Lawrence Person's BattleSwarm Blog

If they vote with Schumer, Republicans will eat Kelly and Hassan alive this year and others later on, all for a vote that Manchin and Sinema have already insisted will go nowhere anyway. If they vote against the filibuster change, progressives will eat them alive in states where their support is critical. Even if these seats were salvageable, and that may not be the case already for Kelly and Hassan, Schumer’s move is guaranteed to lose seats for no purpose whatsoever. It’s the political equivalent of Pickett’s Charge.

Have you tried calling her racist harder?

You're like an 8-year old kid playing a video game that only knows how to punch one button over and over again. pic.twitter.com/qpmcWxVnNY

— BattleSwarm (@BattleSwarmBlog) January 13, 2022

Before she became vice president, Kamala Harris had a bad habit of ignoring prepared briefing materials.

She does not appear to have kicked this habit, even after making it all the way to the White House.

“Staffers who worked for Harris before she was vice president said one consistent problem was that Harris would refuse to wade into briefing materials prepared by staff members, then berate employees when she appeared unprepared,” the Washington Post reports.

One former staffer told the paper, “It’s clear that you’re not working with somebody who is willing to do the prep and the work. With Kamala, you have to put up with a constant amount of soul-destroying criticism and also her own lack of confidence. So you’re constantly sort of propping up a bully, and it’s not really clear why.”

(Hat tip: Stephen Green at Instapundit.)

The 2020 presidential election was unlike any in American history.

Hundreds of laws and processes were changed in the months leading up to the election, sometimes legally and sometimes not, creating chaos, confusion, and uncertainty. Tech oligarch Mark Zuckerberg, one of the world’s wealthiest and most powerful men, spent $419 million — nearly as much as the federal government itself — to interfere in the government’s management of the election in key states.

Powerful tech oligarchs and corrupt propaganda press conspired to keep indisputably important news stories, such as allegations of corruption regarding the Biden family business, hidden from voters in the weeks prior to voting. Information operations were routinely manufactured about President Trump in the closing months of the campaign, including the false claim that Russians paid bounties for dead American soldiers and Trump didn’t care, and that Trump had called dead American soldiers losers. Both were disputed by dozens of on-the-record sources.

Effective conservative voices were censored by the social media arms of the Democrat Party. And all this was done after the establishment spent years running an unprecedented “Resistance” that falsely claimed Trump was a traitor who had colluded with Russia to steal the 2016 election.

It’s not surprising that polls show most Republicans are deeply concerned about the integrity of such an election. If anything, it’s surprising that all of them aren’t screaming from the rooftops about it. But it is interesting and telling how little the media and other Democrats are willing to talk about efforts to rig the election.

With the exception of a single Time Magazine article admitting there was a “conspiracy” by a “a well-funded cabal of powerful people” who worked to “change rules and laws, steer media coverage and control the flow of information,” to create a “revolution in how people vote,” corporate media have largely kept silent about or downplayed how the establishment secured its victory for their man Joe Biden.

The number of people killed by pro-Trump supporters at the January 6 Capitol riot is equal to the number of pro-Trump supporters who brandished guns or knives inside the Capitol. That is the same number as the total of Americans who — after a full year of a Democrat-led DOJ conducting what is heralded as “the most expansive federal law enforcement investigation in US history” — have been charged with inciting insurrection, sedition, treason or conspiracy to overthrow the government as a result of that riot one year ago. Coincidentally, it is the same number as Americans who ended up being criminally charged by the Mueller probe of conspiring with Russia over the 2016 election, and the number of wounds — grave or light — which AOC, who finally emerged at night to assure an on-edge nation that she was “okay” while waiting in an office building away from the riot at the rotunda, sustained on that solemn day.

