Our mission, as God-fearing and God-loving patriots, is to defend this Constitutional Republic and to increase its greatness, in all good things and ways, by using our voices in free but courteous speech, by discussing the happenings of the world and coming to a profound understanding of those things, and by sharing and promulgating these Truths on both this platform and others.
I haven’t done a movie review in a while, so it’s a pleasure to begin with, but it’s an even greater pleasure, as you will see.
I’m going to do this review in multiple stages, each one getting more revealing. When things reach a spoiler level you find regrettable, just stop – go see the movie – and be done with it.
1. TL;DR with No Details
Go see the movie.
2. TL;DR with Spoilerless Details
Go see the movie.
The fact that both my wife and I enjoyed it, despite a vast difference in our knowledge of that period of American history, tells me that you are likely to enjoy it, too.
In my opinion, it was well-directed, well-acted, well-scripted, and all that jazz, but at an even deeper level, it was insightful into the forces that made Washington the man who he was – perhaps the most honorable founder of this nation.
While being absolutely free of wokeness, the movie still has elements of revelation that will honestly tug at the heartstrings of all Americans, liberal and conservative. Even the British will love this, IMO. It is an honest depiction of that era, not only showing me the history I had read about fairly recently, but confirming, to my satisfaction, some of my theories about the build-up to the American Revolution. Thus, I think all those interested in history, will find this movie fascinating and enjoyable.
I must caution, however, that the realism extends to battle scenes. Indeed, the complete absence of phony and gratuitous violence makes the remaining realistic, momentary violence even more haunting and powerful. However, I think you will agree, once you see the movie, that it was necessary to show us the things that truly created an actual hero and military genius.
At the end of the film, our audience was too stunned to rise – and then – when I thought that the credits were going to roll, there was something more. That is necessary, too. People literally need a moment to come back to this century. It’s that powerful.
I repeat – go see the movie.
3. Review with Some Minor Spoilers
I am still uncertain whether I enjoyed this movie as much as I did, because I already knew the surprising history of Young Washington, or in spite of knowing that history. For me, it helps to know more, because I love details. It is a tribute to the movie that those who made it were able to weave an amazing amount of historical teaching into the screenplay. However, even if you are not familiar with the French and Indian War, and the history of the Ohio Territory, then you should not feel compelled to prepare for the movie. Just go see it and have fun. See it again if you miss a few things.
Let me just list some of the wonderful things you can expect to see.
Washington’s loyalty to friends, and respect for enemies
His resolve to let failure ALWAYS teach and NEVER demoralize
His family’s morality and wisdom, and how these reached their pinnacle in that family’s least likely member
The weaving together of the dying of empires and the birth of nations
How Washington was a TITAN, just like Trump, Musk, the Signers, and the great explorers
How Washington was utterly enthralled by the American frontier
How Washington loved both the elite and the common man, and was at ease with both
How every failure in life was the lesson he needed to reach the next level
How technology is something we must deal with, but how it is NOT what defines us, or makes men great
How surprisingly SMART the medicine of Washington’s time was, despite technological limitations
How similar these people were to us, and how foolish we are to criticize them from the safety THEY gave us
Love scenes that are easily as good as cinema classics – effective in their restraint
One last point, which shocks me even more, after the movie.
I have had the privilege of knowing several centenarians. Let’s call one of them “Peggy”. Well, 250 years is only two and a half “peggies” ago. Think how little time that is – and yet – yes – that is when America was founded. Take an old person you know – take one more before her – and her mother – and there is George Washington.
Jesus walked 20 peggies ago. It’s NOTHING.
You need to see Young Washington, to understand the predicament we are in. Forget that you might enjoy it. You NEED to see it.
WE are still dealing with Britain. Britain is still dealing with US. This is the slap in the face that says “Did you read what Gail just posted?”
Go see it. Please. For everybody’s sake.
4. Review with Blunt Spoilers
Part of the reason I wanted to see Young Washington, is that I had seen a trailer for it at a previous movie, and it struck me as surprisingly good. But I was very lucky – I had forgotten everything in the trailer, by the time I saw the movie!
