Daily Mail comments on 'V For Vendetta'

by **CyberChrist** » Fri Mar 10, 2006 6:04 pm

And let me just clarify that I have nothing against Jesus per se-- He was a wonderful role model and His message is as valid today as it was 2000 years ago. I am talking about the neo-Christians that use it for hatred. People like the Rev. Phelps, for example (his slogan is "God Hates fags" and he has been going around the country protesting military funerals because he believes that the soldiers deserve to die as God's punishment to America for accepting homosexuality). Then there's the Benny Hinn/Paul Crouch/Creflo Dollar crowd on TBN (Trinity Broadcast Network). Another group that uses Jesus to hate others. THAT'S where my problem lies. -- CyberChrist http://www.hackerjournal.org My brain is hung like a horse.

by **nomo** » Fri Mar 10, 2006 6:13 pm

<blockquote>Quote:<hr>Only through Jesus can we overcome.<hr></blockquote> Hmmmmm. But Jesus was Jewish! So what's your agenda here?? <img src=http://www.ezboard.com/images/emoticons/eyes.gif ALT=":rolleyes"> Not trying to disparage you, but just what has 2,000 years of the Jesus-cult brought us (besides the current born-again "President")?

by **Zsasz** » Fri Mar 10, 2006 8:01 pm

The Wachowski Brothers really missed the point of the graphic novel. Well, that doesn't suprise me in the least. The Wachowski Bros seem to have made considerable strides toward "losing the plot" after the first Matrix film--which, in my opinion, seems to have aged rather badly. An excellent interview with Alan Moore can be found here: <a href="http://www.salon.com/books/int/2004/07/22/moore/">The man who invented the future</a> Cheers.

by **CyberChrist** » Sat Mar 11, 2006 3:34 pm

<blockquote>Quote:<hr>Hmmmmm. But Jesus was Jewish! So what's your agenda here??<hr></blockquote> If this isn't sarcasm, then it's one of the most ignorant comments of the week. <blockquote>Quote:<hr>Not trying to disparage you, but just what has 2,000 years of the Jesus-cult brought us (besides the current born-again "President"<img src=http://www.ezboard.com/images/emoticons/wink.gif ALT=";)"> ?<hr></blockquote> To judge all Christians by the actions of one talking monkey of a President doesn't make much sense, does it? And if you ever take the time to study Christianity, you'll see that there is a very very early split in the Church and that Christians today are not exactly followers of the original teachings of Jesus nor what he taught his disciples. -- CyberChrist http://www.hackerjournal.org My brain is hung like a horse.

by **Zsasz** » Sat Mar 11, 2006 8:04 pm

The Vendetta Behind 'V for Vendetta'  To Alan Moore, the god of comic writers, the movie adaptation of "V for Vendetta" is further proof that Hollywood should be avoided at all costs. [...] Last year, when Mr. Moore received a phone call from Larry Wachowski — who, with his brother, Andy, had written and directed the "Matrix" movies — to discuss the "V for Vendetta" film that the Wachowskis were writing and producing for Warner Brothers, Mr. Moore felt he had made it clear that he did not want to be involved in the project. "I explained to him that I'd had some bad experiences in Hollywood," Mr. Moore said. "I didn't want any input in it, didn't want to see it and didn't want to meet him to have coffee and talk about ideas for the film." But at a press conference on March 4, 2005, to announce the start of production on the "V for Vendetta" film, the producer Joel Silver said Mr. Moore was "very excited about what Larry had to say and Larry sent the script, so we hope to see him sometime before we're in the U.K." This, Mr. Moore said, "was a flat lie." "Given that I'd already published statements saying I wasn't interested in the film, it actually made me look duplicitous," he said. In a telephone interview, Mr. Silver said he had misconstrued a meeting he had with Mr. Moore and Dave Gibbons nearly 20 years ago, when Mr. Silver first acquired the film rights to "Watchmen" and "V for Vendetta." (Mr. Silver no longer owns the rights to "Watchmen," though Warner Brothers is still planning an adaptation.) "I had a nice little lunch with them," he said, "and Alan was odd, but he was enthusiastic and encouraging us to do this. I had foolishly thought that he would continue feeling that way today, not realizing that he wouldn't." Mr. Silver said he called Mr. Moore to apologize for his statement at the press conference, but that Mr. Moore was unmoved. "He said to me, 'I'm going to hang up on you if you don't stop talking to me,' " Mr. Silver recalled. "It was like a conversation with a tape recording."  Through his editors at DC Comics (like Warner Brothers, a subsidiary of Time Warner), Mr. Moore insisted that the studio publicly retract Mr. Silver's remarks. When no retraction was made, Mr. Moore once again quit his association with DC (and Wildstorm along with it), and demanded that his name be removed from the "V for Vendetta" film, as well as from any of his work that DC might reprint in the future. The producers of "V for Vendetta" reluctantly agreed to strip Mr. Moore's name from the film's credits, a move that saddened Mr. Lloyd, who still endorses the film. "Alan and I were like Laurel and Hardy when we worked on that," Mr. Lloyd said. "We clicked. I felt bad about not seeing a credit for that team preserved, but there you go." DC, however, said it would be inappropriate to take Mr. Moore's name off of any of his works. "This isn't an adaptation of the work, it's not a derivative work, it's not a work that's been changed in any fashion from how he was happy with it a minute ago," said Mr. Levitz. Still, some DC editors hope that Mr. Moore might return. "He remains a good friend, and I would work with him again in a heartbeat," said Karen Berger, the executive editor of the DC imprint Vertigo, in an e-mail statement. But Mr. Moore does not seem likely to change his mind this time. <a href="http://www.nytimes.com/2006/03/12/movies/12itzk.html?_r=1&oref=slogin">www.nytimes.com/2006/03/1...ref=slogin</a> Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=zsasz@rigorousintuition>Zsasz </A> at: 3/11/06 5:08 pm

