Global

It’s often hard to report on U.S. politics and government with a straight face. It’s even harder to report on the usual reporting on U.S. politics and government with a straight face. So much of it is beyond the reach of parody. Yet it also opens up opportunities to shock people with basic facts.

The stock market going up is not a good thing. Wars don’t expand human rights. Loony newfangled schemes to give everyone healthcare and education have been tried for many decades in many countries, making them more reliable and old-fashioned than getting to keep your beloved health insurance company and student debt. Muslim terrorists are not in the top 1,000 threats to your health. Russian Facebook accounts are not in the top 10,000 corrupting influences on U.S. elections. The amount of money the Pentagon spends every year is $100,000 times $100,000 times $100 plus more than you can truly comprehend. Michael Bloomberg is not an impressive serious person.

One of the top ways to celebrate Black History Month - and the movie going experience in general - is to attend the Los Angeles-based 28th Annual Pan African Film & Arts Festival. PAFF focuses on Black-themed films, ranging from studio pictures to indie productions, with works from Hollywood, the USA, Mother Africa, the Caribbean, Melanesia (the Black South Pacific Islands, such as Fiji), Australia (this fest remembers that Down Under’s indigenous people, the Aborigines, are also Black) and beyond. The features, documentaries, shorts, animated pictures, etc., from Africa and the Black Diaspora provide movie fans an opportunity to see independent and international films in the world’s entertainment capital that Angelenos may otherwise never get an opportunity to view. This yearly cultural gemstone includes workshops and panels presented by the PAFF Institute, plus an ArtFest centered at Cinemark’s Baldwin Hills Crenshaw Plaza and the adjoining shopping complex.

If there’s anything that’s going to shatter national borders and force humanity to reorganize itself, it’s climate change.

But as long as we look at this looming planetary unraveling from within the cage of nationalism — especially “white nationalism,” which quietly remains the full meaning of the term — we simply see the natural world as another potential enemy: a threat to “national security.”

[NOTE: This review may contain plot spoilers for those unfamiliar with this 2,600 myth.]

LA Opera’s world premiere of composer Matthew Aucoin and librettist Sarah Ruhl’s sublime Eurydice is an optically and aurally stunning reinterpretation of the ancient Greek myth about Orpheus (Canadian baritone Joshua Hopkins) and the title character (depicted by Angeleno soprano Danielle de Niese and at the performance I experienced, by Rhode Island soprano Erica Petrocelli). Like Romeo and Juliet - consider that Shakespeare’s tragedy inspired the beloved stage and screen adaptations of West Side Story in 1957 and 1961, with a new iteration opening on Broadway this week, with a Steven Spielberg movie remake waiting in the wings - there have been many versions of this immortal romance derived from Grecian mythology.

BANGKOK, Thailand -- More than 5,000 U.S. troops begin training
Thailand's military on February 22, coinciding with demands for the
army's chief to resign and alleged financial corruption within the
military be investigated after an army officer massacred 29 people in
a shopping mall.

Dramatically weeping during a televised news conference, Army Chief
Gen. Apirat Kongsompong said on February 11, "Don't blame the army"
for Sgt. Jakrapanth Tomma's 17-hour rampage in Korat, a northeast city
also known as Nakorn Ratchasima.

"Blame me, General Apirat."

Sgt. Jakrapanth's bloody spree ended on February 9 when security
forces shot him dead in the mall after he killed 29 people.

"Throughout the whole incident, there were only criticisms of the
army. I want you to know that the army is a national security
organization, a sacred organization," Gen. Apirat said.

Gen. Apirat's use of the Thai word "saksit," which means "sacred,"
angered critics.

"He used the Thai word 'saksit', the supernatural powers that demand

The Actors’ Gang’s production of Can’t Pay? Don’t Pay! is a synergy of Hollywood slapstick a la the Three Stooges and American TV show s like I Love Lucy, The Honeymooners and Roseanne crossed by and infused with the anarchist and socialist politics of Mikhail Bakunin, Pierre-Joseph Proudhon and Karl Marx. This merry madcap Marxist mash-up puts the “commie” into sitcom. To paraphrase the Stooges’ Curley: “Moe! Larry! Che!”

[NOTE: For those unfamiliar with Frida Kahlo’s life, this review may contain plot spoilers.]

If Howard Zinn penned “People’s Histories” and Oliver Stone filmed “Untold Histories,” Latinx playwright Odalys Nanin’s modus operandi is to write (or rewrite?) allegedly biographical plays about famous women revealing their same sex affairs. I previously saw Nanin’s stage exposes purporting that Greta Garbo and Marilyn Monroe indulged in Sappho hanky-panky. Some may regard this as a breakthrough, disclosing the hitherto concealed, unvarnished lesbian truth. Some may react with puritanical disbelief and outrage that their beloved sex goddess has been thusly tarred and defamed. Still others could respond with a collective yawn, musing “that’s so 20th century” and “so what? Who Cares?” Take your pick.

More than ever, Bernie Sanders is public enemy number one for power elites that thrive on economic injustice. The Bernie 2020 campaign is a direct threat to the undemocratic leverage that extremely wealthy individuals and huge corporations constantly exert on the political process. No wonder we’re now seeing so much anti-Bernie rage from leading corporate Democrats -- eagerly amplified by corporate media.

In American politics, hell hath no fury like corporate power scorned.

Rogue Machine’s West Coast premiere of award winning British playwright Mike Bartlett’s Earthquakes in London is, according to Rogue’s artistic director and the drama’s co-director John Perrin Flynn, “quite simply, the best play I have read about global warming.” This three hour-ish, UK-set tour-de-force takes a deep dive into the pressing subject of climate - as well as family - crisis. It is an epic play that goes back and forth in time and is mainly for more daring theatergoers and environmentalists who take their drama and politics seriously.

With the caveat that said ticket buyers have slept well the night before and hence can be very alert and pay close attention to the complex characters and storylines that shift on theatrical tectonic plates. For example, the pivotal role of the climate scientist father, Robert, is played by Paul Stanko as a young man and then in his maturity by Ron Bottitta. Robert is being wooed by energy companies, so we see him

before and after - but this might confuse some viewers.