Thus, I don’t know whether it’s a good idea to show you this very “spoilery” trailer. You may just want to stop now, and resume here AFTER you see the movie. You may want to experience the full surprise.
If so, then “see you later!”
W
OK – so you’re going to see the trailer now.
It really does convey the excitement of the movie – but without the build-up scenes that make it even more exciting. And perhaps that’s a good thing – because you’ll bring some extra doses of any needed blood pressure or cardiac medicines with you!
I found myself on the edge of my seat for most of the movie, from the very beginning. I found that my adrenaline really kicked in. Maybe it’s because I don’t get out and watch much “fake entertainment” anymore, but for whatever reason, I got a real workout watching this – even just the trailer, and even now!
I found the acting really good – particularly William Franklyn-Miller (young adult George Washington) and Mia Rodgers (love interest Sally Cary). The British society scenes are actually rather enjoyable, and more than just a diversion from the action – they really help to explain why revolution was inevitable.
Truthfully, the rest of the cast were really good, too. The older, famous actors all do a great job of portraying famous and important people, as one might expect, and the younger actors all do an excellent job of portraying Washington’s peers.
The battle scenes are gritty, and remind me of many of the better war movies that I’ve seen, which is rather surprising for a smaller movie of this budget. Even the Wikipedia accounts of the battles are violent enough to make one cringe, and the movie neither backs off from the history, nor embellishes. Much of this frontier violence was alluded to in Mel Gibson’s “The Patriot” – well, here you get to see it. This teaser shows it well, though significantly tamer than the movie itself.
I think that there is a visible improvement in the editing from the teaser to the trailer, and whatever it cost, it was worth the money.
Pay special attention to the names of everybody when they’re introduced – it makes things easier. Also, when the lighting is bad in the taverns and whatnot, you need to listen closely. Getting old is a pain in the ass – even just watching movies.
The movie is not perfect – there are a few cliche scenes that fail to impress, and I can see spots here and there which could stand some polishing. None of these would stop me from seeing the film. They are certainly not enough to make me regret buying tickets.
I suspect that few careers will be launched by the success of this movie, and that’s a good thing. There will also be many more movies from this studio, too.
Good.
In summary, I heartily recommend seeing “Young Washington”. There is supposedly a sequel coming, and I will definitely be interested in that. If the cast and crew work as hard as they did here, and with God’s providence, it should be a success, too.
Thanks to TradeBait’s recent story centered on Elvis Presley, I was actually in an Elvis mood when my wife – an Elvis fan long before we met – decided that “we” were going to see the new Elvis movie at the earliest opportunity.
Not having been to very many movies recently, I’m pretty much immune to most of the propaganda, in part because it jumps out at me AS propaganda. During “trailer time” they were laying it on THICK. I think that EVERY single message had AT LEAST some propagandistic edge – and MOST were straight-up PC messaging.
The political correctness effects of BlackRock, DIE (diversity, inclusion, equity), ESG (environment, social, governance), and “The Black List” (Marxist filter on financial backing through POC puppets) are all extremely visible in everything – product ads – trailers – public service messages.
It’s not like I’m “opposed” to some of these ideas, but the heavy-handed, communistic, “struggle session” nature of the messaging is just CRINGE CITY.
I mean, good grief. I thought that Dove Soap was going to commit hara-kiri for having utterly failed black America in some way that I still don’t grasp. PUHLEASE. You sold soap, for crying out loud. And you sold it to everybody! Black people too! Give yourselves a pat on the back and GO HOME. You’re ridiculous!
(I can’t find a video of what I saw, but this is just a hint of it.)
So anyway, I was primed for all kinds of cultural Marxism when the Elvis show began.
The opening sequence did NOT disappoint in that respect. A Tom Hanks dream sequence, filled with occult and pedophile symbolism, just had me shaking my head.
Flying spaghetti monster squids with the boy love symbol?
Snow globes heavily veering into crystal ball territory?
The movie had no place to go but up.
