A new Showtime docuseries reminds us of just how awful Ronald Reagan was and how his brand of demagogic racism became a model for Trump.
Watching the four-part Showtime docuseries, The Reagans, is an interesting form of leftist self-punishment for all you masochists out there. You may be familiar with most of the Ron and Nancy horror show laid out here in traditional documentary form through lavish photos, clips, and talking-head interviews.
Memories, how they linger — from calling in the National Guard on peaceful student protesters in Berkeley as governor to breaking the Air Traffic Controllers’ strike as president, to forcing disastrous tax cuts, massive military escalation, corporate deregulation, and “trickle-down economics” upon us. There’s even the story about how Reagan got the idea for the delusional and costly “Star Wars” missile defense system from a ray gun he carried in one of his old B movies — it’s all here!
But some of the details that you probably forgot — or maybe never knew — will make you groan aloud in pain that this man was unleashed upon the country at such a pivotal moment. And that his legacy, sadly, is seen everywhere today.
You doubtlessly recall Reagan’s notorious attempt to undermine support for the welfare program while president — the fantasy of black “welfare queens” rolling up in Cadillacs to collect their checks. But have you ever heard Reagan’s racist talk about life in California in the 1960s, such as the city streets that become “jungle paths after dark”? That’s the kind of racist dog whistle Reagan first used to get himself elected governor of California in 1966, defeating beloved two-term progressive Democratic governor Pat Brown.
The material covered in the second hour-long episode of the series, titled “The Right Turn,” is the most important in the series, according to director Matt Tyrnauer in a recent interview with Jacobin. It covers Reagan’s early political career, backed by a powerful consortium of California millionaires who raised the money for his gubernatorial campaign “over lunch,” after Reagan’s turn from a New Deal Democrat to a rigidly conservative Goldwater Republican made him their perfect candidate. This early era of Reagan’s political career is less well known to mainstream America. Thankfully, the docuseries is helping to change that, exposing Reagan’s aggressive use of “institutional racism” to win over white voters frightened of civil rights gains and the newly proposed fair housing laws.
Tyrnauer says that if he’d had to make only a one-hour documentary on the Reagans, instead of the four-hour series commissioned by Showtime, he’d choose this episode for the way it draws a straight line between Ronald Reagan and Donald Trump for those who would deny the connection:
How is it possible that even never-Trump Republicans can still say Ronald Reagan is their hero? He practiced the same kind of demagogic racism [as Trump]!
The refusal to recognize the similarities between Trump and Reagan is characteristic of centrist Democrats as well, who consistently represent Trump as a horrifying anomaly instead of a fairly standard Republican when it comes to policy. As a result of the attitude that Trump is a monster the like of which we’ve never seen before, there’s been a bizarre whitewashing of George W. Bush’s heinous reputation. Now, pre-Trump Republican presidents are suddenly regarded as fine, statesmanlike, “decent men” by comparison.
“I like to quote Gore Vidal, who said ‘We live in the United States of Amnesia,’” as Tyrnauer puts it.
To Tyrnauer’s chagrin, some American film reviewers are failing to connect those dots between Reagan and Trump, however strongly they’re emphasized in the docuseries. The obvious indicators include Reagan’s 1980 presidential campaign motto, “Let’s Make American Great Again,” which made an abbreviated reappearance on millions of pro-Trump MAGA hats.
Like Trump, Reagan’s landslide victory in 1980 came as a shock to most liberals. His entire career, as Tyrnauer puts it, seemed to “rise invisibly through the 1960s.” Just as liberals mocked Reagan for being a “middling washed-up ex-actor” in 1980, Trump, too, was dismissed at first as nothing more than a vulgar TV star. The same Dr Anthony Fauci who tried and failed to reason with Trump about the urgency of the COVID-19 epidemic once tried and failed, as a much younger man, to reason with Reagan about the urgency of the AIDS epidemic.
It’s ironic, Tyrnauer says, that the primary complaint about the docuseries is that when it comes to the Reagans, we’ve simply seen it all before: “Because you haven’t.”
