Posts Tagged ‘Star Trek’

No Flesh Is Spared in Richard Stanley’s H.P. Lovecraft Adaptation.

October 20, 2020

Well, almost none. There is one survivor. Warning: Contains spoilers.

Color out of Space, directed by Richard Stanley, script by Richard Stanley and Scarlett Amaris. Starring

Nicholas Cage … Nathan Gardner,

Joely Richardson… Theresa Gardner,

Madeleine Arthur… Lavinia Gardner

Brendan Meyer… Benny Gardner

Julian Meyer… Jack Gardner

Elliot Knight… Ward

Tommy Chong… Ezra

Josh C. Waller… Sheriff Pierce

Q’orianka Kilcher… Mayor Tooma

This is a welcome return to big screen cinema of South African director Richard Stanley. Stanley was responsible for the cult SF cyberpunk flick, Hardware, about a killer war robot going running amok in an apartment block in a future devastated by nuclear war and industrial pollution. It’s a great film, but its striking similarities to a story in 2000AD resulted in him being successfully sued by the comic for plagiarism. Unfortunately, he hasn’t made a major film for the cinema since he was sacked as director during the filming of the ’90s adaptation of The Island of Doctor Moreau. Th film came close to collapse and was eventually completed by John Frankenheimer. A large part of the chaos was due to the bizarre, irresponsible and completely unprofessional behaviour of the two main stars, Marlon Brando and Val Kilmer.

Previous Lovecraft Adaptations

Stanley’s been a fan of Lovecraft ever since he was a child when his mother read him the short stories. There have been many attempts to translate old Howard Phillips’ tales of cosmic horror to the big screen, but few have been successful. The notable exceptions include Brian Yuzna’s Reanimator, From Beyond and Dagon. Reanimator and From Beyond were ’80s pieces of gleeful splatter, based very roughly – and that is very roughly – on the short stories Herbert West – Reanimator and From Beyond the Walls of Sleep. These eschewed the atmosphere of eerie, unnatural terror of the original stories for over the top special effects, with zombies and predatory creatures from other realities running out of control. Dagon came out in the early years of this century. It was a more straightforward adaptation of The Shadow Over Innsmouth, transplanted to Spain. It generally followed the plot of the original short story, though at the climax there was a piece of nudity and gore that certainly wasn’t in Lovecraft.

Plot

Color out of Space is based on the short story of the same name. It takes some liberties, as do most movie adaptations, but tries to preserve the genuinely eerie atmosphere of otherworldly horror of the original, as well as include some of the other quintessential elements of Lovecraft’s horror from his other works. The original short story is told by a surveyor, come to that part of the American backwoods in preparation for the construction of a new reservoir. The land is blasted and blighted, poisoned by meteorite that came down years before. The surveyor recounted what he has been told about this by Ammi Pierce, an old man. The meteorite landed on the farm of Nahum Gardner and his family, slowly poisoning them and twisting their minds and bodies, as it poisons and twists the land around them.

In Stanley’s film, the surveyor is Ward, a Black hydrologist from Lovecraft’s Miskatonic University. He also investigates the meteorite, which in the story is done by three scientists from the university. The movie begins with shots of the deep American forest accompanied by a soliloquy by Ward, which is a direct quote from the story’s beginning. It ends with a similar soliloquy, which is largely the invention of the scriptwriters, but which also contains a quote from the story’s ending about the meteorite coming from unknown realms. Lovecraft was, if not the creator of cosmic horror, then certainly its foremost practitioner. Lovecraftian horror is centred around the horrifying idea that humanity is an insignificant, transient creature in a vast, incomprehensible and utterly uncaring if not actively hostile cosmos. Lovecraft was also something of an enthusiast for the history of New England, and the opening shots of the terrible grandeur of the American wilderness puts him in the tradition of America’s Puritan settlers. These saw themselves as Godly exiles, like the Old Testament Israelites, in a wilderness of supernatural threat.

The film centres on the gradual destruction of Nathan Gardner and his family – his wife, Theresa, daughter Lavinia, and sons Benny and Jack – as their minds and bodies are poisoned and mutated by the strange meteorite and its otherworldly inhabitant, the mysterious Color of the title. Which is a kind of fuchsia. Its rich colour recalls the deep reds Stanley uses to paint the poisoned landscape of Hardware. Credit is due to the director of photography, Steve Annis, as the film and its opening vista of the forest looks beautiful. The film’s eerie, electronic score is composed by Colin Stetson, which also suits the movie’s tone exactly.

Other Tales of Alien Visitors Warping and Mutating People and Environment

Color out of Space comes after a number of other SF tales based on the similar idea of an extraterrestrial object or invader that twists and mutates the environment and its human victims. This includes the TV series, The Expanse, in which humanity is confronted by the threat of a protomolecule sent into the solar system by unknown aliens. Then there was the film Annihilation, about a group of women soldiers sent into the zone of mutated beauty and terrible danger created by an unknown object that has crashed to Earth and now threatens to overwhelm it. It also recalls John Carpenter’s cult horror movie, The Thing, in the twisting mutations and fusing of animal and human bodies. In the original story, Gardner and his family are reduced to emaciated, ashen creatures. It could be a straightforward description of radiation poisoning, and it indeed that is how some of the mutated animal victims of the Color are described in the film. But the film’s mutation and amalgamation of the Color’s victims is much more like that of Carpenter’s Thing as it infects its victims. The scene in which Gardner discovers the fused mass of his alpacas out in the barn recalls the scene in Carpenter’s earlier flick where the members of an American Antarctic base discover their infected dogs in the kennel. In another moment of terror, the Color blasts Theresa as she clutches Jack, fusing them together. It’s a piece of body horror like the split-faced corpse in Carpenter’s The Thing, the merged mother and daughter in Yuzna’s Society, and the fused humans in The Thing’s 2012 prequel. But it’s made Lovecraftian by the whimpering and gibbering noises the fused couple make, noises that appear in much Lovecraftian fiction.

Elements from Other Lovecraft Fiction

In the film, Nathan Gardner is a painter, who has taken his family back to live on his father’s farm. This is a trope from other Lovecraft short stories, in which the hero goes back to his ancestral home, such as the narrator of The Rats in the Walls. The other characters are also updated to give a modern, or postmodern twist. Gardner’s wife, Theresa, is a high-powered financial advisor, speaking to her clients from the farm over the internet. The daughter, Lavinia, is a practicing witch of the Wiccan variety. She is entirely benign, however, casting spells to save her mother from cancer, and get her away from the family. In Lovecraft, magic and its practitioners are an active threat, using their occult powers to summon the ancient and immeasurably evil gods they worship, the Great Old Ones. This is a positive twist for the New Age/ Goth generations.

