endless fucking prattle and loving the chiding when millions of Ukrainians are dead, dying, maimed, amputated, PTSD-ed for Life, as well as the Ruski’s Tambien
Here, a fart-sack, Danny Hiaphong and his cocksucking Larry Johnson and Scott Ritter Blow Job Mastery on display with the Trump Dirty Feces Show:
All fucking WWF fake blood on the ear staged cock sucking lies lies and more lies. Yeah, that pussy Trump and his Stage Blood Antics gone gone gone out of these wimpy Danny Types’ Minds.
Right next door, Andy’s wife is on the street saying, with signs, Rehire Our State Parks Workers.
Right down the road from my little cabana on the Alsea River which meets the Pacific:
ANd we now have the fascist loved in part by Blumenthal, Aaron Mate, Danny Boy, Oh Danny Boy.
These pigs are VD Vance’s and 110 IQ Musk’s and Almost 110 IQ Trump’s people:
“Incident,” The New Yorker’s Oscar-nominated documentary from Bill Morrison, begins in silence. After more than a minute, the first words we hear are “police shot.” But what we’ve actually just seen is the shooting of a civilian. In July, 2018, Harith Augustus was leaving work at a neighborhood barbershop in Chicago when he was stopped by police. The brief interaction escalated quickly; an officer drew his gun and began shooting at Augustus. “Incident” proceeds in the aftermath—using only surveillance- and body-camera footage—as officers react. It is a raw and unflinching portrait of police violence. I recently spoke with Jamie Kalven, the film’s producer, about what he learned about policing while making the documentary. Our conversation has been edited and condensed.
How did you come to this story, and why do you think it’s important?
Augustus’s killing happened a mile or so from my office, in the South Side neighborhood. He was a valued community member who was simply walking home from his place of business on a summer day. And there was a sense that his death illustrated the outcomes of everyday policing in a low-income Black neighborhood. And then, with my organization, the Invisible Institute, we formulated the idea of using this case and all the video evidence available to interrogate the idea of the “split second.”
Why did you decide to focus on the immediate aftermath of the killing, and the conversations happening between these police officers?
It’s about the split second in which the police choose to use lethal force. We had all the body-camera footage of the officers on the scene—some twenty hours—so we were able to drop the audience into the middle of it. The first thing the shooter asks is, “Did he have a gun?” And, after it’s confirmed that he did, it becomes “Why did he have to point a gun at us?” That then turns into the official narrative.
We often talk about coverup and collusion among police. But I think what you see here is more fluid. You see that it’s almost the orientation of the institution, not necessarily to figure out what happened but to justify it. And while we’re hearing these conversations, heartbreakingly, Harith Augustus is lying on the ground; they put handcuffs on him, but nobody checks on his condition. Nobody says a comforting word. The cops are all focussed on one another.
Was there anything that you learned, or changed your mind about, during the making of this film?
One thing is the sheer horror of the speed at which a human being is turned by state power into an inanimate object. Marking the presence of the body on the ground throughout the documentary was a critical moral and aesthetic choice that we made. Whenever I see the film, that’s what most affects me.
The second is that I developed a more expansive understanding of how the police misrepresent the taking of a life. Watching that process, it is simultaneously disturbing and sort of human. This is not some conspiratorial circling of the wagons. When the orientation of the institution is that because it happened it’s justified, they actually don’t need to create a false narrative.
Watch it HERE.
YOU HATING THIS FUCKING COUNTRY YET?
Piss off if you don’t.
Cunt-Tree-Tis-Of-Thee-thee-thee: the stuttering fools of both part followers.
Oh, the Jew, Ezra.
Another over-exposed White Cretin:
Fuck these Judging UnFreedom Judge Neo-Fascist-Politino:
Real work:
BRAZIL, 1971. Brazil faces the tightening grip of a military dictatorship. Eunice Paiva, a mother of five children, is forced to reinvent herself after her family suffers a violent and arbitrary act by the government. The film is based on Marcelo Rubens Paiva’s biographical book and tells the true story that helped reconstruct an important part of Brazil’s hidden history.