In fact, much of the footage in The Reagans has been seen rarely or never. In the crucial second episode, for example, we see Nancy Reagan being interviewed in her new post as First Lady of California. She relentlessly complains on camera about the supposedly unlivable governor’s mansion — complaints she would repeat when she got to the White House and began angling for expensive remodeling of the private rooms. That documentary video was only shown once, and was sufficiently unflattering that Nancy Reagan asked to have it destroyed.
Tyrnauer begins and ends the series with Reagan’s claim, “If you’re not a good actor, you can’t be a good president.” At the start, from behind the scenes, we’re shown Reagan delivering a presidential speech for the cameras, holding a dignified pose and never fluffing a line. This kind of image construction seems very familiar by now, but for Tyrnauer it’s still an urgent issue, because of a tendency in the general public to watch political performances uncritically. “People need to be grabbed by the lapels and shaken: ‘You’re not looking at reality!’”
And indeed, Reagan was notoriously as far from reality as he could get. There was so much filmed evidence of Reagan’s confusion with fantasy role play versus reality that Tyrnauer had to pick and choose among countless examples. As the late Michael Rogin laid out in pitiless detail in Ronald Reagan, the Movie, Reagan consistently confused his reel life with his real life in a way that dangerously determined presidential policy.
It was a syndrome that began early in life, as the docuseries demonstrates, and was shared by Nancy, a fellow actor who was also scarred by an unhappy childhood. Unable to deal with his own precarious youth, with a failed traveling salesman and alcoholic for a father, Reagan cast himself early in the role of hero in a fantasy life he made as real as he possibly could every day.
The closest Reagan could come to grappling with the harshness of his early life was recalling that, at an impossibly young age, he once dragged his dead-drunk father out of the snow, where he would’ve frozen to death, up many steps into the family home. It was like a heroic scene out of a nineteenth-century melodrama about demon rum, and Reagan’s son Ron Jr admitted it could never have happened as described because “I saw the steps.”
Reagan played football, badly, because he felt it was a heroic sport, but then got to play the title role in Knute Rockne – All American and quote “the Gipper’s” lines from it for the rest of his life. Asked by a reporter what his dog’s name was, Reagan answered, “Lassie,” the name of the most famous dog star in Hollywood history. His dog’s name was actually Millie. Perhaps most notoriously, Reagan couldn’t seem to remember that he wasn’t allowed to go into combat in World War II because of his terrible eyesight — a perfectly honorable reason to spend the war “fighting the battle of Culver City” under the command of Jack Warner, making propaganda films for the war effort.
But he couldn’t live with that idea of himself, not when fellow actors like Jimmy Stewart went off to fight and became real war heroes. Instead, Reagan told anecdotes about battles that were actually from war movies he’d starred in and made absurd claims about how much combat had changed him.
During the 1950s, when Reagan became General Electric’s television spokesperson, he and Nancy were given a gadget-packed GE home and filmed in extensive advertisements as idealized Ward and June Cleaver parents raising their perfect children in a perfect house. The reality was quite different in ways they couldn’t hide so easily in the White House, though Ron and Nancy did their best to “stick to the script.” Daughter Patti and son Ron Jr became liberal Democrats and outspoken critics of their parents’ policies.
In this regard, Tyrnauer said that of all the material he might’ve included on Reagan and regretted he didn’t have room for in the series running time,
I’d probably have most liked to include a section about the relationship between Ronald Reagan and Walt Disney, who were highly conscious of one another as figures representing the same values. Reagan carried them from movies into politics while Disney carried them from movies into a mass media empire and experiments in social engineering.
Both men were old-fashioned, rock-ribbed Republicans — pro-business, anti-union, hysterical about the “threat of communism,” desperate to overcome miserable, impoverished working-class childhoods by inventing a society designed around a sanitized fantasy of a white suburban family life that they themselves never experienced. Reagan was even chosen for the emcee team hired to drum up enthusiasm for the opening day of Disneyland in 1955, with its sentimental vision of an America that never existed outside of popular fiction, the first of nearly a dozen such Disney theme parks now spread around the globe.
