There is nothing like a bit of toxic love between two people…or between two countries, for that matter.
So, here’s to some toxic acidity to get your gears turning.
Earlier this week, on Joyce Arnold’s Facebook feed, she posted this quick thought:
It really made me think. Not at once, I saw the thread and carried on my day.
It stuck with me however because earlier that morning I had seen this on my Instagram feed:
Sometimes it takes balls to be a woman.
It is a sentiment that I’ve repeated myself, and to others…and I will admit that I never really thought much about it. But this morning, it bothered me. It really got to me, irritated me. I saved it in my Instagram feed. I saved it too in my Pinterest folder especially made for topics to write about on the Sky Dancing Blog. This was before I read that little post from Joyce. (Yeah, maybe that is why Joyce’s thread hit me, I don’t know.) But with my lower than average reaction time, it wasn’t until the next day I think when it all registered.
As Joyce said:
Joyce L. Arnold That whole need to make being male to be the norm, the standard for being human …
If you want to put it into a cultural aspect, let’s look at something from television. I thought about a scene from Veep from a couple of seasons ago…‘Veep’ Season 4 Finale Recap: Ma’am Up – The New York Times
It was when Selina realizes that the election is a tie.
This is what Amy says to her:
Here we see yet again the depth of Selina and Amy’s relationship. When Selina learns that Tom James could replace her as president, Gary stands to offer a hug. But Selina, in tears, turns past him and his outstretched arms, past her daughter, Catherine — and collapses into Amy.
Amy looks utterly uncomfortable with the sudden display of emotion. But, in her own way, offers the encouragement that Selina needs, telling her that with all due respect, she needs to get her act together. “Ma’am up,” says Amy. “You’re still the leader of the free world, hmmm?”
And these are the words that transform Selina back into the striving, climbing, ambitious, spotlight-hungry politician we recognize. Realizing that during her mini-meltdown, Tom James has taken the stage in an effort to provide the increasingly restless crowd “a hit of political meth,” Selina springs to action.
The words Amy uses is “Ma’am up” and to me that is a perfect way to show an example of use in a particular show that can sometimes make some feminist writers peeved and angered.
That phrase, was it uttered in connection with the use of the word Ma’am as the correct way of addressing the office of the President? Or was it one feminist telling another…get your shit together, without relying on the male significance as definition of power and success? I don’t know. But what ever you want to call it, I like it. And from now on it is something I intend to use. Am I wrong?
Maybe it comes down to intersectionality?
On the same day…I also saved this:
This piece is fucked up in so many ways but what I want to highlight is how white men only see brown womxn when we are sexual objects. They never see us as people wanting our humanity. Keep your white male gaze off my brown body or else I will pluck your eyes out! #Repost @netargv ・・・ One of the paintings by artist Mark Clark shows a brown woman in a bikini on the Rio Grande River being enthusiastically watched by border patrol agents as migrants cross the border behind their backs. Read the open letter to Brownsville Museum of Fine Arts by @celestedelunaart and @nansiguevara on cultural appropriation at netargv.com. #RGV #latinxart
Please read the explanation in the description on the instagram itself.
And then, there is this….but calling it “sublime.” I don’t think so. How absurd. Look at the expressions on these women’s faces:
Young men being arrested or crammed into a jail cell, murdered bodies lying in the street, family members with terrified expressions: Tommaso Protti’s photos tell the story of a sublime Amazonian wilderness lost to the violence of the narco world. Swipe through, or click the link in our bio, to see more of his work depicting the toll of the drug trade in the Brazilian Amazon. Photographs by @tomprotti.
To that I wonder….does it take balls to live that kind of life? If we put it into that perspective, what color balls?
Just a few links for you all:
How “computer girls” gave way to tech bros
Those articles should give you something to do to pass the time.
I will end this thread with a sample of illnesses for admittance to the “nut house” if you were a certified “nut job” back a couple of centuries ago:
Why look at that! How many of those are suffered by women?
Go figure, it sure doesn’t take a set of balls for that.
This is an open thread.
