Using Tucker Carlson’s huge Fox News platform, Glenn Greenwald alerts an American audience to the fact most media are controlled by the CIA, and the liberals are on board with that betrayal.
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PATRICE GREANVILLE—We got this email promoting Frontline’s latest program this morning. Neither the tone nor the subject shocked us too much. We have been witnessing Frontline’s disintegration as a news source, its transformation into another fake news purveyor, for years. It bears noting that the degeneracy of this program accelerated during Trump’s obvious kakistocracy, when Frontline, a prominent member of the Democrat/liberal choir, became completely absorbed by the imperialist blob, apparently afflicted like the rest of liberaldom by Trump’s derangement syndrome. Proof? Just look at this latest poisonous broadside against China. The allegations and innuendos are classical State Department smears.
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David Lynch is for most people, including critics, unclassifiable. A director who follows his own visions (which most auteurs do, anyhow) in this 1977 surrealist horror film Lynch (who also gave us Mulholland Drive and The Lost Highway) breaks most “sacred” rules to build an utterly strange dreamlike world mixing imagery redolent of steampunk and nightmarish biology, all along apparently drawing inspiration from the likes of Kafka and Dali. In sum, weird.
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DAVID WALSH—As we noted in our original review, South Korea is one of the most socially unequal societies on the planet. Bong’s film spells out, in a thoughtful and logical manner, the inevitable results of such a division: the impoverished will do almost anything to emerge from their nightmarish conditions, subsisting literally in the underworld. The pampered rich, living in a cocoon, are utterly unprepared for the envy, anger and violence their dominance and arrogance provokes.
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CAITLIN JOHNSTONE—On Christmas Eve PBS aired a bizarre segment on the death of James Le Mesurier, the former military intelligence officer who founded the extremely shady propaganda construct known as the White Helmets. The segment makes relentless, ham-fisted appeals to emotion, even attempting to associate the White Helmets with Armistice Day using wistful camera pans over poppy flowers and misty war memorial art exhibits…