Though it might seem as if the premiere of The Reagans shortly after the election indicates that Showtime intended it to be received as a commentary on it, Tyrnauer says the initial release was actually scheduled for next year. Instead, “a hole in the schedule created by the pandemic” led to the earlier release. According to Tyrnauer, several of his friends said, “Don’t you wish it had aired two weeks before, so you could persuade people?”
Though persuading people to vote for Joe Biden can hardly be seen as saving us from Reagan’s legacy.
Tyrnauer’s docuseries is a visceral reminder that America has always been — and likely will always be — fertile ground for reactionary showmen like Trump and Reagan. Both were celebrities savvy enough to recognize the gap between the American middle-class dream on TV and the dashed dreams of those same people struggling for their slice of the pie in reality. And once in the White House, both presidents did everything they could to redistribute wealth upward, further enshrining a ruling class deeper in the halls of power even as they made the working man the hero of their political vision.
And with the further retreat of a political left in America, and widening inequality since the COVID-19 pandemic, it’s only a matter of time before the next Gipper takes the stage. God help us all.
Georgy Sviridov – Time, Forward! (1965 soundtrack)
- 00:00 The Urals Tune
- 04:04 Chastushka
- 05:03 March
- 08:50 Little Foxtrot
- 11:15 Night
- 15:39 Time, Forward!
Two years after the US-backed Maidan revolution, Ukraine is worse off than it was before – the country is sliding into poverty, Germany’s daily newspaper Junge Welt reported, describing the life of ordinary Ukrainians as “staggering.”
“Since the end of the Yanukovych era, the average income has decreased by 50 percent,” the media outlet noted.
In addition, consumers in Ukraine have lost half of their purchasing power. Inflation reached 25 percent in 2014 and spiked to 44 percent last year, according to the data released by Ukraine’s Central Bank in late December.
Last October, the World Bank updated its forecast for Ukraine, saying that the country’s GDP was expected to contract by 12 percent in 2015, instead of a projected 7.5 percent decline.
The average pension in Ukraine is 80 euros, Junge Welt noted. Those pensioners, who continued to work, received 15 percent less last year. It is not surprising then that in these conditions “more and more” Ukrainians rely on food grown in dacha gardens, which belong to them or their relatives.
Ukraine’s dire economic state has had a negative impact on the president’s popularity. Earlier this month, Ukrainian TV Channel Novin 24 reported that approximately 17 percent of respondents supported Petro Poroshenko. This makes the current Ukrainian president less popular than his predecessor Viktor Yanukovych was shortly before the February 2014 coup.
Ukraine could well face complete economic failure. Its economy has been plagued by corruption, inefficient reforms and civil war. Billions of dollars in foreign financial assistance have also been unable to help it recover.
Ukrainian leadership blames the country’s poor economic state primarily on the ongoing civil war, but Western investors, according to the newspaper, see these claims as an excuse. “What matters is that Kiev authorities have done little or nothing to prevent corruption and insider trading,” Junge Welt noted.
Modern architecture is the school of design that prevailed since the turn of the 20th century until World War II. The horrendous war altered the kind of buildings needed in the post-war era. People needed practicality and functionality more than ever to rebuild—from scratch—the entire cities that were demolished at the time. The dominant Beaux-Arts and neoclassical architecture, back then, had to subside to make way for a new architectural style that can meet the public needs. This is how Modern architecture arose and there are architecture icons that define postmodernism from the 20th century.
Modern Architecture Style:
Modern Architecture depended on utilizing novel construction techniques and materials like reinforced concrete, steel, and glass. This architectural style was very “in”, especially for government buildings and universities, until the 1980s where it started to face strong competition from other new schools like postmodernism and neomodernism. Today, we bring you a broad selection of some of the most famous buildings created under the umbrella of Modern architecture:
1) The Fallingwater House (Frank Lloyd Wright, Mill Run, Pennsylvania, USA, 1935)
The design of the iconic house was inspired by Japanese architecture which is famous for using cantilevers. The house, that was ideally incorporated into the natural landscape, was created as a weekend getaway for the Kaufmann family.
