Doctor Who, S15: A change in tone and a little tin dog

Season 15 of DOCTOR WHO starts out with the same dark tone as the previous season. By the end, as the production team changed, we’re in lighter, more comical territory, Leela has gone (I’d remembered her being around a lot longer) and instead K9, the robot dog, has entered the TARDIS.The season kicks off with a very dark one, HORROR OF FANG ROCK (which I wrote about a while back). Instead of landing at Brighton, the TARDIS materializes near a Victorian lighthouse. A Rutan space ship has also landed nearby and is now scouting out the area to decide how easy it will be to attack and wipe out the humans. An energy-based shapeshifter, the Rutan is able to replace any member of the supporting cast — but which ones? It’s a grim, effective story in which nobody but the Doctor and Leela make it out alive. “I thought I’d locked the enemy out. Instead I’ve locked it in… with us!'”

THE INVISIBLE ENEMY is a good concept badly undercut by crappy effects — the boss monster is on a par with the infamous rubber snake of Kinda and the mind-controlled humans look silly too. A shame because I like the concept. An intelligent viral swarm takes over a space station with an eye to spreading and dominating all human life. With the Doctor infected the fight against the Purpose looks hopeless, but fortunately the space station scientist is able to clone the Doctor and Leela and shrink them to confront the virus on its own level.

What makes this episode really memorable is K9, the scientist’s AI robot dog (voiced to perfection by John Leeson). At the end of the episode, the Doctor winds up taking K9 along in the TARDIS. While the producers weren’t sure if they wanted to keep him around, he stayed a companion until late in S18, and has cropped up in spinoffs Sarah Jane Adventures and his own show to boot. K9 has an undeniable charm to him (and occasionally some sarcasm) but as some fans have complained, his built in ray-weapons makes it a lot easier for the Doctor to take down the bad guys. “Some of my best friends are humans. When they get together in great numbers other lifeforms sometimes suffer.” 

IMAGE OF THE FENDAHL is another grim one. The Doctor arrives near an anthropological research site where the crew are baffled by what appears to be an impossibly old human skull. The Doctor realizes the skull is the Fendahl, a monstrous entity supposedly destroyed by the Time Lords. Instead it reached Earth and has been manipulating humanity — most of what we think of as magic is the result of the Fendahl’s powers — with an eye to reconstituting itself. And it’s very close to its goal. While the gold face makeup on the Fendahl’s final form is underwhelming, this is a good one, strongly reminiscent of Quatermass and the Pit. “I have been used! My family has been used! All mankind has been used!”

THE SUN MAKERS is much more comic in tone, and not quite to my taste, though it does boast some memorable performances. The TARDIS arrives on Pluto, long after humanity has relocated there from a polluted Earth. Unfortunately the company that arranged the move and maintains the artificial suns that provide light has kept humanity in indentured servitude for generations. That, of course, is about to change … Not the series’ best satire, but not a bad one either. “I sense the vicious doctrine of egalitarianism!”

UNDERWORLD would suffer even if it was awesome because it’s another oppressed underground planetary civilization right after the one in Sun Makers. In a riff on the legend of Jason, the TARDIS lands on a Minyan ship seeking a legendary lost colony. This is important to the Doctor because millennia earlier, the Time Lords had tried advancing Minyan technology only to watch the planet destroy itself, leading to their vow of non-intervention. So naturally, the Doctor and Leela come along with Jaxson, Herik, Orph and their crewmates. What follows never really gels, though and as the Doctor points out the enemy they ultimately face is too cliched. “You’re just a machine with delusions of grandeur — another insane object, another self-aggrandizing artifact.”

The season wraps up with the six-episode INVASION OF TIME, one where my opinion is way lower than it was on first viewing. The Doctor strikes a pact with the sinister, unseen Vardans to conquer Gallifrey, then returns and uses his authority as President (from the previous season’s The Deadly Assassin) to make it happen. Unsurprisingly it turns out the Doctor is running a scam to take down the Vardans — but then it turns out they’re just a stalking horse to get the Sontarans inside Gallifrey’s defenses.