There’s a similar, positive view of the local squatter. In Lovecraft, the squatters are barely human White trash heading slowly back down the evolutionary ladder through poverty and inbreeding. The film’s squatter, Ezra, is a tech-savvy former electrician using solar power to live off-grid. But there’s another touch here which recalls another of Lovecraft’s classic stories. Investigating what may have become of Ezra, Ward and Pierce discover him motionless, possessed by the Color. However, he is speaking to them about the Color and the threat it presents from a tape recorder. This is similar to the voices of the disembodied human brains preserved in jars by the Fungi from Yuggoth, speaking through electronic apparatus in Lovecraft’s The Whisperer in Darkness. Visiting Ezra earlier in the film, Ward finds him listening intently to the aliens from the meteorite that now have taken up residence under the Earth. This also seems to be a touch taken from Lovecraft’s fiction, which means mysterious noises and cracking sounds from under the ground. Near the climax Ward catches a glimpse through an enraptured Lavinia of the alien, malign beauty of the Color’s homeworld, This follows the logic of the story, but also seems to hark back to the alien vistas glimpsed by the narrator in The Music of Erich Zann. And of course it wouldn’t be a Lovecraft movie without the appearance of the abhorred Necronomicon. It is not, however, the Olaus Wormius edition, but a modern paperback, used by Lavinia as she desperately invokes the supernatural for protection.

Fairy Tale and Ghost Story Elements

Other elements in the movie seem to come from other literary sources. The Color takes up residence in the farm’s well, from which it speaks to the younger son, Jack. Later, Benny, the elder son tries to climb down it in an attempt to rescue their dog, Sam, during which he is also blasted by the Color. When Ward asks Gardner what has happened to them all, he is simply told that they’re all present, except Benny, who lives in the well now. This episode is similar to the creepy atmosphere of children’s fairy tales, the ghost stories of M.R. James and Walter de la Mare’s poems, which feature ghostly entities tied to specific locales.

Oh yes, and there’s also a reference to Stanley’s own classic film, Hardware. When they enter Benny’s room, glimpsed on his wall is the phrase ‘No flesh shall be spared’. This is a quote from Mark’s Gospel, which was used as the opening text and slogan in the earlier movie.

The film is notable for its relatively slow start, taking care to introduce the characters and build up atmosphere. This is in stark contrast to the frenzied action in other, recent SF flicks, such as the J.J. Abram’s Star Trek reboots and Michael Bay’s Transformers. The Color first begins having its malign effects by driving the family slowly mad. Theresa accidentally cuts off the ends of her fingers slicing vegetables in the kitchen as she falls into a trance. Later on, Lavinia starts cutting herself as she performs her desperate ritual calling for protection. And Jack and later Gardner sit enraptured looking at the television, vacant except for snow behind which is just the hint of something. That seems to go back to Spielberg’s movie, Poltergeist, but it’s also somewhat like the hallucinatory scenes when the robot attacks the hero from behind a television, which shows fractal graphics, in Hardware.

Finally, the Color destroys the farm and its environs completely, blasting it and its human victims to ash. The film ends with Ward contemplating the new reservoir, hoping the waters will bury it all very deep. But even then, he will not drink its water.

Lovecraft and Racism

I really enjoyed the movie. I think it does an excellent job of preserving the tone and some of the characteristic motifs of Lovecraft’s work, while updating them for a modern audience. Despite his immense popularity, Lovecraft is a controversial figure because of his racism. There were objections last year or so to him being given an award at the Hugo’s by the very ostentatiously, sanctimoniously anti-racist. And a games company announced that they were going to release a series of games based on his Cthulhu mythos, but not drawing on any of his characters or stories because of this racism. Now the character of an artist does not necessarily invalidate their work, in the same way that the second best bed Shakespeare bequeathed to his wife doesn’t make Hamlet any the less a towering piece of English literature. But while Lovecraft was racist, he also had black friends and writing partners. His wife was Jewish, and at the end of his life he bitterly regretted his earlier racism. Also, when Lovecraft was writing in from the 1920s to the 1940s, American and western society in general was much more racist. This was the era of segregation and Jim Crow. It may be that Lovecraft actually wasn’t any more racist than any others. He was just more open about it. And it hasn’t stopped one of the internet movie companies producing Lovecraft Country, about a Black hero and his family during segregation encountering eldritch horrors from beyond.

I don’t know if Stanley’s adaptation will be to everyone’s taste, though the film does credit the H.P. Lovecraft Historical Society among the organisations and individuals who have rendered their assistance. If you’re interested, I recommend that you give it a look. I wanted to see it at the cinema, but this has been impossible due to the lockdown. It is, however, out on DVD released by Studio Canal. Stanley has also said that if this is a success, he intends to make an adaptation of Lovecraft’s The Dunwich Horror. I hope the film is, despite present circumstances, and we can look forward to that piece of classic horror coming to our screens. But this might be too much to expect, given the current crisis and the difficulties of filming while social distancing.

The Overlord on Rumours that Mark Hamill Has Sold Image for Hollywood CGI Clone of Luke Skywalker

August 8, 2020

‘The Overlord’ is another YouTube channel devoted to news and views about genre cinema and television. It’s hosted by Dictor von Doomcock, a masked alien supervillain supposedly living at the centre of the Earth. And who is definitely not impressed at all at the state of contemporary popular culture, and particularly the way beloved film classics like Star Wars, Star Trek, Dr. Who and so on are now being trashed by producers who have no respect for these series and their fans. And in this video he talks about the bizarre next step in this process: the recreation of favourite film characters like Indiana Jones and Luke Skywalker through CGI, completely removing the need for human actors.

A website, WDW Pro, has claimed that Disney are looking for ways they can break the pause in filming imposed by the Coronavirus lockdown. They are therefore looking at ways to do without human actors. They have therefore been looking at a technological solution to this problem, using the same computer techniques used to create the films The Lion King of 2019 and the 2016 film version of The Jungle Book, as well as the facial recreation of Peter Cushing as Grand Moff Tarkin in Star Wars: Rogue 1. Frustrated at the hold-up filming the third Guardians of the Galaxy flick, Disney will use the technology, Cosmic Rewind, to create a completely computer generated movie, but one that would be presented as using human characters. This is going to be an experiment to test the possibility of creating films without human actors and the need for their salaries. According to a rumour, which WDW Pro has not been able to confirm, the projected film is about Young Indy, and its effectiveness will be tested when a rollercoaster based on the film comes on as part of Disneyworld.

Lucasfilm has also apparently made a deal with Mark Hamill within the last 18 months in which he has signed over his image to them so that they can use it to create a CGI Luke Skywalker. This Virtual Skywalker may also be used in the projected Galaxy’s Edge Star Wars theme park. However, due to the project’s severe financial problems, this may not happen anytime soon. Disney are slowly moving towards using this technology to dispense with human actors so that they won’t have to suffer a similar pause in filming ever again, although they won’t move away from human actors altogether immediately.

Doomcock himself laments this development, and feels that it is inevitable in a world where Deep Fake technology has advanced so far that we don’t know if the people we see or the news we watch are real, or that the characters we see on the screen are brought to life by real actors using the skills and craft they have learned. He wonders what will happen to our civilisation – what we will lose – if everything we see on the screen is synthetic, and we are removed another step again from reality and anything that has ‘heart’. It might all be all right, but it seems to him that the more we remove the human element from art and culture and make it the creation of AIs, the more removed we are from our culture.