The house’s condition started to deteriorate quickly after construction that Mr. Kaufman called it the ‘seven-buckets building’, referring to the leaky roof. Moreover, the cantilevered terraces started to fall off due to the lack of proper reinforcement. The house underwent revamp several times and was converted into a museum in 2002.
2) Glass House (Philip Johnson, New Canaan, Connecticut, USA, 1949)
Philip Johnson built that house to be his own. His design was minimal and utilized the reflection/transparency features of glass. He also experimented with dimensions and geometric shapes which made the house one of the landmarks of the area and an icon in the world of Modern architecture.
The weekend home was made mainly of glass and steel. However, it also suffered from the ‘leaky roof’ issue like the Fallingwater house, which made Johnson describe it, jokingly, as the ’four-bucket house’.
3) Villa Savoye (Le Corbusier, Paris, France, 1931)
The house was built as a family retreat for the Savoyes, in Poissy, on the outskirts of Paris. Its distinct design manifested the ‘five points’ that Le Corbusier endorsed which included the open plan, the grid of reinforced concrete columns, the horizontal windows, the roof garden, and the independent façade.
The family suffered greatly from problems that arose after they started using it. Faulty construction and design mishaps caused the family to abandon it a few years later. It has miraculously made it to the list of ’Public Buildings’ and has been turned into a museum.
4) The Guggenheim Museum (Frank Lloyd Wright, New York, USA, 1959)
The great architect marketed the concept of organic architecture which envisioned humanity being intimately linked to the environment.
The cone-shaped museum comprises many key galleries and art collections. The spirally-designed interior takes you on an endless journey dissolving all obstacles between spaces. The rigid geometric shapes that were dominant in Modern architecture were described by Wright, who says: “these geometric forms suggest certain human ideas, moods, sentiments – as for instance: the circle, infinity; the triangle, structural unity; the spiral, organic progress; the square, integrity.” Wright saw the Guggenheim as a ‘temple of the spirit’.
5) Barcelona Pavilion (Ludwig Mies Van der Rohe, Barcelona, Spain, 1929)
The pavilion was originally introduced as the German Pavilion for the 1929 International Exposition in Barcelona, hosting the German wing of the exhibition. The design, which was influenced by the Bauhaus movement, features transparent walls and a cantilevered roof. Although the pavilion was quite minimal, the architect did his best to use luxurious materials like red onyx, marble, and Travertine. One of the lavish pieces of furniture, specially created for the building, was the legendary ‘Barcelona Chair’.
6) David S. Ingalls Skating Rink in New Haven (Eero Saarinen, Connecticut, USA)
The building is also known as ‘Yale Whale’, referring to Yale University, from which Eero Saarinen has graduated. The creative design holds the distinct architectural signature of Saarinen, who often used catenary arches. The hockey arena has an undulating cantilevered roof which is supported by a 90-meter-high arch of reinforced concrete.
7) Villa Dirickz (Marcel Leborgne, Brussels, Belgium, 1933)
Another seminal building of Modern architecture is Villa Dirickz. It features eye-catching blocky features, glass works, and white concrete surrounded by greenery. The villa, that is $10,000,000-worth, houses lavish interiors as well as facilities like a wine cellar and a cinema.
Marcel Leborgne is a pioneering Belgian architect, and he is the father of Modern architecture in his homeland. The house was designed for Mr.Dirickz, an industrial magnate, who took interest in arts. Many years afterward, the villa fell into the well of neglect till developer Alexander Cambron bought it in 2007. Cambron dedicated all possible resources to renovate the villa.
8) Isokon Building in London (Wells Coates, London, UK, 1934)
The residential building, that is still in use up to this day, consists of 32 apartments; 24 of which are studio apartments and 8 are single-bedroom apartments. The building also includes staff rooms and a spacious garage.
The apartments had tiny kitchens because there was a communal kitchen at the disposal of the residents. They could freely use it to prepare food. There were, also, other services like laundry and shoe-shining.
Avanti Architects, who are specialized in revamping apartments Modern architecture, refurbished the building in 2003. The refurbishment resulted in establishing a communal gallery in the garage to tell the people the history of the building. The concrete residential block is listed as a Grade I-building and is one of the key architectural landmarks in the British capital.