Part of what goes wrong is that all the added areas we see in the TARDIS — corridors, swimming pool — don’t really work. For one thing it’s still a lot of time spent running through corridor;  for another everything looks like they shot it at the nearest school. The TARDIS should look more colorful than that. Another problem is that the Vardans, when we finally see them, are really, really uninteresting. And Leela’s departure is awful, leaving to marry/pair off with Andred, a Time Lord guard. While an early couple of scenes show them finding each other obnoxious and irritating (we know what that means) they hardly have any interaction after that; Leela has more chemistry with the Time Lady Rodan. It’s a hamfisted farewell and way out of character for Leela. Despite some good performances (Baker playing evil is always fun), this one’s ultimately a loser. “Where do you hide a tree? In a forest — you taught me that, Borussa.”

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Conservatives handling setbacks with great rationality and composure

For example self-proclaimed Christian prophet Mark Taylor, who hand-waves away some recent lynchings: clearly a bunch of black men hung themselves, committing suicide to further the revolution!

If you think Trump sounds like an idiot, you’re wrong: “Every tweet, every misspelling, every typo, every strange capitalization—especially the capitalizations, says Dave—has meaning. ‘The truth is right there in what the media think are his mistakes. He doesn’t make mistakes.’ The message of the shirt to Dave is: Study the layers. ‘Trump is known as a five-dimension chess player.’ No, Trump couldn’t play chess in two dimensions, let alone five.

Wannabe-theocrat Sen. Josh Hawley thinks the reason for the recent Supreme Court vote on gay & trans rights is that Christians don’t speak up for their rights. That’s true, they’ve never said one word about oppressing gays and denying them equal rights in all the years … I’ll come in again. Meanwhile, right-wing pundits try to explain how this decision will have horrible consequences, just like gay marriage!

“Rich people are accustomed to having life organized to guarantee that they never suffer.” — Steve M. on why Trump and his fellow millionaires are so willing to open the economy.

As the BLM and other protests spread, right-winger become more belligerent. And more violent.

See Trump stand up to Chinese tyranny! And continue worrying about the threat of everyone voting.

Anti-Muslim bigot John Guandolo pretends that protests against the Minneapolis police can only lead to Islamic sharia policing!

A minister says that rather than talk about white privilege we should discuss the “white blessing” of slavery. At the link, Libby Ann discusses why that’s a bad thing, even if he’s sincere. More from her here.

Trump’s solution to his tanking poll numbers: whine about fake news and claim he’s clearly the front-runner.

Rep. Matt Gaetz claims that as Ron Perlman plays a white supremacist on TV, he’s clearly not woke! At the link, Perlman swats Gaetz down like a bug.

An Arizona legislator has a simple solution to police brutality: stop people recording it.

Perhaps it’s understandable. As Libby Anne says, this is the Bizarro version of the end times the religious right has expected: “White American Christians weren’t supposed to end up in charge; they were supposed to be persecuted. Chaos was not supposed to result from white evangelicals’ suppression of minority groups’ protests against police violence and strong-arm government tactics; absent a pre-tribulation rapture, chaos was supposed to erupt as white evangelicals found themselves herded into camps in the face of emerging new dictatorial and oppressive government regimes.”

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Hitchcock and Selznick: two great tastes that taste great together

After making Jamaica Inn in England, Alfred Hitchcock jumped to Hollywood for the next phase of his career, making movies for producer David O. Selznick. While I’ve had Leonard J. Leff’s HITCHCOCK & SELZNICK: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood on my shelf for a few years, I figured I’d pick it up as it covers the era in which Hitchcock made Rebecca, Notorious and Spellbound for Selznick, moving from a respected British director to an American superstar.

Joining forces made sense to both parties. Hitchcock needed Hollywood cred to play in the big leagues; Selznick, an independent producer who aspired to make A-list films (most notably Gone With the Wind) wanted Hitchcock’s talent. At the same time it was an awkward pairing: Hitchcock didn’t want the producer interfering in how he made movies and Selznick didn’t let anyone at his studio make movies without his input (in the form of long, copious memos).

Hitchcock is often portrayed as an auteur whose vision was so strong, writers and producers had almost no effect on the final product. Leff argues that on the contrary, Selznick’s movie savvy was as essential to their collaborations as Hitchcock’s genius. Hitch focused heavily on visuals and style, believing that how the movie was shot and edited was the key to audience reaction. Selznick forced him to pay more attention to story and character; he also had an eye for what would and wouldn’t fly with the Production Code (toning down the implied lesbian lust Judith Anderson as Mrs. Danvers had for the late Rebecca, for instance).