AND IT DID.
It’s hard for me to describe what this movie is, but I can say that it grew on me, until I felt very satisfied at the end.
It’s more like a work of ART trying to explain the SOUL of Elvis Presley, than anything else. And oddly – uniquely – this movie does so through the eyes of a rather brilliant CON-MAN manager, who used that same deep understanding of Elvis to first “own” and then manipulate him.
Elvis loved what he did. He loved music. He loved the crowd. He loved performing. He loved his parents – forcing himself into an unending vow to “take care of them”, no matter the costs.
Elvis Presley was one of those brilliantly over-performing co-dependents – no bones about it – and the movie shows it.
Judging from my own memories of history, the movie “got it right”, too, although I think the movie played some things (like infidelity, overweight, and drug use) more metaphorically than factually, while still admitting them unflinchingly. There was a lot of “compression”
The movie did NOT show the “Rat Ranch” – but it showed the same thing differently and in several ways. Names and locations were chosen to fluff and protect the legend just a bit.
Things WERE highlighted or magnified in focus to show why Elvis always crossed racial barriers in his appeal.
Like I said – it’s ART – not a documentary.
One thing which is actually cool is Tom Hanks’ disturbing accent, which was intentionally over-done in order to make viewers realize that “something was amiss” with Presley’s manager, Col. Tom Parker. In reality, people sometimes took a while to pick up on Parker’s accent, which sounded “regional Southern” yet somehow “off”. The accent betrays a secret which was in some ways part of the downfall of both Elvis and Parker, but I won’t spoil the movie by going into the specifics. Just know that Hanks was asked not to do his subject’s actual subtle accent, but rather to “push it” so that listeners would pick up the clue. See THIS LINK.
There are other breaks with reality which – well – I’m less willing to defend, except to call them artistic license.
Just watch this trailer. You only need to see about a minute of it. Look for what is best described as the “pink scene” around 50 seconds in.
If the “pink Elvis” bothers you, trust me – the movie is far more blatant, and even pushes the “trans” stuff into the narration. You could say that there is an “appeal to gay revisionism”.
I may be mistaken about this point, but I’m pretty sure I’m not. It is my distinct impression that “Elvis the Pelvis” was a lot more about “manly macho” than about “tranny pink” and “girly make-up”. There is a distinct “LGBTQCIA” nature to the retelling that just does not comport with the reality of Elvis Presley.
Likewise, there seems to be much more “ESG” in this Elvis, than in the one I remember. Yeah, Elvis was no bigot, and he had a very subtle way of not dignifying the bigots who hated him, but there seems to be an effort here to turn Elvis into a fist-raised civil rights icon, which I somehow missed. The Elvis I remember was perhaps the most successful “can’t we all just get along” type who never even had to say it. I say we should give him credit for being the KING of that approach, because I’m pretty sure that’s gonna be fashionable again, and in a big way.
And there’s more, in the way of classic cultural Marxism. There is an extended sequence which pivots on “out-of-style traditional Christmas entertainment” as the boring cultural bad guy of the plot, threatening to undo poor Elvis, and that negativity is just SO typical of H-wood’s subtle communist psychological programming.
On the other hand, some of this stuff is actually a reasonable part of the artistic compression – such as highlighting that MLKJ was already speaking on the negative side of rock and roll culture for kids.
Complicated business.
So YEAH – there’s a good bit of lefty psy-op under the hood. Be AWARE of that to defuse it, or just don’t even bother seeing the movie, if Hollywood politicking crosses your red lines.
BUT – like I said – it’s art. It tells us as much about THIS time, as it does about THAT time.
Technically, the movie does a lot of things right. The women’s costuming and hairstyling is fantastic – watch for a few Oscar nominations. It’s been a long time since I’ve seen so many women in a film showing the actual beauty of women in the 1950s, 1960s and 1970s.
Austin Butler as Elvis Presley is VERY GOOD. He won me over to the point where the real Elvis footage at the end served as a “high five” for a job well done.
