Thursday, February 20, 2020 

Screen Rant proves the left really does tolerate "toxic masculinity"

I'm starting to get really repulsed by Screen Rant, whose writers just turned to sugarcoating one of DC's most offensive moments of the mid-2000s, Identity Crisis, as they talk about the Flash TV show's 6th season, and a "nod" it makes to a most alarmingly sexist, belittling story that couldn't be written in the post-Harvey Weinstein era without drawing much more attention for the wrong reasons:
The latest episode of The Flash introduced the character of Sue Dearbon and made reference to her infamous death in the pages of DC Comics. While it might seem counter-intuitive to pay homage to a character's death in their first appearance in an Arrowverse adaptation, "A Girl Named Sue" was clever in how it made reference to DC Comics' Identity Crisis.
Really? How does it help to allude to a story that's bound to make sensible viewers feel uneasy if they know it minimizes sexual assault? Something that goes curiously unmentioned here, and the word "rape" doesn't appear in the text either. Take, for example, the next paragraph:
Sue Dearbon was married to Ralph Dibny (aka the world-famous Elongated Man) in her first appearance in the comics in The Flash #119 in 1961. The daring debutante was never given much background but proved to be the perfect partner in crime-fighting to the Ductile Detective and she became a member of the Justice League on her own merits. Despite partnering up with Ralph for several decades across a number of series, Sue is still best known to casual comic book readers as the victim whose violent death was the main mystery of the best-selling graphic novel Identity Crisis.
She's known only for dying, but not for being anally raped by Dr. Light? We must really be missing something here. Just why doesn't that filthy scene in the 2nd issue warrant mention? Or how the miniseries' POV was 99.9 percent masculine? The writer of this slop must be trying to deceive people, and trick them into buying the worst equivalent of spam in print. It gets worse:
The stunning twist of Identity Crisis was that Sue's death was an accident, facilitated as part of an insane plan by The Atom's ex-wife Jean Loring to win back Ray Palmer's heart by convincing him and the rest of the superhero community that a new villain was targeting their loved ones. What was meant to be a simple assault to scare Sue led to her death and Jean attempting to cover her tracks by horrifically burning Sue's body. The search for Sue's killers resulted in a wild goose chase, which exposed the dark secrets of the Justice League and their fears that Sue's death was an act of retaliation by the villain Dr. Light.
And that doesn't sound shoddy or even remotely stupid to the basket case who wrote this? No questions even raised about why we're supposed to fully embrace a plot where a co-star who's supposed to be on the side of the good guys turns out to be a mental case, and why we're supposed to view a story where it winds up looking like a tempest in a teapot. And, no mention of Deathstroke actually defending Dr. Light from the Justice League using obnoxious examples of violence to fell them. That SR's defending the repugnant tale is very sick.
"A Girl Named Sue," paid homage to this by introducing a new nemesis for Sue Dearbon; John Lorning. Season 6 of The Flash saw Ralph Dibny hired by Sue's parents to find their missing daughter, chasing reports of her activities around the globe. Ralph finally caught up to Sue in the latest episode of The Flash, learning that the heiress had gone on the run after she discovered that her latest boyfriend, John Loring, was secretly a weapons dealer of ill-repute. Sue recruited Ralph to help protect her from Loring, whom she said had been trying to kill her since she accidentally uncovered the truth about how he made his money.

Changing Jean Loring to John Loring was necessary given the way the early Arrowverse series made use of DC Comics' characters. It would be quite impossible to completely recreate Identity Crisis in the Arrowverse, given that Ray Palmer is quite happily dating Nora Darhk in Legends of Tomorrow and was never involved with a Jean Loring. There is a Jean Loring in the Arrowverse, but she was the Queen Family lawyer and an old friend of Moira Queen, who was last seen handling Oliver Queen's defense on charges of vigilantism during season 6 of Arrow. That's good news for fans of Ralph and Sue, who were hoping to see more of the power couple together in future episodes of The Flash.
I'm not impressed with this dumb gender-swap alteration, which only rubs more salt in. If the politics in the Arrowverse didn't make it so unappealing, this story approach alone would've. This article - along with the TV show's producers - have made me come away feeling more than a bit disgusted, to the point I decided to no longer give SR traffic if I can help it, and made use of a web archive link instead. They really crossed the line this time, and nobody asking for quality cinema and comics should rely on their horrendous writers for good commentary. If SR veers to the left of the spectrum, this can serve as a telling example of the left's double-standards on what they call "toxic masculinity".

