Environmental Hottie: Leo DiCaprio

DATELINE:  Floodgates are Now Open

With flooding and natural disasters occurring now three and four times a year instead of once per century, we thought it was time to take a look at it Leonardo DiCaprio’s documentary called Before the Flood.

We are already way ahead of you. We also laughed at the notion that DiCaprio, a semi-self-educated actor, is an expert in global warming. Yet, because of his fame and celebrity, the United Nations made him a special Messenger of Peace on the issue.

AT the UN, they listened to his speech with more rapt interest than at global warming scoffer Donald Trump.

DiCaprio begins his documentary with a litany of FOXNews expert ridiculing him for his so-called expertise. So we give him credit for recognizing that one. However, he follows it by a notorious plug for his movie The Revenant.

What can you expect from a child whose parents put Hieronymous Bosch’s notorious painting of hell  and paradise over his crib?

DiCaprio is no newcomer to the issue of climate change. He goes back to video clips over 20 years ago in which he meets with Al Gore, Bill Clinton, Oprah Winfrey, and shows his interest in the environment, using his fame as a passport to open doors.

With Irma and Harvey and Maria and earthquakes, DiCaprio is beginning to look like a prophet in the wilderness.  He says the real profits are from billionaires with fronting organizations like the fake news-media and politicians who deny global warming. Yep, that’s called biting irony. Fake media cuts two ways.

The entire term “global warming” is a misnomer. Actually, it is not warming; it is extremes in the weather.  And there’s no denying we have that lately in Irma, Harvey, or Maria.

The question is whether it’s caused by man made fossil fuel, or by forces of the universe yet unknown. Blame it on ancient aliens.

With the concept of expertise getting the short shrift in American culture for the past half century, it’s not surprising that experts are denigrated. It’s not popular to be one of the elite intelligentsia in a democracy of boors.  It doesn’t matter whether you’re a scientist, an artist, or just an ordinary PhD.

You will be ridiculed for being different.

In 21st century America, you are persona non-grata. You might as well go out into the wilderness and start crying.

The people for whom this documentary is meant to educate have already Hit the remote button to shut off the screen.

In that sense, this is all a waste of time.

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Feud: Ryan Murphy & Olivia DeHavilland

DATELINE: Creepy Producer

 

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The spry legend, Miss Olivia DeHavilland whose Oscars outnumber anything Ryan Murphy will ever compile, has fired another volley at miniseries Feud: Joan & Bette, created by Mr. Murphy.

Right before the series is about to reap Emmy glory for its hilarious and entertaining depiction of two movie stars in a death throe struggle like scorpions, more turns of the screw emerge.

Miss DeHavilland’s character, ‘herself’ it appears, is a mere supporting figure. Yet, she does not like how she is portrayed. In a deposition through her lawyers, she tells the world she never called her sister, actress Joan Fontaine, ‘a bitch’ to any director or producer.

That may mean she used to term privately among friends, or even to hapless Joan Fontaine’s face, but her point is the script and series misrepresented her behavior. She said: “The false statements and unauthorized use of my name, identity and image by the creators of Feud have caused me discomfort, anxiety, embarrassment, and distress.”

Yes, being violated is like that, no matter what your age.

Murphy’s glad-hand attitude demeans Miss DeHavilland by calling her “Olivia,” despite her age, her position, and the fact that he never has met her, let alone sought her permission to use her as a figure in a docudrama.

In blatant admission, Murphy’s mouthpieces claim: “The fact that the words attributed to her and the purported endorsement are false does not transform the character into anything other than an exact depiction of de Havilland.”  Hunh?

That’s quite an admission: they know they have misused her by having her say words she never uttered, but it’s all for the profit of Ryan Murphy—and to give us viewers a few guffaws.

We wish to point out that Miss DeHavilland is a real human being, not an emblematic symbol like the White Whale, appearing in a work of fiction.

Murphy is betting that the 101-year old Oscar winner may pop off at any time—thus giving him the last word, which he will have anyhow as time will likely bestow on him the honor to be standing at the end of all this mess.

In all likelihood, the arrogant TV producer probably thought DeHavilland was already dead—and it didn’t matter how he used her identity.

What the old legend is showing here is that identity theft can occur in many ways:  when you profit from stealing someone’s personality, you’re a thief, Mr. Murphy. But, as Hollywood producers go, that is no crime at all.

 

Not John Wayne’s Searchers

DATELINE:  Ultimate Patsy

bocover Booth & Oswald

The 2017 documentary takes an unusual angle to examine the Kennedy Assassination by focusing on the many, many private researchers who have devoted their lives to uncovering the truth.

They have fought valiantly against slander, libel, and the CIA stooges who have denigrated their work. These include a mostly aging group, including forensic doctor Cyril Wecht, and the late searchers Mark Lane and John Judge.  These three exemplify a group that has taken on history’s blinders.

If you don’t think something is hidden, then you don’t know that most important documents are sealed for another 25 years. Most of the culprits who either were responsible for President Kennedy’s death, or covered it up, will be way beyond earthly justice.

The CIA has admitted there have been hundreds of journalists working for them, some exclusively on denigrating any attack on the Warren Commission, the voluminous monstrosity created by CIA Director Allen Dulles who hated the Kennedys. Trump is right about the fake news and corrupt media: it starts with the Kennedy cover-up with media plants.

The documentary takes direct aim at the excusers of conspiracy. Indeed, the notion of “assassination buff” or “conspiracy theorist” was coined by the CIA and its minions to put a negative connotation on those who disagreed that Oswald acted alone.

The documentary pulls no punches in putting a shame on Dan Rather for his early lies and Gerald Posner for continuing the sham.

Meticulous private investigators are now aging and falling by the wayside. It was the plan all along—when the heretics die off, all that will be left is the coverup story.

Fascinating compilation of searchers, researchers, and fading information is well-worth the attention of a new generation.

ultimate patsy

Unsolved History: Death in Dealey Plaza

DATELINE:  Photos at Kennedy Assassination

Dealey

Once again, the 2004 TV series Unsolved History provides a definitive look at mysterious events in history, this time at the assassination of John F. Kennedy.

This time the old standby streams some of the juiciest and most impressive technical analysis of your standard conspiracy theories.

This time they look at the 30 camera angles from 30 known photographers that covered the 45 seconds leading to the murder of President Kennedy. There could be other, lost, withheld photos, heretofore unknown.

From the opening moments when they show their models in orange coats standing on location where the actual cameras were located as a limo drives past, you will be hooked.

Interviewing a few surviving photographers, but mostly their children who now as old adults pass on what their parents saw at Dealey Plaza as they took pictures.

As historical record, this 45 minute show about a 45 second moment in history is compelling and fascinating.

If there is any complaint, it is that the images move by too quickly to see the truly odd details. We kept wondering about the odd men who slowly walk in the opposite direction of the panicking crowds.

This insightful episode brings and merges all 30 still photos and color movie pictures together into a montage for 45 seconds that is not for the squeamish. It does show a graphic, hideous murder.

To the show’s credit, it recognizes that amateur photographers had no idea they were about to enter the annals of history—and their amateur mistakes prevent any resolution of the crime.

Culminating in the Zapruder film, the ultimate montage is staggering, given warnings that the subject matter would be upsetting to viewers. Indeed, so.