If you say you are going to do it…do it!
And then there is this…
And for the final Tweet link of the day…
Now since y’all got stuck with me again today…yeah, if you didn’t notice, I’m covering for Boston Boomer today. (I’ve tried to get this post written for the last six hours, but my motivation is seriously lacking.)
Taking the easy way out, here are some cartoons that we can enjoy today. A left over from yesterday.
This is an open thread….
Think of tRump and his Regime as
Nothing to see here:
After the Tuesday Massacre a lot of newsy people were using Nixon as a callback…a reference to history repeating.
(Historians are not so quick to make that assessment.)
I actually think this is much worse…
But I have to say…I love the little hands flipping the bird, yeah…that is tRump alright. Giving us the old “Fuck You America!”
In other troubling news:
Oh yeah….by the way…
Here are your cartoons for today:
From last week, this cartoon seems strange now:
I will go ahead and hit publish on this post…because so much is fucking going on:
tRump is also re-tweeting Drudge report….ugh.
Y’all know what to do…it is an open thread!
Today’s theme is a little tongue in cheek. Because I think personally, any of the creatures featured in the post would have more heart than the real monsters in the House of Representatives who voted for the tRumpcare bill.
First let’s get this out of the way….
It called out to me…I guess you can see why.
Republicans on Sunday touted the GOP healthcare bill days after it narrowly passed the House, framing the plan as a “rescue mission” for the “collapsing” ObamaCare.
Members of President Trump’s administration and GOP House leaders were out in force praising the plan and commending the president for keeping his promises to the American people. Meanwhile, Republican senators were somewhat more cautious on the House victory, expressing reservations and tempering expectations.
Of course this campaign is full of lies…
Health and Human Services Secretary Tom Price gave multiple interviews Sunday morning, defending the Republican plan to repeal and replace Obamacare.
He repeatedly made false promises about what the American Health Care Act would do. He told CNN that the bill would “absolutely not” result in millions of Americans losing Medicaid. He told NBC that the goal of the Republican plan is to “make certain that every single person has health coverage.”
Non-partisan analysis of the Republican health care bill shows that neither of these claims are true. The Republican plan would result in millions of Americans losing Medicaid coverage. Passing the bill would reduce rather than increase how many people have coverage.
Price’s Sunday interviews were an echo of answers that President Trump has given to defend the Republican bill. He has described it as protecting people with pre-existing conditions and reducing deductibles, while it does neither of those things.
The Trump administration offers an appealing vision of what health care could look like in the United States, a future where everyone has robust insurance coverage at a low price.
But American Health Care Act does not deliver on that vision. And if it passes, and its big cuts to Obamacare’s coverage expansion go into effect, Trump and Price will be forced to confront that reality.
More at the link of course…
Got Asthma? That’ll Cost You $4,000 Extra Under the Republican Plan
Diabetes? That’s over $5,000.
Using data on how much insurance companies think someone with various conditions will cost them, CAP issued estimates for the premium surcharge—that is, how much more you’d pay—for a 40-year-old with those conditions. They even included the 1.5 percent premium reduction they estimate would result from a high-risk pool. The results still aren’t pretty:
- Asthma: $4,270
- Rheumatoid arthritis and specified autoimmune disorders: $26,180
- Diabetes: $5,510
- Pregnancy: $17,060
- Autism: $5,420
- Seizure disorders: $7,190
- Colorectal, breast, kidney, and other cancers: $28,230
- Lung, brain, and other severe cancers: $71,880
- Metastatic cancer: $140,510
If this seems like a bad idea, or even if you just would like to see the CBO and other organizations give their own evaluations of the bill before Paul Ryan shoves it through the House, today is a good day to call your congressman. Here’s a directory.
This post from an ER doctor seems fitting enough:
For those of you in Georgia, this link will give you the creeps: This Chart Shows How Many People in Your District Will Lose Health Insurance Under Obamacare Repeal
On the topic of women…
Yes, all that just to take a pill…
Next up, some world news…
Here is the original story from The Hill:
Ending with this video…don’t know the veracity of the facts…but innit nice to think so.