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Wednesday, February 19, 2020 

The Eternals movie will feature the first male homosexual kiss in the Marvel franchise

Kevin Feige and Marvel's film branch, determined to show how noticeably they can virtue-signal, will apparently be putting the most blatant scene possible into the Eternals adaptation, as relayed in this gushing article on MSN:
On Thursday, actor Haaz Sleiman teased his upcoming on-screen kiss with costar Brian Tyree Henry, telling NewNowNext that filming the Eternals love scene — Marvel’s first LGBTQ smooch — was emotional for everyone on set.

“It’s a beautiful, very moving kiss,” said Sleiman, 43. “Everyone cried on set.”

In the upcoming blockbuster — which also stars Angelina Jolie, Richard Madden, Salma Hayek, Kit Harrington and a recently ripped Kumail Nanjiani — Sleiman plays the husband of Henry’s Phastos, the first openly gay superhero for Marvel after more than a decade of tentpole Avengers films.

“For me, it’s very important to show how loving and beautiful a queer family can be,” Sleiman said. “Brian Tyree Henry is such a tremendous actor and brought so much beauty into this part, and at one point I saw a child in his eyes, and I think it’s important for the world to be reminded that we in the queer community were all children at one point.”
Ugh, this is such ooey-gooey treacle, from press sources who in the past would even depict men as heroic when they dump their wives and quit their jobs. They really are pushing it this time, presumably because Stan Lee's long gone. John Nolte at Breitbart says:
Well, this should be interesting…

Over and over and over again, at about a 100 percent rate, we have seen woke blockbusters crash and burn at the box office, or at least under-perform. The anti-male Birds of Prey is just the latest victim of audiences rejecting agendas and lectures disguised as entertainment.

Incredibly, this list also includes the Star Wars saga, which most of us believed was bulletproof. I’m not arguing the latest Star Wars trilogy was a flop. But it did perform so far below expectations, especially The Rise of Skywalker, which should have out-performed pretty much every other Star Wars movie, that as a movie franchise, Star Wars is dead.

Can Marvel break the Woke Curse?

Can Marvel get away with using this guy-on-guy action as the tip of its promotional spear and not take a hit at the box office?

Well, if anyone can, it’s Marvel, a franchise with an unprecedented 100 percent hit-rate at the box office; something unheard of when you’re talking about 20-plus titles released over only a dozen or so years.

A few things, though, should concern Marvel…

Star Wars was once considered as bulletproof as Marvel.

Marvel is no longer Marvel. What I mean is that the Iron Man/Captain America era is over. Come on, who the hell are the Eternals?

Finally, who wants to see this? Who is the audience for this? Do parents want to expose their children to something that will result in a premature conversation about human sexuality?
That's why no realist parent would want to expose their children to modern Marvel comics since the mid-2000s, because they really started going round the bend at the time. It's possible Bob Harras may have put the keys in the ignition before he left his EIC role (I think the Ultimate line was originally planned under his tenure), and Joe Quesada merely stepped on the accelerator, followed by his successor Axel Alonso, who continued where Quesada left off. Now we've got Feige, as the head honcho at their film division virtue-signaling to people who may not even bother to see the film in preparation.

All that aside, when the filmmakers start promoting woke identity politics in their productions, that can be a signal the screenplay's merits are low. To see the Eternals should be based on how well made the finished product is, but if this is how they're going to promote it, they've only suggested it's lacking in merit.

And according to the laws of gravity, what goes up must eventually come down, and that's bound to be true for the Marvel movie machine sooner or later. The Marvel movies honestly should've been given a real ending, but in Hollywood, there's only so many franchises where they just don't know when to give it a break. Though that seems to be what's happened with the Terminator franchise, as no film since the 2nd in 1991 has ever come close to doing as well. So, it's bound to happen eventually with Marvel, and DC, whose track record's been all over the place.

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Monday, February 17, 2020 

Current Supergirl series appears to be cancelled

It looks like the current Supergirl volume - presumably kept going because of the politicized TV show - is now being cancelled with its 42nd issue, and wouldn't you know it, the last storyline reeks of what the TV show does too:
The issue, written by Jody Houser with art by Rachel Stott, pits Supergirl against the U.S. military, from whom the Girl of Steel is now a fugitive.

