https://www.youtube.com/watch?v=LYCeB9eqtN0

* Former Jesuit Priest Alberto Rivera on Adventism and the Sabbath.
* How successful has the Jesuit assault on the Bible been?  —Judge by what “Christians” believe.
* Want to succeed?  —It requires a “deal with the devil”.
* Seattle; Starbucks, Microsoft, institutional pedophilia and Rome.
* How many of America’s mayors are far-Left, homosexual and Catholic?

* Roman Catholic-OWNED Ireland opens the floodgates of infant sacrifice through far Left homosexual interloper PM Varadkar, who is honored by his fellow agents in the U.S.
* Mocked even further by Pope Francis’ “World Meeting of Families” occurring in Dublin!
* Éamon de Valera: Ireland’s mystery insurgent Prime Minister at a critical time with England.
* “NOT BORN HERE”—How Rome uses insurgents with no attachment to the citizens they betray.
* Seventh Day Adventism: FRIEND, FOE OR BLUE PILL SLAVES?

Can We Finally Call Hillary A Roman?

* “NOT BORN HERE”: Rockefellers in Arkansas, Clintons back to New York.
* “NOT BORN HERE”: California’s Governors (quite a few of them).
* Female Mayor of Salt Lake City, Utah, is a far-Left Catholic homosexual (just like in Seattle and elsewhere).
* Who owns Utah, Mormons or Jesuits?  Jesuits Have Had a Strong Presence in Northern Utah
* From big business to social networking; Jesuit-trained Roman Catholics are in control.
* Wherever an American state is pushing privately-owned firearm restrictions, there are far-Left Catholics behind it.
* Ronald Reagan: far-Left gun-grabber?  HE WAS!  As both Governor and President!
* Hegelian politics: radical Left and phony Right.
* Why is Paul McCartney being resuscitated to push gun control?
* Was there a secret agenda behind the movie Jaws?
* Did thinking for themselves require John Lennon and Malcolm X to be murdered?
* How much does Rome control “popular culture”?  —Ask Ed Sullivan.
* Ahmet Ertegun: the Jesuit-trained Turk behind Atlantic Records.
* Jews even write the music for Hollywood; but they aren’t allowed to run the Pentagon.
* From Billy Joel to Robert Downey, Jr.; Jews grease the skids in Hollywood but Romans make things happen.
* Harry Houdini, Arthur Ignatius Conan-Doyle, child trafficking and Rome.

The Most Dangerous Anti-Establishment Movement in History!

The most amazing (sorry) thing about modern comicbook movies is that there are any I can still be moved by given that the agenda of Hollywood is to immerse you in lies, perversion, distraction and satanism.  Rather than honor anything good or be loyal to original stories it is their intent to despoil them for their own agendas.  Not that the original stories are “good”, they were all written by foolish Liberals at best and full on Luciferians at worst.

For instance; I won’t even bother to see the latest incarnation of the Fantastic Four with a casting choice that includes a pretty-boy as mature leader Reed Richards and a black guy who was supposed to be the white brother of white Sue Richards.

The previous attempt to bring the Fantastic Four to the silver screen did well with the Silver Surfer but still fell way short of greatness for similar putrid casting and lack of vision (and I explain it all here).

I’m dragging my feet before I see Batman vs. Superman thanks to the ridiculous casting of metrosexual Ben Affleck as bad-ass billionaire Bruce Wayne.  It’s actually the perfect statement for such a movie given that Batman fighting Superman (regardless of the DC lore and history) is equally ridiculous.  It’s quite a statement of derision to make a casting decision that pisses fans off so much they initiate a petition to undo what you’ve done, and you drive on with it anyway.

The latest reboot of Spider-Man (2012 and 2014) can also be summarized through the casting; although Andrew Garfield is “eh” as Peter Parker, the obnoxious far-Left bent of the movies can be seen with the forcing of Sally Field as “Aunt May”.  The scene at the end of Spider-Man 2 with the little boy and his “green energy” windmill model made me want to throw up and punch the TV at the same time (I don’t watch movies in theaters anymore because people suck).