The Presley family felt the same way – they got “carried away” by the performance, just like I did. Same with my wife – the “real” Elvis fan. She loved it.
I had some fun watching this next video after the movie, because all the actors are so much more “2022” in reality, than they were in the flick. The differences are striking. They’re all modern Hollywood dweebs in “reality”, but in the movie, they do seem far more “real”, as part of the past. Or is that just me? (*sigh*)
Compare the lady playing young Priscilla, above, to her transformation in the film, shown below.
I know that picture on the right probably makes the movie look like it’s all a bunch of grins and giggles – well, just think of that same gal throwing a mean fist of pill bottles across a Vegas penthouse, after Elvis shoots up the place, before she walks out.
There’s no whitewash – BUT there was also some extremely convincing romance and love shown – even when it all falls apart. I feel like I really gained some needed insight into the relationship of Elvis and Priscilla. I feel like something healed.
So there you have it. An interesting movie. Glad I saw it. Consider a viewing yourself – especially of you love his music. There’s a LOT of good music in this movie.
W
“Go for the art, not the history or the politics. Stay for the music.”
Otherwise Best Described as a Somewhat Strange but Beautiful and Heartfelt Message to the Staff of this Esteemed Company from the People in Logistics on Christmas Eve ON TIME AND UNDER BUDGET – THE TRUMP WAY First of all, Merry Christmas! (And belated Happy Hanukkah if I missed you back then!) Which is actually what …
…..which is a bit of a Ghost of Christmas Past…..
…..kinda like some other treasured site images…..
…..it brought back a lot of fond memories of the early site – a little over 3 years ago…..
…..and so I just wanted to say…..
(1) Merry Christmas, everybody,
(2) Happy Logistics, all you Truckers, Supply Chain Folks, and fellow working humans,
(3) And maybe Happy Logistics to you other working creatures, too. Winged or otherwise!
…..wherever you may be now!
And now, the rules of THIS PARTICULAR pub.
HOUSE RULES
God bless us, every one! Tiny Tim had such a beautiful soul. He hadn’t a mean bone in his body…unlike most of us. But in keeping with Christmas, we promise to honor Wolf’s rules and keep Scrooge at bay. The Utree is where the Ghost of Christmas Present will conduct you should you need to rattle some chains. Another option, should all hell break loose is here.
Now, back to business.
AMEN!
Free the January Brothers
Current Art On The Wall
This week’s shipment is allegedly CUBISM – to prove that we will put ANYTHING on the wall – even genres we generally don’t like much.
Cubism and Christmas. A good idea? Or NOT A GOOD IDEA? You decide!
OK – let’s get more traditional!
And maybe even VERY traditional!
And speaking of music…..
What’s Playing on the Jukebox
Why, the soundtracks of the trailers in the next section! That’s what!
Here is the trailer song separated from the cinema. I actually find it a bit more enjoyable this way.
Movie Review: Death on the Nile (2022)
NOTE: This review may contain very mild “spoilers”. Stop reading if you run into something that seems spoilerish, if you don’t want any. I have tried to not give away anything significant in the story, beyond the trailers, but there may be a couple of close calls.
This is the movie that I’ll be talking about. This is the trailer you most likely saw.
However, if you got an early preview of it, you may have seen THIS early preview trailer, which has almost no dialog, but is really intriguing by relying only on visuals and music.
Here is yet another version with rearranged visuals – shorter and snappier. I like this one!
There is an IMDB trailer that’s very nice, too, but you have to go there to see it.
Lastly, let me show you a “reaction mashup” – basically looks like a Zoom room – of a bunch of people commenting on the trailer as it plays.
OK – that’s enough. Now down to business.
I have not been to a movie in a while. I really avoid them if I can. I can spot the dirty hands of cultural Marxism in almost every movie Hollywood makes now. It’s tedious to watch their propaganda.
However, my wife likes these damned murder mysteries. Sherlock Holmes, Agatha Christie – you know the type.