He also vents his spleen about the choice of subject for this putative movie, pointing out that there was a TV series about Young Indiana Jones years ago, and nobody wanted it. He recommends instead that if this grave-robbing technology is to be used, it should be used to recreate the mature Indy of Raiders of the Lost Ark and Temple of Doom. He also criticises Hamill for what he sees as his poor judgement in making the deal with Disney. Hamill should know personally how a poor director can ruin a beloved legacy character, the actor’s own contribution and a favourite film franchise through his experience playing Skywalker in The Last Jedi. He famously wept on set during that movie and bitterly criticised the director’s decisions. He’s sarcastic about the respect Disney shows such legacy characters. It’s rumoured that George Lucas is returning to helm the Star Wars films, in which everything will be fine and we can look forward to a bright, new golden age. But considering the potential for abuse, Doomcock states that he is dismayed, flabbergasted and disgusted by Hamill’s decision and fearful for humanity’s future. As human culture becomes made by machines, hasn’t Skynet won? Who needs to launch nukes, when we have a CGI Skywalker dancing like a monkey in a bikini?

Here’s the video, but as Doomcock himself warns you, it isn’t for children. It has adult humour. Blatantly adult humour.

As you can see, there’s more than a little hyperbole in Doomcock’s argument, and some people will take issue at what he views as the humiliation of Luke Skywalker to push a feminist or anti-racist message, like Black Lives Matter. But his fears of the abuse of such technology aren’t unfounded, and have been around for quite some time. The possibility that actors would sell their images to film companies to recreate them Virtually, while making the flesh and blood person redundant, was explored a few years ago in the SF film The Congress by Ari Folman. This was loosely based on the Stanislaw Lem novel, The Futurological Congress, but is very different, and, in my opinion, inferior. For one thing, the Lem novel is hilariously funny, while the movie is grim and depressing. The movie is about a Hollywood actress, Robin Wright, playing herself, who makes precisely the deal Hamill is rumoured to have made. She then stars in a series of action movies, including one sequence that is definitely a tip to Kubrick’s Cold War masterpiece, Dr. Strangelove. But this is all computer animation. The Wright herself isn’t remotely involved in their filming. Indeed, it is a condition of her contract that she not act at all, and live the rest of her life in a very comfortable retirement. These developments are followed by the discovery of a drug that allows people to enter a vast, consensual Virtual Reality, in which they can be and do anyone and anything they want. The world’s masses abandon reality, so that civilisation decays into a very grim, dystopia of ruin, poverty and misery. At one point Wright takes the drug, which will return her to reality, only to find herself in a food queue in a burned out, abandoned building. Unable to come with this, she returns to the Virtual world to search for the son she lost while in a coma as a result of a terrorist attack on the Las Vegas congress she was attending at which the hallucinogenic drug was launched. As I said, it’s a depressing film in which such illusions really are bringing about the destruction of humanity. And there is no escape, except into the Virtual world that has caused it.

The film follows a number of other SF works that have also predicted similar dystopias brought about by the hyperreality of mass entertainment. This includes John D. MacDonald’s short story, Spectator Sport, in which a time traveller appears in a future in which all human achievement has ceased as the public live out their lives as characters in VR plays. Another, similar tale is Good Night, Sophie, by the Italian writer Lino Aldani, about an actress in a similar world in which people live harsh, austere lives in order to escape into a far brighter, more vivid fantasy world of entertainment. Rather less pessimistic was the appearance of the SF film, Final Fantasy, all those years ago. This was supposed to be the first film in which all the characters were CGI, and who were supposedly indistinguishable from flesh-and-blood reality. The fact that further films like it haven’t been made suggests that, reassuringly, people want real humans in their movies, not computer simulations.

We’ve also seen the appearance of a number of computer generated celebrities. The first of these was the vid jockey, Max Headroom on Channel 4 in the 1980s. He was supposed to  be entirely computer-generated, but in reality was played by Canadian actor Matt Frewer under a lot of makeup. Then in the 1990s William Gibson, one of the creators of Cyberpunk SF, published Idoru. This was a novel about a man, who begins an affair with a Virtual celebrity. Soon after it came out, a Japanese company announced that it had created its own Virtual celeb, a female pop star. Gibson’s books are intelligent, near-future SF which contain more than an element of the ‘literature as warning’. The worlds of his Cyberspace books are dystopias, warnings of the kind of society that may emerge if the technology gets out of hand or corporations are given too much power. The creation of the Virtual pop star looked instead as though the corporation had uncritically read Gibson, and thought what he was describing was a good idea.

But going further back, I seem to recall that there was a programme on late at night, presented by Robert Powell, on the impact the new information technology would have on society. It was on well after my bedtime, and children didn’t have their own TVs in those days. Or at least, not so much. I therefore didn’t see it, only read about it in the Radio Times. But one of its predictions was that there would be widespread unemployment caused by automation. This would include actors, who would instead by replaced by computer simulations.

Computer technology has also been used to create fresh performances by deceased stars, sometimes duetting with contemporary performers. This worried one of my aunts when it appeared in the 1980s/90s. Dead performers have also been recreated as holograms, to make the stage or television appearances they never made in life. The late, great comedian Les Dawson was revived as one such image, giving post-mortem Audience With… on ITV. It was convincing, and based very much on Dawson’s own live performances and work. It was good to see him again, even if only as Virtual ghost, and a reminder of how good he was when alive.

I don’t know how reliable the rumours Doomcock reports and on which he comments are. This could all be baseless, and come to nothing. But I share his fears about the damage to our culture, if we allow our films and television to be generated by technicians and algorithms rather than flesh and blood thesps. Especially as the rising cost of movies mean that the film companies are unwilling to take risks and seem determined to rake over and exploit past classics rather than experiment with creating fresh material.

CGI’s a great tool. It’s used to create vividly real worlds and creatures. But I don’t want it replacing humans. Even if that means waiting a few years for new flicks to come out.

 

Egyptians Issue Polite Invitation to Musk to See that Aliens Didn’t Built the Pyramids

August 4, 2020

Here’s a rather lighter story from yesterday’s I, for 3rd August 2020. Elon Musk, the billionaire industrialist and space entrepreneur, has managed to cause a bit of controversy with Egyptian archaeologists. He’s a brilliant businessman, no doubt, but he appears to believe in the ancient astronaut theory that alien space travellers built the pyramids. He issued a tweet about it, and so the head of the Egyptian ministry for international cooperation  has sent him a very polite invitation to come to their beautiful and historic country and see for himself that this is very obviously not the case. The report, ‘Musk invited to debunk alien pyramid theory’, by Laurie Havelock, runs

An Egyptian official has invited Elon Musk, the Tesla and SpaceX tycoon, to visit the country and see for himself that its famous pyramids were not built by aliens.

Mr Musk appeared to publicly state his support for a popular conspiracy theory that imagines aliens were involved in the construction of the ancient monuments.

But Egypt’s international co-operation minister corrected him, and said that laying eyes on the tombs of the pyramid builders would be proof enough.

Tombs discovered inside the structures during the 1990s are definitive evidence, experts say, that the structures were indeed built by ancient Egyptians. On Friday, Mr Musk tweeted: “Aliens built the pyramids obv”. which was retweeted more than 84,000 times. It prompoted Egypt’s minister of international co-operation Rania al-Mashat to respond: “I follow your work with a lot of admiration. I invite you & SpaceX to explore the writings about how the pyramids were built and also check out the tombs of the pyramid builders. Mr Musk, we are waiting for you.”