by **Zsasz** » Sun Mar 12, 2006 5:44 pm

Mr. Moore recognizes that his senses of justice and proportion may seem overdeveloped. "It is important to me that I should be able to do whatever I want," he said. "I was kind of a selfish child, who always wanted things his way, and I've kind of taken that over into my relationship with the world. <a href="http://www.nytimes.com/2006/03/12/movies/12itzk.html?_r=2&oref=slogin&pagewanted=print&oref=slogin">www.nytimes.com/2006/03/1...ref=slogin</a> Well, yeah, perhaps in the future, Mr. Moore should follow the example of Frank Miller (...who has kind of lost it now with all this recent Batman- al-Qaeda nonsense...) and collaborate with someone like Robert Rodriguez who is willing to work outside of the Hollywood system and say @#%$ off to all the sleaze bag "suits," who have reached new lows in terms of creative and moral bankruptcy. Enough already.

by **sussurus2** » Sat Mar 18, 2006 5:08 am

CC yer all right. And whoever posted the Moore interview, thanks. There's so much information to absorb in "From Hell" that it's almost impossible to gather it in at one sitting. In one 38-page chapter alone, Moore's Jack the Ripper takes his driver on a city-wide tour of London's points of diabolical interest, connecting the bastions of secret societies, mythical and true lineages, transcendent architectures, phallic topographies and other landmarks into a pentagram shape. This allegorical voyage, which Moore says he made himself, relying on both recent and ancient maps of London, so terrifies Jack's driver that he vomits, sick with the realization that he is connected to his culture, his history and his employer in ways he never could have conceived. The lesson there, as Moore explains it, is that to understand the world one lives in, one has to give "coherence to ... complexity, to say that it is possible to think about politics, history, mythology, architecture, murder and the rest of it all at the same time to see how it connects."  That, my friends, is what we do here. S.

