03 AM | 27 Dec

John Pilger discusses #torture, the real possibility of World War 3 #ww3 & the handling of the #sydneysiege [#geekgirl]

the coming war

the coming war

John Pilger, film-maker and award winning journalist, talks to Going Underground (BBC) host Afshin Rattansi.

Afshin Rattansi goes underground with a roundup of 2014. John Pilger warns of a ‘real possibility’ of a nuclear war between Russia and the US, with Western coverage of Ukraine where the truth is ‘so inverted.’ He also points out media bias over the CIA torture report, which Britain has always been ‘masters’ in, and questions the need for force in the Sydney Siege.

Watch as John Pilger participates in a no holds barred interview on the conspiracy of torture on all levels of politics; “they’re all part of it, they all go along with it”.

“It’s very dangerous now to take part in demonstrations (sic) and for any journalist to stand up to vested interests”.

Requiring crowd funding for his next project John Pilger has gone to seek support for his new film about the American war with China, (working title “The Coming War”); this has been a necessity to ensure “broadcasting dissent” continues.

Pilger also deconstructs the Sydney siege where he categorically states it was evident the police killed the hostages, and it’s questionable to call it a terrorist act. He also challenges the way Tony Abbott dealt with the siege and the way he directly spoke to Man Haron Monis.

Trailer for “The Coming War” at Vimeo.

IndieGoGo crowd funding.

Going Underground Excerpt

Facebook page – The War You Don’t See.

Full episode includes I Can’t Breathe, UK.

In the full episode of Going Underground – Adrienne Makenda Kabana, the widow of Jimmy Mubenga, who died whilst being restrained by G4S officers, and Deborah Coles, of INQUEST, who have been providing support for the Mubenga family, join to discuss the controversial case of the man who 20 people claimed had screams of ‘I can’t breathe’ ignored.

12 PM | 03 Jan

The New Who vs Oldskool Timey-Wimey Whovians [#geekgirl] [#DrWho]

—–[“The Time of The Doctor” SPOILERS (Sweetie) Alert]—–

On the 25th December 2013, Doctor Who received 12 new lives. In the episode “The Time of The Doctor”, the current series showrunner, producer and lead writer Steven Moffat imbued the once-labelled as 11th [and now redubbed the 12th, or even 13th] Doctor a new regeneration cycle. In this episode filled with heavy-duty retconned plot threads, we see the New [old] Who emerge.

From a traditional Whovian perspective, there’s been substantial trouble with Moffat’s version of a character who, like his regenerations, has undergone substantial re-jigging as part of the entire franchise reboot, many of which have been largely controversial. When Moffat plucked the Doctor Who writing mantle from Russell T Davis, there was substantial concern that his [then] largely episodic inflected story style wouldn’t be able to adequately extend beyond flashy emotion-inducing viewer bait, complete with thrill laden plot segments and incomplete long arc shifts where foregrounding, consistent character development and plots worthy of the previous writers were/are [mostly] abandoned.

In this pivotal episode, Moffat attempts to disassemble and reassemble elements of the Who Canon in an effort to extend the longevity of the franchise beyond the Doctor’s accepted and restricted Regeneration cycle. The episode contains all the benchmarks we’ve come to expect from Moffat: companions posited as disposable tools or eye-candy mannequins, story gaps you could drive a TARDIS through and plot-hole-construction-gloss thrown about almost randomly by the shiny bucketful. The result creates a type of standard willing Suspension of Disbelief that only just lightly grips the edges of believability. Emotional key points fall cheaply and wantonly [like the death of his handy Cyberman-head-pal “Handles”, or the Doctor’s promise to Clara that he’ll never abandon her again]. The rushed passage-of-time markers rub the viewer in any manner of annoying ways, and flimsy self-referential exposition becomes paramount when the contrived CGI effects fail to impress.

And yet, given all of the failings of this crucial episode, the emotional reefing that Moffat does best still manages to evoke a type of stretched wonder-thrall. Moffat discards [and has now for many, many episodes] conventions that traditional Dr Who fans hold dear: Joseph Campbellesque hero variables and crucial sci-fi story elements are bypassed in order to cater for more incrementally-oriented audience members used to absorbing their story snippets through 2 minute YouTube blipverts or Tumblr-emulating focals. Moffat knits together these contemporary absorption points via a method that, instead of catering for narratives comprising sequential beginning, middle and ends, seeks to harness the power of discrete narrative units. These units merge techniques drawn from graphic novel variable truncation to story-board framing, resulting in staggered story-time acceleration and retconned plot explosions designed for nonlinear attention spans.

Moffat may not be the great grand hope for old-timey-whiney Whovians [ahem] who yearn for believable extensions to Who chronology beyond an established and pre-mapped regenerative timeline. But through the New Who incarnation, Moffat instead offers us an extension of a well-worn and much-loved character, one that at least utilises the very methods that a contemporary audience regularly deploys to maintain narratives beyond standard story knitting.