Have a good evening…This is an open thread.
Twitter was all agog over some tweet that Mrs tRump supposedly liked, few people were only around to notice this little gem:
Now, the only way to appreciate that tweet is to read the replies.
Here’s a few other tweets to get this post started:
Getting serious :
And now your cartoons:
This is an open thread. A lot of news going on, with Comey testimony broadcasting live as I publish this thread. Let see what the day brings….
As I write this post I am watching the Hulu presentation of The Handmaid’s Tale…for the third time. I’ve wanted to write about this series, but the situation of late has been so depressing that watching hours of a possible futuristic society for our daughters…has not been high on my list of priorities.
I’ve read the book, ages ago. So long in fact, that I can’t remember much of the specifics. Certain things stick of course…but several changes have been made to transition the book to the screen.
When Margaret Atwood published The Handmaid’s Tale in 1985, she gave the world a dystopian masterpiece: the story of a woman named Offred who’s only purpose in the theocratic Republic of Gilead is to get pregnant and be a surrogate for her new owners. The book is back in vogue in a big way, thanks to a certain U.S. president (his name rhymes with Grump) and a new TV adaptation that premieres in Canada this Sunday. Here, aspiring Atwood aficionados, we pinpoint five major ways that the two-hour premiere differs from the novel. Spoilers ahead—obviously.
Be sure to go and read the other changes but I wanted to point these out:
Ofglen gets fleshed out
ON PAGE: Little is known about Ofglen, the Handmaid assigned to accompany Offred on all her errands (Handmaids always walk two by two). Still, she becomes a compelling character as a member of Mayday, the covert resistance against Gilead, whose survival instincts and knowledge help Offred. Eventually, Ofglen is discovered as a member of Mayday, and she hangs herself rather than enduring Gilead’s torture.
ON SCREEN: Alexis Bledel’ Ofglen gets a meatier storyline, which gives ol’ Rory Gilmore a chance to shine—she displays a surprising mastery of delivering subtext through little more than meaningful glances. The added information is both excellent and deeply sad. Ofglen tells Offred that she used to be a college professor, and that she recently attempted to escape to Canada with her partner. In the show, Ofglen is gay, which is forbidden. It adds an extra layer of horror when she is caught by The Eyes, Gilead’s secret police.
Handmaids once used Tinder
ON PAGE: Atwood provides very few details that hint at when The Handmaid’s Tale takes place or how long it has been since the U.S. dissolved into Gilead. This makes Gilead an eternal threat: the revolution could happen any time.
ON SCREEN: Flashbacks feature Uber, Tinder and artisanal coffee shops, making it far easier to situate Gilead in the modern era—perhaps just a few years from now. The Eyes also have earpieces and sharp black cars, instead of the horses and truncheons they use in the book. It’s an astute change: it’s a lot more terrifying for audiences to imagine Offred being taken out of today’s world than the distant past.
I do think that bringing it up to present day makes it more immediate…in that sense of desperation. That this sort of life is something that could happen just around the corner.
The much-anticipated Hulu series based on Margaret Atwood’s dystopian novel from 1985 does not disappoint expectations; in fact, it delivers an aptly horrifying and prescient treatment of the story’s increased relevance. You see, for women, the personal is the political, and vice versa. I was reminded of this while recently re-viewing the excellent documentary She’s Beautiful When She’s Angry, which chronicles the birth of the women’s movement of the late 1960s. In recent months, American women have seen rising complacency about sexist behavior as well as the normalizing of misogynist rhetoric. There is also a threat to our hard-won reproductive rights. The chatter around this new series has been enlivened by its eerily-accurate reflection of our present situation, which may yet escalate into a future not unlike the one depicted in this television adaptation.
