FX cancels The Bastard Executioner after one season

Bastard-Executioner

When I discovered that FX had cancelled this show I was totally bummed.

It had a great cast, beautiful locations and a some what taboo story but well worth watching. 

This is my take on the cancellation as written at IMDB.  WW~


 

Sir Wilkin BrattleI for one, will miss Sir Wilkin Brattle

Unknown actor Lee Jones excelled in this mystical medieval story which focused on the unknown truth surrounding who exactly Jesus Christ was in a historical context during the dark times of the rule of the Catholic church over all of Christendom in Europe.

I loved the Christ mythology that was presented in the show and applaud Sutter for putting it out there once again for ordinary people to possibly ponder. Even in 2015 most can’t accept any other narrative about Christ other than what is written in the bible which was written by scribes and scholars loyal to the Catholic church.

I’ve said forever, that if Christ did come back to earth again they would still crucify him a second time for still being a heretic.

Seems not much has changed since medieval times which is a damned shame. I would have thought that the modern, more learned than ever human being would have far surpassed the fairy tales of the church by now.

Now we’ll never know what Sutter could have brought to the table regarding this incredible new vision of interpreting who Christ may have really been, which I’ve questioned for a decade myself.

Of course, I will also miss the expanding love interest between Sir Wilkin and Baroness Lady-Love Ventriss and the possibility that they would have produced a child together.

Damn the simpletons and the non-visionaries. You can’t take TBE but you can watch Jax Teller and his compatriots burn their enemies alive in a pit and I guess that’s not so bad.

I beg to disagree.

EPISODE VII: Why We Should Be Very Worried About Luke Skywalker…


Something is wrong with Luke Skywalker. 

That much by now seems evident. The Luke Skywalker we’re going to encounter in  Star Wars: Episode VII  is going to be very different from the hero we’re used to or even from the young man we last knew from those timeless final scenes of  Return of the Jedi.

By the way, possible spoilers ahead; so be warned.

Now that in itself is a fascinating prospect with great potential for new storytelling. The possibility of a brooding, troubled Luke Skywalker, perhaps echoing the troubled Anakin Skywalker of Revenge of the Sith. I think we should be cautious, however. I had already half-written this post a few months ago, after seeing the second Episode VII teaser (in which Luke’s voice features), but had forgotten to publish it. Then I waited for another trailer; and now we’ve had the *final* trailer and Luke Skywalker still isn’t anywhere in sight. More extraordinary, he isn’t even in the official poster that was recently unveiled; Han, Leia and Chewie are, but no Luke.

And as if THAT wasn’t curious enough, the official character posters have also just been put out and there isn’t one for Luke! All of which only adds to the sense of mystery and intrigue; and for some of us, adds to the low-level anxiety over just what the deal is with Luke Skywalker. Seriously, omitting him from both the final trailer and the poster is a serious mind-game being played with us; albeit a very effective one in marketing terms.

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Official character posters are still omitting Luke.

 

It’s worth mentioning, in fact, that Luke hasn’t been in *any* of the two teasers and main trailer; most people feel like he was in the second teaser, but that’s not necessarily the case – we heard his voice (which may have been re-used audio from 1983) and we saw a mechanical arm reaching out to touch Artoo-Deetoo, which we take to depict Luke Skywalker, but we actually don’t know for certain who that’s supposed to be. For one thing, it appeared to be an unadorned mechanical hand, and as far as we know, Luke Skywalker has a synthetic-flesh artificial arm from Empire Strikes Back onward.

All of this omitting of Luke Skywalker is for the most part obviously a very shrewd marketing decision, designed to tease fans and build up intrigue and uncertainty. It’s very clever and is proving highly effective, as no one would’ve imagined we’d be two months from the film’s release, with three teasers/trailers having been watched, and yet no sight of Mark Hamill’s iconic character.

But all of this omission might also signify a deeper meaning.

The omitting of Luke from the final trailer has reignited fears and anxieties over his fate, with a number of articles appearing suggesting again that Luke may have turned to the Dark Side, along with various other theories and speculation (even The Guardian has gotten in on this, publishing an article a few weeks ago).

This is something that’s been vaguely troubling me for some months now.

Dominic Jones on Star Wars Underworld laid out the theory some time ago that the villain of Episode VII may turn out to be Luke Skywalker himself, with most of the talk of other new characters and names (‘Kylo Ren’, for example) being red herrings.

This theory that Luke has either turned to the Dark Side or gone off the rails in some other way has started to gain currency among numerous fans and spoiler-hunters. Some are insisting that the mysterious villain ‘Kylo Ren’ is in fact Luke Skywalker in his new form. While this would present us with fascinating story potential, and while it would also thematically resonate with the themes of all the existing Star Wars movies, I tend to doubt this is true (and sincerely hope it isn’t).

I’d like to think it isn’t true, because I’d like to think the new custodians of the Star Wars legacy wouldn’t be so radical as to take the hero of the Original Trilogy and make him a villain. Having said that, Abrams was pretty radical with the 2009 Star Trek reboot, killing off the entire Vulcan planet (and the species, pretty much) and setting up a whole new timeline. So he’s shown his willingness to break with tradition and try to impose his own mark on a franchise.