DC has not announced whether a new volume of the series will launch following the finale and declined to comment on the cancellation. [...]
Well they certainly ran it into the ground, and surely the most offensive abuse they could possibly have inflicted on the Maid of Might was 2 years ago, in the 19th issue, where Kara was marginalized in favor of a disgusting pro-transgenderism tale that, IMHO, denigrated women, minority groups and men as well in the process. The artists/writers certainly made clear they had nothing but contempt for all dissenters. Now, as the above suggests, this could be another politically motivated attack on a US institution, and, much like some of this past decade's Supergirl stories on TV, does it all at Kara Zor-El's expense.

One of the commenters at Newsarama noted that the series apparently continued for as long as it did because Brian Bendis was taking over the Superman franchise:
Seems like the only reason the title was resurrected was so Bendis could have an errand person for his Superman/Rogol Zaar story's loose ends. After that ended, editorial pretty much relegated the character to whatever gimmicky events were handy, and didn't bother with focusing on developing anything for Supergirl on her own me[r]its. Certainly not blaming the current creative team for being saddled with editorial edicts already in place, as they were asked by the publisher to extend their original commitment for two extra issues (which they will deliver on).
Maybe the writers/artists currently assigned should be blamed for associating with a company run by a man as loathsome as Dan DiDio, ditto Bendis. To say nothing of possibly resorting to more political abuse of famous creations. It does make clear the TV show, with or without politics, did nothing to help the comics, and if the writers can't avoid leftist politics and adhere to a coherent continuity and merit-based scripting, then there's sadly no use in continuing publication. Al Plastino and Otto Binder's co-creation for the Superman lore deserves much better than this.

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UK comics artist detests capitalism

The UK Guardian published an essay by a guy who'd suffered from autism, and later got into comics illustration as a way to focus on the subject, but his viewpoint is something such a left-leaning paper considers acceptable:
That experience has shaped my view of money and what it does to people. I was earning £800 a week, but realised that capitalism is not worth the damage it does. It also reinforced a lifelong feeling that I was the odd one out. Eventually it broke me. One New Year’s Day I rang the office and told them I was done.

I sold my collection of vintage video games and consoles for £1,000 to self-publish a comic book about my mental health. Art helps me process situations and I found myself drawn to superheroes to escape myself. The sales funded print runs of more comics, culminating in a book about my experiences with the loan company. This earned me £1,672 which gave me the confidence to approach big companies with samples and win commissions from Hollywood film studios illustrating official movie memorabilia. Comics never make much money so I took a £12,000-a-year job in a shop which enabled me to get a mortgage on an £80,000 flat, and I did my drawing in the evenings.
I think it's admirable to discuss health issues through the medium, but his apparent abhorrence for capitalism ruins everything. Making it more bewildering is that, if he was working in jobs, and even making money off his computer game consoles, comics themselves, getting a job to pay towards building a mortgage fee and even doing jobs illustrating for movie studios, isn't that capitalism, and embracing the same? What kind of logic is he going by then? If anything, it's corporations he'd do well to be concerned about, since they've enabled all sorts of franchises to be ruined just by buying them all out. A shame he's putting in such trivial nonsense that dampens the impact of the main subject.

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Sunday, February 16, 2020 

There's no point celebrating Green Lantern's 80th year with these elements involved

Heroic Hollywood announced there'll be a Green Lantern special for the 80th anniversary of the whole concept. Tragically, it appears certain creations and contributors are involved:
Details on the story for the DC Comics Green Lantern issue are currently unknown but it will, in some way, pay tribute to every character who has worn a Green Lantern ring, including Allan Scott, Hal Jordan, John Stewart, Guy Gardner, Kyle Rayner, Jessica Cruz, and Simon Baz. In addition, the upcoming DC Comics issue will be written and drawn by a number of writers and artists including Geoff Johns, Peter J. Tomasi, and James Tynion IV. The upcoming book will also have eight variant covers for every decade of Green Lantern’s history.