Atwood’s novel was published to rave reviews and devoured by feminists, science fiction fans, and curious readers around the world. In the Republic of Gilead, in the not too distant future, women have lost all rights to their bodies, their reproductive autonomy, their livelihoods, and even their names. Atwood’s novel is narrated in the first person by Offred, a young woman whose name at first seems a comment on the bright red robes — flamboyant yet puritanical — that she and others like her are forced to wear. We soon realize women are referred to by the names of their fathers: “Ofglen” or “Ofwarren.” They have no jobs, are not allowed to own property, read books, or watch television. And oh, by the way, the young fertile ones are forced to bear children for complete strangers.
The review discusses an overview of the first episode of the series, but this is what I want to cut to:
One reason The Handmaid’s Tale (written by Bruce Miller, who also co-produced sci-fi series The 4400 and The 100 and is working on Jenji Kohan’s new series about the Salem Witch Trials, The Devil You Know) resonates strongly today is that the flashback scenes (memories of the world referred to as “Before”) take place in what looks very much like the present day: hip hop music plays on iPods, cafes serve complicated low-fat coffee drinks, an intimidating military presence makes use of semi-automatic rifles and wears black knit hats in the mode of Colorado hipsters, people buy used Volvos on craigslist. But there are differences: fascism is approaching, but the characters can’t quite believe it is taking place. When anger builds and there are marches and demonstrations, the police/military (there’s no real separation between the two anymore and, if you doubt this, see the recent documentary Do Not Resist) shoot unarmed protesters with impunity. Women are finally rounded up and reassigned according to their utility: as domestic servants (Marthas) or incubators (Handmaids). Known lesbians may be punished with “mercy” or “redemption”—I won’t spoil a particularly moving and harrowing scene by explaining those euphemisms further.
This article also brings up a change in the series from the book that is also of note:
The Handmaid’s duty is completed via bizarre ceremonies and rituals that center on impregnation and birth; the arrangement is strange, intimate, and humiliating for all involved. The overarching purpose is to serve God; but religion is an oddly cold and distant presence here. Offred is frequently heard speaking to God for help; but the constant anachronistic phrases uttered by the denizens of Gilead (“blessed be the fruit,” or “go with grace” or “praise be,” or even “under His eye,” which also refers to the “eyes” of surveillance) ring hollow given the violence and tyranny that govern America’s hypocritical culture. Those who managed to escape to Canada when things started changing are the lucky ones. In Atwood’s novel, Japanese tourists come to gawk at the strangely dressed and morally backwards citizens of Gilead. In one of several bold — but intriguing — changes to Atwood’s work, this society is a multi-cultural one. June and Luke have an interracial marriage, white June’s best friend Moira is African-American. In the 1985 novel, the new regime “rounded up” people of color and relocated them to Midwest camps.
I wondered if the change from Atwood’s novel could have been more powerfully done. After all, racist policies are currently being directed towards American immigrants; it would make sense that Gilead’s brand of authoritarianism would attempt to control to all expressions of the Other, not just women. Still, there are examples of the indignity of social rank, based on socioeconomic and class status. The handsome driver who works for Offred’s “Commander” is of “such low status” that he has not yet been “assigned a woman.” Meanwhile, the treatment of the people who protest the government — men, women, young, old, every race imaginable — is egalitarian. The spray of bullets that sends them fleeing for cover is remarkably democratic in its range and efficacy. As Offred says, “There will be no mercies for members of the resistance.”
Yet the most terrifying parts of “The Handmaid’s Tale” are the flashbacks, to a time very much like ours.
Before the coup, Offred has freedom, a job, Uber. Then things start to change — little things. Women are having trouble conceiving. The government becomes more reactionary. One day, a coffee shop clerk, unprovoked, calls her and her best friend, Moira (Samira Wiley), “sluts.”
Something primal and angry is awakening. Some people are exhilarated: Finally, they can say what’s on their minds, without the PC thought police cracking down! The show is also attentive to how progressive men can back-burner the concerns of women. Offred’s husband, Luke (O-T Fagbenle), for instance, is convinced that the craziness is bound to blow over.
It doesn’t. An intermediate layer of flashbacks finds Offred, Moira and a class of future handmaids at a re-education center being indoctrinated, with homilies and a cattle prod, by Aunt Lydia (a coolly imperious Ann Dowd). “This may not seem ordinary to you right now,” she tells them. “But after a time it will.”