by **Hugh Manatee Wins** » Sat Mar 18, 2006 5:29 am

(edited and expanded since Jeff put a front page essay on 'Vendetta' up today.) I was going to comment on this over in the thread about 'How to Not Be Diverted, Demoralized, or Diffused' as one of the many movies being used as a mind virus and tool of governance. <a href="http://p216.ezboard.com/frigorousintuitionfrm10.showMessage?topicID=3427.topic">p216.ezboard.com/frigorou...3427.topic</a> I see there is a thread discussing 'Vendetta.' <a href="http://p216.ezboard.com/frigorousintuitionfrm10.showMessage?topicID=3382.topic">p216.ezboard.com/frigorou...3382.topic</a> This movie illustrates exactly how media has become a form of military mind virus called 'psychological warfare' over the last sixty years. In 'Vendetta' the anti-war movement is Orwellified into the very problem it is trying to prevent, intentionally created violence as a tool of governance called 'Rule Through Tension.' 'Vendetta' is thus a tool for continuing permanent war called by neocon-artists the Clash of Civilizations, a militarist campaign previously known as The Crusades. Stoking culture war divisions within the US enables the same war in more oil-rich regions of the planet. An relevent aside on the makers of 'Vendetta'- Interesting that 'Vendetta' was made by the makers of 'Matrix.' 'The Matrix' was pre-emptive fictionalization of a reality now beginning to dawn in the minds of many Americans: we have a massive state-controlled media steering our national psyche to control us using total war doctrines mandating psychological manipulation for 'national security interests' which were institutionalized after WWII starting with the 1951 Psychological Strategy Board. Early internet spam had text with this military history information embedded in it to begin to innoculate spam filters against the spread of this very information on the internet, a tactic I've dubbed 'spamjacketing' after the FBI's counterintelligence campaigns to 'badjacket' effective social justive movement organizers with accusations that they were 'spies working for The Man.' So 'The Matrix' was a way to head off the internet truth movement's discovery of state-controlled media by spinning a pre-emptive fictionalization of post-WWII reality in America, full immersion in a fabricated web of social-engineering mind viruses spun by CIA and PR media-spiders pushing Council on Foreign Relations and National inSecurity State policies. Some message managers are motivated by money and some by social control, the ultimate result of having money in an oligarchy. 'Vendetta,' on the other hand, is class warfare agit-prop to further the tactic of creating a Brown Shirt movement against anti-war Americans exemplified by David Horowitz' book 'The Professors: The 101 Most Dangerous Academics' meant to chill college campuses with a new McCarthyism lest the middle-class anti-war movement grow into a mass movement of visible resistance amongst the recruitable youth siphoned off to occupy the American Empire by the economic draft. Crucifying a Ward Churchill or Jay Bennish in the media reinforces the intended chilling message to critics of the government. This is why 'Vendetta' portrays anti-fascists as bin-Ladenesque bomb-throwing Shakespeare-spouting art-collecting Volvo-driving terrorists. Only the latte-drinking and cheese-eating are missing from this scorned elitist stereotype weilded against 'hate-America-first-ers.' The goal of perpetuating endless war using religion for fuel is given away in the anti-hero's self-description- “A vendetta held as a votive, not in vain” Votive candles are used in religious ceremonies. Vendettas are endless cycles of violence. "So they won't have died in vain" is a justification for more dying regularly trotted out when the futility of slaughter is finally noticed again as it has been regularly since WWI, the 'War to End All Wars.' This misleading name was actually a propaganda marketing name developed by Edward Bernays who become known as the 'father of propaganda.' Bernays was the nephew of Sigmund Freud and wrote 'Propaganda' in 1928 to summarize what he had been developing for the government and commerce elite, a methodical way of steering the masses into desired behaviors 'for the good of the country.' <a href="http://www.thirdworldtraveler.com/Propaganda/Propaganda_Bernays.html">www.thirdworldtraveler.co...rnays.html</a> Bernays was horrified when his book was embraced by the Nazi propaganda minister Joseph Goebbels to do exactly that and 'Vendetta' is just one more link in the long chain of media events designed to divide-and-conquer populations to perpetuate violence. This review by Jeff Giles highlights these agit-prop tone- <a href="http://www.msnbc.msn.com/id/11769182/site/newsweek">www.msnbc.msn.com/id/1176...e/newsweek</a> <blockquote>Quote:<hr>...the movie plays like a clumsy assault on post-9/11 paranoia. .... The film may spark interesting debates—about the nature of terrorism and governments, about the inalienable right of artists to shock and provoke—but what we're dealing with is a lackluster comic-book