Egyptian archaeologist Zahi Hawass also responded in a short video in Arabic, posted on social media, saying Mr Musk’s argument was a “complete hallucination”.

Hawass used to be head of their ministry of antiquities, and a very senior archaeologist. He was on TV regularly in the 1990s whenever there was a programme about ancient Egypt. And he doesn’t have much truck with bizarre theories about how or why the pyramids were built. ‘Pyramidiots – that what I call them!’ he once declared passionately on screen.

The idea that the ancient Egyptians couldn’t have built the pyramids because it was all somehow beyond them has been around for some time, as have similar ideas about a lost civilisation being responsible for the construction of other ancient monuments around the world, like Stonehenge, the Nazca lines and great civilisations of South America, Easter Island and so on. Once upon a time it was Atlantis. I think in certain quarters it still is. And then with the advent of UFOs it became ancient astronauts and aliens. One of the illustrations Chris Foss painted for a book cover from the 1970s shows, I think, alien spacecraft hovering around the pyramids.

There’s actually little doubt that humans, not aliens, built all these monuments, and that the ancient Egyptians built the pyramids for which their country’s famous. Archaeologists have even uncovered an entire village, Deir el-Medina, inhabited by the craftsmen who worked on them. This has revealed immensely detailed records and descriptions of their daily lives as well as their working environment. One of the documents that has survived from these times records requests from the craftsmen to their supervisors to have a few days off. One was brewing beer – a staple part of the ordinary Egyptians diet – while another had his mother-in-law coming round. I also distinctly remember that one of the programmes about ancient Egypt in the 1990s also proudly showed a tomb painting that at least depicted the system of ramps the workers are believed to have used to haul the vast stones into place. And the great ancient Greek historian, Herodotus, in his Histories, states very clearly that the pyramids were built by human workers. He includes many tall tales, no doubt told him by tour guides keen to make a quick buck and not to worried about telling the strict truth to an inquisitive foreigner. Some of these are about the spice and rich perfumes traded by the Arab civilisations further west. He includes far-fetched stories about how these exotic and very expensive products were collected by giant ants and other fabulous creatures. But no-one tried telling him that it wasn’t people, who built the pyramids.

On the other hand, the possibility that aliens may have visited Earth and the other planets in the solar system isn’t a daft idea at all. Anton ‘Wonderful Person’ Petrov, a Russian YouTuber specialising in real space and science, put up a video a few weeks ago stating that it’s been estimated that another star passes through the solar system once every 50,000 years. A similar paper was published by a Russian space scientist in the Journal of the British Interplanetary Society back in the 1990s, although he limited the estimated to a star coming within a light-year of Earth. That’s an incredibly small distance, and if there have been other, spacefaring civilisations in our Galaxy, they could easily jump off their solar system to visit or explore ours. We can almost do it ourselves now, as shown by projects that have been drawn up to send light-weight probes by solar sail to Alpha Centauri. In addition to the Search for Extraterrestrial Intelligence using radio telescopes to comb the skies for a suitable signal, there is also planetary SETI. This advocates looking for the remains of alien spacecraft or visitors elsewhere in our solar system. It’s advocates are serious scientists, though it suffered a major blow to its credibility with the furore over the ‘Face on Mars’. Which turned out not to be a face at all, but a rock formation as its critics had maintained.

Aliens may well have visited the solar system in the deep past, but it was definitely very human ancient Egyptians, who built the pyramids. Because, as Gene Roddenberry once said about such theories, ‘humans are clever and they work hard.’ Wise words from the man who gave us Star Trek.

Let’s go out in space to seek out new life and new civilisations by all means, but also keep in mind what we humans are also capable of achieving on our own down here.

Sargon of Gasbag Smears Black Lives Matter as Anti-Semitic

July 3, 2020

Despite their recent popularity and the wave of sympathetic protests and demonstrations that have erupted all over the world in the past few weeks, Black Lives Matter is a very controversial organisation. They’re Marxists, who wish not only to get rid of capitalism, but also the police, the patriarchy and other structures that oppress Black people. They support trans rights, and, so I’ve heard, wish to get rid of the family. I doubt many people outside the extreme right would defend racism, but I’m not sure how many are aware of, let alone support, their extreme radical views.

A number of Black American Conservatives have posted pieces on YouTube criticising them. One, Young Rippa, objects to them because he has never experienced racism personally and has White friends. He’s angry because they’re telling him he is less than equal in his own country. It’s an interesting point of view, and while he’s fortunate in not experiencing racism himself, many other Black Americans have. Others have objected to the organisation on meritocratic grounds. Mr H Reviews, for example, who posts on YouTube about SF and Fantasy film, television, games and comics, is a believer in meritocracy and so objects to their demands for affirmative action. For him, if you are an employer, you should always hire the best. And if the best writers and directors are all Black, or women, or gay, their colour, gender and sexuality should make no difference. You should employ them. What you shouldn’t do in his opinion is employ people purely because they’re BAME, female or gay. That’s another form of racism, sexism and discrimination. It’s why, in his view and that of other YouTubers, Marvel and DC comics, and now Star Wars and Star Trek have declined in quality in recent years. They’re more interested in forced diversity than creating good, entertaining stories.

Now Carl Benjamin aka Sargon of Akkad, the man who broke UKIP, has also decided to weigh in on Black Lives Matter. Sargon’s a man of the far right, though I don’t think he is personally racist. Yesterday he put up a piece on YouTube asking if the tide was turning against Black Lives Matter ‘at least in the UK’. He begins the video with a discussion of Keir Starmer calling BLM a moment, rather than a movement, although he later apologised for this and retracted the description. Starmer also rejected their demand to defund the police. Benjamin went on to criticise a Wolverhampton Labour group, who tweeted their opposition to Starmer’s comment about BLM and supported defunding. Sargon also criticised the football players, who had taken the knee to show their support, and also Gary Lineker, who had tweeted his support for BLM but then apologized and made a partial retraction when it was explained to him what the organisation fully stood for. But much of Sargon’s video is devoted to attacking them because they’re anti-Semitic. Who says so? Why, it’s our old friends, the Campaign Against Anti-Semitism. Who are once again lying as usual.

Tony Greenstein put up a piece about a week or so ago on his blog discussing how the Zionist organisations hate BLM and have tied themselves in knots trying to attack the organisation while not alienating the Black community. Black Lives Matter support the Palestinians, and according to all too many Zionist groups, including the British Jewish establishment – the Board of Deputies of British Jews, the Chief Rabbinate, Jewish Leadership Council and the Jewish Chronicle and other papers, anyone who makes anything except the mildest, most toothless criticism of Israel is an anti-Semitic monster straight out of the Third Reich. This also includes Jews. Especially Jews, as the Israel lobby is doing its damnedest to make Israel synonymous with Jewishness, despite the fact that’s also anti-Semitic under the I.H.R.A. definition of anti-Semitism they are so keen to foist on everybody. As a result, Jewish critics in particular suffer insults, smears, threats and personal assault.