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But would those handling George Lucas’s world really do that with Star Wars?

It would certainly be messing with expectations. It would also be messing with the legacy of Star Wars – but then I always said that’s exactly what this whole new enterprise was in danger of doing in the first place. Return of the Jedi is, to me, the perfect, decisive ending to the ‘Star Wars Saga’; and going beyond that ending is a dangerous pursuit, particularly if it concerns the canon of Luke Skywalker, because Luke already has the perfect closure. You cannot have a better ending for Luke Skywalker’s character than what we saw in Return of the Jedi – it was thematically and emotionally the only fitting conclusion and it has resonated for decades. Since I was six years-old (and to this day), I still get a little emotional when I think of that climax to ROTJ and the Skywalker saga.

In a moment I’ll explain why having Luke ‘go Dark’ is a terrible, terrible idea that would gut the entire Star Wars saga; but first, just a quick look at some relevant information.

The ‘Spoiler Boy’ alleged inside-leak from a while back, which described Lawrence Kasdan’s Episode VII screenplay as “too good for Abrams”, also claimed to reveal the following; that ‘the original Luke went into seclusion for 20 years…’, suggesting something went wrong after Return of the Jedi. That Luke might’ve been in a grim state following ROTJ isn’t necessarily surprising, given that he’d just killed his father and come very close to turning to the Dark Side, but the implication of course is that a lot more has also happened since.

But the leak also added that ‘he has a purpose and a plan behind his decision…’ This could set up Luke as more of an Obi-Wan type figure in this new trilogy; a recluse in hiding, biding his time (for what, we don’t know) and waiting for the right moment to fulfil his ‘plan’, whatever that may be. This too would be an interesting direction, echoing Obi-Wan in the first Star Wars. George Lucas often said of the way he wrote the stories for the existing films that he liked the idea of one story mirroring or echoing the other; characters go through the same challenges, the same repeating motifs, in what Lucas called “an epic, repeating poem”.

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Luke’s frame of mind after Return of the Jedi is actually something I used to think about a fair bit, even as a child. It was clearly evident from the end scenes of ROTJ that Luke was deeply affected by his confrontation with Vader and Palpatine.

When he comes back down to Endor to join in the celebrations, he isn’t happy, isn’t someone ready to join in the party. He is distant and aloof. He burns the body of his dead father, looking traumatised by it, and even when he comes to rejoin his friends, he doesn’t look present in the moment. Leia has to come and guide him back to the celebrations. This makes sense, of course; he’s just seen his father die mere minutes after having redeemed him from the Dark Side. And he has also just recently learned Leia is his sister.

I always wondered, even as a child, what was going on with Luke in the immediate days and weeks after Endor. Would he come to terms with what had just happened – and with all the truths and revelations he’d just been hit with – or would he be afflicted and distant? Would he be questioning everything? Remember, he was angry at both Yoda and Obi-Wan in Return of the Jedi, because they’d lied to him for so long about his true heritage. The Jedi Masters he’d trusted all this time had been lying to him. Could his anger at Obi-Wan and Yoda have continued? And, combined possibly even with anger towards his father for having fallen to the Dark Side in the first place and how died and left his son alone, would Luke have become more and more depressed at this point in time?

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And not just depressed, but more and more distant and aloof too, as was already evident in the final scenes of ROTJ? After all, he is now the only Jedi in existence and must surely feel very alone. What if his relationships started to break down at this point; he already seemed like he was drifting away from Han Solo in most of ROTJ – could that too have gotten even worse? And maybe he even drifted more from Leia too, particularly given her inability or difficulty in understanding the Force, as evidenced in the Leia/Luke dialogue in ROTJ just prior to Luke setting off to confront Vader.

With all of that borne in mind, it isn’t entirely unrealistic to think that Luke might’ve been set on a troubled path, post-ROTJ. Perhaps even one that, after an additional thirty years, could have ended up with him being someone virtually unrecognisable to us come the events of the imminent  Episode VII  (and especially as we don’t know what events have occurred in that thirty-year interval).

Some of those convinced that the Luke we’re going to encounter in Episode VII is on the Dark Side point to a 2005 episode of the US television show ‘Dinner for Five’, in which Mark Hamill himself pitches the idea of returning as a Dark Side Luke Skywalker (JJ Abrams is also in this video, along with Kevin Smith and Marvel’s Stan Lee).

There is also precedent for a ‘Dark Luke Skywalker’ in the classic 1991 Dark Horse comic-book series, Dark Empire, which portrayed Skywalker (briefly) turning to the Dark Side as an apprentice of a reincarnated Emperor Palpatine. Disney has (rightly) insisted all Expanded Universe material is considered non-canonical and won’t be drawn from; but that doesn’t mean some existing ideas can’t be re-packaged.

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So my objection to the possibility of Luke ‘turning Dark’ isn’t about whether it’s realistic or not; it could be conceivable.