[...] In addition to the upcoming comic, Warner Bros. is currently developing a Green Lantern Corps film with Geoff Johns on board as a writer and producer. Full details on Green Lantern Corps are currently under wraps, though the project will draw inspiration from Geoff Johns’ work on the New 52 Green Lantern comics with both Hal Jordan and John Stewart set to appear in the film. Arroverse veteran Greg Berlanti is also working on a Green Lantern television series for HBO Max.
So this'll be featuring a character who was built on the Islamic religion and whose very creation revolves around it? Well, in that case, I can only conclude this special is set to be the travesty it'll be, since Baz shares a lot in common with Kamala Khan over at Marvel, being built so noticeably on the Religion of Peace as a component. And Baz creator Johns' involvement is another reason why I'd rather not have anything to do with this. Why is WB even continuing to associate with Johns after his involvement in the 2011 GL movie did not bring it success? The answer has to be nepotism, pure and simple.

For me, there sadly hasn't been much to celebrate about GL since 1989, because of all the political correctness that brought down a once fine creation. What Johns foisted upon the franchise only made things worse.

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Jimmy Palmiotti defends Harley Quinn's portrayal in Birds of Prey film, even though she doesn't belong in the lead

It seems artist/writer Palmiotti is defending the abortive Birds of Prey film's depiction of the overrated villainess, even though that's hardly the issue:
An authority on the subject has come out in support of Margot Robbie's Harley Quinn portrayal in Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn): DC Comics writer Jimmy Palmiotti. [...]

Birds of Prey's box office performance has caused some to attack one aspect of the film: Margot Robbie's portrayal of Harley Quinn. However, Harley Quinn comic co-writer Jimmy Palmiotti isn't having it. Earlier today on Twitter, Palmiotti spoke out in favor of Robbie's performance, saying in part, it's "exactly as we have been writing the character since 2013." Palmiotti has a long history in comics writing and was responsible for relaunching DC's Harley Quinn series with Amanda Conner in 2013. The two are credited with helping the character rise in popularity, allowing for her entry into the DCEU. Take a look at Palmiotti's tweet praising Harley Quinn in Birds of Prey below:

I don't see how that justifies making HQ the star of the show at Black Canary and Oracle's expense, or the dumbing down of sexuality in the script, which was additionally insulting. Yet jarring violence is allowed, and if that's what Palmiotti and Connor think makes a great role model, they're throughly mistaken. Did they even consider the wafer-thin plot poses a problem?
Though many fans love Robbie's portrayal of Harley Quinn, it's nice to see her receive support from someone who knows the character so well. There are many factors that went into Birds of Prey's box office performance, and it seems reductive to assume Robbie was the deciding factor. Many of those who had a positive reaction to the film are likely fans of the character and thus familiar with how she's portrayed in the comics. Now that Palmiotti has weighed in, it will be hard to suggest going forward that Robbie's performance isn't comic-accurate, which may convince those who haven't seen Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) to give it a shot.
I'm not amused by this defense either. It completely obscures a valid issue - turning a villainess into the prime star, while Black Canary isn't just relegated to a secondary status, she's even race-swapped, and Huntress was watered down horribly too. It's no better than celebrating the violence of the Joker, and if the Clown Prince of Crime were turned into the leader of a team that's supposed to be on the good side, that'd be more likely to drawn frowns. So why put this kind of emphasis on a villainess either? The writer at Screen Rant can say what she likes, but this whole film is a disgrace to the source material it supposedly builds upon, and I won't give a try at all. My belief is that heroes are the ones we should look up to, not villains, and Palmiotti's defense is insulting to the intellect.

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Saturday, February 15, 2020 

Northern NY specialty store closes after nearly 3 decades

Northern New York 360 reports that a comics store in Oswego is closing as the owner retires, and this time, it doesn't look like she's even going to continue selling online, unlike a couple in Phoenix:
Arlene Spizman has learned her Ecclesiastes.

“To every thing there is a season, and a time for every purpose under the heaven.”

Her Comic Shop is closing. She is retiring after 27 years in a business she came to almost as an afterthought, a sideline that became the main event, in a historic building on the city’s eastside, that has created its own history now over generations.

“I’m getting older. I’ve got grandkids on the West Coast, and I don’t want to be restricted in my ability to go visit them,” she said of her decision to close.

Retail sales being what they are in this day and age, it’s time.

“I think if you talked to any person who is in retail, they would say, ‘yes, of course,’ everybody shops online nowadays. That’s just the way it is now.” Things change.

But she feels people are reading comics as much as they ever were. “The industry is still strong. That’s not a problem.