Yesterday BLM issued a statement condemning the planned annexation of one third of Palestinian territory by Netanyahu’s Israeli government. This resulted in the usual accusation of anti-Semitism by the Campaign Against Anti-Semitism. The deliberately misnamed Campaign then hypocritically pontificated about how anti-Semitism, a form of racism, was incompatible with any genuine struggle against racism. Which is true, and a good reason why the Campaign Against Anti-Semitism should shut up and dissolve itself.

Israel is an apartheid state in which the Palestinians are foreigners, even though in law they are supposed to have equality. In the 72 years of its existence, Israel has been steadily forcing them out, beginning with the massacres of the Nakba at the very foundation of Israel as an independent state. The Israel lobby has been trying to silence criticism of its barbarous maltreatment of them by accusing those voicing it of anti-Semitism. The Campaign Against Anti-Semitism is a case in point. It was founded to counter the rising opposition to Israel amongst the British public following the blockade of Gaza. And Tony Greenstein has argued that Zionism is itself anti-Semitic. Theodor Herzl believed that Jews needed their own state because there would always be gentile hostility to Jews. He even at one point wrote that he had ‘forgiven’ it. It’s a surrender to anti-Semitism not an opponent, although obviously you would never hear that argument from the Israel lobby.

Sargon thus follows the Campaign Against Anti-Semitism in accusing BLM of being anti-Semitic. He puts up on his video a screen shot of the CAA’s twitter reply to BLM’s condemnation of the invasion of Palestine. But there’s a piece on BLM’s tweet that he either hasn’t seen or is deliberately ignoring.

Black Lives Matter issued their condemnation as a series of linked tweets. And the second begins by noting that over 40 Jewish organisations have objected to Netanyahu’s deliberate conflation of Israel with Jews.

That tweet can clearly be seen beneath the first and the CAA’s reply as Sargon waffles on about anti-Semitism.

It says

‘More than 40 Jewish groups around the world in 2018 opposed “cynical and false accusations that dangerously conflate anti-Jewish racism with opposition to Israel’s policies of occupation and apartheid.”‘

This section of their condemnation should demonstrate that BLM aren’t anti-Semites. They made the distinction, as demanded by the I.H.R.A.’s own definition of anti-Semitism, between Jews and the state of Israel. If Black Lives Matter was genuinely anti-Semitic, not only would they not make that distinction, I doubt that they would bother mentioning that Jewish organisations also condemned it.  It is also ironic that it’s up when the Campaign Against Anti-Semitism and Sargon are doing precisely what these 40 Jewish organisations condemned.

Black Lives Matter as an organisation is controversial, and I don’t believe it or any other movement or ideology should be immune or exempt from reasonable criticism. But I don’t believe they can fairly be accused of anti-Semitism.

As for Sargon, the fact that he drones on accusing them of it while just behind him is the statement clearly showing that they aren’t tells you all you need to know about the level of his knowledge and the value of his views in this matter. But you probably guessed that already from his illustrious career destroying every organisation he’s ever joined.

I’m not going to put up Sargon’s video here, nor link to it. But if you want to see for yourself, it’s on his channel on YouTube, Akkad Daily, with the title Is The Tide Turning Against Black Lives Matter. The tweet quoting the Jewish groups denouncing the deliberate conflation of Israel and Jews to accuse critics of Israel of anti-Semitism can be seen at the bottom of the twitter stream at 5.26.

 

 

NASA Film Explaining Their Plan to Return to the Moon

June 25, 2020

Here’s a short film from NASA. Narrated by William Shatner, Star Trek’s original Captain Kirk, it explains that the space agency intends to return to the Moon after Neil Armstrong and Buzz Aldrin first landed there fifty years ago. This time the agency intends to stay.

It discusses some of the problems that have to be overcome, like isolation, radiation, gravity and the harsh environment of space. To get there, NASA has produced the SLS -Space Launch System – rocket, the most powerful yet developed, to lift heavier payloads into space. The crew will be carried by a new space capsule specially developed for the mission, Orion. The film also states that they’re developing new instrument system for exploring the Moon with their commercial partners.

They want to create fully reusable lunar landers that can land anywhere on the Moon’s surface. The simplest way to enable them to do this is to create an orbiting platform – a space station – around the Moon. This will also contain experiments as well as humans, and has been called ‘Gateway’. Gateway has been designed so that it will move between orbits, and balance between the Earth’s and Moon’s gravity.

It was discovered in 2009 that the Moon contains millions of tons of water ice. This can be extracted and purified for use as drinking water, or separated to provide oxygen for breathing and hydrogen for fuel.

They also state that the Moon is uniquely placed to prepare and propel us to Mars and beyond. The film also declaims that humans are the most fragile part of the mission, but humans are at the heart of it. NASA is going back for all humanity, and this time the Moon isn’t a checkpoint, but a way station for everything that lies beyond. Shatner ends with ‘Our greatest adventure lies ahead of us. We are going.’ This last sentence is repeated as a slogan by the many engineers, technicians, astronauts and mission staff shown in the video. They are shown working on the instruments, rocket engines, launch infrastructure, training aircraft, mission control centre, and the huge swimming pool used to train prospective astronauts in zero G. NASA’s staff and crew are both men and women, and people of all races, Black, White and Asian. One of the ladies is Black, clearly following in the footsteps of the three Afro-American female mathematicians who helped put America’s first men in orbit.

It also includes footage of the first Apollo astronauts walking to their Saturn V rocket and landing on the Moon, with computer simulations of the planned missions, as well as Mars and Jupiter.

From the video, it looks like NASA has returned to its original strategy for reaching the Moon. This was to build a space station between the Earth and Moon at which the powerful rockets used for getting out of Earth’s gravity well would dock. Passengers to the Moon would then be transferred to the landers designed to take them down the Moon. These would be less powerful because of the Moon’s lower gravity.

This was the infrastructure of lunar missions that Wernher von Braun originally intended. It’s the plan shown in Floyd’s journey from Earth to Clavius base on the Moon in Stanley Kubrick’s classic 2001: A Space Odyssey. America, however, needed to beat the Russians to the Moon in the space race for geopolitical reasons, and so chose to go directly to the Moon instead of building the intermediate space station. As a result, after the cuts of the 1970s, America and humanity never returned.

There was talk of a commercial mission to the Moon in the 1990s, using Titan-Centaur rockets assembled into a lunar vessel in orbit. Just as there were also confident predictions that by this year, humanity would have put an astronaut on the Moon. Or perhaps a taikonaut, the Chinese term for it. Stephen Baxter in an article on possible Mars missions in this present century suggested that the first person to walk on the red planet would be a Chinese woman. Who knows? The Chinese are making great strides in their space programme, so I think that’s still a real possibility.

 

Ren Wicks’ painting for NASA of 2019 mission to Mars, from Peter Bond, Reaching For The Stars: The Illustrated History of Manned Spaceflight (London: Cassell 1993).

Fifty years is far too long for us to have stayed away from the Moon. I can remember all the books on space from the 1970s and early ’80s which predicted that by this time there’d be holidays in space, orbital colonies, a base on the Moon and expeditions to Mars and beyond. These haven’t materialised. The last section of Shatner’s voiceover for the video was a piece of oratory designed to evoke JFK’s classic speech, in which he declared America was going to the Moon. ‘We intend, before this decade is out, to put a man on the Moon. We do this, and the other thing, not because it is easy, but because it is hard.’