That number is zero. But just as these rather crucial facts do not prevent the dominant wing of the U.S. corporate media and Democratic Party leaders from continuing to insist that Donald Trump’s 2016 election victory was illegitimate due to his collusion with the Kremlin, it also does not prevent January 6 from being widely described in those same circles as an Insurrection, an attempted coup, an event as traumatizing as Pearl Harbor (2,403 dead) or the 9/11 attack (2,977 dead), and as the gravest attack on American democracy since the mid-19th Century Civil War (750,000 dead). The Huffington Post’s White House reporter S.V. Date said that it was wrong to compare 1/6 to 9/11, because the former — the three-hour riot at the Capitol — was “1,000 percent worse.”

Indeed, when it comes to melodrama, histrionics, and exploitation of fear levels from the 1/6 riot, there has never been any apparent limit. And today — the one-year anniversary of that three-hour riot — there is no apparent end in sight. Too many political and media elites are far too vested in this maximalist narrative for them to relinquish it voluntarily.

Snip.

That the January 6 riot was some sort of serious attempted insurrection or “coup” was laughable from the start, and has become even more preposterous with the passage of time and the emergence of more facts. The United States is the most armed, militarized and powerful regime in the history of humanity. The idea that a thousand or so Trump supporters, largely composed of Gen X and Boomers, who had been locked in their homes during a pandemic — three of whom were so physically infirm that they dropped dead from the stress — posed anything approaching a serious threat to “overthrow” the federal government of the United States of America is such a self-evidently ludicrous assertion that any healthy political culture would instantly expel someone suggesting it with a straight face.

Snip.

Far too many centers of political and economic power benefit from an exaggerated and even false narrative about January 6 to expect it ever to end.

The Democratic Party, eager to cling to their majoritarian control of the White House and both houses of Congress, knows it has no political program that is appealing and thus hopes that this concocted drama will help them win — just as they foolishly believed about Russiagate. With the threat of Al Qaeda and ISIS faded if not gone, and the attempt to scare Americans over Putin a failure, the U.S. security state, always in need of a scary enemy, has settled on the claim that right-wing “domestic extremists” are the greatest threat to U.S national security; though they claimed this before 1/6, casting 1/6 as an insurrection allows them to classify an entire domestic political movement as an insurrectionary criminal group and thus justify greater spying powers and budgetary authorities.

CNN proudly announced that the most-watched day in the history of their network was 1/6. The dirty little secret of the liberal wing of the corporate media is that nobody benefited more from the Trump campaign, his presidency and its aftermath than they, and they are desperate to rejuvenate it and re-discover that glory. Meanwhile, coddled journalists who have never broken meaningful stories have finally found a way to claim that they stared down dangerous and risky situations — as if they spent years in the middle of an active war zone or were persecuted and prosecuted by a corrupt and authoritarian state for their intrepid reporting — and have converted Brian Stelter’s CNN show into a virtual therapists’s couch where they all get to go and talk about how they are still coping with the deep trauma of spending a few hours in the Capitol last year.

The pettiness and absurdity of this Democrat/media narrative, laughable as it often is, does not mean it is free of danger. Asserting that the U.S. suffered an attempted coup by a still-vibrant armed faction of insurrectionists is a self-evidently inflammatory claim. It has been used to allocate billions more to the Capitol Police and to radically expand their powers; justify the increased domestic use of FBI tactics including monitoring and infiltration; and agitate for the mass imprisonment of political adversaries, including elected members of Congress. Hapless defendants who are not even accused of using violence have been held in harsh solitary confinement for close to a year, then sentenced to years in prison — while self-styled criminal justice reform advocates say nothing or, even worse, cheer. If one genuinely believes that the U.S. came close to a violent overthrow of American democracy and still faces the risk of an insurrection, then it is rational to sanction radical acts by the U.S. security state that, in more peaceful and normal times, would be unthinkable.

(Hat tip: Director Blue.)

A few years ago, the editor-in-chief of The Hollywood Reporter pitched a story to the newsroom. He had just come back from lunch with a well-known agent, who had suggested the paper take a look at the unintended consequences of Hollywood’s efforts to diversify. Those white men who had spent decades writing scripts—which had been turned into blockbuster movies and hit television shows—were no longer getting hired.