Leff goes into detail about how the two creatives, whether locking horns or working together, gave us Rebecca, Spellbound and Notorious (Selznick loaned Hitchcock out to other studios in this period for a few more movies) though the magic of their collaboration fell apart on The Paradine Case. He concludes that it would take another decade or so after Hitchcock and Selznick parted ways before Hitchcock would reach the same level. These aren’t my favorite of Hitchcock’s movies, so I’ll be interested to see what I make of them rewatching. The book itself is definitely worth reading if you’re interested in Hitchcock, Selznick, or behind-the-scenes Hollywood stories.

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A snowbound airport, a foolish king, a funny lady: movies and TV

AIRPORT (1970) is the Best Picture-nominated adaptation of Arthur Hailey’s novel, foreshadowing of the 1970s’ disaster movie cycle with its climax (a plane tearing apart from a bomb), it’s similar story structure (personal crises going on while the disaster builds) and it’s all-star cast (of course it’s also the heir to the early cycle of Doomed Flight films such as Zero Hour and The High and the Mighty). Burt Lancaster stars as the airport ops manager coping with a heavy snowfall and his deteriorating marriage to Dana Wynter; Dean Martin is an arrogant pilot married to Barbara Hale but having a love affair with Jacqueline Bissett; George Kennedy is a troubleshooter trying to clear a vital runway; Van Heflin is a mad bomber plotting to blow up the plane over the ocean so wife Maureen Stapleton can live off the insurance; and Helen Hayes copped a Supporting Actress Oscar for playing a tricky stowaway. A good job adapting the source — the only major plotline they missed was a suicidal air-traffic controller — and fun in its own right, even though it’s the Oscar nominee a lot of critics love to hate. “I don’t want to be turned over to the Italian police!”

As KING LEAR (1999) Brian Blessed appears at first as a jovial, almost fuddy-duddy monarch, willing to turn over the kingdom to his beloved daughters as soon as they tell him how much they love him — but when Cordelia refuses to mouth platitudes, Lear turns petulant and casts her out (while it was unfair of him to pressure her, I’ve got to say she could have handled it better). Of course his two older daughter turn out sharper than a serpent’s tooth, Regan being particularly vicious.  As Christopher Moore says in the afterword to Fool, the more versions of the play I watch, the more I grow to despise the king’s selfishness and folly, but Blessed still does a great job making him a tragic figure. For comparison, you can check out Ian McKellan, Orson Welles, James Earl Jones and a 1969 Soviet production. “Upon such sacrifices, the gods themselves throw incest.”

The third season of THE MARVELOUS MRS. MAIZEL (click the links for reviews of S1 and S2) is funny but ends on a note of idiot plot. This season has Midge (Rachel Brosnahan) touring as the opening act for black crooner Shy Baldwin (LeRoy McClain) while Susie (Alex Borstein) juggles managing Midge with her new client, Sophie Lennon (Jane Lynch). Sophie became an enemy to Midge in the first season but she was impressed with how Susie refused to back down; she wants Susie fighting for her, specifically getting Sophie a serious dramatic role on Broadway (opposite a British actor played by Cary Elwes).

As usual the season has funny moments and some great dialog (“She said I belonged in a freak show and told me my billing would be second after the dogfaced boy!”); I particularly liked the women winding up in Miami, where they’re very much fish out of water. However the season ends by implausibly undercutting Susie and Midge’s success, presumably so they’ll still be struggling in S4. First Sophie freaks out on stage and ruins the show she’s in. Then Midge, opening for Shy at the Apollo, heeds his manager’s suggestion to tell the black audience some stories and jokes about Shy. As she knows he’s gay but closeted, she proceeds to tell lots of jokes focusing on how effeminate he is — and presto, she’s off the tour. While one review argued this shows Midge doesn’t care who she hurts as she climbs to the top, I can’t believe it didn’t occur to her that this wouldn’t be okay with Shy. Sure enough she ends up off the tour just after everything was going perfect. It doesn’t help that they pulled the exxact same trick near the end of S1 (Midge joked about some of Sophie’s secrets, getting her blackballed). It’s a frustrating end to a fun season. “More pregnant women smoke Pall Malls than any other brand of cigarettes.”