I wish NASA and all the other space agencies and companies around the world all the very best in realizing the ancient dream of taking people into space. Despite the economic and medical crises caused by the virus, I hope they are successful and in four years’ time put people on the Moon at last. And that this will be just the first in a series of further steps out onto the High Frontier.

As somebody whispered on that fateful day when the Saturn V rocket carrying Armstrong, Aldrin and Collins took off, ‘Godspeed’.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Boris Johnson’s Culpable Idleness in the Coronavirus Crisis

April 19, 2020

The Sunday Times seems to have caused a massive ruckus today in its piece about Boris Johnson’s abject failure to tackle the Coronavirus when it first emerged. He didn’t take it seriously, and delayed taking any action at all for too long. Two weeks were wasted by his refusal to impose a lockdown until the very last minute. He also wasted five weeks in which he simply didn’t turn up at the Cobra meetings about the emergency. As Zelo Street remarks in his piece about the scandal, this means that during the time he wasted, Johnson ‘went on a killing spree, as sure as if he’d emptied an Uzi into all those poor souls.’

This material isn’t anything new. Mike points out in a couple of his articles today that he had put up posts detailing Johnson’s catastrophic lack of action about the virus on several of the pieces he put up on his personal blog.

See: https://voxpoliticalonline.com/2020/04/19/if-you-want-to-survive-coronavirus-its-time-to-use-your-intelligence-and-stop-reading-the-sunday-times/

The Sunday Times’ article was hidden behind a paywall and Murdoch’s goons are angry that Owen Jones copied the article’s salient points and issued them as a series of Tweets, so that people don’t have pay to see it. A series of hacks consisting of Oliver Kamm, Polly Vernon, Caitlin Moran and Hadley Freeman have moaned about the newspaper not getting its money for the article. They complain that it’s not about giving Murdoch a profit, but allowing the newspaper to continue publishing more quality articles like it. Quality journalism in Murdoch rags is, as Spock’s father says of Klingon justice in the conclusion to the Star Trek film, The Search for Spock, ‘an interesting point of view’. The Sunday Times is the newspaper that libeled Mike as an anti-Semite and Holocaust denier, and has libeled so many others from the left over the years. It was the Sunday Times, back in the 90s, that was successfully sued by former Labour leader Michael Foot after it wrongfully claimed that he was a KGB spy codenamed ‘Comrade Boot’. Mike has pointed out that all the information was already available on the net long before, and all he needed to do to produce his articles was to collect it and write it up. Zelo Street has also made the point that the Guardian and FT also put out free articles on line. The Sunset Times was also edited by years by John Witherow, who is notorious for using illegal information gathering. And asking people to provide their personal information to Murdoch’s crew to read the articles and others like it is just too much. He acidly comments that ‘they sup some strong stuff in that media bubble.’

See: https://zelo-street.blogspot.com/2020/04/murdoch-paywall-pleading-pathetic.html

Nevertheless there was one aspect about Johnson’s conduct discussed in the Sunset Times article that I found particularly shocking. This was BoJob’s own immense laziness. It appears that Johnson didn’t attend crucial meetings about the virus and dithered because, quite simply, he couldn’t be bothered to get off his well-fed, Eton-educated rear end. The paper quotes one government adviser as saying

what you learn about Boris was he didn’t chair any meetings. He liked his country breaks. He didn’t work weekends. It was like working for an old-fashioned chief executive in a local authority 20 years ago. There was a real sense that he didn’t do urgent crisis planning. It was exactly like people feared he would be”.

As Zelo Street points out, the explodes the well-crafted Tory spin that Johnson has been working so hard, that he became exhausted and thus came down with the virus. The Street also says that the article has upset the government, and they’ve already set the spin machine going, with Michael Gove appearing on the Andrew Marr Show this morning to rebut it. The delays in tackling the virus mean that many more people have contracted it than would otherwise have done, and many of these have died, or soon will. And the Tory press is again lying to us about how hard Johnson is working. But the real reason Johnson was taken ill is that he was overweight and unhealthy.

The government’s reputation will take a hit from these revelations, but the real damage will be done to that of the press. ‘It is’ Zelo Street says, ‘the craven, courtier, client stenographers of our free and fearless press who will be exposed as preening, shameless, selfish and unprincipled propagandists.’

As for Johnson, he concludes ‘Some of us knew he was worse than useless. This knowledge is slowly, but surely, spreading to others. If only it was as contagious as the Coronavirus.’

See: https://zelo-street.blogspot.com/2020/04/boris-and-five-week-killing-spree.html

Alternative news sites like Mike’s have been telling you this for months, if not years. But now some people have only woken up to how bone idle, incompetent and utterly, utterly unfit to run our great country because, after months of inaction, the Sunset Times has come out and said it.

I’ve blogged many times about how Mike, Zelo Street and other left-wing news sites have got the story before the lamestream media. This is another example. If you want reliable news and informed comment, go to them. Murdoch simply gives you right-wing propaganda and all too often, along with the rest of the press, simply follows them.

Cartoon: Hellbender (Hellraiser Parody)

April 10, 2020

Hello, and welcome to another of my cartoons. This one isn’t political. I thought it would be in very poor taste to mock Boris now that he is in hospital with Coronavirus. Not that it changes what his party is, or what it’s done to Britain – wreck its economy, destroy the welfare state, continue privatising the NHS and cause massive poverty and suffering to its working people. All the while proclaiming very loudly that it’s done the opposite of the above. So instead of attacking Boris, I decided to have a little fun parodying one of my favourite ‘Orror flicks: Hellraiser.

Released in 1987 and directed by Clive Barker, Hellraiser was based on his novella, The Hellbound Heart. This was the story of a family, American Larry Cotton, his daughter Kirsty, and her British stepmother, Julia, who move into a new home in Britain. But Julia has had a secret affair with Larry’s brother, Frank. Seeking extreme sensual pleasures, Frank obtains the Lament Configuration, a mysterious puzzle box. He solves it, only to find that it opens a gateway to hell, and he’s literally torn apart by barbed hooks at the end of chains.

Frank had been living in the house just before the Cottons move in. Looking around the attic room, Julia catches her hand on a nail, bleeding on the floor. The blood brings back Frank as a flayed corpse. Frank explains to her that he has escaped from hell, and must run. However, he needs her to help him. He therefore gets her to lure men back home, where they’re killed so that Frank can use their bodies to make himself whole.

But Kirsty also finds the Lament Configuration. Solving it in her hospital room, she summons the Cenobites, the demons that drag whoever solves it back to their dimension to endure an eternity of pain and suffering. The Cenobites are bald, deathly white, their flesh scarred and mutilated, and clad in black leather. Their leader, Pinhead, who is never actually called that in the original movie, got his name from the nails driven into his head. They differ from other demons in that they derive pleasure from pain. In one of the classic lines from the movie, Pinhead answers Kirsty’s question of who they are: ‘Explorers of the further reaches of experiences. Demons to some, angels to others’.