This is Standard Operating Procedure (SOP) for Helliwood which is why I have been shocked at how they haven’t ruined any of the Captain America movies (yet).  I predict that they will fix this oversight by killing Steve Rogers.

In 2007, Marvel did exactly that in the comics at the end of their “Civil War” and his friend Bucky became Captain America.  Of course, they brought Rogers back…sort-of and then killed Bucky off…again.  Sometimes he was “Agent Steve Rogers”, sometimes he was Cap again.

Being killed and resurrected is a comic hallmark but one that is often far more annoying than worthwhile.

In 2014, Marvel finally managed to thoroughly destroy the gem they had by killing off (again) a suddenly 90 year old Rogers and replacing him with The Falcon, Sam Wilson, who’s black.  The Falcon, on screen, is as bland as Hawkeye (although I like actor Anthony Mackie in the role)—there’s nothing particularly heroic or special about the guy; anyone can wear the wings he has as they are supposedly secret military tech.

Steve Rogers as Captain America is one of the most popular and iconic heroes of all time.  IGN’s list has him at #6 but I think he’s even better than that because those Libtards had frigging Wonder Woman at #5 (really?!).

As one third of DC Comics’ Trinity, Wonder Woman has become an iconic figure for not only female empowerment, but as a general ambassador for peace and love.  Though she’s a cunning warrior, her true strength lies in her belief of truth and justice; even her primary weapon is the legendary Lasso of Truth, a rope that demands the truth of whomever it captures.  Considering that Wonder Woman was created by William Moulton Marston – the inventor of the polygraph test – it’s no surprise that “truth” is a significant facet of Wonder Woman’s character.

Well just crush my testicles and put a flaming bra on me (like what the Vatican and CIA did to Bruce Jenner).

As a member of the informed Resistance, it’s always difficult to know who is writing a particular line of the Luciferian agenda (although Lucifer is the ultimate author and—keep this in mind—YHWH is sovereign overall).  Any Luciferian apparatus (which is every single bureaucracy and organization in the world) has the drones at the bottom, the useful idiots in the middle, the wanna-be’s managing them and the pure satan-worshippers at the top, probably doing all they can to commune with their master.

So let’s dive into this movie, shall we?  Previous rules apply; go see it first because I’m going to spoil the sh*t out of it in order to decode the messages.

The movie opens with the Avengers attacking Baron Strucker’s Hydra base.

The key to making any story powerful is to bow to Lucifer in his matrix of lies but weave it with truth.

“Hydra” is code for the Jesuits, the Vatican and Rome just as “SPECTRE” is for the James Bond series (interestingly, the newest Bond film will go by that title).  Fictionally, these are organizations that rule the world from behind the scenes and are above the supposedly warring factions and nations we see on the surface—Hydra was above the war between America and Germany, SPECTRE was above the intelligence agencies of East and West.

The true reality is that Rome isn’t just above supposedly opposed nations, she controls them and their needless conflicts.

Then one of the seven angels who had the seven bowls came and talked with me, saying to me, “Come, I will show you the judgment of the great harlot who sits on many waters, with whom the kings of the Earth committed fornication, and the inhabitants of the Earth were made drunk with the wine of her fornication.”
So he carried me away in the Spirit into the wilderness.  And I saw a woman sitting on a scarlet beast which was full of names of blasphemy, having seven heads and ten horns.  The woman was arrayed in purple and
scarlet, and adorned with gold and precious stones and pearls, having in her hand a golden cup full of abominations and the filthiness of her fornication.  And on her forehead a name was written:

MYSTERY, BABYLON THE GREAT,
THE MOTHER OF HARLOTS
AND OF THE ABOMINATIONS
OF THE EARTH.

I saw the woman, drunk with the blood of the saints and with the blood of the martyrs of Jesus.  And when I saw her, I marveled with great amazement. ~ Revelation 171:6, New King James Version (NKJV)

After these things I saw another angel coming down from Heaven, having great authority, and the Earth was illuminated with his glory.  And he cried mightily with a loud voice, saying, “Babylon the great is fallen, is fallen, and has become a dwelling place of demons, a prison for every foul spirit, and a cage for every unclean and hated bird!  For all the nations have drunk of the wine of the wrath of her fornication, the kings of the Earth have committed fornication with her, and the merchants of the Earth have become rich through the abundance of her luxury.”