The line is terrifying because it rings so true. You may not believe that anyone, in real life, is actually Making America Gilead Again. But this urgent “Handmaid’s Tale” is not about prophecy. It’s about process, the way people will themselves to believe the abnormal is normal, until one day they look around and realize that these are the bad old days.
And I think that scene in the coffee shop is one of the most disturbing, for me…because it is something that we are seeing nowadays…with more and more frequency.
Offred thinks, “Now I’m awake to the world. I was asleep before. That’s how we let it happen. When they slaughtered Congress, we didn’t wake up. When they blamed terrorists, and suspended the Constitution, we didn’t wake up then either.” Yowza. Dystopian nightmare fulfilled.
Flashback to June and Moira jogging in the city, earbuds in, as Peaches‘, F**k The Pain Away plays. Seems like a normal enough thing, but when they jog by a woman on the street, she looks them up and down and gives them the dirtiest look. And I realize, mmm no, all is not well.
At a coffee shop, a mouthy little jerk of a cashier, harasses Moira and June after June’s credit card is declined for insufficient funds, which makes no sense to her since she just deposited her paycheck. He calls them “f*cking sluts.” And then tells them to “Get the f*ck out of here.” So I guess this is the moment when the “it” that happened starts to happen. Clearly, this dude’s feeling himself with a dose of extra strength straight-white-male-privilege.
And what is worse, that behavior is something that is not being called out, rather it is being egged on by a population led by the “Grab your pussy” President and elected officials…(I’m including the asshole Sanders in that mix as well.)
Image below is a still from the coffee shop scene.
In Trump’s America, everything is political, and all of pop culture becomes commentary, whether it wants to be or not. From the beginning of 2017, TV shows from Scandal to The Young Pope to Big Little Lies have been mined for insights about our new political reality, despite having been written and filmed well before the election. But you won’t see a more timely or essential onscreen story this year than Hulu’s extraordinary rendering of Margaret Atwood’s 1985 novel The Handmaid’s Tale, reimagined as a fundamentalist nightmare for the Mike Pence era.
Full disclosure up front: my experience with The Handmaid’s Tale extends to the three episodes made available for review. We’ll have plenty of coverage for those familiar with the book here at Pajiba over the upcoming weeks, but I think a show should stand on its own, regardless of source material. If you have to have read the book/seen the movie/followed the Instagram account in order to fully understand the television adaptation, then that adaptation has failed. It undoubtedly means certain scenes, certain interactions, and certain imagery in those episodes will resonate differently for those who have read Margaret Atwood’s 1985 novel. But absolutely no power was lost upon this particularly newbie to this dystopian world.
If I could sum up the overwhelming subtext of this show, it would be this: “We are not doing nearly enough to prevent this from actually happening.” The Handmaid’s Tale doesn’t take place in a future far removed from ours, and at times feels as if set tomorrow. This is a show that suggests The Women’s March on Washington this past January was a cute digression on the path towards the inevitable subjugation of women, a path forged by men via nuclear fire in order to clear the path for a return to a more “civilized” time. This isn’t a show in which the right side initially wins: Ideological purity trumps the concept of compromise little by little, until the ground falls out completely beneath those that had no idea just how rocky the terrain had become.
I use the verb “trump” there intentionally, because it’s absolutely, positively impossible to not view The Handmaid’s Tale through the lens of the last year. There’s a scene early in the third episode in which a barista, newly emboldened by the government’s increasingly sexist legislation in the days before the shit truly hits the fan, feels free to call two women who have just gone for a run “sluts.” They aren’t wearing anything particularly revealing: They are in what one might consider “normal” workout clothes, but they do show a bit of skin, and that skin is glistening with sweat, and that’s enough at this point in the narrative’s timeline for that to be the new benchmark. The word “slut” is uttered as much in relief as in hatred, as if this person has been holding it in for decades and feels happy to finally say it. It’s not hard to link this scene with the rise of those emboldened by Trump’s victory to overtly and publicly say things meant to demean other races, sexualities, cultures, customs, and anything that doesn’t look the same when viewed in the mirror.