The film was made for a mere $1 million. Unlike the majority of low budget films, Hellraiser was actually very good. So good in fact that Stephen King declared that he had ‘seen the future of Horror, and it was Clive Barker’. Sadly, that early promise was not fulfilled. Barker has continued writing, adding painting to his skills, but his output is viewed as patchy by critics. Nevertheless, Hellraiser spawned a series of sequels, the first of which, Hellbound, portrayed hell as a kind of demonic Max Escher drawing. It produced a series of comics, and the Cenobites, and especially Pinhead, joined the ranks of great movie monsters.

There’s a type of salamander living in the southern USA called a hellbender. Looking at the similarity between its name and that of Barker’s movie, I simply thought it would be funny to draw a spoof of it in which Pinhead appears as a salamander. The Axalotl is another such creature, though it differs from other species in that it retains it gills throughout its adult life. And the punchline at the bottom is simply a play on the movie’s slogan, ‘It’ll tear your soul apart’.

Incidentally, Andrew Robinson, who played Larry in the film, went to play Garak, the Cardassian tailor/spy in Star Trek: Deep Space Nine.

I hope you enjoy it, and can read the script. Unfortunately, the red doesn’t really stand out against the purple background. Here’s the cartoon. Don’t have nightmares.

 

Literary Authors on the Occupation of Palestine

March 31, 2020

Michael Chabon, ed., Kingdom of Olives and Ash: Writers Confront the Occupation (Fourth Estate 2017).

This is another book I found in the Postscript catalogue for April, 2020. It seems to be a collection of pieces by prominent western literary types dealing criticising the occupation of Palestine. The blurb for it runs

Edited in cooperation with Breaking the Silence, an NGO of former Israeli soldiers who served in the Occupied Territories, this collection of essays reflects on the human cost of 50 years of occupation, conflict and destruction in the West Bank and Gaza. The contributors include such celebrated international writers as Mario Vargas Llosa, Colm Toibin, Eimear McBride, Hari Kunzru, Dave Eggers and Rachel Kushner.

It’s usual price is £12.99, but they’re offering it at £4.99.

Michael Chabon’s the author of The Amazing Adventures of Kavalier and Clay, which seems to be a fictional version of the creation of the superhero comic by two Jewish lads in ’30s America. Which is how Superman started, and immediately became a massive success and icon of modern American popular culture. More recently, he’s the showrunner for Star Trek: Picard, the latest installment in the Star Trek franchise. This has been massively pilloried by fans because it has moved away from the Utopian optimism of Gene Roddenberry’s vision, to become dark and dystopian. It is also very heavy-handed in its treatment of contemporary politics, such as immigration, Donald Trump and Brexit. And it’s terribly written. But it seems that Chabon has done excellent work here in compiling this volume, with its contributions from some very prominent writers. Mario Vargas Llosa is a giant of South American literature, Colm Toibin is a favourite of the British and Irish literary landscape, as is Hari Kunzru, and Dave Eggers is another famous literary name.

As for Breaking the Silence, they’re one of the many Israeli groups against the country’s brutal maltreatment of the Palestinians, like the human rights organisation B’Tsalem, that Netanyahu has raged against and tried to silence. Because the extreme right-wing Israeli establishment, as it stands, really cannot tolerate criticism from Jews, even when they are Zionists and/or domestic citizens. They have to be monstrous autocrats like Netanyahu. Who I’ve heard described by one Jewish academic as ‘that bastard Netanyahu’. None of these writers are anti-Semites and the book seems to be a successor to previous volumes by historians, writers and personalities attacking the occupation of Palestine and the ethnic cleansing of the Palestinians. One of the Jewish voices condemning the bombardment of Gaza nearly a decade ago was the respected British thesp, Miriam Margolyes. She said she spoke ‘as a proud Jew, and as an ashamed Jew’. This lost her the friendship of Maureen Lipman, who has spent the last five years ranting about how anti-Semitic the Labour party is. She began spouting this nonsense back in 2015 or thereabouts when the-then leader of the Party, Ed Miliband, who is Jewish, utter some mild criticism of Israel and dared to take a few steps away from Blairism.

Books like these are necessary, and they do seem to have an effect. The woefully misnamed Campaign Against Anti-Semitism was set up in 2012 because the Zionist faction in Britain were worried about the bombardment of Gaza had resulted in Israel losing the support of many severely normal Brits. It’s why the organisation seems to spend its time and energy not on pursuing and attacking real anti-Semites and Fascists, but mostly left-wing critics of Israel.  It’s why the Israel lobby is trying to close down criticism of Israel worldwide through contrived definitions of anti-Semitism like that of the IHRA, which include criticism of Israel.

It’s great that books like this are still being published despite the efforts of the Israel lobby to silence their authors and the principled Israeli organisations that work with them. And it’s a disgusting scandal that, in 2020, they should still be crying out against this glaring injustice.

The Coronavirus and the Death of the Dream of a Disease-Free Future

March 30, 2020

There has been one other consequence of the Coronavirus, apart from the immense toll its taken in tragic deaths, its disastrous impact on economies and social life around the world as trade and personal contact has been reduced to a minimum as countries go into lockdown. I doubt few people have noticed it, but I believe that the pandemic has finally killed the sixties dream of the conquest of disease.

It was an optimistic decade, and although the high hopes of technological, social and economic improvement and expansion ended with the depression of the 70s and its fears of overpopulation, ecological collapse, and the running out of resources, coupled with global terrorism, labour unrest and the energy crisis, some of that optimism still continued. And one of the sources of that optimism was the victories that were being won against disease. Before the introduction of modern antibiotics, diseases like tuberculosis, polio, diptheria and cholera were common and lethal. In the case of polio, they could leave their victims so severely paralysed that they had to be placed in iron lungs in order to breathe. Their threat was greatly reduced in Britain and the West through the introduction of antibiotics, as well as the improvements in housing, working conditions and sanitation. And these advances appeared to be global. Yes, there was still terrible poverty in the Developing World, but these emergent nations were improving thanks to the efforts of charities and the United Nations. The UN was helping these nations become educated through schools, setting up wells and other sources of clean water, teach their peoples about the importance of sanitation. Most importantly, it was actively eradicating disease through immunisation programmes.

The UN and the charities are still doing this, of course, often working in hostile conditions in countries wracked by dictatorship, corruption and civil war. But in the 1970s the world won a major victory in the struggle against disease: smallpox was declared extinct in the wild. Humanity had overcome and beaten a major killer that had taken the lives of countless millions down the centuries. Cultures of the disease still remain in laboratories, just in case it returns. But outside of these, the disease was believed to be finally extinct.

It was the realisation of the optimistic ideas contained in Gene Roddenberry’s Star Trek. The series envisaged a future in which humanity had set aside its national and racial division, and become united. It had joined other extraterrestrial races in a benign Federation, a kind of UN in space, and embarked on a wave of space colonisation and exploration. It sent out ships like the Enterprise ‘to seek out new life and new civilisations’, and boldly split infinitives which no-one had split before. And part of that optimistic future was the victory over disease. It was still there, and there were instances where it ravaged whole planets. But by and large humanity and its alien partners were conquering it. That optimism continued into the subsequent series, like Star Trek: The Next Generation and the films. Serious diseases, which now regularly afflict humanity would be easily treatable in this future. In the third Star Trek film, The Voyage Home,  the crew of the Enterprise journey back to the 20th century to save the whale and thus the Earth of the future from an alien spaceship that somehow causes advanced technology to shut down. Entering a hospital to rescue Chekhov, who has been captured by today’s American army, McCoy finds an elderly lady awaiting dialysis. ‘What is this!’, he characteristically exclaims, ‘the Dark Ages!’ And gives her a pill. When next we see her, She’s fit and well and raising her walking stick in thanks to McCoy as he and the others rush past. Around her two doctors are muttering in astonishment about how she has grown a new kidney. And in the Next Generation pilot episode, ‘Encounter at Far Point’, McCoy is shown as an elderly man in his 120s.