Jonathan Cook:
The Monsters Aren’t Just in History Books. They Live Among Us. They’re Everywhere
Jonathan Cook• Friday, February 28, 2025 • 600 Words
Walter Salles’ new film on the disappearances of regime critics in 1970s Brazil is a powerful reminder that the ghouls who defend the slaughter in Gaza are biding their time
Walter Salles’ new film I’m Still Here, is a moving, true-story, Oscar-nominated portrait of a middle-class, leftwing family in Rio de Janeiro in the early 1970s struggling to come to terms with the father’s disappearance – 25 years later confirmed as murder – by the Brazilian military dictatorship.
The mother and a teenage daughter spend time inside a regime torture camp too, before being released.
What struck me powerfully in the film was the endless supply of compliant regime officials who impassively, conscientiously carried out the abuse of men, women and children.
It was a reminder that plenty of these people live among us – and that they have been doing very little to hide who they are over the past 16 months.
They are the politicians mangling language and international law by terming as “self-defence” the collective punishment of the people of Gaza through carpet bombing and starvation – crimes against humanity.
They are the police officers raiding people’s homes, and detaining and arresting independent journalists and human rights activists, including Jewish ones, for protesting the slaughter in Gaza.
They are the establishment journalists pretending the carnage inflicted on the people of Gaza is just another routine news story, less important than the death of an elderly actor, or the latest outburst from serial misogynist Andrew Tate.
And, more than anything, they are the army of ordinary people on social media:
- Mocking the families of children shredded by US-supplied bombs;
- Reciting endless claims of “Gazawood” (Gaza-Hollywood), as if the levelling of the tiny territory, visible from outer space, is a fiction and that the only victims are Hamas fighters;
- Defending as a legitimate legal procedure the abduction of hundreds of doctors and nurses from Gaza’s hospitals into “detention camps” where torture, sexual abuse and rape are routine;
- Justifying the destruction of Gaza’s hospitals – leaving premature babies, pregnant women, the sick and the elderly to die – on the basis of entirely unsubstantiated, and self-serving, Israeli government claims that each is a Hamas “command and control centre”;
- Cheering the erasure of the only documentary on Gaza humanising its children because the father of the 13-year-old narrator is a scientist appointed by the Hamas government to oversee what was the agricultural sector before Israel destroyed all the enclave’s vegetation.
These people live among us. They grow more confident by the day.
And one day, if we don’t fight them now, they will be putting a hood over our head to take us to a secret location.
They will be across the desk, asking us the same questions over and over again, making us pore over photo albums to find faces we recognise, people we can inform on.
They will lead us to dirty cells, where there is a hard shelf for a bed, no blanket to keep us warm, no chance to shower, a hole in the ground for a toilet, and one meal to sustain us through the day.
They will escort us silently through long dark corridors to a room where they will be waiting for us.
There will be a chair in the centre of an empty room. They will nod for us to sit down. And then it will begin.
+—+
The Jews of Course, Run Holly-Dirt and Madison Avenue and Media and Press and Journalism and Distribution.
Jews! Never ever trust Jews, in groups of one to 15 million:
“No Other Land” — despite being the most internationally awarded documentary film of 2024 and despite its nomination for the Academy Award for Best Documentary — could not find a U.S. distributor due to its subject matter. The film chronicles years of struggle by Palestinians, living in a collection of villages known as Masafer Yatta, constantly facing the unrelenting drive by Israel Occupation Forces to forcefully evict them.
The Jobs Destroyer, the Jobs Evicerator — Chlamydia Capitalism a la Cunts of the Rapist in Chief Trump’s VD Vance, Nazi Musk and South African White Trash GHoul Peter “Homosexual Deluxe” Thiel.
“There’s a lot of fear and no answers,” said one employee based at Hatfield. “Uncertainty is the biggest thing we’re dealing with right now.”
But as sudden and random as those firings might be, local and state officials are waiting for a bigger shoe to drop as the Trump administration promises to eliminate whole federal agencies or begin slashing their budgets.
With Trump’s pledge to eliminate the U.S. Department of Education and no clear idea by state officials as to what’s in the future, the countywide school district has ordered a freeze on all spending.
A lot of the uncertainty and confusion is because few people – including laid off workers, Oregon’s congressional delegation and the media – aren’t getting much in the way of explanation about what is going on and what might be next.
SLASH AND BURN Cunt Trump Rapist in Chief.
Kissinger.
Goyim.
Jews.
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