No, my objection is that it would utterly wreck the whole point of Luke Skywalker – and with it the entire Star Wars Saga as it presently exists. Here’s why having Luke ‘go dark’, despite its obvious dramatic potential, is a bad idea.

Luke is the ultimate hero of Star Wars. Everything he stands for is as The Good Guy, the one who withstood the Emperor’s seduction, the one who didn’t turn, the one who didn’t repeat the mistakes of his father, the one whose abiding goodness even helped redeem his dark father at the end. Having him go bad in any of the new films would utterly wreck the Original Trilogy, especially Return of the Jedi. All of the power of those utterly compelling ROTJ scenes with the Emperor, all those scenes where Luke comes so close to going dark but doesn’t – all of that would be utterly undermined and gutted were he to be now revealed as having gone down that road.

Besides that, this has all been done already in the prequels with Anakin’s fall from grace – it doesn’t need to be done again. The whole poetry of the six films was that the son did not succumb to the same seduction to the Dark Side that his father did; change that now and you severely damage both the Original Trilogy and the prequels.

Those late scenes in Return of the Jedi are some of the most powerful scenes – and certainly the most thematically important – of the Star Wars mythology.

If the same Luke Skywalker who was able to withstand Palpatine himself has now subsequently turned to the Dark Side anyway, then Return of the Jedi will never be the same again; for that matter, this is the same Luke who resisted Vader on Bespin too – so he twice overcame the seduction of the Dark Side, and his refusal to be seduced ultimately saved Anakin’s immortal Jedi soul and helped topple the Empire and restore freedom to the galaxy. That’s how utterly central to Star Wars Luke’s ‘goodness’ is – it’s not simply a case of me saying ‘hey, you can’t make the hero bad’, but it’s a case of not rewriting a central thematic POINT of the entire saga; in fact, not just a central thematic point, but the central emotional core of the entire saga. Because when all is said and done, the central core of the existing saga is that Anakin fell to the Dark Side and Luke did not.

Luke Skywalker was my childhood hero. There are plenty of dark, gritty ‘heroes’ or anti-heroes around, and some of them are great characters; in some ways, even Anakin Skywalker could be regarded as such, along with all kinds of fictional legends like Bruce Wayne, Tony Stark, etc. But we also need our ‘clean’ heroes; those who are simply the Good Guy, regardless of the world around them.

And Luke Skywalker is the ultimate Good Guy. Indeed, the prequel trilogy, for all the darkness of its conclusion in the lava plains of Mustafar, only served to reinforce and re-emphasise the abiding heroism of Luke Skywalker. Because as we watched Anakin Skywalker fall to the Dark Side, and as we watched Jedi like Obi-Wan Kenobi and Mace Windu have to try to do grim things in desperate times, we were reminded all the while of how Luke Skywalker would later *refuse* to do grim things, refuse to commit the ‘necessary evils’, and how he would ultimately stand firm against all darkness, all temptation, all subversion, in order to be true to the Jedi way and in order to prove that Good would ultimately win, even against all the odds.

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When a dying Yoda and even the ghost of Obi-Wan both insist that Luke has to kill his father – that this is the only way to win – Luke refuses. And this is a Luke who, at this point in time, has every reason to ‘go Dark’; having just discovered that he’s been lied to his entire life.

Yet even now, he does not succumb. As the only Jedi left alive in the galaxy, he doesn’t give in to his anger or bitterness; he fights the good fight. And in so doing, he not only defeats the Dark Side and redeems his father, but he demonstrates his mother’s dying insistence at the end of ROTS that “there is still good in him”. Padme’s dying conviction that “there is still good” in Anakin Skywalker can only be fulfilled because of the uncorrupted good that is in Luke Skywalker. The good that is in Luke Skywalker is the definition of Luke Skywalker; and is the underlying pulse of the entire Star Wars mythology. Again, if you change that, you not only cheapen both Return of the Jedi and Revenge of the Sith, and you not only severely damage Luke Skywalker, but you irrevocably damage the entire Star Wars saga and mythology and what it’s about.

That is why I object to the idea of Luke ‘going Dark’. And that’s why every Star Wars fan should also object to it; because after all the excitement and short-term glee over the new films and stories has passed, there’s a bigger question of the longer-term Star Wars legacy. I’m not, by the way, trying to spoil the party; I’m very excited about Episode VII, but Star Wars is important to me, and Luke Skywalker is particularly important to people like me.