movie that thinks terrorist is a synonym for revolutionary. .... the loquacious masked man who calls himself V (Hugo Weaving) dwells in an underground lair filled with art he's stolen back from government censors. .... Buildings are symbols, V tells a haunted young woman named Evey (Natalie Portman), after saving her from some vile, rampaging cops: "Blowing up a building can change the world." <hr></blockquote> The New Yorker's David Enby gives more adamant warning about the poisonous nature of this film, possibly due to recognizing the culture war tactic of demonizing the educated and cultural creatives- <a href="http://www.newyorker.com/critics/cinema/">www.newyorker.com/critics/cinema/</a> <blockquote>Quote:<hr>“V for Vendetta,” a dunderheaded pop fantasia that celebrates terrorism and destruction, is perhaps the ultimate example of how a project with modest origins becomes a media monster. .... (V, the main character) keeps everyone at bay with a teasing verbal dexterity that hovers between the awesome and the tedious. When he saves a young woman in the street, Evey (Natalie Portman), from being assaulted by government thugs, he treats her to a rapid alliterative patter (“A vendetta held as a votive, not in vain”), and Portman does a disbelieving double-take—the movie’s only funny moment. V is into Shakespeare, too, and, like a windy ham actor in his dotage, quotes “Macbeth” at every chance. .... Yet even if one enjoys the craft of “Vendetta,” and, viewing it as an extravagant pop myth, cuts it as much slack as possible, there’s no getting around the fact that this allegedly antifascist work lusts after fire and death.<hr></blockquote> James Wolcott notices how 'Vendetta' seems meant to alienate and antagonize both sides of the culture war and the War on Terra- <a href="http://jameswolcott.com/archives/2006/02/the_red_and_the.php">jameswolcott.com/archives...nd_the.php</a> <blockquote>Quote:<hr>V for Vendetta may be--why hedge? is--the most subversive cinematic deed of the Bush-Blair era, a dagger poised in midair. Unlike the other movies dubbed “controversial” (Fahrenheit 9-11, The Passion, Munich, Syriana), it doesn’t play to a particular constituency or polarized culture bloc, it’s working on a deeper, Edger Allen Poe-ish witch’s brew substrata of pop myth. Cultural conservatives will loathe it without seeing it (they love not having to leave their houses to lament the latest installment of civilization’s decline and fall) once they hear of and read about the movie’s disturbing political parallels (a fascistic TV host with a witty resemblance to Berlusconi, fertilizer explosives a la Timothy McVeigh; torture, renditions, and subway bombings; black hoods that will be forever associated with Abu Ghraib). Yet lots of cultural liberals with educated tastes will find it anxiety-producing and irresponsible too, not only because they’re more comfortable with humanistic stories and documentary techniques than with pop spectacle (as Kael discovered whenever she praised upstart movies like DePalma’s Carrie or The Warriors and received letters from profs and Ph.D couples complaining about her soiling the New Yorker’s space on trash), but because V for Vendetta doesn’t just depict a 1984’s dystopia--it advocates radical remedy, and illustrates what it advocates with rhapsodic, operatic, orgasmic flourish. .... V for Vendetta instills force into the very essence of four-letter words like hate, love, and (especially) fear, and releases that force like a fist.<hr></blockquote> This is an American class warfare tradition going back to the fear-mongering over anarchists and socialists in the early 20th century that resulted in the precursor to the Patriot Act known as the Palmer Raids run by J. Edgar Hoover's FBI which arbitrarily swept up hundreds of immigrants for abuse and deportation. <a href="http://www.rationalrevolution.net/articles/understanding_fascism.htm">www.rationalrevolution.ne...ascism.htm</a> (Fascism Part I: Understanding Fascism and Anti-Semitism by Geoff Price) <a href="http://www.rationalrevolution.net/articles/rise_of_american_fascism.htm">www.rationalrevolution.ne...ascism.htm</a> (Fascism Part II: The Rise of American Fascism by Geoff Price) All in the interest of further dividing the American public over the permanent War on Terra while maintaining the cover of 'plausible deniability' that characterizes propaganda, psy-ops, and strategic influence. This is divide-and-conquer tactic is also behind the intentional stoking of culture war wedge issues like the Civil War, Confederate flags, and the ubiquitous Lynyrd Skynyrd song 'Sweet Home Alabama' with its celebration of iconic segregationist Governor George Wallace. Why? Because the American south is a prime military recruiting source and hostility to 'liberal elite yankees like the Kennedys' is transformed into a corporate security gang run by the Pentagon which, by the way, killed the Kennedys. But by now you probably know that and that's another movie. Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=hughmanateewins>Hugh Manatee Wins</A> at: 3/18/06 2:10 pm