9) Neue National Galerie (Ludwig Mies Van der Rohe, Berlin, Germany, 1968)
Dedicated to modern art, the museum hosts an art collection that dates back to the early years of the 20th century. Its typical modernist design included a great amount of glass, a cantilevered roof, and flat exteriors. The building is surrounded by a sculptured landscape which was also created by Mies Van der Rohe.
The museum is a section of the National Gallery of the Berlin State Museums. The gallery has been closed since 2015 for renovations.
10) The Cité Radieuse (Le Corbusier, Marseille, France, 1952)
This housing project is one of the most important works of Le Corbusier that inspired many other Modern architectural projects. The minimal project was influenced by the Bauhaus choice of colors—yellow, red, and blue. It is composed of 337 flats of 27 different types, in addition to a playground and a pool. The building is made of rough-cast concrete, and the architect planned to also include a steel frame, but to his misfortune, World War II made that kind of material hard to acquire.
The edifice has been a UNESCO World Heritage Site since 2016.
It is hard to believe that Capcom perfected their survival horror franchise in the span of six years. The original Resident Evil on the PlayStation came out in 1996, the GameCube remake was released in 2002 and it was at that point that Capcom showed the world how to make a gorgeous video game in the early 2000’s. I remember having a hard time deciding which console of that generation to buy first. I weighed my options and thought about what games were out. Then I read somewhere that Capcom was bringing us back to the Spencer Mansion and my decision was immediately made. I gleefully ran to a place of business and purchased my purple cube. This was in an era where we didn’t have to wait for updates after purchasing a game or title. So I got to pop in the first disc of Resident Evil and delve back into the world of survival horror.
Let us talk about the gorgeous graphics first. Capcom outdid themselves with the Spencer Mansion re-design. Every little detail is there; from chains on the walls, torn and dilapidated wallpaper, spooky doors to unlock and plenty of zombies ready to take a chomp out of you. Capcom even redid the opening scene, sadly this time around with no human actors and less hokey jokes. In 2002, this game looked like one giant cut-scene, it was truly amazing, and I’ve dabbled in the HD release of this title as well, and wow GameCube games have aged the best from that generation. The character designs and animations are realistic and gorgeous, the zombies are scary and slowly rot before you, and all the boss designs are truly frightening. This is one beautiful game from start to finish and really is the definitive way to dive into the history of the series, and I suggest playing it on the PS3 or the Xbox One. It will be easier to find and the HD touch makes the game almost look almost current gen.
Capcom really fleshed the story out with this remake. They tied the first game’s lore into Code Veronica so much better, and saved it from becoming one hot mess of a story. Something Capcom would eventually ruin in Resident Evil 5 and 6. I played as Jill through my first playthrough and I enjoyed how the Remake re-wrote some of the super cheesy lines. The lines fit a bit better with normal human speech, but gone are the “Master of Unlocking” and “Jill Sandwhich” lines. You are still trapped in the Spencer Mansion trying to get out and save your life and the life of your partner. As you do this you unmask a traitor and find a newfound love for Barry Burton. For those who have bested the original version on the PlayStation you are in for a surprise, many of the items are in different places and you are dropped into a far bigger mansion. Not only do you have to find the four keys but Capcom tacks on masks and such to continue your way through the mansion and into the lab. I enjoyed Capcom’s re-writes and fixes for the story and it makes me want to play this game over and over again. I wish Capcom could still create games like this. Don’t get me wrong, I enjoyed Resident Evil VII but I didn’t feel the innate urge to replay it immediately.
Capcom didn’t fix the controls with the GameCube version, but in the HD remake of it you can play with updated and more modern controls. That’s another reason to find or download that version instead. Tank controls can be very taxing and frustrating if you are babied by the current generation of games or if you’ve not ever played an original Resident Evil title. They worked well then but if you never played the original, they don’t feel quite right now. The D-pad or left thumb stick move your S.T.A.R.S. member around, but it gets tricky when the camera shifts on you, if you let go of your direction you can end up going backwards. Yeah, like I said it gets confusing and difficult if you are trying to dodge zombies. Even after playing for about 8 hours I would get balled up while going up stairs when the camera would switch. People who play a lot of first-person shooters will have a rough go with the combat at the beginning. It works well once you get used to it but definitely goes against what other genres would have you do. To ready your weapon you push the left trigger, then fire with the A button. Should you have any issue with the first two control mechanics Capcom was nice enough to add quick-turn to this installment, just flip the C-Stick to which direction you need to go, hit the left thumb stick and the B button and you’ll be running in the opposite direction of danger.
