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  • 307129.2133

    Seymour Hersh's detailed autopsy of the official tale of the death of Bin Laden, if true, dissolves the common view: a brilliant piece of detective work aided by torture - capped by adernaline soaked early morning gunmen. Instead in Hersh's account there are no stacks of hard drives and techies, just a few diaries. No courier to lead them back to the compound. All that hardnosed analysis and groundwork was an illusion in the CIA's myth. In his telling, there wasn't even a risk for the Blackhawks crossing the border from Afghanistan. UBL's sale was approved by Pakistan Intelligence and given wide berth, including team passage across radar monitored areas. In Abbattobad, Bin Laden was carefully watched, and wasn't allowed to lead any underground. The city is, after all, the intelligence community's second residential city. And now, it seems preposterous to think the mastermind of Al-Queda would hole up in a military elite locale like Abbattobad: in Hersh's narration, the city gave him up. On the night of the raid, the neighborhood Bin Laden resided in had its power shut off, surrounded by families tied to the inteligence and military academies. Obviously Bin Laden would never have chosen to be here. Nor was he even a moving target. According to Hersh, Bin Laden was no longer spry, but a man in bad shape healthwise. The strangest of all is that Bin Laden was sold by a walk-in to the U.S. Embassy in Islamabad, and that his presence, though never verified visually, was easily proven from DNA samples by a team of American investigators housed in-country for the op. Price for the intel? 25 million reward fee and the op's cost. And a cover story was planned, pinning Bin Laden to the Hindu Kush mountains. Scheduled to emerge the week after. Problem? The copter crashed, and was potentially ruinous to the cover story. So Obama rolled the dice and got reelected. 

    With Hersh's story more than likely plausible, running through Zero Dark-Thirty means living inside a CIA fantasy version of it. One concocted, even triangulated through two ex-SEAL accounts of the raid. The weirdest part would be the alternate version that comes out about now, if the Blackhawk had never bonked. Hersh would be denouncing a far more effective story, set in a remote, empty area of mountains, and telling us about UBL's Abbatobad compound, which would sound ludicrous and absurd. And at that point, it would be long erased by bulldozer.

    Here the myth is far less believable. And makes us wonder, how did we even start believing the story of a master terrorist, hiding in plain sight, never viewed.

    footnote: The guards surrounding Bin Laden were ISI (Pakistani), and were there 24/7. They were told once they heard the roters coming to split. Bin Laden was left unarmed for the raid. 

     

  • 307128.1211

    As a mythology, the Marvel Universe is theraputic. It's here to help us (the U.S.) process the aftermath of 9-11 and the subsequent wars we sought vengeance through. Nobody really misses the point with a group of security obsessed, tight-wearing superheroes proclaiming themselves "Avengers." What are they avenging?

    In mythology, murder and destruction are taboos made sacred by the sacrifices of the protagonist: with the primary scarifice being isolation. Nolan's Batman is the only comic book character in motion who enacts this violence as ritual. He is a loner by nature and though he's rescued by sleight of hand by the end of Rises, we believe he dies alone.  The Marvel Universe, however, has its lead serial Iron Man announce his identity as a mission statement. These heroes aren't going to hide, nor will they brood too much. M.U. insists on blending 1950s values of family (Guardians and Avengers, Parkers vs. the Osbornes) and sex-roles with taboo carnage and death so that none of the outcomes can be read as sacred. Instead a false family is born, a criminal family not unlike other families that practice violence in myth (like the Corleones). They are somewhat empty tales, usually ignoring the psychic role violence plays, and so they erase the sensations of collective responsibilities from audience minds. Why are they here suddenly, and why are they so successful? The films are essentially mental degaussers that absolve resposibilities for the carnage we've turned loose on the world under the guise of liberating dictatorships in the past 15 years. We are the empire, share this moniker with the other world powers. We practice warfare without sanction, kill chosen by drone. And we seem to be unaware of how this is perceived on the world-stage. And the Marvel Universe might help us to remain blind to our self image. Certainly the last Avengers was a 'world-stage' battle.

    Time for new mythologies before it's too late.