by **anotherdrew** » Sat Mar 18, 2006 5:35 am

or at least what we aim to do - which is all that can be hoped for really Let's be sure not to ask anyone to go on record as supporting V's actions... that would be "advocating terrorism" which is now a crime that some people are now going to jail for because they thought they could post some info about how some companies USE animals. Aparently that's now enough to send you to jail for what may well be life. People are not paying attention to that case...

by **anotherdrew** » Sat Mar 18, 2006 5:45 am

Hugh sorry but V has nothing to do with class warfare as I see it... it's a libertarian/humanist war against totalitarian power, which is always based on lies of some sort, lies that people choose to believe in for their own 'good', but that they can be forced to admit are false under some conditions. V introduces those conditions. As far as I know the comic never presents a view on a post totalitarian system, or even says whether V's actions are ultimatly sucessful. (I'll know for sure soon, still reading...)

by **Hugh Manatee Wins** » Sat Mar 18, 2006 6:08 am

I'm referring to the function of releasing this movie in present day America, not just the construct of the interior of the movie. I just added for clarification- 'Vendetta,' on the other hand, is class warfare agit-prop which portrays anti-fascists as bin-Ladenesque bomb-throwing Shakespeare-spouting art-collecting Volvo-driving terrorists. This is an American tradition going back to the fear-mongering over anarchists and socialists in the early 20th century that resulted in the precursor to the Patriot Act known as the Palmer Raids run by J. Edgar Hoover's FBI which arbitrarily swept up thousands of immigrants for abuse and deportation. As in, 'anyone who sees the government as abusive must be a criminal.'

by **anotherdrew** » Sat Mar 18, 2006 7:20 am

I really think these are being offered for the best reasons, the message can only be heard by those who are ready to hear it and such persons are more than able to read thru the added hollywood smaltz. those who are moving down the paths to readiness are as likely to be hurried along as hindered by these movies. All that being said, your analysis of matrix and V is well seeing how the content of the stories as presented and as they'll evolve in the memories of many viewers, but it applies only to the non-receptive audience. those people who are not going to get it just aren't, no matter how it's presented. Still the makers have to produce a marketable product. Just as old art in the days of patronage often had to cloak it's messages, just so do they today. Many people are getting good at reading the message thu the gloss tho - and they like it - and that's grounds for hope. In this way the flame has been kept alive these many centuries, and long shall it endure, yea even down to the last days of this mis-wrought creation; whenever that may be, if ever. Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=anotherdrew>anotherdrew</A> at: 3/18/06 4:22 am

by **friend catcher** » Sat Mar 18, 2006 10:21 am

Speaking as British person, I would say that there is a good chance of a dust up in the not too distant future. As is often the case economics is linked with life and at the moment many people are treading water held afloat by an artificial property boom that has now turned stagnant and significant amounts of debt. It is nearly impossible to buy anything manufactured in this country apart from food and even that is changing which makes a mockery of the claims of Britain being the 4th or 5th largest economy. Service industries have been touted as the be all by politicians of all creeds for twenty plus years but they are quickly migrating to India and other ex colonial countries where English is often the first language. I wish them well, although no amount of outsourcing will repay the grievences of colonial pillaging. The ever expanding underclass have no political aims apart from day to day survival and it would be a foolish Gov't that attempted to coerce them with a heavy hand. Fortunatley we do have a foolish Gov't. Endless draconian laws are being introduced on the flimsiest of pre-texts and a suspicious mind would say this is the planning for a lockdown. My own view is that Blair et al were scared witless by the fuel protests of 2000 when for over a week nothing moved and more pertinently the general mood was supportive of the strikers. The state was powerless and they did not like it. Back to the point, property owners will remain compliant as long as the market does not plunge and interest rates remain low, but if that were to change then so will peoples attitudes. Grand scale social disturbance has a tradition in Europe and although the official history books attempt to marginalise them they nearly always bring the ruling classes back a notch or two. Prediction; North of England will have race riots this year or mass violent protest at the possible Iranian attack.