Now medical progress is still being made, and people in the West are living much longer, so that there is an increasing number of old folks who are over 100. And some scientists and doctors believe that advances in medical science, especially geriatrics, may eventually lead to people attain the age of 400 or even a thousand. The last claim appeared on a BBC 4 panel game over a decade ago, in which various scientists and doctors came before the writer and comedian Andy Hamilton and the Black American comic, Reggie Yates, to argue for the validity of their theories. And one of these was that the first person to live to a thousand has already been born.

But such optimism has also been seriously tempered by the persistence of disease. Just as humanity was eradicating Smallpox, SF writers were producing stories about the threat of new killer diseases, such as in the films The Satan Bug and The Andromeda Strain, as well as the British TV series, Survivors. I think public belief in the ability of humanity to conquer disease was seriously damaged by the emergence of AIDS in the 1980s. This was so devastating, that some viewed it in terms of the Black Death, though mercifully this wasn’t the case. And after AIDS came bird flu, swine flu, and now the present pandemic. And unlike these previous health emergencies, the world has been forced to go into lockdown. It’s an unprecedented move, that seems more like a return to the response to the plagues of the Middle Ages and 17-19th centuries than the actions of a modern state.

The lockdown is necessary, and this crisis has shown that states still need to cooperate in order to combat global diseases like Coronavirus. Medicine is still improving, so that it’s possible that some people, the rich elite who can afford it, may enjoy vastly extended lifespans. But the current crisis has also shown that serious diseases are still arising, illnesses that now spread and affect the world’s population as a whole. And so the 60s dream of a future without serious disease now seems very distant indeed.

Farage and Charlie Kirk Stir Up Racial Tensions with Accusations of Chinese Responsibility for the Coronavirus

March 20, 2020

As if the disease itself, and the fear and uncertainty caused by the measures by the measures countries all across the world have been forced to adopt to combat the Coronavirus aren’t enough, certain figures on the British and American political right have decided to make the situation worse by throwing around groundless accusations about responsibility for the outbreak. Nigel Farage, owner of the Brexit Party Ltd, and the odious Charlie Kirk, have declared that the Chinese are responsible for it. Zelo Street put up a piece about this latest revolting development, as Benjamin J. Grimm, your blue-eyed, ever-lovin’ Thing used to put it, yesterday.

Almost predictably, it appears to have begun with a comment Trump put out over Twitter. In flat contradiction to everything he had previously said, Trump declared that he had always taken ‘the Chinese virus’ very seriously. One Twitter commenter, who went by the monicker of BrooklynDad_defiant, told Trump that the disease was called the Coronavirus or Covid-19 if he found the first name too difficult. He was endangering Chinese-Americans, and had dismissed the virus as a hoax, claimed it was down to zero and that it had been contained. None of this was true.

Then the Fuhrage decided to put his oar in. He tweeted that corporate America was standing with their President in this emergency, unlike the UK, and that Rishi Sunak’s relief measures were in line with those of France. Which ignore the fact, as Zelo Street reminded us, that the French government isn’t offering loans to help out businesses. And then Farage went to his default position of blaming foreigners, and claimed that the Chinese were responsible. He tweeted “It really is about time we all said it. China caused this nightmare. Period”. And then followed this with “It is time we all challenged the Chinese regime. Enough is enough”. He followed this up by retweeting an approving tweet from Charlie Kirk, the poster boy for the right-wing organisation, Turning Point USA, who said

In the age of Trump -we’ve learned that the media is hellbent on spreading disinformation and lies. So if we don’t speak the truth, who will? [Nigel Farage] is right and its time we all listen: China caused this pandemic. They should be forced to pay”.

Zelo Street remarked about this display of racism that Farage and Kirk wouldn’t know the truth if it kicked them squarely in the crotch. They are good, however, at screaming ‘liar!’ and ‘Fake news’ at media organisations they dislike in order to rile up their bases. The Sage of Crewe concluded

‘The situation with Covid-19 is serious. It is serious enough that no responsible politician should be going anywhere near leveraging it to whip up the mob.

That Nigel Farage is doing just that tells you all you need to know about where he’s at.’

He’s exactly right, as he began the article with a quotation from the South Korean Foreign Minister, Kang Kyung-wha on the Andrew Marr Show, expressing her concern about a rise in racially motivated attacks on Asians in other countries in response to the crisis. She naturally wanted governments to crack down on it, because it was helping the spirit of collaboration the world needs to combat the crisis.

https://zelo-street.blogspot.com/2020/03/farage-uses-crisis-to-whip-up-mob.html

She isn’t alone in these fears. A few days ago I received a message from the anti-racist, anti-religious extremism organisation, Hope Not Hate, describing what they were going to do as a response to the virus. They aren’t just trying to help combat the virus itself, as very many other organisations and charities are also doing, but are trying to expose and tackle the way the crisis is being exploited by Fascist groups. The email said of this part of their work

For example, we’ll be releasing new content on how extremists use the messaging app Telegram to promote terrorism next week. At the same time, we’re adapting our work, conducting research on how the far right are responding to COVID-19 and any way in which they may be weaponsing it. Because of the nature of the virus we are also increasing our research into conspiracy theories. We hope that these areas will allow us to counter how forces of hate are seeking to use this global pandemic.

Now you would have thought that Trump would have been more careful before he blamed the Chinese for the virus. I can remember how George W. Bush during his tenure of the White House 12 years and more ago made an official apology to Japanese-Americans condemning their internment during World War II. It was an apology Japanese-American activists like Star Trek’s George Takei had fought long and hard for. The last thing Trump should be doing is trying to reopen old wounds about his country’s treatment of Asian Americans, and no politico on either side of the Pond should be trying to stir up racial tensions at this time anyway.

The Chinese Communist regime is responsible for any number of atrocities and horrors, from the invasion of Tibet, the genocide of the Uighurs, the suppression of democracy in Hong Kong and the mass deaths of the Cultural Revolution. But it is definitely not responsible for the Coronavirus. The Chinese have made massive efforts to contain and eradicate it, even isolating the province in which it emerged, Wuhan. I’ve also heard nothing to suggest that they have been nothing but entirely collaborative with other nations in the global attempts to combat this disease.

I think Trump called the Coronavirus the ‘Chinese disease’ simply out of stupidity and laziness. He couldn’t remember, or couldn’t be bothered to remember, what it was really called. But Farage and Kirk just seem to have blamed the Chinese out of sheer racism.

This is immensely dangerous, when people are as isolated, vulnerable and fearful as they are now, and Farage and Kirk are to be condemned for their inflammatory, bigoted remarks.