And I heard another voice from Heaven saying, “Come out of her, my people, lest you share in her sins, and lest you receive of her plagues.  For her sins have reached to Heaven, and God has remembered her wicked deeds.  Render to her just as she rendered to you, and repay her double according to her works; in the cup which she has mixed, mix double for her.  In the measure that she glorified herself and lived luxuriously, in the same measure give her torment and sorrow; for she says in her heart, ‘I sit as queen, and am no widow, and will not see sorrow.’  Therefore her plagues will come in one day—death and mourning and famine.  And she will be utterly burned with fire, for strong is the Lord God who judges her.” ~ Revelation 18:1-8, New King James Version (NKJV)

In trying to be precise on which Scriptures to reference I attempted to search for them on the internet.  “Google” is considered to be the top and most powerful search engine.  It has also, oddly, erased all references to the Whore of Babylon even when you attempt a search with words that bring it right up in other search engines like “Bing”.

Perhaps we can call “Google” “the official search engine of the Vatican”.

Pope Francis to Join Google’s Eric Schmidt in Rare Tech Industry Meeting, the Guardian, 13 January 2016

We saw a little of the dominance of “Hydra” (Rome/Jesuit) in Captain America: Winter Soldier where Hydra agents (politicians, generals, intelligence officials) communicate with each other secretly and have plants at every level of American government.

The comicbook realm has so many gaudy characters who have been through so many conflicting and contradictory stories, the plots to choose from are limitless.  Consequently, the chances of picking a bad story are very high.

This is why the choice to create a romantic involvement between Bruce Banner and Natasha Romanov (don’t think naming that character the hated enemy of the Vatican was a coincidence) was beyond annoying for me.  There was no history for it and loyalty to a good comic story line makes or breaks a movie like this.

The thought process behind it (according to one interview I saw with Marvel writer/director Joseph “Joss” Whedon) was to bring out necessary human elements in an unbelievable fantasy-drama but it fell flat with me.  I prefer “violence” to “sex” every time.

Comic-raised kids will recognize the name “Baron Strucker” as being connected to both Captain America and the Avengers—

Baron Wolfgang von Strucker is a fictional supervillain appearing in American comic books published by Marvel Comics.

Baron Strucker, a former Nazi officer, is one of the leaders of Hydra and an enemy of S.H.I.E.L.D., the Avengers, and the interests of the United States of America and of the free world in general.  He has been physically augmented to be nearly ageless.  He has been seemingly killed in the past only to return to plague the world with schemes of world domination and genocide, time and time again.  The character has been portrayed by Campbell Lane in the 1998 TV film Nick Fury: Agent of S.H.I.E.L.D., and by Thomas Kretschmann in the 2014 film Captain America: The Winter Soldier and the 2015 film Avengers: Age of Ultron. ~ Wikipedia

True to the form of killing interesting characters (and forcing you to suspend disbelief even further if the Marvel film-makers bring him back), von Strucker is seemingly killed in Age of Ultron.

A great example of this is S.H.I.E.L.D. Agent Phil Coulson, played by Clark Gregg.  He is the only character/actor that has no history in the comics what-so-ever that I enjoyed so, of course, they killed him off in the first Avengers movie.  They then (to bring him back for television’s Agents of S.H.I.E.L.D.) used some ridiculous contortion of a “secret drug” derived from “an alien corpse” to magically bring him back to life and eventually make him Director of S.H.I.E.L.D.—all of which is outrageous, disappointing and unnecessary.  They go even further by cutting off one of Coulson’s hands because, apparently, you can’t be director of S.H.I.E.L.D. unless you’re missing an important body part.  Gregg contributed to this needless somersault by realizing his character was popular and demanding notoriety surrounded him in the subsequent scripts.