“I accomplished what I wanted to do here in Oswego with my shop,” she said. “I gave people a nice alternative store that they could go to, and I have a lot of great memories, and I’ve made a lot of great friends. I feel like I raised a generation of kids. It’s time.”
But why did she get into the industry in the first place? This is the stunner:
She’s grown to be a big fan of comic books over the years. “I wasn’t when I opened the store, but I am now. I was selling antiques, and I got a lot of comics from houses that way, and people were coming in just for the comics and buying them, and it was a good time to jump into the industry because (SPOILER ALERT) Superman had just died, and I decided to try that for a while. And it’s been very successful, and I’m very happy with it.”
I've wondered before, and will again: what kind of people are these, who think the alleged demise of a famous creation is perfect reason to enter the business? To me, this is a real groaner, especially when you consider what a negative impact the Death & Return of Superman had on the speculator market, with some collectors doing what they could to hoard tons of related issues in hopes it'd be worth trillions oneday, and nobody considered the likelihood that, if the story inside the cover was pretentious and dreadful, it could actually decrease the value in the long run. If the lady got into selling the medium based on a publicity stunt that led into an even worse publicity stunt (Emerald Twilight), it dampens the impact of how dedicated they are to the medium.
Closing, she said, “is very bittersweet, it is. I love it. I’ve met some wonderful people, made a lot of good friends. I feel like I’ve raised a lot of kids, but it’s my time. My original customers are bringing their kids in now.
I hope they're bringing them to buy books that are suitable for kids. I'd strongly advise them not to buy much of modern Marvel/DC, what with where they've gone for over a quarter century. Though even some of IDW's so-called kiddie comics aren't suitable for them, if we take Jem & The Holograms as an example.
As she said in her farewell essay sent out to many and posted on her store’s Facebook page, “Many of you who know me are aware that I have a 4-year-old granddaughter who lives on the west coast. In June I will be a grammy again. I need to be able to spend time with these little ones so I can teach them about how responsible Wonder Woman is, how cooperative Superman is, and what a good citizen Batman is.”
Any chance she'd be willing to teach them how irresponsible, uncooperative and what bad citizens the DiDio-led staff running the store where the famous Trinity is published are by contrast? Sure, the characteristics of these superheroes are something we could learn to aspire to, but if we don't study the MO of the people behind the scenes, we're not learning enough. I think it's sad another store's shutting down, but it's regrettable if the motivations for getting into the business were based on ludicrous events, and I believe it's far better to enter based on genuine dedication to the best the medium can offer, not on negative elements.

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Friday, February 14, 2020 

Once, early romance comics upheld positive values

The Conversation wrote about the history of romance comics, including Joe Simon/Jack Kirby's own contribution, Young Romance, and the brief success they had in the late 40s to late 60s before the superhero revival gradually led to their loss of interest and influence. And they tell here, interestingly enough:
While most scholars have argued that romance comics tend to reinforce conservative values – making marriage the ultimate goal for women and placing family and middle-class stability on a pedestal – the real pleasure of reading these books came from the mildly scandalous behavior of their characters and the untoward plots that the narratives were ostensibly warning against. With titles like “I Was a Pick-Up!,” “The Farmer’s Wife” and “The Plight of the Suspicious Bridegroom,” “Young Romance” and its sister titles quickly sold out of their original print runs and began outselling other comics genres.
That would have to be one of the most fascinating details about early romance comics of the times - unlike what you see today, they respected heterosexuality, marriage and raising families. Nowadays, if the romance genre's seen any revival, it includes emphasis on LGBT ideology, and marriage/having children is surely dwarfed in the liberal-dominated market. At Marvel, the most notorious example in that regard would be Northstar's gay marriage in the pages of Astonishing X-Men 8 years ago. And all the while, Mary Jane Watson was kicked out of Spider-Man's life by Joe Quesada and Axel Alonso, the latter who oversaw the Northstar story when he was EIC. When that kind of conduct takes place and a woman who could've made an excellent selling point gets kicked to the curb, you know something's wrong.

The article also points to 2 notable names from the early period of romance comics, along with some other interesting moments in history:
Among collectors, issues of romance comics are less sought after than those of other genres. For this reason, they tend to go under the radar.

Romance comics, however, featured work by pioneering artists like Lily Renée and Matt Baker, both of whom worked on first issue of “Teen-Age Romances” in 1949.