The last one we saw was the horrifying “Knives Out” – enjoyable as a work of the genre, but excruciating in its political correctness. The vengeful, angry, projecting, communist psychology was all over it, ramping up to laughable levels at the end. Overtly racist, sexist, classist, and every other leftist prejudice-in-the-name-of-stomping-out-prejudice, all of the hard left’s biases were gleefully woven into both plot and acting. I was rolling my eyes, chuckling, and smirking at the “dramatic” parts at the end. I honestly felt sorry for the “woman of color heroine” at the ideologically “uplifting” end.
Why must the solution to all human idiocy be “deuce axe machinist” by liberals? So they get to be GODS? Using a hammer and sickle on every microscopic problem?
Ugh.
I thought I was done with Hollywood’s corrupting of the “murder mystery” genre, but no – my DW had different ideas.
This one – Death on the Nile (2022) – succeeds mostly by DISTRACTING from the political correctness. It does so with a combination of compelling plotting, amazing scenery, skillful acting, and strong attempts to “go beyond” blatant leftist narratives by underplaying them competently yet powerfully into the story itself. This approach allows the leftist audience to see what THEY want to see, while trading “in-your-face” PC for a kind of non-gratuitous, historically correct PC that makes sense as part of the story.
Still, the PC is not removed completely, and on long reflection, one feels abused by the requisite embedding of political correctness.
For example, while every one of these “usual suspects” is woven skillfully into the plot, they’re still all there:
interracial romance in the face of 1930’s history
“probably racist” white parent forbidding true love
old black woman sage
young black woman muse
bad male gun, bad white gun, good black female gun
wicked white waspy couple (and they’re cultural appropriators, too!)
lesbians forced into the closet by paternalistic society
aspirational capitalist bourgeoisie without morality, tsk, tsk
limousine communist donor class heroine
classic white male hero submits to struggle session and self-criticism
imperialist “woman of color” in denial of roots pays for her transgression
Christian symbols hypocritical, non-Christian symbols meritorious
decadent cabaret culture showcased yet subjected to moral apology RE appropriation
many smaller bits of reflex Hollywood-think
Now – with all that said – these things were made almost completely non-gratuitous by a kind of honest incorporation into the plot, albeit without historically accurate dialog, and RARELY addressing them directly. This leaves an intriguing blend of truth – historical and emotional – in the wrong language, suitable for the modern ear. Actually, Hollywood does this almost ALWAYS, but because I now avoid their work product for months to years at a time, it’s painfully apparent to me.
Thus, the movie creates a skillful blend of political tensions with the NORMAL tensions of a murder mystery. This is a great trick – a kind of cross-talk to influence audiences EMOTIONALLY but not overtly.
The didn’t forget the SEX, either. Lots of STEAMY sexually charged scenes, too, but not much skin. As the Daily Mail put it (and this is one of their longer titles):
Full steam ahead for sex, greed and murder: To celebrate the 100th anniversary of Agatha Christie’s first book (and our first glimpse of Poirot), Nicole Lampert goes behind the scenes on Kenneth Branagh’s VERY racy new film version of Death On The Nile
This is skilled propaganda – and in my opinion it is forced on the story by the requirement that the writing get past “The Black List”. This thing ticks off all the requisite boxes on racial and end-wave feminist cultural Marxism. It also passes muster with the Satanist crowd, IMO, by virtue of the Egyptian setting and their “death cult” stuff.
NEVER FORGET WHAT THEY DID – and by that, I mean what they DID TO US.
SPOILER – graphic photo of Las Vegas carnage below the Luxor obelisk, pyramid, and sphinx.
Yup. This production clearly “green-lighted” by the Luciferians in charge.
Now that I’ve gotten the POLITICAL and the CULTURAL and the RELIGIOUS payload stuff out of the way, what about this movie in normal ways? Is it any good?
I think it was really well-done, and that is what elevates the vehicle above the payload.
Let’s start with one of the reasons I was happy to go see the movie.