Interview with Atwood:
Things like this are creepy to read about:
There’s a women’s march that occurs in The Handmaid’s Tale, which was filmed before Donald Trump was elected president and well before the actual Women’s March on Washington.
Image above is a sketch by Margaret Atwood.
Just a few more links on the series:
Found on Facebook:
Yeah, just to tie into the whole patriarchal thing….and threats.
“I want to thank Ambassador Nikki Haley for her outstanding leadership and for acting as my personal envoy on the Security Council. She is doing a good job. Now, does everybody like Nikki?” Trump said, according to reporters present at the White House event. “Otherwise she could be easily replaced, right? No, we won’t do that. I promise you we won’t do that. She’s doing a fantastic job.”
‘It was criminal once before, and it is their intent to make it criminal again,’ says Dr Willie Parker
And a few more disgusting shit stories for good measure:
We bring you now the “Women are Objects” section of the thread:
(Er…the whole damn post is women are objects.)
That video is just plain disturbing on so many levels. Especially the freaky dude saying the sex dolls will cut down on rape and assault. WTF?
And as if all this wasn’t depressing enough:
In order to avoid males of the species bothering them for sex, female dragonflies fake their own deaths, falling from the sky and lying motionless on the ground until the suitor goes away.
A study by Rassim Khelifa, a zoologist from the University of Zurich is the first time scientists have seen odonates feign death as a tactic to avoid mating, and a rare instance of animals faking their own deaths for this purpose. Odonates is the order of carnivorous insects that includes dragonflies and damselflies.
In other sad news this week…we lost one of our best directors in film.
Oscar-winning director Jonathan Demme died Wednesday in New York of cancer complications, his publicist told Variety. He was 73 years old.
Demme is best known for directing “The Silence of the Lambs,” the 1991 horror-thriller that was a box office smash, a critical triumph, and introduced moviegoers to Anthony Hopkins’ Hannibal Lecter, a charismatic serial with a yen for chianti, fava beans, and cannibalism. The story of a novice FBI analyst (Jodie Foster) on the trail of a murderer became only the third film in history to win Academy Awards in all the top five categories ( picture, actor, actress, director, and adapted screenplay), joining the ranks of “It Happened One Night” and “One Flew Over the Cuckoo’s Nest.”
Though he had his greatest success terrifying audiences, most of Demme’s work was looser and quirkier. In particular, he showed a great humanism and an empathy for outsiders in the likes of “Melvin and Howard,” the story of a service station owner who claimed to have been a beneficiary of Howard Hughes, and “Something Wild,” a screwball comedy about a banker whose life is turned upside down by a kooky woman. He also scored with “Married to the Mob” and oversaw “Stop Making Sense,” a documentary about the Talking Heads that is considered to be a seminal concert film.
I loved Married to the Mob…it is one of my favorite films.
Jonathan Demme, one of the American cinema’s finest, most insistently humanist directors, has died at the absurdly young age of 73, from complications of throat cancer and heart disease.
It’s hard to imagine New York or the world or the movies without Demme in the house. How do you eulogize someone whose overriding aspect is aliveness?
I guess you start by simply naming some of his wonderful movies, in chronological order: Caged Heat, Handle With Care, Melvin and Howard, Swing Shift, Stop Making Sense, Something Wild, Married to the Mob, The Silence of the Lambs, Philadelphia, Beloved, Rachel Getting Married, Neil Young: Heart of Gold, A Master Builder … Those are my favorites, but many of the others are vital, too — Swimming to Cambodia, Cousin Bobby, his Haitian documentaries, his brave and urgent remake of The Manchurian Candidate, his patchy but exuberant Ricki and the Flash …
In 2002, I wrote an article about Demme for the New York Times in connection with his loose remake of Charade, The Truth About Charlie — a difficult piece because the movie was plainly a dud. It was, however, a generous and overflowing dud, and an excellent prism through which to view the man the Times’ headline writer called “the Happy Hipster of Film.” For one thing, Demme’s camera was always swerving off the main actors to catch street performers or passersby or people he knew.