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Little baby steps feel better than crawling

Which is to say that while I haven’t brought anything to a conclusion any more than I did last week, I made enough progress I feel more satisfied.

On Oh the Places You’ll Go, for instance, switching to 1972 as the “present” works as well as I’d hoped. For the first time I feel like I’ve got a stronger plot without sacrificing the character dynamic and the McGuffin is actually something interesting. There’s still a lot of stuff to sort out on the next draft, but I’m confident the story is there.

On Undead Sexist Cliches I actually finished proofing the introduction. That’s a very small piece of the book, but it still feels like an accomplishment, as opposed to stopping somewhere mid-chapter.

I didn’t get quite as much done on Impossible Takes a Little Longer but the outline for the next draft is firming up. There’s a couple of points that have me baffled but I’m hopeful I’ll crack them by the end of the month. I’ll probably be batting out a second chapter early next week in case I’m called on to read at Tuesday’s writers’ group (I’m only one of the backups, but if anyone doesn’t show …)

While the Leaf article pipeline has been erratic, I finished several articles so I’m contributing to the family bottom line again.

I got another short story back with “we liked it but …” compliments and it’s now out again. As I said last week, it’s frustrating to come close and miss, but I’m in a good enough mood today I’m more inclined to accept the compliments.

Oh, and following up on my review of first season Star Trek, I posted about what everyone gets wrong about Kirk over at Atomic Junkshop.Still feeling a little cabin-fevery; having no meetings of any sort this week didn’t help. Neither did the drenching rain keeping us indoors Monday through Wednesday. But until I’m more comfortable going places casually (I’m still very wary), there’s not a lot of options for changing things up. All things considered though, my life is still very good.

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So last weekend, this happened and that happened …

One happened good, one not so good.

The good happening was that the Two Gay Geeks podcast interviewed me (date not set) thanks to J. Scott Coatsworth letting the writers in his Liminal Fiction FB group know the podcast was looking for subjects. Having had two stories rejected the previous day (and two more on Monday), it was really cool to be interviewed by people who actually sounded impressed with me. And you know, when you lump everything I’ve done together in the span of a 20-minute interview, it does sound pretty cool. Much more so than when I’m getting it done one day at a time.

The other, not so good, was that on Sunday we gave Plushie a shave. His fur just picks up burrs and it’s matted where Trixie chews on him, so as we don’t want to hit the dog groomer yet (social distancing. Sigh) we did it ourselves. Well, TYG did it and I held Plushie in place. As you can see, we’re not really good at it (a friend of ours said he looked like a taunton from Empire Strikes Back). Good thing Trixie’s hair doesn’t get as messed up.

But the really not-so-good part was that at one point I was sitting on the floor with Plushie and lifted him up on his back legs so TYG could shave his belly. Plushie weighs around 21 lbs and that was too much for my shoulders. They ached the rest of the day and on into Monday. Fortunately by Wednesday I was back to normal.

Neither event terribly spectacular but they did make the weekend standout.

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Assorted writing and media-related links

Even if Marvel wanted to stop cops wearing Punisher insignia, there’s not much they can do.

How a l0w-budget indie horror film became the hit of the summer.

Foz Meadows recounts some really unpleasant interactions with the Red Sofa literary agency.

Publishers filed suit to stop Internet Archive lending out unlimited copies of digital books. The Archive stopped, while spouting bullshit about how this is an attack on the very concept of library lending (nope. Libraries actually pay for digital books).

Vice calls out an author for arguing pirating creative works is cool. Don Henley, meanwhile, has asked Congress to do more to fight digital piracy.

Wonder where President Tiny-Brain got the idea that old man police knocked down in Baltimore was a false-flag operator? From One America Network, which makes Fox News look like Walter Cronkite.

When blogs became a thing, a lot of right-wingers prophesied the end of the “lamestream media.” They’re still prophesying it.

Spotify now rules the podcasting world.

John Scalzi signed a record-breaking multimillion-dollar publishing deal with Tor a few years back. Here he reviews the first five years.

If you need sound effects, the BBC has your back.

Scalzi, again, this time on creatives who aren’t talking about politics.

 

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Characters whom you may never meet

As I mentioned last week, part of rewriting a story is knowing what’s essential to keep and what isn’t. Replotting Impossible Takes a Little Longer I’m thinking that some of my characters may, in fact, have become disposable. I like them, but they just don’t fit the story any more.