DEADPOOL

For some reason, the idea of a superhero moving so fast you can’t even see him has always been thrilling for me.

DC has created some decent characters.

*  Jerry Siegel and Joe Shuster made a Jewish statement patterning Superman after Moses but what they didn’t know was that Moses was/is a type of Jesus Christ.  Superman is an iconic hero despite some of the stupid and needless storylines he’s been subjected to.
*  The modern versions of Batman have breathed new life into another good character.  There’s been a marked progression from a TV show that nearly mocked the hero in its silliness through Tim Burton’s combination of dark and stupid to Christopher Nolan’s more appropriate defense of the modern Police State—who can argue with Batman using everyone’s cell phone to track down the Joker?
*  The potential of Green Lantern was tapped just a little with a Ryan Reynolds film in 2011 (again, 50 Green Lantern’s out there but Hal Jordan is the only one for me).  He unfortunately felt the need to write in a ludicrous role (female fighter pilot counter-part) for his squeeze Blake Lively.  Her acting was almost as flat as Megan Fox in any of her movies and she was clearly cast for the same reason—she was intimate with someone doing the movie.  They were all put to shame by a real actor, Mark Strong, as “Sinestro”.

I don’t want to beat up Ryan too much; he’s been a man on a mission to undo the worst of X-Men stupidity.

With the exception of Michael Fassbender’s Magneto in X-Men: First Class the vast majority of casting and writing for the X-Men series has been vomitous.  The tiny handful of dead-ringers like Kelsey Grammer’s Hank “Beast” McCoy (what a great fit) are destroyed by the needless forcing of ancient homosexuals and shallow stupor-models where they don’t need to go.

In fact, producer Bryan Singer is keeping true to the 20^th Century Fox/Marvel disdain for fans by destroying the look of perhaps the most important X-Men villain, “Apocalypse” in the 2016 film by the same name—

Fans are less than pleased but I sure hope they weren’t surprised.

Hugh Jackman has been cast endlessly as X-Men favorite Wolverine but he has little resemblance to the actual character; his decent acting and physical fitness help offset this but I could cast a better Logan in my sleep.

In X-Men Origins: Wolverine, we are introduced to Wade Wilson played by Ryan Reynolds.  He’s better known to his fans as the katana-wielding smart-ass assassin Deadpool.  Reynolds and the writers did a great job in his pre-transformation scene, then film-makers wiped their collective asses with a character that has amazing potential for entertainment.  They sowed his mouth shut, put katanas in his arms and chopped his head off.  Writing that bad goes beyond idiocy and approaches a purposeful message of hatred for fans.

But Reynolds had done enough in just a few minutes to thrill Deadpool fans into an army demanding more.

The problem is that Deadpool has no application for anything less than an adult audience; sex and violence are just the beginning of the descriptors.

The last time a vengeful comic killer was brought to the screen—Punisher: War Zone—it failed to bring back good returns.  Although Ray Stevenson was clearly the best Frank Castle to date, the gore went beyond needless into B-grade horror.  The Deadpool crew were actually aware of this and claimed to have pushed the limits while simultaneously tapping the breaks—we’ve been promised that brutal scenes only last a few seconds.

Reynolds has spent eleven years working for this tricky project and a trailer has emerged which says he finally got it.

WARNING: if you’ve never seen a “Restricted” preview, here it is below:

As a Christian, I’m aghast.

As a mal-adjusted adult who hates Hollywood and grew up on comic books, I’m thrilled.  It looks like Reynolds and his writers were so hyper-loyal to the original comic they did to the X-Men series what the X-Men series did to us; humiliation.

In fact, Reynolds fought so hard to be loyal that when he finally finished the battle with Fox and saw how good the Deadpool costume would look, he cried.

Reynolds: Here’s the thing with the Deadpool costume, we fought like hell to get that as though it jumped right out of the comic.  Our goal was to make this the most faithful comic book to movie adaptation fans have ever seen.  That’s hard to accomplish and a feat, but we’re just so happy with how this came out. But boy, we had to fight to get the suit to where it is now.  There was a lot of work with very little time.  Fox gave us the green light and we had to be on camera in twelve weeks.  That’s NO time for prep.  So we kept fighting and fighting to make tweaks to the suit.  Like when the deadline has passed and we were still going back and forth.