The newsroom blew up. The reporters, especially the younger ones, mocked the idea that white men were on the outs. The editor-in-chief, normally self-assured, immediately backtracked. He looked rattled.

Snipped.

So, in September 2020, the Academy launched its Representation and Inclusion Standards Entry platform (or RAISE). For a movie to qualify for Best Picture, producers not only had to register detailed personal information about everyone involved in the making of that movie, but the movie had to meet two of the Academy’s four diversity standards—touching on everything from on-screen representation to creative leadership. (An Academy spokesperson said “only select staff” would have access to data collected on the platform.)

The Academy explained that movies failing to meet these standards would not be barred from qualifying for Best Picture until 2024. But producers are already complying: In 2020, data from 366 productions were submitted to the platform.

Meanwhile, CBS mandated that writers’ rooms be at least 40 percent black, indigenous and people of color (or BIPOC) for the 2021-2022 broadcast season and 50 percent for the 2022-2023 season. ABC Entertainment issued a detailed series of “inclusion standards.” (“I guarantee you every studio has something like that,” a longtime writer and director said.)

Snip.

The old-timers accustomed to being on the inside—and the (non-BIPOC) up-and-comers afraid they’d never get there—were one-part confused, one-part angry, and 10,000-parts scared.

“Everyone has gone so underground with their true feelings about things,” said Mike White, the writer and director behind the hit HBO comedy-drama “The White Lotus.” “If you voice things in a certain way it can really have negative repercussions for you, and people can presume that you could be racist, or you could be seen as misogynist.”

Howard Koch, who has been involved in the production of more than 60 movies, including such classics as “Chinatown” and “Marathon Man,” and is the former president of the Academy of Motion Pictures Arts & Sciences, said: “I’m all for LGBT and Native Americans, blacks, females, whatever minorities that have not been served correctly in the making of content, whether it’s television or movies or whatever, but I think it’s gone too far. I know a lot of very talented people that can’t get work because they’re not black, Native American, female or LGBTQ.”

Another writer, who, like most of the writers we interviewed, was afraid to speak openly for fear of never working again, said: “I get so paranoid about even phone calls. It’s so scary. My close friends and my family are just like, ‘Don’t say anything.’ It is one of those things, ‘Will I be able to sleep at night if I say anything?’ Getting jobs in this town is so hard, and I’m very grateful to have a great job. If there’s any so-called ding on my record, that would just be an argument against hiring me.”

It is, said Sam Wasson, the author of “The Big Goodbye: Chinatown and the Last Years of Hollywood,” not so different from the McCarthy era, when everyone in Hollywood professed to believe something that they thought everyone outside Hollywood—the country, their audience—believed. “Hollywood was never anti-Communist,” Wasson said. “It just pretended to be. In fact, Hollywood was never anti- or pro- anything. It was show business. There’s no morality here.”

That amorality, coupled with a finely tuned sense of what the audience is hungry for, what’s trending, has left Hollywood more susceptible to the vagaries of the culture war.

“Now, they’ll just say, ‘Sorry, diversity quotas. We’re just not allowed to hire you,’” said a 48-year-old white, male comedy writer who was recently dropped by his agent.

Sounds like an opportunity to hire great talent on the cheap from someone outside the club. If only someone had the balls…

WATCH: Biden stares blankly ahead while ignoring questions from reporters. pic.twitter.com/Qt4LLaW2cW

— RNC Research (@RNCResearch) January 13, 2022

Planned Parenthood took advantage of Texans, violated medical standards, & lied. While they’re no longer a TX Medicaid provider, they still collected millions for their bloody biz.