Russell Brand is not prominent – not as much as I would have liked – but he’s really, really good. He uses his LACK OF LINES to forcefully project a kind of disturbing, anxious, quiet tension and hidden emotion that brings all sorts of suspicion to his character. I won’t tell you where that goes, but it’s good. When he does speak, he does it quite well, and it contributes to the intensely emotional nature of the film. I have much respect for him as an actor now, even though he was clearly playing one of the “butler-level” parts.
This also speaks to extremely competent direction, of course.
Gal Gadot and Armie Hammer are both excellent, carrying that essential combination of “suspicious as hell” and “wouldn’t hurt a fly” which makes for a good whodunit. Hammer is particularly good at the latter. Gadot manages to pull off dozens of wildly different looks throughout the film, which is damn near a fashion piece. Hammer is just stylish. But is he bad? Not gonna spill the beans here!
You might think Gadot would be the hottie of the movie, but if you go by what is gonna make men hot under the collar, that would be the performance by this gal, Emma Mackey.
Both ladies do some scorching dance moves with Armie Hammer, but Mackey’s were enough to raise my blood pressure into the red zone. She’s also quite excellent in her part – the definitely neurotic, probably psychotic, and quite possibly crazy as a bedbug, jilted ex of the guy, and “former” BFF of the girl.
Complicated business.
This gal has “she did it” painted all over her. But did she? No way. Can’t be. But yet…..
Good acting. Dancing. Whatever!
The movie is banned in Kuwait over Gal Gadot’s Israeli military background, but I have to say – if they were looking for other reasons, this movie has plenty.
Speaking of which…..
These ladies provide some mild comic relief – I was unaware that they’re actually a comedy duo – Jennifer Saunders and Dawn French. What’s interesting here is that they mix in some straight-up politics, and actually poke fun at some of the leftist kind. I’m not going to go into much more detail than that.
OK – I will say one thing. The film actually borrows one of Donald Trump’s best one-liners, and re-uses it in a new context. I kid you not. Most people won’t catch it, but those who are deeply familiar with Trump’s 2016 campaign trail will get a nice laugh. It’s good fun.
Annette Bening and Tom Bateman turn in solid performances as the rich old lady and her goofy mama’s-boy son, the latter who seems far too light in the loafers to be falling for……
Sorry. That might be TMI.
Many of the twists of the movie revolve around the above pair. If you do see this movie…..
EYES ON.
NEXT – the accountant.
The Gadot character’s accountant cousin, played by Ali Fazal, is definitely suspicious as hell. Like all accountants, it would seem, he has a “security plan”, and I have to say, I prefer Suspicious Cousin’s over Emma Mackey’s.
Speaking of security, check out that Tiffany necklace on Gal Gadot. It’s part of the plot.
OK – now who are we missing?
Kenneth Branagh as Hercule Poirot
Tom Bateman as Bouc
Annette Bening as Euphemia Bouc
Russell Brand as Dr. Windlesham
Ali Fazal as Andrew Katchadourian
Dawn French as Mrs. Bowers
Gal Gadot as Linnet Ridgeway-Doyle
Armie Hammer as Simon Doyle
Rose Leslie as Louise Bourget
Emma Mackey as Jacqueline de Bellefort
Sophie Okonedo as Salome Otterbourne
Jennifer Saunders as Marie Van Schuyler
Letitia Wright as Rosalie Otterbourne
Ann Turkel as Meredith Wilson
OK – let’s start with the Otterbournes. They’re actually key characters, around which much of the story takes place. There’s the old lady singer / performer, played by Sophie Okonedo…..
…..and then there is her “young kin manager”, played by Letitia Wright.
These two are in the thick of things, and there are many surprises based on their presence. Obviously these two gals are leaned on heavily for the PC messaging, but in spite of it all, they manage to come off as credible, non-cardboard, and interesting characters. In my opinion, if the screenplay would have pulled some of the “crypto-political” dialogue, and replaced it with solid character development, such as making Wright’s character more of a fully developed romantic counterpart to Mackey’s, the whole movie would have benefited.
Fans of “security devices”, shall we say, are gonna love several scenes with these gals, but I won’t spoil the fun.