In the previous draft, KC’s aunt and uncle provide her with shelter when she’s framed for murder — only it turns out they’re being mind-controlled by the novel’s villain and call the cops on her. Now, although she’s still framed, she gets out of jail on a legal technicality. She doesn’t need to run and hide so she has no need to visit them. And even if she did, there’s no reason to report her to the cops. So I’ll probably establish they died some time prior to the story’s beginning.

KC’s friend Rachel played an even larger role but now she’ll be in one or two scenes at most. Her role included revealing a conspiracy; expressing a religious viewpoint opposite KC’s agnosticism (they’re both activists with similar politics but Rachel’s fueled by her faith, KC by her lack of faith); and providing some exposition near the end. The conspiracy is completely different and Rachel no longer knows anything about it; KC’s best friend Sarah has taken over the religious arguments; and another supporting character, Alyssa, is handling the exposition. And the bad guy changing KC’s personal history midway through the book will prevent Rachel from showing up (the person whose wedding they were getting together for now died years ago).

I like Rachel and I hope she’ll play a small role, but unless I see some new potential — the book’s short enough I could easily add her in if I hit on a fresh angle — that’s as far as it goes.

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Some good Doc Savage yarns: Danger Lies East, No Light to Die By, the Monkey Suit

After that last trio of disappointing novels I wondered if finishing out Doc’s adventures would be nothing but a slog. Apparently I was pessimistic.

DANGER LIES EAST opens with “At three o’clock he was dead.” It then watches as the man apparently takes a fatal drug with his lunch, but it’s actually a concoction Monk is using to incapacitate him. The death comes as the guy tries to get away and gets knifed in the back by someone.

Monk took an interest in the guy because he was following Doc, which probably relates to the State Department’s Morand (described similar to MacChesney in The Black, Black Witch as a competent but almost stereotypical old-school diplomat) calling Doc in. As Doc complained in xx, this means it’s something so nasty nobody else wants to touch it. He is, of course, right: there’s unrest in India (when this March-April 1947 magazine came out, India’s independence and Pakistan’s separation were on the way) and in the Middle East (we’re a year out from the birth of Israel) and there’s prominent religious leader, Nesur, who can decide if things erupt in violence or stay calm. It looks like he’s going to choose option A and as the U.S. treated him as a Nazi sympathizer in the past (unfairly, Morand concludes now) he’s not on our side and the government doesn’t even know which way to find him. Can Doc locate him and convince him to push for peace?

This reminds me a lot of Mask of Fu Manchu — the Third World is a powder keg and one holy figure can light the fuse! — but the grounding in real-world geopolitics gives it more punch. Off Doc, Monk and Ham go to the Middle East, hunting for Crockett, a Modesty Blaise-type crimelord who has some connection to Nesur. Surprisingly, Crockett turns out to be quite pleasant and decent — and winds up working with them against a corrupt oil syndicate that plans to seize a large chunk of the region’s oil in the chaos that Nesur will bring. It’s another story where Doc’s just a competent ordinary guy, but this time it works.

NO LIGHT TO DIE BY opens with a foreword by Kenneth Robeson explaining that a guy named Sammy Wales wrote this one as a first-hand account of his adventure with Doc Savage; an exchange of cables between Robeson and Doc follows with the latter protesting against publishing, explaining in a statement that Sammy writes as if Doc were superhuman instead of a guy who has trained and worked to become what he is. He sounds like Sherlock Holmes grumbling Watson’s stories about him are all too shallow.

Sammy is the kind of down-and-out drifter Dent used in a number of his pre-war Doc novels such as The Flaming Falcons, but having him narrate (the first of five first-person books) gives this a different feel. In the opening, the beautiful voice of Paula Fenisong wakes Sammy up by mistake; as Sammy learns later, there’s another Wales at the hotel he’s staying at, a lunar expert. Pretending to meet the guy lets him meet Fenisong, get a fat payment from her boss, and then get slapped around when they realize he’s not who he claimed to be. Intrigued, he shadows them to a reception where Fenisong lures Doc Savage out onto a terrace in time to witness a strange light display in the heavens. Before long, Sammy’s up to his neck in trouble alongside Doc, Monk (who suddenly knows how to perform a CSI forensic analysis) and Ham as they try to find out who’s behind the light — and mysterious blobs of shadow — which Doc warns could be a devastating weapon.