This is the entry that really changed survival horror; not only are there multiple baddies that want to eat you or gut you but you also have to deal with other obstacles. First off is item management which can be pretty difficult. You have 8 slots as Jill and a space for a lock-pick you will eventually be given. So you have to carry a weapon, ammo, health and certain puzzle items. The Spencer Mansion is laced with puzzles that you must solve to get to safety. Some of the puzzles are pretty simple, but some really make you scratch your head, always remember to examine everything and combine items. Several new mechanics were introduced in this game, then never revisited again is the defensive weapon slot. As you search the mansion you can find defensive weapons that will automatically trigger when you are grabbed by an enemy. Knives, batteries for a tazer and certain grenades can keep you alive in a tricky situation. Another mechanic they introduced was the burning of bodies. Graphic right? But if you don’t burn them they evolve into harder zombies to kill, so keep your oil canteen and lighter nearby. The biggest challenge I always had and still have in these games is to run and gun, you learn quickly not to do that or you’ll find yourself surrounded with only a knife, which pretty much means instant death. Also, one more caveat here, there are no checkpoints, when you die, you go to your last save so save smart.
I love this game, this is definitely in my top five Resident Evil games ever, but there are several always fighting it out for the number one spot. This one was the first though. The first to begin the long series that still resonates today. The characters, the weapons, the viruses and the villains are some of the best ever created in a video game. Albert Wesker is one of my favorite villains in any game or media franchise and it was so nice to see where it all began again. Every survival horror fan needs to play this game. Yes it can be frustrating and yes no one uses pre-rendered backgrounds anymore but you’ll be experiencing history. If you thought you were a badass as Leon Kennedy in Resident Evil 4, you will be shown what it was like before Mikami re-imagined his own creation and you’ll get your ass handed to you. This is as close to Dark Souls as we could get fifteen years ago, and I enjoyed every painful minute.
Apparently the minders over at Wikileaks, a CIA honeypot, have decided there are certain things we as journalists are NOT ALLOWED too say about Saint Julian of Assange.
They claim the list itself is off the record and folks are not allowed to publish it.
“Confidential legal communication. Not for publication.”
They sent out the list, unsolicited of course, to a number of outlets whom I guess they thought might traffic in these “smears” of the holy one, in hopes that their editorial staff will consider the litigious ramifications if they publish any of the 140 things they declare are off the table when it comes to discussing Julian.
You would expect most of them like “It is false and defamatory to suggest that Julian Assange is a rapist” and “It is false and defamatory to suggest that Julian Assange is, or has ever been, an agent or officer of any intelligence service”
But there are a couple that are just so off the wall, I had to take the time to post em here to share with you guys. You’ll get a kick out em:
It is false and defamatory to suggest that Julian Assange “fled” to the Embassy of Ecuador [in fact, he walked…]
It is false and defamatory to suggest that Julian Assange is, or has been, “hiding” in the embassy [in fact, his location is well known…]
It is false and defamatory to suggest that Julian Assange’s asylum is “self-imposed” or that he is “free to walk out any time he likes” [in fact, the UK government states that he will be immediately arrested…]
So, he didn’t “flee” to the embassy to try to escape being arrested on the charges brought by the two women… cus he walked there. And he’s not “hiding”… he just stayed there, voluntarily, because he knew if he left he would face prosecution.
Right. Moving on.
It is false and defamatory to suggest that WikiLeaks or Julian Assange has asserted that the Syrian government did not conduct chemical attacks during the war in Syria
So much for everything they ever published was “100% true”
It is false and defamatory to suggest that Julian Assange or WikiLeaks promoted or invented the “pizzagate” conspiracy theory
Well… now wait a minute… Wikileaks hosts a page on their website for devoted followers of the PizzaGate disinfo psyop to share news and discoveries on the subject. https://our.wikileaks.org/Pizzagate Does that count as promoting?