    Some back-up: Damien Straker's Ultron review http://www.impulsegamer.com/avengers-age-of-ultron-3d-film-review/

     

     

  • 30738.0048

    After wandering in the desert of adaptation, The Wachiowskis finally return to their self-designed micro/macrocosmic battles; the Earth's Chicago stands tall as the simula CITY did circa 1999 (aka The Matrix) whose macro was a dessicated, darkened wasteland where things moved mechanically only in a city made solely from machines. Here live the rulers of humans of CITY, and lo, they ruled as well, indirectly, over the escapees in ZION. "There" actually came out in 1999. "Here" in 2015 the macro is a galaxy sized madhouse where all embedded earthly conflicts between ownership, class and animal kingdom are magnified and spliced genetically into a swampland of data and potential plastic toy figurines. It is 'out there' the rulers of Earthly humans live, and like the blank citizens of The Matrix, we too live unaware of their rulership. Essentially the same dark satire of The Matrix that veers into kinetic comedy. The mechanics of Lucas's prequel trilogy blended unevenly into The Matrix's liberation theology from unseen imprisonment. When it works it's great (scenes minus dialogue), think of the looney Fletcher Hanks photographically under more stable hands. Fights, aerial and zero-g battles are top-notch, the battles feel effortless and swift. That first dogfight above Chicago is stellar to its end, an 8 minute battle is gone in seconds. And moments of the space arcadia work, but the shifts in tone are out of tune. We know these siblings can hack it, but the light tone they've embedded since Speed Racer doesn't fit. We know how dark it is out there: The reveal of Jupiter's eye as an industrial smokescreen for the Abrasax empire's chokehold on life-giving serum is a typical moment underplayed, left strangely unnoticed by the editing. There's a moment that should be bringing the paradox home, relatively, instead it's merely a spot that Channing Tatum's Cain Wise has to go to "get her."  When it doesn't (work) - Marxist theory meets pulp comic - it turns into a pummeling, chuffing out of control train that's managed (somehow) to tie you to the tracks before it runs you over. The problems lie in the constraints (both for the audience and the onscreen Earthlings). The Matrix was perfectly imagined with ingenious limitations in mind (obviously: a simula starring dreaming humans that still must walk and drive to work), Jupiter stretches the opposite tack, where anything goes and it goes overboard. Eye popping 'scapes, feats of physicality that defy sanity, feats of tone that defy deliverability. And no one seems to be able to explain why Earth is so valuable, why the universe's queen spends a day in bureaucratic hold-ups, and why protocol and deception can't beat pure and simple assasination. The Wachiowskis should be the first to know that going all the way isn't at the root of entertainment. Spectacle needs a certain amount of withholding to pop. Otherwise it fizzes. 

    Only on Earth could you see a film like this. Physically legible only in IMAX.

     

  • 308359.0917

    Manucher Ghorbanifar was an arms trader during the heady days of the Reagan administration. The Executive Branch fiasco known as "Iran-Contra" was led by men who devised a new import-export system for dangerous times: the exportation of U.S. arms (proxied by Israel) to Iran and the importation of hostages (proxied by Iran) from Lebanon to the U.S. A scheme so elaborate it was bound to collapse, exposed by a dissident within the Iranian ultraconservatives who despised the two-faced nature of the realpolitik. Manucher was both duplicitous, failing every lie detector test the CIA gave him, and indispensible, rehired after every failed test to continue his shady work. Was he an Israeli agent or an unaligned profiteer, history has been unable to solve the puzzle of Manucher...

  • 308352.2235

    Trailer for the presumed Episode VII bookends the awakening John Boyega (as a Stormtrooper gone AWOL) with the title itself. There's a good possibility he's been inhabited by an overload of midichlorian (gives him headaches, visions, you know, 'can't sleep' kinda thing). That means he's half of the title role, an anonymous trooper gone light-side's head of the class. Is he Skywalker's paderwan? If yes, he'll be clashing with Driver's "red sword."

    The trailer hints that Abrams has his color-wheel work under control (just notice the interplay in hues). Maybe we'll finally get to see the effect of all that TV work. His MI3 was entirely watchable, even with its existentially overwrought climax. Not a pure kineticist/jokester like Brad Bird, Abrams tries to build family tales; he peers into collapsing connections then reboots them by films' end.  When the action gets heavy the storytelling gets mired (as does his sentiment), and there's the question. Will the endless caravan of the space opera sharpen his skills? See it next December.

    Kasdan is Abrams's secret weapon. Leigh Brackett's swashbuckling overkill of a first draft in 1978 allowed Kasdan to extract Empire from both Lucas's storyline and Brackett's characterizing. Now both he and Abrams are leaping over another character heavy first-draft try (Michael Arendt's). The Disney(Pixar)-Lucasfilm pairing has terrifying potential to alter visual media. Remember Pixar was instigated at Lucasfilm, sold to Jobs for pennies, grown into a genre by itself, and sold to Disney - in-turn making Jobs its largest individual shareholder. Now Lucas follows Pixar into the fold. From staunch independent to Fortune 500 in 30 years, the polar opposite arc to Coppola.