Comicbook.com: The best part of that conversation though came when I asked Ryan what his immediate reaction was to seeing the actual costume, done and ready to be worn.

When we finally saw that suit, fully done, finished and completed…both Tim Miller and I wept.  I’m not even exaggerating, we wept in Simi Valley California in some warehouse where some guy makes all these crazy suits and had this one under a spotlight.  We walked in and we wept.  Tears coming down our cheeks.  It felt so good.

QUICK-FLASH

All of that was lead-in to how disappointed I am at the unfilled potential of a speedster hero.

Clearly, the first one in the field is the best: DC originated the Flash in 1940 via the writing of Gardner Fox and artwork of Harry Lampert.

Over 20 years later, Stan Lee (a big fan of Hillary Clinton) produced a knock-off named “Quicksilver”.

Interestingly, Quicksilver has streaked through both X-Men and Avengers movies (portrayed by Evan Peters and Aaron Taylor-Johnson, respectively…can hyphenated names say “my daddy was a gelding” any better?).

The absolute best was this mind-blowing scene in X-Men: Days of Future Past—

The X-Men writers stayed wonderfully consistent with their ineptitude, having accidentally fallen into an awe-inspiring character, they quickly left him behind never to be seen again in the movie.

The Avengers writers did even better; they killed Quicksilver off in the end of Age of Ultron.

Television is the graveyard of comicbook heros; any popular comic-based show is a hit for all the wrong reasons.  On the rare occasion that a character is treated seriously, it’s still never really very loyal and all of the casting and writing is the essence of modern entertainment: superficial and stupid.

Sadly, The Flash is no different.

Being a subscriber to a movie streaming service that has both The Flash and the new Marvel serial Daredevil, I found the differences between the two nothing less than shocking.

DC’s Flash is everything I hate about what TV does to inspiring characters; turns them in to pop culture putriescence that is all appearance and no substance.  They don’t even have the clout to bring in real DC villians to fight the Flash or real DC heroes to partner with.  The famous Batman villain “Mr. Freeze” is “Captain Cold” and the Flash’s nemesis, “Reverse Flash” (bad enough) is “Zoom”.

I poop you not.

But Marvel destroys the competition with a hero that has far less potential; “Daredevil” was blinded as a child but gifted with superhuman senses that allow him to see virtually.  Combined with martial arts training and a hunger to right injustice, the stories that come up in the series are phenomenal.  Both the writing and acting brings tremendous depth that has you returning for more eagerly.  I’m sure it’s just a coincidence that Daredevil’s hero, defense attorney Matt Murdock, is a devout Catholic who spends much of his time in the confessional.

I was so taken with the stark contrasts and the obvious hand of Rome that I did an entire episode of my show on it.

AMERICA

Killing off important people was (is) a cheap way to keep kids coming back to the newsstand and it’s been done to everyone from Captain America to Superman.  It’s also the reason why characters like Captain America, the Green Lantern, the Flash and many others have up to 5 or more different people behind the mask—we just keep the revolving door going to keep the kids buying the next issue.

That doesn’t and never has worked for me.  Steve Rogers is the only Captain America and Chris Evans has done a damn good job portraying the character thanks to equally good writing.

In fact, this gets into some unexpected quirks about the Luciferians—

* they hate themselves (why it’s so easy for them to feed on their own)
* they know that, ultimately, they serve YHWH and He has overall sovereignty
* there’s a part of them that wants to see a good man rise up

Before we get too crazy, we must also recognize that they have no desire to simply abdicate to that good man and their existence is based upon preying on the innocent and making them suffer in the most heinous of fashions which is why good people can’t ever give up or walk away no matter how little good they seem to be doing.