Speaking of security, always keep your eye on the butler – especially if she has a hankering for BFD (Big Effin’ Diamonds). This is Rose Leslie, who really pulls off the look of a domestic.
Suspicious Cat really thought this broad was GUILTY. Was he right? NOT SAYIN’.
So who’s left on our list? Two names – one of which appears to have been edited out, or is there by mistake. And that leaves ONLY ONE.
Kenneth Branagh. This guy simply can’t be bad. As ALWAYS, he does a great job here, both as an actor and a director, giving some real depth to the character of Hercule Poirot. That’s some of the most redeeming stuff in the movie, so it’s all you’re getting.
OH! And one last, cute point.
Apparently Hollywood had “issues” releasing the movie because of “scandals” that are guaranteed to make your eyes roll.
How ‘Death on the Nile’ became ‘every publicist’s worst nightmare’
Yes. Hollywood was SKEERED because four of the “talent” got into social media trouble.
From the top…..
First. In Hollyweird, it’s OK to *BE* a cannibal, but don’t get caught loudly pretending you’re one – especially after pissing off a string of important women. Armie Hammer (yes, he’s related to the original commie) apparently likes some pretty kinky play sex, and his exes have loose lips. But is he a real cannibal, or just a loud-mouthed drunk and a loser? Your call…..
But WAIT – there ARE things worse than that. Like making a “tone-deaf” and “cringeworthy” “COVID survivor” video based on the John Lennon “Imagine” lyrics, that got tomatoes from hipsters and Branch Covidians.
WARNING!!! MAXIMUM CRINGE!!!
Please, Gal! Always check with your local communist cadres to make sure that speech is appropriate BEFORE you speak!
But there are things that are even worse than poor correct-think…..
Like WRONG-THINK!
Like retweeting anything mildly skeptical of the COVID vaccine narrative. Or worse still, actually TALKING to vaccine skeptics. OH, NOES!
So yeah. They had to wait until NOW, when apparently the SMOKE CLEARED.
SO – should you go see this movie?
Not my call. Hopefully I’ve told you what you need to know.
Movies are not reality. They’re stories. They’re emotional manipulation. Sometimes they’re political manipulation, too. I’m not actually sure if I’m a better or worse person for having watched this movie. But I felt like I needed to make a RECORD of the experience. Hopefully that record can be put to good use by others.
If you do go, ENJOY THE SHOW. I think you might.
The Andromeda Shot
Thanks to barkerjim, Gail Combs, and Chris, who all got me onto the scent with this one.
Let’s start with “The Andromeda Clot”. This story began when a professional embalmer spoke out on behalf of his profession, stating that once the jabs started, he and other embalmers started seeing long, white, fibrous clots – stringy like plastic – in the veins of deceased victims of heart attacks and strokes.
The story just gets bigger and more shocking from there, as Steve dug in.
Steve interviews a very talkative and inquisitive lady embalmer, speaking on behalf of herself and two embalmer friends. These three embalmers have all seen the clots, and ALL of them independently came to hypothesize that these clots are caused by the COVID vaccines.
If you don’t have time for the video (it’s over an hour), you can read this post by Steve for the highlights.
This interview is FILLED with excellent information about the clots, including this lady’s opinion that (1) there is no way these clots are from post-mortem coagulation, and (2) that the clots seem more prominent in the elderly, and may be exacerbated by immobility and stasis.
Some of the blockbuster “hidden gems” in this interview are “scoops” about what doctors are doing behind the scenes. One is use of ivermectin “on the down low” at the local hospital, which is in a very conservative area. Another is that doctors who are encountering clots in clinical practice, are asking about vaccination status as a possible cause of the clots.
You can’t stop the signal, because the signal is TRUTH.
In my opinion, these clots are so damning, it is MONSTROUS that science is not talking about this phenomenon yet.
Is medicine really that derelict in its duty, that UNDERTAKERS are now the source of SCIENCE?
In my opinion, the media in support of WEF leaders and WEF narratives is how we got here.