by **ewastud** » Tue Mar 21, 2006 3:56 am

March 20/21, 2006 -- Its not often that a film can affect the body politic of a nation. But that is the effect of the movie released on St. Patrick's Day, V for Vendetta. Set in a near future England ruled by a Conservative Party government-turned-fascist, the hero, a horribly burned escaped political prisoner named "V" who dons a Guy Fawkes mask, cape, hat, and has an array of fancy weapons (sort of a Zorro, Phantom of the Opera, and Batman clone), blows up London's Old Bailey judicial building and the Houses of Parliament as an act of vengeance for the genocide and political repression carried out by the fascist government. As a historical note, Guy Fawkes attempted to blow up Parliament in 1605 with gunpowder in a plot involving Catholics and Spain. He was caught and hanged but soon became a folk hero to England's working class and Guy Fawkes Day is celebrated with fireworks every November 5. [Note to royalist Anglophiles: yes, I understand that many Britons burn Guy Fawkes in effigy on Nov, 5, but many Britons also celebrate his almost feat with fireworks. I've been to Britain too many times during the festival and know what Fawkes means to those who despise the pederasts and imbeciles who make up the British Royal Family and the House of Lords/House of Commons. It's too bad Fawkes did not succeed in blowing the monarchy and Parliament to hell and back in 1605 . . . there would have never been a Puritan/Pilgrim invasion of North America with all of the concomitant religious idiocy and paranoia we experience today -- which means that George W. Bush would likely presently be a bestial sheepherder on some Shropshire farm]. What has our own fascist right wing media hopping mad are the references to the Bush regime and its wars. One political dissident in the movie has a secret room displaying banned art and posters. One of the posters is from the anti- Iraq war London protests -- it displays a U.S. flag and U.K. flag inter-connected by a swastika with the words "Coalition of the Willing." There are references to a civil war- and virus-ravaged "former United States" that has engaged not only in the actual war in Iraq but wars in Syria and Kurdistan. There are comments about America's rendition and there are plenty of black hoods thrown on the heads of political detainees and "yellow" terrorist alerts. Not only has TV come under total fascist control, but Britain's Royal Mail has been privatized and turned into the "British Freight Co." There is also a reference to a genocide carried out by the English fascists in Ireland and it may not have been totally coincidental that a film focusing on an English fascist government's repression of freedom fighters was released on St. Patrick's Day. The Conservative Party reaches ultimate power by unleashing a virus on Britain killing thousands. It turns out that leading members of the Conservative Party own stock in the pharmaceutical firms that have the vaccine drugs and enrich themselves in the process. Several top officials of the Bush regime have interests in various pharmaceutical firms involved with anthrax, smallpox, and avian flu vaccines --including Donald Rumsfeld, the former CEO of G.D. Searle [sold to Monsanto] -- and V for Vendetta's references to avian flu as a government attempt to hype the media and bamboozle the public is another clear link between the film's anti-fascist message and the Bush/Tony Blair governments. Britain's near future features a Fox/Sky News type propaganda news network called "British Television Network." Its major racist, right-wing blatherer also happens to enjoy romping around in a specially-built shower in his office (hmmm... I wonder who that might really be?). There is also the bald, pudgy, and thoroughly revolting top assistant and chief dirty tricks operative to the fascist High Chancellor (hmmm...again, I wonder who that could be?). And then there is the English Bishop who happens to like little girls (well, that could be any of our so-called "moral majority" religious leaders, except in some cases, little boys could be substituted for little girls). In the end, all these fiends are eliminated, one by one, by our man "V." And this is what probably, more than anything else, has the right-wing defecating in their pants. They know that one day they will face a reckoning for the damage they've done to the United States, to Iraq, to the United Nations process and international law, and to peoples and nations around the world. And that reckoning will be far from a slap on the wrists and the right-wing is beginning to wake up to that fact. Some on the right now understand they overplayed their hand and are trying to change their spots. The left has always been tolerant to a point. But pushed against the wall, the progressives of the world have always discovered how to treat their vanquished enemies -- just look at what happened to Hans Frank, Wilhelm Frick, Julius Streicher, Ernst Kaltenbrunner, Pierre Laval, Vidkun Quisling, and other fascist leaders of the 20th century. V has one bit of advice that is already echoing around the Internet: "People shouldn't be afraid of their government, government should be afraid of their people." It looks like there will be a run on Guy Fawkes masks and maybe quite a few red spray painted "Vs" on various public adverts and walls. And why not? Let neo-con governments and their operatives and lickspittles everywhere know that with a blossoming of red "Vs" that we the people do understand and neo-con governments and their right-wing supporters should be very afraid of the people. Already, the right-wing, including blogs like Town Hall, Men's News Daily, and WorldNetDaily, are attacking the film, calling it, among other things, pro-terrorist, pro-homosexual, neo-Marxist, anti-Christian, and left-wing pro-Islamo-fascist (by the way, co-star Natalie Portman is Israeli born). Someone named Ted Baehr, writing for WorldNetDaily, called Britain's Parliament, blown up by V in the movie, "Western Civilization's most enduring symbols of democracy and republican government." That's funny, last time this editor went to Britain, I distinctly remember the country being a monarchy. But history is not a strong suit among the right-wing. Their hero, George W. Bush, can't even read a history book although he's probably listened to the book-on-tape version of Mein Kampf. The right-wing has plenty to be worried about with the movie V for Vendetta. They will first see the push back in the November elections (and woe be it to them if they once again engage in election fraud). And upon electoral victory will inevitably come the indictments, trials, impeachments, imprisonments, electoral recalls, and, if need be, deportations, or as they called them during the days of Guy Fawkes, banishment. I like Madsen's statement: "People shouldn't be afraid of their government, government should be afraid of their people." I hope to see Americans increasingly shake this country's political leadership to the bones as the chorus rises denouncing Bush/Cheney and their fascist neo-con friends and co-conspirators.

