I recently critiqued Jim Carrey in the context of his mercury-based vaccine conspiracism which seems connected to 1980’s Soviet propaganda; as well as his positioning relative to the legacy of Hollywood’s Popular Front and right-left conspiracism as I see it as a factor in modern Russian information warfare. Today, I am going to delve specifically into Carrey’s career as an artist since 2011 which I only briefly discussed in the prior essay. I believe the analysis strongly supports my prior observations – but also highlights an interesting recurring theme of Carrey’s presumable mental health related to messianic tendencies (I suggest you do not call him ‘JC’ if you meet him in order to minimize this).
It seems that internet audiences were only recently introduced to Carrey’s art in the context of the short documentary – I Needed Color (which since its release in August 2017 has got over 6 million views at the below Vimeo link). It’s noF for Fake, but it’s worth watching to get a sense for the artistic ‘Passion of the Carrey’.
There is a new documentary called “Active Measures” coming out about Trump and Russia on August 31; I took notice of it since it is being distributed by the same company that distributed Anthony Bourdain’s documentary, “Wasted: The Story of Food Waste” (Super LTD films). It will be interesting to see if it is any good, since this is apparently the first documentary made by the studio ‘Shooting Films‘ (SF). Certainly I am very interested in active measures myself.
Today, I’m continuing my ‘fact shaming‘ series (see part 1here), and I’m going to talk about Michael Moore. Moore’s newest documentary: Fahrenheit 11/9 is coming out on September 21 and I think this is a great time to point out why Moore’s prior films (especially Fahrenheit 9/11) serve ‘communistic’ and/or Russian propaganda interests. One can expect this latest entry from the Russian propaganda ‘fat boy’ will be no different.
In an effort to expand my understanding of the film-making of Dario Argento, last evening I watched an Argento-produced-and-written film called The Church (or La Chiesa). It was directed by Michele Soavi, who has been a long-time assistant to Argento, and who is noted for taking inspiration from Sergei Eisenstein and Orson Welles – in addition to his mentor Argento.
Look, I’ve been pretty harsh on the left side lately, but I haven’t forgotten about you right wingers with your little brains and big guns. Herein I have set the Russian collusion NRA firearm culture players in a slideshow against the appropriate Johnny Cash song “The Devil’s Right Hand“.
On the so-far final episode of his CNN show Parts Unknown, the late Anthony Bourdain traveled to Bhutan with Darren Aronofsky. Introducing their trip, Bourdain said: “I’m here because of this guy, my friend, the film director Darren Aronofsky; fresh off the unjustifiably horrified reaction to what I think is his masterpiece: mother!”
As Aronofsky later recounted, there in Bhutan he and Bourdain had performed a “Bhutanese death ritual” in what Aronofsky described as an “ironic” reflection about his time spent with the late TV personality. In the end however, this story maybe should not seem so ironic at all, based on its ample connections to Communism and Russian occultism.
Roseanne Barr and Madonna Louise Ciccone (a.k.a. the pop star “Madonna”) have been two outspoken feminist and ‘postfeminist’ figures from the 1980s-present. At first blush, there does not appear to be a great symmetry between the pair – however there is actually a very strong parallel in their social networks and plausibly ‘communistic’ social activism as women artists.
While it is no surprise that feminists will often adopt leftist or Marxist critiques of power which emphasize the disruption of patriarchal gender norms – it is interesting to note that both Roseanne and Madonna have currently adopted post-Soviet narratives regarding politics and the occult which are connected to modern Russian Information Warfare, underpinned by (apparently) past and present ‘communistic’ influences. This may give the social ‘performances’ of Americans Roseanne and Madonna strategic value to Russia parallel to the work of anti-establishment postmodern Russian groups like Voina (War) and Pussy Riot.