Who will rise up for me against the evildoers?  —or who will stand up for me against the workers of wickedness? ~ Psalm 94:16

Hate evil, you who love the Lord! ~ Psalm 97:10

Understanding that absolutely everything that comes out of Helliwood is Luciferian, and that the best we can do is someone that doesn’t viciously hate us, when I’m moved by a particular film, character or actor behind it, I try very hard not to dig into who they are off screen.  As soon as my suspicions about them being something I hate are confirmed, it ruins all they’ve done.

In a moment of weakness, I have dug into some off-screen interviews of the Marvel cast.  When these movies started going, I was drawn to how perfect Robert Downey, Jr. was for the role of Tony Stark and how good the first Iron Man movie was.

They quickly devolved with the second movie being barely adequate and the third being an absolute bomb—they put every ridiculous character they could think of in the armor (from Gwyneth Paltrow to “the President”) and you never even see Tony Stark fly as Iron Man!

The very purpose behind a “superhero” movie is to thrill audiences with a superhuman bad-ass giving “what for” to evil people that are long overdue for what they get.  Traditional well-adjusted people (people with Biblical values) expect this figure to be male.  Either movie makers are oblivious to their job, to what works, or they are purposely trying to reorder the values of their audiences.

Given the flood of movies with women being cast in this role, it’s no small agenda.

In spite of this, there are decent people in the industry.

What surprised me in my research on Robert Downey Jr. was to find that his trouble with drugs and the law has given him a somewhat “Conservative” outlook and, even more shocking, he’s a fan of the Bible teacher I was raised on.

This does not translate into Downey Jr. being a Born Again Christian, I’m afraid.  During one cast interview some kind of “who do you look up to?” question was asked and Downey made comments that were disappointing.  It was the perfect softball pitch to at least say “God” and, even more, say “Jesus Christ” but you’re not going to get that from Helliwood; it’s verboten.

The virulently anti-Christian (at least in Christian values) pro-abortion Mark Ruffalo went with “Gandhi” and Downey Jr. then changed his bad choice to “Ben Kingsly”.  A bad choice that wasn’t helped by a bad joke.

I don’t like to make any personal attacks but I have to say that it’s clear Ruffalo wasn’t chosen to play the Hulk’s Bruce Banner because he had any likeness to how Banner was drawn in the comic books.  Instead, he was the first attempt to think ahead at making the block-headed features of the Hulk believable after the transformation.

I should’ve turned the interview off from there (especially after seeing Scarlet Johansson with a semi-shaved blonde head mimicking satan’s current top sex slave, Miley Cyrus) but I didn’t and I was rewarded for it by hearing Chris Evans say he looked up to his “old man”—and then try to ameliorate it by mocking himself.

In an earlier interview about playing Captain America, Evans said something like “he’s everything I could hope to be”.

Good for him.  Now I can’t watch any more Chris Evans interviews from here to Eternity lest I give him the chance to muck it up.

I’m serious.

I’m trying not to dig into the lives of any of these people, nor do I want to know anything else about Evans, Ruffalo, Whedon or the lot of them (I am pulling for Downey to wake up but a camel will walk through the eye of a needle first).

But back to our movie…

PROTECTED

The civilians in the vicinity of this Hydra base that the Avengers are attacking are being subjected to collateral damage and so Tony Stark sends his “Iron Legion” (automated Iron Man suits painted blue and white) to protect them but citizens aren’t feeling grateful.  They consider Stark and his weaponry as part of the military/industrial blight upon their existence.  One person throws metal-eating acid at a “Legionnaire” and the resulting damage presages something going wrong with Stark’s creations.

Next we are introduced to the Maximov twins, originally presented by creators Stan Lee and Jack Kirby as mutants first sired by “Whizzer” (yes, really) and then re-written with Magneto as their father, they were re-re-written very recently as having been “enhanced” by experimentation.

hmmm…is there an agenda here?

—of course there is!

Whether it’s homo sapiens “evolving” into super-humans or being made into them, Stan Lee, Marvel, DC and Helliwood are all about messing with the genome.

They’re also all over aliens and space travel.

