to Mario Bava's "The Whip and the Body" (1963), which had the unfortunate American title, "What?". Yep. Pretty funny.

"Thanksgiving" (director: Eli Roth): I think every horror-fan knows who Mr. Roth is by now, the director of "Cabin Fever" and "Hostel." I love this guy, and his movies are respectable additions to the horror and thriller genres. He really has the same love for b-movies as Tarantino and Rodriguez, and he belongs here just as Rob Zombie does. This was pretty offensive! Of course, that's why it's good, and you're going to have to see this with your own virgin eyes. Word has it that it was this trailer that almost scotched an R-rating from the MPAA. Excellent, and an homage to "Black Christmas" (1974) and many others. Did I say it was offensive? Classic.

"Death Proof" (director: Quentin Tarantino): The reviews of this are unfair. Most of them have said that the movie here is too dialog-heavy, which isn't completely true. Besides, isn't that like saying Fellini's films are "too carnivalesque"? Imagery aside, dialog is why Tarantino is liked so much--dialog! The characters here are just so well-drawn, which is crucial. You have to know these characters first for their impending-deaths to mean anything, and you have to like them at least a little so that you fear for their lives. Yes, Tarantino is commenting on other hot rod action movies, but we're still watching this for characters and for story.

We're introduced to a stable of girlfriends who are extremely mouthy--this is inaccurate?! I've overheard young women talking like this ferchrissakes! So did Tarantino, apparently, and he reproduces the speech of these kind of chicks accurately.

He's done his homework: the dog sure didn't eat it. What most viewers forget is that many of the b-movies were like this: you had to wait for the last-third of the film for the payoff. You necked during the first 2/3rd's. And are the chase scenes great? They might just be the best ones lensed since Sam Peckinpah's "The Getaway" (1972), or even "Bullitt" (1968), or even the excellent "Cannonball" (1976). It's also true that Kurt Russell isn't technically the "star" of Death Proof--the ladies are, and the serial killer known as "Stuntman Mike" has likely overstepped himself targeting a group of stuntwomen.

Russell's barroom scenes are superb, and you can tell that Quentin Tarantino has waited his entire life to write dialog for Kurt. Nobody, and I mean nobody, delivers lines like Kurt Russell. And what a treat this segment is for lovers of muscle cars!! If it's not a classic, it sures comes close. Quentin's next movie will be a remake of Enzo G. Castellari's "Inglorious Bastards" (1977), one of the best b-movie takes on WWII ever (outside of Sam Fuller), and the best rip-off of "The Dirty Dozen" (1967).

Strangely, Tarantino's Death Proof doesn't utilize that many of the scratches, frame-jumps, and the audio-dropouts that Rodriguez's does. It does have the "missing reel" aspect, however and it's pretty grainy in parts like. Not bad. Not bad at all. I cannot wait for the DVD, and expect multiple-editions. In some countries, each film is getting released separately in longer cuts.