Adam Schiff, Joe Biden, Barack Obama, and their ILK are why America is looking a lot like the Soviet Union lately, following close behind Canada, Australia, and New Zealand.
Psaki says the White House has been flagging "problematic posts" on Facebook they believe are misinformation about Wuhan coronavirus. Reminder: Fauci worked with Facebook to ban the lab leak theory, which is factual, for more than a year.
Cuppa Covfefe had the same reaction as I did – that this sounds like the disease in Michael Crichton’s fictional book “Andromeda Strain“, the virus of which turned people’s blood into a rubbery powder.
Gail was thinking that this white fibrous stuff sounds like fibrin, and indeed, there is evidence that spike protein binds to fibrinogen, leading to the inappropriate formation of fibrin.
Here are some references about dysfunctional coagulation from both COVID-19 and spike protein, including vaccines.
I can go on and on, finding papers which demonstrate coagulopathy due to either COVID-19 or the spike protein, but almost nobody in the science world DARES to link any of it to the spike protein vaccines, despite the obvious morbidity, mortality, and pathology of vaccinees – something which is apparent to all intellectually honest people.
For example, the first study cited above is featured in this explanatory blog post:
A vicious circle. Coagulation is not merely a result of inflammation, it causes inflammation also, a process driven by the presence of the spike protein alone and its peculiar interaction with fibrinogen and fibrin.
Now here’s the kicker. If the SARS-CoV-2 virus with its uniquely pathogenic spike protein is a bioweapon, then so also must be the ‘vaccines’, which cause the cells in our bodies to manufacture SARS-CoV-2 spike proteins in their trillions, and it has been demonstrated conclusively that these spikes find their way into the vascular system and circulate to every organ in the body, even the brain. Go figure, as they say.
That last paragraph is not hyperbole. In contradiction to all the toadie journalist “fact-checkers”, REAL SCIENTISTS who have dared to point toward the obvious spike protein culprit have now had their suspicions confirmed.
“Read that again: Protein production of spike is higher than those of severely ill COVID-19 patients!“
And to quote the paper he’s talking about:
We find that BNT162b2 vaccination produces IgG responses to spike and RBD at concentrations as high as those of severely ill COVID-19 patients and follows a similar time course.
This is not hard. Think about it.
disease produces spike protein mostly in respiratory tract and lungs
severely ill COVID-19 cases produce more spike, more disseminated
Pfizer vaccine produces same amount of spike as severe disease
but vaccine produces spike in highly vascularized muscle tissue
patients are encouraged to move deltoid muscle to increase perfusion
Pfizer data (Japan) proves vaccine disseminates throughout body
data proves long half-life of vaccine before release of pseudo-mRNA
other studies show vaccine migrates to lymph nodes
spike-producing pseudo-mRNA likely has unnaturally long lifetime
spike is produced for 60+ days in lymph nodes
vaccine moves through circulatory system via lipid nanoparticles
spike moves from lymph nodes through circulatory system via exosomes
exosomes both contain spike and express it on surface
exposed spike binds to fibrinogen and initiates fibrin formation and clotting
circulatory vaccine spike should cause MORE clotting than does disease
It is NO WONDER that the vaccine earned the nickname “clot shot”.
My bottom line is this:
We cannot stand by while these MONSTERS abort living children slowly with these vaccines.
Remember the wife of familial eugenicist Bill Gates JUNIOR?
It’s very useful to understand BILL GATES SENIOR to get a better feel for the whole clan. The man was not just a eugenicist, but a FABIAN as well.
The other side is getting very desperate to “commit population reduction”, and to do it “by any means necessary”. And to do it – as we have seen – the SNEAKIER, the better.
In my opinion, we have to get LOUD in voice and EFFECTIVE in practice, in spreading the word about the HORROR of the Andromeda shot.
Forcing kids to take these injections is horrifying.
ACT ACCORDINGLY.
We have to support the truckers. We have to end the mandates. We have to end this insane regime.
I believe that making the Bidenistas and Bidenazis EAT THE CLOT SHOT is an important part of how to do that.