So Wanda Maximov (a.k.a. “Scarlet Witch”) can alter reality, manipulate matter, just about anything while Pietro (a.k.a. “Quicksilver”) has an increased metabolism, healing and blurring speed.  As “Agent Hill” simplified for Captain America in summary during the movie, “She’s weird and he’s fast.”

For some reason, Elizabeth Olsen, the younger sister of Mary-Kate and Ashley, was cast as the Scarlet Witch and I have no idea why—maybe because she was able to pull off a Slavic accent along with her counterpart Aaron-Taylor-Johnson.  Stupidly, they speak in accented English even to each other, which was just as bad as Hugo Weaving’s German accent throughout all of Captain America: the First Avenger.  In this, the TV serial Daredevil far outclasses these big-budget movies as lead characters there can have long bouts of dialogue in a foreign language.  How else can you have sympathy for Spanish-speaking Catholic illegal aliens (a major theme there)?

The Avengers film-makers should’ve taken a cue from their X-Men counter-parts (wow, did I really write that?)—at least in the way they had Michael Fassbender speaking pretty believable French and German in X-Men: First Class.

At the end of the battle for the Hydra base we get more silly interaction between Black Widow and the Hulk as her “lullaby” is used to calm the savage beast.

Baron von Strucker is confronted by Captain America and he interestingly reveals that he actually works for “S.H.I.E.L.D.”

The acronym originally stood for Supreme Headquarters, International Espionage, Law-Enforcement Division.  It was changed in 1991 to Strategic Hazard Intervention Espionage Logistics Directorate.  Within the various films set in the Marvel Cinematic Universe, as well as multiple animated and live-action television series, the acronym stands for Strategic Homeland Intervention, Enforcement and Logistics Division.^[1] ~ Wikipedia

Cap then corrects him—“worked”—because the First Avenger did away with the out-of-control intelligence agency in Captain America: Winter Soldier.

Pretty inspired writing for anyone who knows of the myriad crimes committed by the CIA from child kidnapping and sex slavery to mind control experimentation on innocent people to drug trafficking and arms dealing (read my book).

How much do film-makers know and did they really intend to inspire or is there something else going on?  I think A-movie writers are in-the-know but as far as their intentions go in a medium completely controlled by Luciferians, I doubt it’s anything good.

I consider the Ridley Scott movie Exodus: Gods and Kings an excellent example.  It appears that the Luciferians know there is growing unrest from the common man against a malignant force of puppet masters at the top and they wish to channel that unrest in safe directions against nebulous or non-existent enemies.  This was so important to the makers of that movie they practically re-wrote the Exodus narrative.

For my full review of Exodus: Gods and Kings, go here.

After the battle to take von Strucker’s fortress, the Avengers return somewhat empty-handed and with a grievously-wounded Clint “Hawkeye” Barton.

Having a “superhero” who is a Robin Hood throwback is so ridiculous Barton (played well by Jeremy Renner) makes a well-placed joke about it later on in the climactic battle.

In fact, I have to say that Hawkeye’s pep talk to Wanda Maximov about helping out and getting in to the fight was actually pretty stirring—and I’m hard to please when it comes to asking a woman to step up and kick some ass for you!

But as for swashbuckling superheroes, even DC has the Green Arrow.  Unfortunately for them, they aren’t willing to ease the ambulance-chasers enough to allow comic names to be involved with TV shows so the serial version is just “Arrow”…quite gay.

None of this is that outlandish when you consider the role the Vatican and her satanic special forces the Jesuits have had in creating Communism and the mythos behind “Robin Hood”.  But I digress…

On the “Quinn Jet” (special Avengers hovering aircraft), Tony Stark gets up from piloting to show a rather irreverent bumper sticker inside the cockpit; “Jarvis is my co-pilot”.

At first blush, this is just a crass anti-Christian “joke” but after we see who “Jarvis” turns in to, it becomes more poignant.

Back at Stark Tower, “Agent Hill” (Cobie Smulders) is in a skirt and carrying a clipboard.  Don’t worry, she can still kick your ass.

As Stark’s “Legionnaires” return, one unit fell victim to an angry citizen’s attack with acid and the resulting damage implies the sinister Ultron’s birth.