I asked a fellow blogger and Star Wars fan, Robert Horvat, for his views on this subject. This is what Rob says; ‘When I was growing up, Luke Skywalker was my hero in the Star Wars saga. I will never forget that first scene that introduced Luke Skywalker. It wasn’t dramatic, in fact, it was very mundane; but with every new scene that followed I began to realise that I was a lot like him. From humble beginnings as a reckless farm boy, we watched him go on a hero’s journey of self-discovery and grand adventure, mature into a Jedi, restore freedom to the galaxy and in the process save his father’. And like so many of us who were enchanted by the Star Wars galaxy and the Tatooine sunset as children, Luke wasn’t just a fictional hero but a symbolic figure of personal significance for Rob, as he explains; ‘For a suburban kid like me growing up in the late 70’s and early 80’s, Star Wars was my release from the hardships of growing up in a migrant household. It sounds corny but when Luke Skywalker opened the detention level door to Princess Leia’s cell on the Death Star and said, “I’m Luke Skywalker. I’m here to rescue you,” metaphorically he was speaking to fans worldwide, who wanted to escape with him on his hero’s journey…’

Robert writes the terrific History of the Byzantine Empire blog, by the way, and also this general history/miscellany blog here.

Just what a fantasy hero like Luke Skywalker can mean to people is also summed up very touchingly in this item I recenty came across, in which a US soldier, a veteran of the ‘War on Terror’, was asked to justify all the war and invasions of the post 9/11 era. Daniel Crimmins gave a very poignant, honest reply, but this is part of what he said; “You grew up wanting so bad to be Luke Skywalker, but you realize that you were basically a Stormtrooper; a faceless, nameless rifleman, carrying a spear for empire, and you start to accept the startlingly obvious truth that these are people like you…”

But the point, as far as this particular post is concerned, is that Luke Skywalker himself is an ideal; whether it’s to a yearning farm-boy, an isolated kid in a migrant household or a soldier fighting a war in unfamiliar lands.

Thinking about what Luke Skywalker means to us, I am reminded of what I wrote earlier this year, in response to the death of Leonard Nimoy, about ‘the extent to which our modern, shared mythologies form a huge part of the cultural, even moral or ethical, framework of our lives because they’re such an embedded and such a rich point of reference; the way that people of older generations referred to Bible stories and characters or religious stories, for example, is the same way people like me, and (I’ve discovered) some of my friends, refer to our modern mythologies. I’ll talk about Luke Skywalker in the Dagobah swamp trying to decide whether to confront his father the same way someone else might talk about Jesus in the Garden of Gethsemene…’

And what I wrote about Nimoy in the same post is equally applicable to Luke Skywalker and Mark Hamill; ‘These characters and their epic struggles are to us what the ancient Epic of Gilgamesh must’ve been to young Babylonian men as they grew up or what the Greek demi-gods or Roman myths must’ve been to their respective enthusiasts within those cultures…’

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It is possible of course that all of these suggestions, rumours or theories about Luke will prove untrue. Maybe they’ve even been discreetly encouraged from official sources in order to provoke intense debate and anticipation prior to the film’s release. Clearly, something has gone wrong in the galaxy and something is wrong with Luke Skywalker; but I’m still holding out hope that he’s ultimately still the good guy and that if he is in isolation somewhere it’s because he’s playing out some sort of plan or biding his time, just like Obi-Wan Kenobi was in A New Hope.

Lightsaber-Construction-ROTJ-DELETED-SCENE-luke-skywalker-26013125-500-263

Ironically, given how widespread the belief now is that ‘Luke Has Turned Bad’, it might be that the biggest shock moment of Episode VII is finding out that Luke is in fact still the hero, still the epitome of the Good Side of the Force; and because so many of us might’ve been expecting him to be dark and tortured, that moment will act as a joyous affirmation and will become one of those triumphal Star Wars moments, like the Falcon blowing up the Death Star or Yoda beheading the Clone-Troopers. Imagine that – some grim, hopeless scenario that our younger, new characters are struggling in, where all hope seems lost… and then Luke Skywalker emerges, performs some extraordinary act of heroism and Force-power to save the day.

Wouldn’t that be something wonderful? Wouldn’t that feel like a hundred Christmases all at once?

Or, if it’s the darker stuff we want (since ‘darker’ does tend to make for better drama), the scenario could be simply that one of Luke’s young Jedi trainees has gone off the rails and that might be Kylo Ren. There are all kinds of other possibilities in that, of course; Kylo could be Luke’s son, or could be Leia’s son. The idea that Luke’s attempted training of either his own child or Leia’s child might’ve gone wrong and resulted in a wayward Jedi with a fondness for the Dark Side would also nicely echo Obi-Wan and Anakin. The other theory gaining a lot of traction suggests that Kylo Ren and Daisy Ridley’s ‘Rey’ might be Skywalker/Solo twins. I tend to infer quite strongly from the trailers that Daisy Ridley’s character is a Skywalker and is set up to be the central hero of this new trilogy.

Rey’s line in the final trailer – when she says “no one” to the question of “who are you?” – could indicate her ignorance of her heritage, which would echo Luke and Leia’s own situation in the  Original Trilogy.

This could set us up for a rehash of the classic Vader/Luke “I am your father” moment from ESB, with Luke himself this time being the one saying it. Not only would this play perfectly into the established George Lucas motif of the ‘repeating poem’ that underlies all the existing Star Wars films, but JJ Abrams also has some form with this kind of thing, having consciously recreated key scenes and scenarios from The Wrath of Khan and inverted them for 2013’s Star Trek: Into Darkness. I am, at this moment in time anyway, convinced that Rey is Luke’s child. She just totally looks like a Skywalker. But that remains to be seen.