    Visual extract: Ep I-III & Ep IV-VI are copycat visual-mirrors of one another (one hint of many, both middle films travel to cities separate from land and set high in atmospherics - above water and clouds. Physically resembling one another, Bespin and Kamino are places Boba Fett escapes from using the same ship, Slave I.) Let's hope the visuals rule again. 

     

     

     

  • 308255.2158

     

    This helical book, struggles and always succeeds in contrasting the perceptions of 2001 with our later cautious distance. As many events as possible are demythified one by one. A psychic process of flipping the sacred and relabeling it profane.  It reads far more like Kafka than any Kafka book, showcasing freely talking suspects who are then put into torture conditions who then tell their torturers everything they want to believe, and then some. Non-existent ties to Iraq are suddenly strong connections to Al Queda, a non Al-Queda security person (with little allegiance to Bin Laden) later pretends to personify a jihadist. A suspect thought to be the number three man in the group's hierarchy is discovered, after lengthy hospitalization and subsequent waterboarding, to be a mentally ill, delusional travel-agent for terrorists with little operational knowledge. A judge rules the Marine base at Guantanamo as beyond the legal reach of the US on a technicality, allowing the government to perpetually hold suspects. A man in Guantanamo so old the guards name him "Santa Claus Queda." The book exposes our chaotic and lackluster ability to see clearly in times of great stress. Of multiple pivots that hinged world diplomacy together, the US blew away many that connected east and west, isolating itself, largely from the reactions to Bin Laden's planned strikes. Like a drunken, paranoid thrown off by a bottle hurled at it from a crowd, the US is punching in the dark. Here's the manic proof. An FBI Agent almost jokes that he's trying to prevent "an airplane being flown into the World Trade Center." In his custody is Zacaraious Moussaoui who asked to simulate 747 flying without ever having flown a plane.  A microbiologist, sent an FBI questionaire to help identify possible anthrax suspects, fingers USAMARID pathogen scientist Bruce Ivins. A former stalker of hers, whom she suspects defaced the sidewalk with her sorority letters, Ivins happened to call her weeks after the anthrax events after having not spoken in 13 years. The FBI dismiss her suspicion, because: "Ivins was the researcher they'd brought all their evidence to." The PENTTBOM and anthrax cases might have been the most preventable and solveable events in a system of merely normal detective work. Beyond the detective work are the judges, who skirt precedent after precedent. Spine chilling laxness is viewed in the corridors of power, where information is used purely in the service of warmongering, rather than pieces of evidence that required confirmation. A will to believe in 'evil' conjures our own mask of evil.

    A must read in these very times; get a grip, and group us against only the atrocities, not the unilateral mistakes all superpowers make. 

  • 308235.0450

     

  • 30855.0716

    Twitter's best attribute is its 'newsgroupthink,' which lets the user DJ as many services as possible, unearthing what would be highly stable research individually, and combining it with other sources, even fields. These two articles below both deal with differing ideas of Norse mythology and statistics. One is from a past, histories that actually unfolded (like the Illiad) and was then encrypted into mythology. A recent statistical study deciphered these ancient myth's social structure of its characters and found them to be realistic. The research suggests the myth evolved from real events and real participants whose tales were structured into posterity and have lasted time until now.

    The other is from a highly technological present, the on-line game EVE, which was designed by Icelanders and offers a tabla rasa galaxy as a playing realm where users create their own saga against the vastness of space. Statistics are evidenced at every level of EVE and help users to become leaders and warriors of any number of types and qualities. Mythic events take shape as players evolve the game beyond the basic rules of diplomacy and subterfuge is employed. Both articles have numerous crossovers.

    Viking sagas decrypted through stats: http://nautil.us/blog/vikingstheyre-just-like-us-social-networks-in-norse-sagas?

    Stats help build online game Eve: http://www.polygon.com/features/2014/2/24/5419788/eve-online-thrilling-boring

     

     

  • 309323.0827

  • 309296.1251

    Anthology builds the first festival of great Franco era horror films, almost all unseen on big screens for 30 years (unless they've been at the Spectacle). Far more brutal than the Italian parallel horror, here fascism breeds fanatical repression that explodes in bizarre alle-gory(s). Miraculously: all in celluloid.

     http://anthologyfilmarchives.org/film_screenings/series/41719