“There seem to be no extras,” I wrote, “only characters from movies yet to be made … Mr. Demme tries to cram in the maximum amount of life per square inch of movie screen.” (The “Mr.” thing is Times style and is reproduced accordingly.)
“Other faces that show up in Mr. Demme’s films are from his vast circle of acquaintances, business associates and creative influences – so that watching his movies is like looking through a scrapbook of his life. In The Truth About Charlie, Mr. Demme not only salutes Truffaut’s Shoot the Piano Player (1960) with an excerpt; he brings in its star, Charles Aznavour, to serenade the lovers.
Read that link in full…it has some good parts.
I know that I only focus on that one scene in the coffee shop. There are many other that spoke to me, as I am sure there are scenes that spoke to you. (The Salvaging being one of them.) But I thought it best not to go too fully into the series. I do think it is something that people need to see.
Even if the ones who truly need to realize the situation, and are the ones who would get the most out of the show’s message…still do not get their eyes open by the end of the third episode.
Yeah, from my experience…with my husband at least, he does not think a handmaid society is anywhere near within reach. Like the husband “Luke” in the show, who is a patronizing ass…he is completely complacent to the warning signs that seem to blare like the sirens and explosions that go on around him.
But it is all there folks. And what the fuck are we going to do, I don’t know how to get this message to the “Guardians” among us. Do you?
That is my offering today. It is depressing I know…but it is an open thread.
How goes it?
This latest “armada” shitbacle seems like a scripted backstory for Veep.
Yeah, it was going the other way…
Defense Secretary Jim Mattis told reporters on April 11 that the Carl Vinson was “on her way up there.” Asked about the deployment in an interview with Fox Business Network that aired April 12, President Trump said: “We are sending an armada, very powerful.”
U.S. media went into overdrive, and Fox reported on April 14 that the armada was “steaming” toward North Korea.
But pictures posted by the U.S. Navy suggest that’s not quite the case — or at least not yet.
A photograph released by the Navy showed the aircraft carrier sailing through the calm waters of Sunda Strait between the Indonesian islands of Sumatra and Java on Saturday, April 15. By later in the day, it was in the Indian Ocean, according to Navy photographs.
In other words, on the same day that the world nervously watched North Korea stage a massive military parade to celebrate the birthday of the nation’s founder, Kim Il Sung, and the press speculated about a preemptive U.S. strike, the U.S. Navy put the Carl Vinson, together with its escort of two guided-missile destroyers and a cruiser, more than 3,000 miles southwest of the Korean Peninsula — and more than 500 miles southeast of Singapore.
Instead of steaming toward the Korea Peninsula, the carrier strike group was actually headed in the opposite direction to take part in “scheduled exercises with Australian forces in the Indian Ocean,” according to Defense News, which first reported the story.
Here is the NYTs article:
Yet I wonder, if that was the real situation…what about this news from earlier in the week?
I really hate that fucker tRump.
But hey…even if it was all just play-acting…and the “armada” was too far away to actually do anything if the North Koreans did start a nuclear catastrophe, the swinging dicks had their fun.
As you can see, that “gentleman” had his own version of make-believe too:
North Korea marked the birthday of its founder on Sunday with a massive celebration featuring military musicians and singers performing beneath images that included a simulated missile attack on the United States.
Footage from North Korean state-run TV showed leader Kim Jong Un in attendance at the celebration of the 105th birthday of his grandfather, Kim Il Sung, who died in 1994.
About 1 hour and 13 minutes in, video screens in the concert hall highlighted various North Korean weapons, including missiles being launched. Eventually, the footage changed to computer graphics showing several missiles destroying a city.
The city wasn’t named, but one of the images featured a tattered American flag over a cemetery, with the entire scene engulfed in flames
Video at the link.
Now more cartoons, cause I can’t take this shit anymore.
News on Twitter:
This last one is for the medievalist in the group…
This is an open thread…