by **antiaristo** » Thu Mar 23, 2006 6:05 pm

The`plot thickens... <blockquote>Quote:<hr>How E got the V in Vendetta Staff and agencies Thursday March 23, 2006 Stephen Fry told chatshow host Michael Parkinson that Euan Blair may have been instrumental in getting permission to film for V for Vendetta. So who blew up the Houses of Parliament? The climactic scene of the political thriller V For Vendetta shows the seat of government destroyed by a bomb planted by a masked freedom fighter with widespread popular support. But according to reports, the real power behind the button may have been Euan Blair, the 22-year old son of the British prime minister, who was employed as a runner on the film. The makers of V For Vendetta were granted unparalleled access to film in Westminster last June. Parts of Whitehall were closed for four consecutive nights to allow the staging of a scene in which thousands of freedom fighters storm parliament to depose a totalitarian government. In an interview with chatshow host Michael Parkinson, actor Stephen Fry suggested that Blair Jr might have been instrumental in allowing the film-makers to gain access to government buildings. Fry recalled asking an assistant director, "'How did you get permission? You usually can't get permission to do anything near seats of government. You know, the secret service and various other people don't like it'." Fry said that the assistant director then pointed to Euan Blair. "And I said, 'Ah, that's how we got [permission]. 'Daddy, daddy, can you please let them have permission to film'." However, Fry later hinted that he was merely joking. "No, I'm sure there was nothing like that," he said. Even so, Blair Jr's presence in a film that appears to champion a terrorist act has already been criticised by the Conservative MP David Davis. Speaking to the Sunday Times earlier this year, Mr Davis accused the prime minister of hypocrisy, citing the recent controversy surrounding peace activist Maya Evans, who was arrested at the Cenotaph in London for reading out the names of British soldiers killed in Iraq. "It smacks of sheer hypocrisy that Blair's government is willing to arrest a woman for simply making a protest in Whitehall but is happy to open the doors when Blair's son turns up in a film which is about parliament being blown up," said Mr Davis. However, the location manager on V For Vendetta has denied that Blair's son had any involvement in the negotiations. "Euan did not play any role in getting the permission," Nicholas Daubeny insisted. "The departments I dealt with - the Ministry of Defence, the Metropolitan police, etc - it would not have helped if I said that Euan Blair was working on the film."<hr></blockquote> <a href="http://film.guardian.co.uk/news/story/0,,1737806,00.html">film.guardian.co.uk/news/...06,00.html</a> And Blair is "hurt and upset" that anybody should suggest otherwise...

Daily Mail comments on 'V For Vendetta'

Re: 'hideously ironic'

Jesus

Re: 'V For Vendetta' The Movie

Re: Jesus

Re: 'V For Vendetta' The Movie

Re: 'V For Vendetta' The Movie

Re: 'V For Vendetta' The Movie

Re: 'V For Vendetta' The Movie

Re: 'V For Vendetta' The Movie

Re: 'V For Vendetta' The Movie

Re:anotherdrew- I've added in edit.

meh - matrix and this are useful

Mood in Britain

Wayne Madsen's take on V for Vendetta

Re: Daily Mail comments on 'V For Vendetta'

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