It is false and defamatory to suggest that WikiLeaks or Julian Assange claimed that any person or entity was their source for WikiLeaks’ 2016 U.S. election publications
Well he didn’t actually SAY it in so many words, but this is a partial transcript of an interview Saint Julian gave right after publishing the DNC leaks.
Assange: “Wikileaks never sits on material. Our whistle-blowers go thru significant efforts to get us material and often at very significant risks. There’s a 27-year-old, who works for the DNC, who was shot in the back — murdered — just a few weeks ago, for unknown reasons as he was walking down the street in Washington.”
Host: “That was just a robbery, I believe, wasn’t it?”
Assange: “No. There’s no finding.”
Host: “What are you suggesting?”
Assange: “I’m suggesting that our sources take risks, and they become concerned to see things occurring like that–“
Host: “But was he one of your sources then?”
Assange: “We don’t comment on who our sources are, but–“
Host: “Then why make the suggestion? About a young guy being shot in the streets of Washington?”
Assange: “Because we have to understand how high the stakes are in the United States, and that our sources are — you know, our sources face serious risks.
What is the implication in that statement? He is clearly feeding into the Seth Rich psyop story by implying that Seth was the one who provided SOMETHING to Wikileaks. There is no doubt he did that. It’s still on Youtube.
Now lets get into some of the more entertaining ones:
It is false and defamatory to suggest that Julian Assange, or his mother, or his father, is, or was ever, a member of a cult.
It is false and defamatory to suggest that Julian Assange bleaches his hair.
It is false and defamatory to suggest that Julian Assange’s mother is, or ever was, a “hippie”.
And now we are getting personal:
It is false and defamatory to suggest that Julian Assange drinks to excess.
It is false and defamatory to suggest that Ecuador asked Julian Assange to improve his hygiene.
It is false and defamatory to suggest that Julian Assange stinks.
It is false and defamatory to suggest that Julian Assange does not use cutlery or does not wash his hands.
Has anyone seen a report that states that the Almighty Assange is a stinky drunk with bad table manners? It’s gotta be out there somewhere.
Wikileaks published a version of these (1.3) after they went public (after their email said it would be illegal to do so) and they removed the one about Julian being skinky plus these two as well…
It is false and defamatory to suggest that Julian Assange has ever tortured a cat or dog.
It is false and defamatory to suggest that Julian Assange lives, or has ever lived, in a basement, cupboard or under the stairs.
Their latest version redacted a few of the statements but it’s curious that they choose those two specifically to redact as well. Maybe someone has actual verifiable proof Julian likes to hang out under the stairs and abuse animals?
Anyone ever see that Wes Craven film The People Under the Stairs? Just sayin…
And I will leave you with this one…
It is false and defamatory to suggest that WikiLeaks or Julian Assange has ever suppressed materials critical of Israel…
Yep. I guess my point here is, the saintly one doth protest too much, methinks. When you got to go through this much effort to try to protect the brand of your asset, you probably should have chose better to start with.
I notice they don’t say a word about Julian working with the CIA assets in Hong Kong that got him started way back when. You know, the “dissidents” who formed the base core of Wikileaks from day one?
After an excruciatingly long hiatus, Samus finally returns. Was it worth the wait? You bet it was.
Metroid Fusion is remarkable. It is a totally unique game that manages to hold onto everything that made the Metroid series great. It is the perfect sequel to its predecessors from start to finish.
Just when you think it can’t get any better than Super Metroid, they give us Metroid Fusion. Previously, the third Metroid installment and a few other games (such as Castlevania: Symphony of the Night) were the leaders when it came to solid 2D play control. Now there is a new champion. Think Super Metroid, but with a few more moves, increased speed and even more precise and responsive control.