Baker is the first-known black artist to work in the comic book industry and Renée was one of comics’ first female artists. Prior to working on “Teen-Age Romances,” they both drew “good girl art – a set of artistic tropes borrowed from pinups and pulp magazines – for several titles. Their work in both genres exemplifies how earlier pulp magazine themes of desire and seduction could readily be applied to newer genres.

After the “love glut,” sub-genre mashups nonetheless emerged. For example, cowboy romances were briefly popular. Later, in response to the civil rights movement, Marvel published the 1970 story “But He’s the Boy I Love,” which was the first story in a romance comic to feature African-American characters since Fawcett’s three-issue run of “Negro Romance” in 1950.
That was all at a time when, unlike what became of comicdom when Alonso was still Marvel's EIC, they weren't exercising political correctness like what you see now, which has surely guaranteed we may never see the Big Two publishing romance as a stand-alone genre again, rather than as a component in superhero stories.

No doubt, there's plenty to learn from early romance comics, very few of which, if produced by Marvel/DC, have been officially archived in trades for modern audiences to check out. (There was a Marvel Romance trade reprinting selected issues of Teen-Age Romance, Patsy Walker and Our Love Story in the mid-2000s, and some of Kirby/Simon's Young Romance also was, but that's still too little.) But so long as political correctness dominates today's mainstream output, it may not be possible to conceive a romance drawing inspiration from how the early writers/artists used to do it.

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Thursday, February 13, 2020 

A comic is being produced to support illegal immigrants in Vermont

Public Radio International has a biased article about a comic that's been produced with a focus on what they only call "migrants" in Vermont, and mental health challenges they face:
Imagine becoming a character in your favorite comic book. For Latino residents in Addison County, Vermont, seeing their stories illustrated in print has been key to tackling some of the mental health challenges of migration. Soon, their stories will be available for readers across the United States.

Vermont is the second least populated state in the US and more than 50% of its residents live in rural areas. The state is confronting a range of obstacles — a declining labor force, an aging population, and difficulty attracting young residents. But Latino migrants are increasingly stepping into roles that would otherwise remain unfilled.

There is ample opportunity for migrant workers willing to venture to the far reaches of the Northeast, particularly in the agriculture, dairy and construction sectors. But even for the heartiest locals, Vermont winters can be a challenge to endure.

Add to the mix not knowing the local language, little access to public transportation, and separation from home and it becomes a recipe for isolation, depression, substance abuse, and other mental hurdles for migrant farmworkers.

“People think that crossing the border is the hardest part, but the worst part is finding a way to survive after you arrive,” said Guadalupe, 43, a homemaker and cook who came to Vermont from Veracruz, Mexico.

Guadalupe is one of 18 contributors to "El viaje más caro" or "The Most Costly Journey" — a project to create a comic-based set of stories that spotlight the experiences of Latino migrants in Vermont. She and her co-storytellers use pseudonyms to protect their identities in the midst of an increase of immigration raids and apprehensions in the area.

The comic book project was sparked by Julia Doucet, an outreach nurse at the Vermont-based Open Door Clinic. While seeing patients at the clinic and in the field, Doucet noticed that the Latino migrant community she serves was dealing with an epidemic of failing mental health.
The article doesn't seem to dwell on whether these migrants, as they refer to them in classic PC fashion, have any legal permits for entering the country, nor do they get into whether the workers learned English or why they're even making these grueling journeys to someplace where they can't even fit in properly, or why the governments of the foreign countries they've come from aren't being pushed to make improvements so their sojourns won't have to be based on feeling uncomfortable with local situations. Nor does this article get into the issue of serious crimes committed by interlopers, Vermont included. No queries are even raised as to why nobody local's encouraged to bear more children who could grow up to take the roles illegal immigrants are taking in their stead.

It's galling how the art form's exploited for propaganda advancing illegal activities, and news companies like PRI make it worse with their sugarcoating.

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About me

  • I'm Avi Green
  • From Jerusalem, Israel
  • I was born in Pennsylvania in 1974, and moved to Israel in 1983. I also enjoyed reading a lot of comics when I was young, the first being Fantastic Four. I maintain a strong belief in the public's right to knowledge and accuracy in facts. I like to think of myself as a conservative-style version of Clark Kent. I don't expect to be perfect at the job, but I do my best.
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