I’m suing to get that wrongly-syphoned money back for Texans and stand for life. pic.twitter.com/jcI5rmWAHb

— Attorney General Ken Paxton (@KenPaxtonTX) January 13, 2022

If they could get you into a low vibrational fear state they can more easily control you, it’s that simple! pic.twitter.com/dFJTMLspt6

— Luke Rudkowski (@Lukewearechange) January 11, 2022

This is hilarious! @JoeSilverman7 haha! pic.twitter.com/kQ4zSt7o6y

— Waaow LöDûv (@BonaFideLoDuv) January 12, 2022

What you do see are the fruits of the conquest. The admixture of confident aggression, roll-the-dice settlement, and entrepreneurial genius manifests itself with the first wells you see. The Permian is rich, a treasure-house stored up across one hundred million years, and the wells are everywhere. They appear, solitary or in pairs, and as you proceed westward they multiply. There is a particular mesa with a sharp escarpment on its south face, and every time I see it I marvel at the wells perched on its nearly vertical incline. There is new exploration and investment, too. The Permian has been exploited for nearly a century, but its yield is nowhere close to exhaustion. Yesterday, and the day before, I witnessed tremendous convoys — men, trucks, equipment — sallying forth to new wells in the creation. There is a cotton field with wells on it: acreage that produces everything America needs to keep warm. In Midland itself, there is a golf course with a well on it. There are roadside shoulders with wells on them. There are wells everywhere. Midland-Odessa works: they raise families and hell alike, and power the continent.

All of this is set in the Llano Estacado, a region of Texas ordinarily hostile to life and settlement. Most of Texas outside the verdant east is hostile to life and settlement to some degree. The Llano Estacado, though, is nearly the hardest far place there is, exceeded only by the despoblado and desert of the trans-Pecos. The land is hard. The weather is hard. The enterprise is hard too. The oil-and-gas business makes some men rich, ruins more, and perennially frustrates still more. There are the handful of energy giants around the world — the ExxonMobils, the Shells, and the handful of other names you see on gas stations and giant tankers — but that isn’t who you see in the Permian. It isn’t who you see on the road to Midland. What you see are names and signs of firms that you don’t recognize, and wouldn’t unless this was your professional world. Some are well established. Others are just starting out. All of them are the names of dreams and gambles: ideas made real but not necessarily lasting, leaps without nets. There is something admirable to it.

Spend time in Midland (and, if you’re raising hell, in Odessa) and you realize you’re seeing a way of life that is increasingly rare. It is a place where nearly everyone is working. I don’t mean sitting at a desk. I mean labor as it was once understood, things done with the hands, wearying the body, with the end product being something you could see, touch, feel. It is a single-industry town, yes, but that industry is in the business of real material creation. In our fathers’ time, we could say that about most of America. Now it it characterizes only a small proportion of our national life. Something is lost along with it. You see Midland, a town where the taquerias and coffee shops open at 3:30am, at 4am, at 5am to accommodate what passes for rush hour there — and you see a town that is too hard at work to ever indulge in the luxury of anxiety. Places where people hit the alarm at 6am, at 7am, spend an hour on a crawling commute, spend eight hours motionless in a cube, and then repeat: that’s where alienation and disconnect occur. That’s where the civic neuroses take root and blossom. That’s where we spawn the psychic illnesses peculiar to people who are physically safe and have in their whole lives risked nothing.

Read the whole thing.

Joe Biden's presidency has fallen and it can't get up.

— Ben Shapiro (@benshapiro) January 14, 2022

The bloke off police academy (that does the noises) doing a whole lot of love – Led Zeppelin pic.twitter.com/5ksAMt9ap1

— Yanited (@NE5westend) January 8, 2022

They are artifacts that have locked into them so many messages about the aspirations, hopes, needs, and restrictions of their time. They were incredibly expensive things, and they were used as opportunities to demonstrate something about yourself, to say something about yourself to the world…[The best art is] always composed within some sort of restraints. There’s always a limit to how far you can go, and it’s within those limitations that i think human ingenuity does best.

I think this is true, and I think that the restraints and limits of various art forms are what help bring out their greatness.