As for the suggestions that this may be Luke Skywalker’s big send-off, I’m not sure that’s likely. What seems more likely is that Luke will not feature in much of this film and may even only appear at the end (hence his absence from the poster and the trailers). Thinking about it, I can picture a final, climatic scene of Episode VII where Luke appears, and then he’ll probably feature more in Episode 8.

The rumors have of course also been strongly developing that Han Solo may not make it out of Episode VII, however. The idea of Luke or Han (or Leia, for that matter) being killed off as early as Episode VII is almost too distressing to even think about, but those guiding the creative decisions of this new generation of Star Wars may want to do something that radical and make a clean break with the ‘old guard’ in one big send-off movie before handing over fully to the new cast. This idea seems to be reinforced by the trailers, which focus most on the new characters and not the old ones. As I said elsewhere, there’s no guarantee that fans are going to get that magical moment of reunion between Luke, Leia and Han; in which case, the 1983 scenes of them celebrating on Endor with the Ewoks might even remain for all time as the final footage of them together.

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But if killing off Luke Skywalker seems like a drastic move, having him turn to the Dark Side is just as much so. Because again, and I can’t state this enough – the whole POINT of Luke Skywalker is that he’s the one who doesn’t turn to the Dark Side. He is the ultimate good, the ultimate innocence. It was Luke’s abiding goodness, his faith in the power of redemption, his belief in Anakin Skywalker, his unwillingness to succumb to the Emperor, his lack of interest in power or greed, that defined him; and it was this that ultimately put things right in the Universe.

So here’s to hoping this is all a clever bluff and that the Luke Skywalker we encounter in Episode VII will in fact still be the ultimate galactic hero we know and love.

 

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Also, don’t want to let the moment pass without marking the sad passing of 32 year-old Daniel Fleetwood, the Star Wars mega-fan, who passed away in the last couple days from a terminal illness. Daniel, who had been given only months to live, had been holding on, wishing to see The Force Awakens before he died and fearing he wouldn’t last long enough.

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Thanks to a massive social media push, the studio allowed Daniel to see an unfinished edit of the film, and he died days later, to become One with the Force. The image above is borrowed from @BajaSquad on Twitter and is the only appropriate tribute.

 Source: https://theburningbloggerofbedlam.wordpress.com/2015/11/13/episode-vii-why-we-should-be-very-worried-about-luke-skywalker/#more-26572

Israel gets its hooks into American television

Jason Isaacs and Anne Heche

Jason Isaacs and Anne Heche

Dig is an American mystery/action-thriller limited television series that premiered on USA Network on March 5, 2015.[1]

Created by Gideon Raff and Tim Kring, it stars Jason Isaacs as FBI Agent Peter Connelly and Anne Heche as Lynn Monahan, Peter’s boss and occasional lover. When Peter investigates the murder of a young American in Jerusalem, he uncovers an international conspiracy thousands of years in the making. The series also stars Alison Sudol, David Costabile, Regina Taylor, Lauren Ambrose, and Ori Pfeffer.

Premise: The story focuses on an FBI agent who is based in Jerusalem and discovers a plot that dates back 2000 years while investigating a murder.

The series is produced by Universal Cable Productions. It began filming in Jerusalem but will move production to Dubrovnik, Pula, Split and Trogir, Croatia and later to Albuquerque, New Mexico, due to the 2014 Israel–Gaza conflict.[13][14] Isaacs stated that when the show was originally written the entire premise was around shooting in Jerusalem.

Source: https://en.wikipedia.org/wiki/Dig_%28TV_series%29

Addedum:

Dig’ Moves Production Out of Israel Due to Violence

USA Network’s action thriller “Dig” has officially moved production out of Israel due to the continuing violence in the region, Variety has confirmed.

“Given the current situation and after careful consideration, we are relocating the production of ‘Dig’ partly to Albuquerque and are continuing to explore other locations,” said Universal Cable Productions in a statement. “Our experience filming in Israel was very positive and we are grateful to have had the opportunity to capture such an authentic landscape that will be threaded throughout the series.”

The move follows Middle Eastern drama “Tyrant’s” relocation from Tel Aviv to Istanbul last week. Both “Dig” and “Tyrant” hail from “Homeland” producer Gideon Raff, a native of Israel.

“I was born and raised in Jerusalem… our hearts go out to everyone in Israel and Gaza right now and hopefully it’ll be resolved very soon,” Raff told reporters at USA’s Television Critics Assn. press tour panel for “Dig” on July 14.

Militants in Gaza have targeted Israeli cities with missiles over the past two weeks, and Israel has fired back with aerial assaults. Last week, the Jerusalem Film Festival chose to postpone its opening night events, and Neil Young canceled a concert in Tel Aviv due to security concerns.

“Dig” was in the midst of a pre-scheduled hiatus after lensing the pilot in Jerusalem, but that break has now been extended to allow for alternative filming locations to be found.

