Monday, July 6, 2020
Sunday, July 5, 2020
U.S.A.! U.S.A.! vol. 270
At Mt. Rushmore and the White House, Trump Updates ‘American Carnage’ Message for 2020
His ominous remarks were a reflection
of his political standing: trailing in the
polls, lacking a booming economy or
a positive message to campaign on,
and leaning on culture wars to
buoy his loyalists.
well now i've seen the face that has peered down at a Boko Haram Ransom Demand's worth of aspiring beauty pageant contestants.of his political standing: trailing in the
polls, lacking a booming economy or
a positive message to campaign on,
and leaning on culture wars to
buoy his loyalists.
seriously... choke that visage down. burn it into what's left of your grey matter. it's what emerges in the biopsied-wake of a child molesting fast food mascot bricking into a vat of radioactive chum.
we're dying... for THAT.
Thursday, July 2, 2020
Wednesday, July 1, 2020
U.S.A.! U.S.A.! vol. Q69
Google searches for “QAnon” also began to soar in mid-March, as Mother Jones reported, along with searches for “deep state”; “Fall of the Cabal,” a popular QAnon video explainer series; and “WWG1WGA,” the movement’s slogan, meaning “Where We Go One, We Go All.” The number of visits to qmap.pub, a website that catalogs Q’s posts, has likewise erupted during the pandemic. The page had more than 10.5 million hits in May, compared to 4.1 million in January, according to the analytics tool SimilarWeb.
This surge in traffic appears to represent a staggering wave of new interest in QAnon. Although it may seem like a bizarre, low-level threat given its #PizzaGate-style theories, QAnon has an outsize real-world impact. As it has bubbled up from the paranoiac cesspools, it has shown time and again its insidious ability to disseminate disinformation to the masses — including, recently, anti-vaccine propaganda, the promotion of bleach as a COVID-19 cure, and hoaxes targeting front-line health care workers.
This surge in traffic appears to represent a staggering wave of new interest in QAnon. Although it may seem like a bizarre, low-level threat given its #PizzaGate-style theories, QAnon has an outsize real-world impact. As it has bubbled up from the paranoiac cesspools, it has shown time and again its insidious ability to disseminate disinformation to the masses — including, recently, anti-vaccine propaganda, the promotion of bleach as a COVID-19 cure, and hoaxes targeting front-line health care workers.
QAnon’s Coronavirus-Fueled Boom Is A Warning Of What’s To Come
We Are The Sprocket Holes vol. 390
stand-out viewing for the month of June (spent simmering to a boil in a cauldron of frustrated uncertainty about myself and the world around me. weeeee)
(May)
THE BAR (2017, dir. Alex de la Inglesia)
hey look she's swimming in the Birds of Prey script. Inglesia brings the shit (pun un/intended) with his take on the locked-in-a-vacancy narrative.
THE BEAVER TRILOGY PART IV (2015, dir. Brad Besser)
a charming eye-opener about the tape trade artery traversing oddity from Trent Harris (Rubin and Ed).
BLOOD GAMES (1990, dir. Tanya Rosenberg)
inconspicuously situated between rape-revenge waves, Blood Games plays like the most hateful grindhouse offering you can imagine (Rape Squad, Fight For Your Life, etc.) wearing the toned up work-out body flesh of a boners 'n boobies late night cable timeslot warmer. none of that is an insult.
GUNS AKIMBO (2019, dir. Jason Lei Howden)
a way more violent, way less irritating Scott Pilgrim vs. the World that would feel at home alongside the Crank films and the woefully underappreciated Shoot 'Em Up.
INHUMAN KISS (2019, dir. Sitisiri Mongkolsiri)
in a better, more just universe, this unendingly imaginative gem would be in the Netflix Top Ten and the insultingly execrable rich guy rape-fantasy wish fulfillment dook-grenade that was 365 Days would've been devoured by the tentacled viscera of an angry monster woman's floating head.
KILLING (2018, dir. Shinya Tsukamoto)
Tsukamoto artfully channels his obsession with the corruptive influence of archetypal masculine identity through the scowl-faced testosterone theater of the samurai film.
PALE BLOOD (1990, dir. V.V. Dachin Hsu, Michael W. Leigton)
a surprisingly subversive entry into the pantheon of 80s-90s urban vampire tales. just try to get this out of your head afterward.
PATTY HEARST (1988, dir. Paul Schrader)
this might be the most horrifying film Schrader ever made. where as the nightmare imagery of Schrader's Cat People is rooted in suppressed carnal frenzy, the terror of Patty Hearst owes more to compartmentalizing stress related to avoiding violent retaliation. and the soundtrack? the noise scene fucking wishes.
SPLIT SECOND (1992, Tony Maylam)
if you're sick to death of waiting for some cinemaniac to deliver the goods on a Judge Dredd film with Judge Death as the villain, then just give up the ghost and watch Split Second instead.
VHYES (2019, Jack Henry Robbins)
more like VHehs amiriteyouknowwhatimtalkingabout? some funny skits and dedication to the visual recreation, but it feels more than a few years too late jumping on the Everything is Terrible / Tim and Eric's Awesome Show. Great Job! post-ironic nightmare TV bandwagon, not to mention the already played out video store nostalgia that's been over-explored by any number of interchangeable "geek culture" commentators who confuse generalized sarcasm with biting wit.
(May)
hey look she's swimming in the Birds of Prey script. Inglesia brings the shit (pun un/intended) with his take on the locked-in-a-vacancy narrative.
a charming eye-opener about the tape trade artery traversing oddity from Trent Harris (Rubin and Ed).
inconspicuously situated between rape-revenge waves, Blood Games plays like the most hateful grindhouse offering you can imagine (Rape Squad, Fight For Your Life, etc.) wearing the toned up work-out body flesh of a boners 'n boobies late night cable timeslot warmer. none of that is an insult.
a way more violent, way less irritating Scott Pilgrim vs. the World that would feel at home alongside the Crank films and the woefully underappreciated Shoot 'Em Up.
in a better, more just universe, this unendingly imaginative gem would be in the Netflix Top Ten and the insultingly execrable rich guy rape-fantasy wish fulfillment dook-grenade that was 365 Days would've been devoured by the tentacled viscera of an angry monster woman's floating head.
Tsukamoto artfully channels his obsession with the corruptive influence of archetypal masculine identity through the scowl-faced testosterone theater of the samurai film.
a surprisingly subversive entry into the pantheon of 80s-90s urban vampire tales. just try to get this out of your head afterward.
this might be the most horrifying film Schrader ever made. where as the nightmare imagery of Schrader's Cat People is rooted in suppressed carnal frenzy, the terror of Patty Hearst owes more to compartmentalizing stress related to avoiding violent retaliation. and the soundtrack? the noise scene fucking wishes.
if you're sick to death of waiting for some cinemaniac to deliver the goods on a Judge Dredd film with Judge Death as the villain, then just give up the ghost and watch Split Second instead.
more like VHehs amiriteyouknowwhatimtalkingabout? some funny skits and dedication to the visual recreation, but it feels more than a few years too late jumping on the Everything is Terrible / Tim and Eric's Awesome Show. Great Job! post-ironic nightmare TV bandwagon, not to mention the already played out video store nostalgia that's been over-explored by any number of interchangeable "geek culture" commentators who confuse generalized sarcasm with biting wit.
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