Sammy has a great narrative voice and he’s an entertaining lowlife. He’s willing to skip out on a bill and feels that after his WW II service and medals he’s entitled to take it easy. Shortly after saying that, he sees a display of Doc’s medals and feels rather cheap to realize how much more Doc has done. Sammy’s not a total rat (Doc notes in the intro that Sammy doesn’t see how much he’s changed in the course of the adventure). The adventure is in the pre-war style with an SF threat and Doc using his anesthetic grenades again. Sammy never learns exactly what the “chromospheric” technology does, so neither do we.

Doc tells us in the introduction that his father trained him to be a superman because of being victimized by criminals; as several earlier books say he didn’t know the reasons, apparently he’s learned since. Doc mentions being trained for twenty years and throws in a comment that “when you let a bad thing happen to you, you have it coming” which I can’t say I agree with.

The narrator of THE MONKEY SUIT is the much less likeable Henry Jones. A chemist who narrates with stuffy academic formality, he encounters an old friend and fellow chemist, Dido, who gives Henry the key to a locker in Grand Central Station. Curious, Henry follows Dido to a meeting with stunning Lila Farrar, Dido’s boss’s daughter, and finds himself blown away by her beauty. I expected that when plunged into the action, Henry would rise to the occasion, shake off his stuffiness and get the girl but nope.

After Henry escapes random death a couple of times, fellow chemist Monk Mayfair points out what Henry missed: the attacks weren’t random. Someone wants the box in the locker, which is odd as it turns out to be a monkey costume. Monk calls in Doc, which doesn’t suit Henry as he sees Lila bowled over by Doc; Henry desperately wants to believe Doc isn’t all that smart or amazing, and keeps screwing up Doc’s plans by trying to play hero and impress Lila. When the bad guys invite him to put his skills to work for them, he seriously considers it.

The McGuffin is a ray Dido invented that preserves food with ultrasonics, no cans or freezing needed (not the first time food preservation has been a plot element). That seems an odd invention for a chemist but it turns out Dido’s running a scam, so there you.

I look forward to reading the next three in this sequence.

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The gathering storm

Some quick links on police, protests against police and police brutality.

The Asheville NC police chief is very, very sorry that cops destroyed a medic tent set up for protesters. And in Raleigh cops by complete coincidence arrested a man hours before he could file a lawsuit. And cops fired on a Raleigh gay bar for giving water bottles to protesters.

Jamelle Bouie says we need to accept that the police attacks on protesters mean the police are rioting.

De-escalating tensions without fighting can save lives on both sides — but police don’t want to.

Even for Trump, saying George Floyd is probably happy in heaven that the economy is so good is … batshit.

A multiracial family went camping in Washington [edited to correct location]. The locals thought they were antifa and attacked.

No-knock warrants are part of the problem.

Anti-semitic preacher Rick Wiles has been warning for years that liberals want to put conservatives in concentration camps. But he’s eager for Trump to do it to liberals.

The DOJ is pushing for the right to suspend habeas corpus so police can hold protesters indefinitely.

David McAfee fed the Louisville police for years, but they shot him anyway.

Tucker Carlson would very much prefer you not think about whether black lives matter. And shockingly, Fox News lies about peaceful protests.

A Columbus SWAT commander advocates meeting protesters with deadly force. In Minneapolis some cops slashed the tires on protesters’ cars. Never mind that violent responses make protests more violent.

A Florida police union tells cops who lose their jobs for brutality elsewhere to move to the Sunshine State to work.

When cops do speak up about racism and violence on the force, they’re shut down. Or punished.

Right-wing hack Ben Shapiro insists there’s no point to protests because there’s no systematic racism in America. He’s also whining that political protests at sports events invade his safe space, despite hating safe spaces when they’re for people who aren’t him (this post is relevant)

Colorado is introducing a bill to restrict police use of deadly force. William Barr is apparently uncomfortable enough about Trump’s church photo op he’s now denying authorizing attacks on the protesters. And the NFL has decided the winds of change are blowing against them. The Army is talking about replacing Confederate names on U.S. bases, though Trump says no (surprise!). New York repealed a law that kept police discipline and misconduct reports hidden.

Defunding police means having them do less, not simply de-existing them.

I’ll end with this look at past protests and where they differ from what’s happening now.

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