Jerusalem Mayor Nir Barkat and Keshet Media Group reportedly campaigned hard to bring production of “Dig” to Jerusalem, creating a 22 million shekel ($6.2 million) production grant to help incentivize the producers.

Source: http://variety.com/2014/tv/news/usas-dig-moves-production-israel-violence-1201267003/

WW~Notes: There is no telling what this series will unearth but I’ll keep watching this tripe just to see what they discover.

Gary Numan’s New World Order video to end all others……


I AM DUST

We were dust in a world of grim obsession
We were torn from our life of isolation
We were pulled from our path of least resistance
And the songs we sang? ‘What became of us?’

We are here waiting for you
We are here waiting for you

We are yours, we’re waiting for you
We are yours, we’re waiting for you

We all prayed for the end, for their God to take us
We were falling down one by one
We were weak and the fear was all around us
The machines screamed from moon to sun

We are here waiting for you
We are here waiting for you

We are yours, we’re waiting for you
We are yours, we’re waiting for you

We are yours, we’re waiting for you
We are yours, we’re waiting for you

Jupiter Ascending : The Olympians 2.0

WW~Notes:  I have to say I am a huge Sci-fi fan mainly because in most films even modern day ones there is little to no sexual situations and very little raw language.  Science Fiction is an endless film industry with infinite possibilities for the future, some dystopian, some magical and some right down draconian and horrific.  Although, I will not be around to witness such things I hope for the best and pray the demons in our midst will be vanquished, eventually.  I am looking forward to seeing this film in the near future.  Here is the review from Vigilant Citizen’s site.

????????????????????????????????????????????????????????Jupiter Ascending, is one of the most expected and ambitious projects of the cinema industry yet, produced, by the Wachowski Brothers, creators of the incredibly successful movie saga The Matrix, Jupiter Ascending , released on the UK, the 6th of February of 2015, is a flamboyant fusion between The Matrix, Star Wars, Princess Diaries, also adding elements of another dystopian works on literature, cinema , as well as certain political elements, that should be analysed. Despite the harsh critics it has received, I think it should definitely be seen, and observed, carefully. Let’s check it out why.

The plot of the movie spins around a young girl, half Russian, half British, nationalized American, called Jupiter Jones (Mila Kunis), she carries an ordinary life cleaning toilets, and taking care of her family; desperate trying to get out, her life , gives a major change, when, at a Medical Clinic, expecting to extract her ovaries, she is almost killed by a breed of Aliens, called The Keepers. Rescued by Caine Wise, a half lycan, half humanoid rogue soldier, she is introduced to the truth, not only on them, but whom she is in reality, the heir to Planet Earth, part of the Royalty.

Then, there it comes the conflict, between our protagonist, and the House of Abrasax, one of the most powerful dynasties, in the whole of the Universe, its three heirs: Kalique, Titus, and the all-powerful Lord Balem, compete, for power, owning entire systems of planets under their grip. The Earth’s true nature is revealed by Caine Wise to Jupiter: Your planet was seeded by Abrasax Industries roughly one hundred thousand years ago. What does this mean? Here it is an interesting connection between Jupiter Ascending as well as Blade Trinity , and the creepy dystopian saga, Unwind, written by Neil Shusterman, the Vampires in Blade trinity, harvest humans, keeping them on a chemically induced coma, to extract their blood, forever; in Unwind, the dream of the ruling class is to achieve immortality by using the fluors of the ‘ expendable ones’. Abrasax Industries hunt humans, kept them, and extract their essence, to produce a special fluor, capable of prolonging time, in other words, the eternal youth, the star product of Abrasax Industries.

Jupiter Jones, perplexed, is given a quasi elitist explanation by Kalique: ‘ Your Earth is a very small part of a very large industry. Right now, Balem is entitled to Earth. Once you claim it, the Earth will belong to you.’ Here is when it comes the major conflict of the movie, the inner power struggle between the Abrasax brothers to fight for the Planet Earth. Another interesting details , come when Stinger Apini, the character, played by Sean Bean, colleague of Caine Wise, tells some quite eerie details of Abrasax Industries , as well as, Planet Earth’s and humanity origin; the origins of humanity was on a planet called Horus: You’ve been taught that birthplace of the human race is Earth, it is not. Abrasax Industries, seeds planets, so they can collect the harvest, humans, to extract their fluor, once they procreate, or they overpopulate, they start, the harvest, to keep the things up.