Nintendo did a great job porting the general play mechanics of Super Metroid to the Game Boy Advance. Having the R button as the key to firing missiles instead of the select button is the perfect compliment to the faster gameplay in Metroid Fusion. Using the select button wouldn’t have worked too well in those heated boss battles. About the only complaint I have is that I would have swapped the L and R buttons, or at least made a configuration option like Super Metroid had. Otherwise, the control is as good as it could possibly get.
This is the department where Metroid Fusion shines most. The pacing is perfect all the way through. With the brilliant addition of grabbing ledges and climbing ladders, it adds to the already exceptionally smooth gameplay that Super Metroid offered us nearly a decade ago. From the exploring to the boss fights, the pacing and precision never let up.
One of the main differences in Metroid Fusion is the increased damage that Samus takes. It is not uncommon to lose more than 100 units of energy in a single hit. Most normal creatures in the game will drain you anywhere from 30 to 70 units, and the suit upgrades only reduce damage by 5% of the base damage, each. Early on you will notice that this game is far less forgiving than the previous installments. This is only amplified in the somewhat difficult boss fights — that is, until you find out how to exploit their weak points efficiently, then the game becomes quite easy. I am reminded of games such as Contra and Ninja Gaiden; once you’ve learned how the enemies work and what to expect of them, the game becomes very easy.
But don’t let that fool you. Easy as it gets, Metroid Fusion is still extremely fun to play. Nintendo pulled their magic tricks once again and proved that a game doesn’t need to be really challenging to be great.
Another great addition is the story. This is the first Metroid game to have a progressive story, and it’s a good one at that. It is the perfect mood-setter and it keeps you moving along at the right pace, giving you an actual reason to be absorbing X parasites and searching for power-ups.
Some people are turned off by the story due to the fact that it guides you towards the next major power-up or boss fight. What many people fail to realize is that Metroid Fusion, by nature, is a far less linear game than Super Metroid. In Super Metroid, you cannot get to the next areas unless you have the right item to open up the only way in. Fusion, on the other hand, would be too directionless without the computer CO aiming you in the right direction and blocking off areas you’re not ready for yet. Using this new idea, the developers were able to give you a good reason to revisit each area in the game multiple times without them being repetitive. Plus, if you could just go anywhere anytime, you would very quickly find yourself stuck in areas that you don’t have the right items to get out of.
While it’s difficult to come up with new, inventive graphics in the 2D market, Metroid Fusion delivers about the best we could expect from sprites and scrolling backgrounds. It is nothing to complain about. You’re simply not going to get much better than this in a 2D game. Fusion doesn’t push the envelope for special 2D effects, but it really doesn’t need to. Metroid has never been about flashy graphics and effects. The animations are smooth and perfectly timed. There is no feeling of a rushed product here.
Again, it is about as good as one could expect from this type of game. We’re not expecting to have Dolby Digital surround sound with Redbook music here. The sound and music is on par with the best the Super NES had to offer. And that’s nothing to complain about at all.
The music was very impressive. Brand new tunes filled out most of the score, yet it still felt completely Metroid-like, even the very first time each tune plays. After a couple of sittings, you’ll have one of many great tracks stuck in your head. This adds a perfect sense of nostalgia to an already worthy sequel. I can’t imagine it being any better than this for a Metroid game.
With more hidden items to uncover than any previous entry in the serious, and a total of five different endings, there’s a lot to keep you going. But endings aside, the reason I play Metroid Fusion over and over again is to simply enjoy the amazing gameplay. This game just reeks of ‘fun.’ I didn’t even play Super Metroid this often when it was brand new, and I totally loved that game. When it comes to replayability, Fusion delivers in spades.
There is very little not to like about Metroid Fusion. From perfect controls to amazing gameplay, it’s a hands-down winner. Fusion is easily the best game in the Game Boy Advance, and is also my favorite Metroid title. That’s a huge feat, considering I’ve been playing Metroid games since the NES original hit store shelves in the 80’s.
If you own a Game Boy Advance, you simply must own Metroid Fusion. Whether you’re a Metroid fan or not, it will keep you coming back for more. And if you are a Metroid fan (why else would you be at this site?) you won’t be the least bit disappointed with what Fusion has to offer as a sequel.