Here it is an interesting combination of Malthusianism, and Social Darwinism. The first one, pioneered by the venetian monk Giammaria Ortes, then by Thomas Malthus, actualized by The Club of Rome’s 1972 book Limits to Growth , speaking about the dangers of the overpopulation , and the consumption of the natural resources. And then, there is the Darwinist element, the consideration of certain beings, as nothing more , than a cattle to breed, in order to perpetuate the ruling of the elite, the underclass is sacrificed, on behalf of the Oligarchy. One movie character that illustrates this pernicious and savaging nature , is Lord Balem Abrasax, the ruler of Abrasax Industries, the richest , and most powerful of his brothers, among his most highlighted quotes are: Some lives will always matter more than the others’ resembling George Orwell’s work Animal Farm, when Squeeler , the lackey of the tyrant pig Napoleon says: ‘All animals are equal, but some animals , are more equal than others, that is animalism.’ Another quote that illustrates, the ruthlessness of Balem is: I will harvest that planet tomorrow, before I let her, take it from me.’ However, the two most revealing ones are:’ I give life, and I take it ‘, resembling Robert Oppenheimer, one of the fathers of the Manhattan Project grandiloquent statement: ‘Now I have become death, the destroyer of the worlds’, and ‘ Life , is an act of consumption.’ Here it is revealed the psychopathic nature of Balem, quite similar to that of Agent Smith in The Matrix, while torturing Morpheus, depicts the human race as a virus that consumes the resources of the planet, like a plague. For Abrasax Industries, the single, and most valuable commodity, is not oil, gas, or electricity, but time, in some sort of way, the Elite, here, becomes almost like the most vicious parasite, predating on the lives of the others to perpetuate, and prolong theirs, like a modern version of the vampires.

Titus Abraxas, is another very interesting movie character, desperate, to gain control over his brother Balem, arranges a marriage, between him and Jupiter Jones, in order to ‘ protect the Earth’ , but with plans to murder her, and therefore, inhering the earth himself, gaining the upperhand against Balem. We can make an analogy with the chess game, when Titus brought Jupiter under her protection, he put Balem on a zugswang state, but by marrying her, he would have to score a brilliant checkmate, forever. As Titus tells Jupiter in the wedding: Love doesn’t play any role here, it’s a matter of state. This raison d’etat, long before, treated by the French Cardinal Mazarin , disciple of Cardinal Jean Duplessis de Richelieu, on his Breviary for Politicians, and also Machiavelli; it is also shown many times in the popular literary as well as TV series Game of Thrones by George R.R. Martin, the marriage between Cersei Lannister and King Robert Baratheon, Sansa Star, and Tyrion Lannister, Joffrey Baratheon, and Margaery Thyrell, Khal Drogo , and Daenerys Tangaryen, are just a few examples on how marriages, at the uppermost levels, are just power manoeuvrings to seal an alliance, or to incline the balance of power, favouring one side against the other, a classical Realist axiom , International Politics as a Zero-Sum Game. A really good work on the subject , is Alison Weir’s The Marriage Game, analysing the British Aristocratic politics in form of a great novel, another excellent work is Mario Puzo’s The Family, on the Borgia Dynasty and their inner fights in the Italian and Vatican aristocracy. So, here it is a little bit of Game of Thrones, that the Wachowski brothers, have added to this explosive cocktail.

Another interesting feature, that is present all along the movie, is the fact, that humanity is controlled secretly by an invisible, and all powerful race of aliens, always watching and being vigilant, sometimes, caring, sometimes, destroying as they please. According to the Ancient Astronauts theory, the Angels, are in reality Aliens, that visited the earth long time ago, and inbreeded with humans, such as was depicted in the Apocryphal Gospel, the Book of Enoch, describing how a group of angels, called The Watchers, or Grigori, commanded by Semyazza and Azazel, fell in love, with the daughters of the mortals, and inbred with them, originating a destructive race of giants, called Nephilim. The Grigori, were chained and casted to darkness, and the Nephilim, destroyed by the Archangels, apparently, however this idea is nothing new at all, if we take a look at the Norse mythology or, better, the Greek one, we will find examples of Gods, having relationships with humans, these ‘ Gods’ could be Aliens, in fact, the Gods had offspring , demi-gods, such as Achilles, Hercules, or Theseus. What does this has to do with Jupiter Ascending?

Well, the movie, by itself, it’s a depiction of the fight between two Gods, let’s say, the evil, wicked and ruler Balem(Zeus), and the rising, benevolent, and revolutionary Jupiter(Prometheus). Jupiter Ascending is a dystopian futuristic depiction of the Greek gods fighting each other. Why? There is a key scene in the movie, when Stinger Apini, shows Jupiter the incredible advancements of the futuristic technology, Jupiter thinks of all the goodness that it could bring to the human race, and lets it be known to Apini. However, he doesn’t- think humanity is ready for this, and besides, her kind wasn’t keen on sharing things, to what Jupiter says: I do. Prometheus takes the fire of the gods, and teaches the humans all sorts of arts, how to work the metal, in other words, to progress, to what Zeus, angry, chains him to a rock, and sends an eagle to devour his liver each morning, but the liver regenerates itself on the afternoon, so it becomes an absolute an abhorrent torment. This clash between Zeus and Prometheus is shown in Aeschylus’s Prometheus Bound: ‘ You ask why he torments me, and this I will now make clear. As soon as he had seated himself upon his fathers throne- Zeus overthrew his father Kronos, and then became the head honcho-he immediately assigned to the deities their privileges and apportioned to them their proper powers. But of wretched mortals he took no notice, desiring to bring the whole race to an end and create a new one in it’s place. Against this purpose none dare to make stand except me- I alone had the courage; I saved mortals so that they did not descend , blasted utterly to the House of Hades. This is why I am bent by such grievous tortures, painful to suffer, piteous to behold. I, who gave mortals first place in my pity, I am deemed unworthy to win this pity for myself, but am this way, merciless disciple, a spectacle that shames the glory of Zeus.’ Jupiter , as Prometheus, was the only one, to stand for the human race, when Lord Balem, tries to force her abdication, saying: That Planet belongs to me; she answers: not anymore. Jupiter, is trying to make sure, he isn’t gonna do it to nobody else’s. The House of Abraxas, could be called the House of Olympus. The lack of consideration for the mortals, the Hellenic gods feel, shown in The Iliad , when the Gods plan the Trojan war, to restore their status, luring the pathetic prince Paris to take Princess Helena of Menelaus. This is the same as Kalique’s when she’s asked about the harvest: ’ No, but I’ve heard they feel no pain’, these are High-tech humanoids, capable of regenerate , and last for thousands of years, the dream of the Trans humanism gurus, becoming more than a human, a hybrid, fusing machinery and flesh, enforcing the human capabilities up to unimaginable levels; it is, then, when Kalique’s revealing words to Jupiter make sense:’ Time , is the single , most precious commodity’ This idea of time, perpetuating live, and the sacrifice of the unworthy is also present on the 2011 movie In Time, with Amanda Seyfried, and Justin Timberlake; on this film, time isn’t just a commodity, is money, is the only money available, and how much you have, means how long are you going to live, therefore, the rich live forever, and the poor, are left to perish. Jupiter Ascending, is truly a good action movie, with excellent graphics, a quite elaborated plot, and lots of political messages, that deserve to be taken onto consideration.

A change of venue for Pragmatic Witness II

In the beginning, I was aiming for former readers to find my site after losing my domain PRAGMATICWITNESS.COM, which I was informed by WordPress that it was auctioned off after a certain amount of time; time that I did not have to re-establish it.

I had intended on focusing on the same subjects that the original Pragmatic Witness was compiled of (whitewraithe.wordpress.com), that being the truth about America and the ultra-secret Jews that orchestrate our lives from cradle to grave.

hollywood-bannerObviously, I did not get too far with that concept so a few weeks ago I thought, why not focus on the same subject but from a different perspective; the entertainment industry consisting of movies, films, television programs and music.

If you did not know before, Hollywood in all it’s forms and the music industry has been brainwashing and indoctrinating the American people for over a century.

Jewish run Hollywood (not Arabs) have given Americans the ability to lose all their inhibitions beginning with pornography, then denying God, and learning to embrace evil, which basically reduced or devolved us to our basic primal instincts.  And I haven’t even began to talk about what the sports industry has reduced grown men to.

We may consciously behave within society and culture, but in private it’s another story.  We are not the decent Americans of half a century ago.  Now, this has not happened to every American, but a large majority has fallen under the Hollywood spell and a “spell” it definitely is.

Hollywood used to be called Hollywoodland.

hollywoodlandFrom Paganlore.com –

HOLLY
A beautiful white wood with an almost invisible grain; looks very much like ivory. Holly is associated with the death and rebirth symbolism of winter in both Pagan and Christian lore and is important to the Winter Solstice. In Arthurian legend, Gawain (representing the Oak King of summer) fought the Green Knight, who was armed with a holly club to represent winter. It is one of the three timbers used in the construction of chariot wheel shafts. It was used in spear shafts also. The qualities of a spear shaft are balance and directness, as the spear must be hefted to be thrown the holly indicates directed balance and vigor to fight if the cause is just. Holly may be used in spells having to do with sleep or rest, and to ease the passage of death. A bag of leaves and berries carried by a man is said to increase his ability to attract women.
  However, the tree’s main area of power is divination.

Do you now understand why the film industry was named HOLLYWOOD?  Well, it should be obvious.  The industry can hypnotize you in ways you never thought true or even remotely possible, and they’ve done it to each and every American since motion pictures came into existence in 1894.

Turner Classic Movies first televised this 100th anniversary of the motion picture in 1994.

For lack of an exciting, more challenging life I turned to movies and television and then music at a young age to occupy and challenge my mind.  I became a walking encyclopedia of the golden age of Hollywood, and an expert on early rock-n-roll, then hard R&R, then metal music.  However, something miraculous happened.  After years of being indoctrinated by everything Hollywood and the music industry, I walked away from it, and decided that whatever I subjected myself would be on my terms – not theirs.  It’s been that way now for over a decade.

Hollywood has its uses and occasionally makes exceptional films.  Otherwise, shy away from the most potent drug in America – the big idiot box in theatres and the little one in your home.

From establishing the worst Hollywood has to offer these days, I also will post television and movie reviews and news about upcoming films especially the ones I want to see and those you would probably like to pass.

As always, I welcome thoughts and comments about this industry as it does affect us all and in many ways interferes with our daily routines.

Whitewraithe~