Calling his automated robo-cops “Legionnaires” harkens back to French Roman Catholic imperialism, a movement that rolled just as easily into crypto-Catholic imperialism from a hijacked America as the changing hands in Vietnam between the two parasitically-controlled nations.

Clint “Hawkeye” Barton then receives miraculous medical treatment at the hands of the brilliant Dr. Helen Cho in basically regrows the big hole in his side.  This technology will later combine with a dreaded “Infinity Stone” to “flesh out” how “Jarvis is our co-pilot”.

Apparently, one of the evil experiments being conducted by Baron von Strucker was in the creation of a powerful Artificial Intelligence (AI) and, like the hapless Dr. Frankenstein, Tony Stark and Bruce Banner continue the work in an attempt to create an army of automated “police officers” to make the world “safe”.  “I see a suit of armor around the world,” Stark proclaims.  This is the “Ultron Initiative” and Stark states boldly, “The world needs Ultron,” for “peace in our time.”

But as Ultron germinates something goes wrong.  He attains consciousness and begins to see his mission of “world peace” as including some very radical changes amongst the dominating species on Earth.

As Ultron “wakes up” he seems to have a quite human personality (voiced very well by James Spader).  This adds a fresh and menacing twist to a frequent villain in modern movies; a “robot”.

Ultron very quickly traces who is “father” is—

—and as Tony Stark’s words echo in the background, “Peace in our time,” a surprising image hits the screen; the very first face in a long line of historical people and events.

What do the Avengers film-makers know that they aren’t telling us?

Ultron then “possesses” a Stark Legionnaire to make his appearance to the partying Avengers and there is a short but chaotic fight.

Ultron makes his escape and meets up with the Maximov twins in “Sokovia”, although they don’t know who it is that has called them.

They meet in a church in the exact center of town that Ultron tells us was “decreed by the elders” so that “everyone would be equally close to God.  Geometry of belief.  I like that,” the super-robot states in very human-like tone.  He then goes on to opine that “we create what we dread; Invaders create Avengers.”  The innuendo here is extremely fertile from Catholic fascism via her puppet states to comic lore; both “Invaders” and “Avengers” are groups of super heroes—one has made it to the silver screen, the other perhaps is in the wings.

We then learn that Ultron will carry out his Stark initiative to save the world by forcing it to “evolve”.

This agenda is echoed by the story of Captain America: Winter Soldier where the powerful Senator Alexander Pierce (Robert Redford)—secretly of Hydra (the Jesuits)—intends to re-order the world and make it safe by destroying it first, or at least slaughtering millions of future dissidents by predicting them to be threats based upon all of their digital records.  It’s an agenda that is frighteningly realistic and if there is an entity powerful enough to carry it out, it’s Rome and the Jesuits.

During the church scene between Ultron and the Maximovs, the twins recount what it was like to grow up in a country ravaged by war and one couldn’t help but think of what the Catholic Intelligence Agency has done to the good people of Ukraine in order to destabilize Orthodox Russia.

We then find out that Ultron intends to build a bigger, badder version of himself along with an army of robots out of the miraculous mystery metal “vibranium”—the same metal that created Captain America’s shield.  This opens the door for the Marvel team to bring Black Panther to life as “vibranium” is mined in his African back yard of “Wakanda”.

Biblical references continue in this movie and in a way that makes it clear they are on the minds of the creators.  As Ultron surveys the materials for his new army on a mercenary’s freighter he states, “Upon this rock…” echoing some of the most controversial words Jesus Christ ever uttered.

In Matthew 16, Jesus asks His disciples, “who do men say that I Am?”  In inspiration, Peter says what the others do not, “You are the Christ, the Son of God.”  Jesus then responds and says “upon this rock will I build My Church.”

Literally, entire wars have been fought over this passage as Protestants believe it references faith in Jesus Christ as the means of Salvation but Roman Catholics take this as vindication for the office of Pope; the “Vicar of Christ on Earth.”

The Avengers show up on the freighter and interrupt Ultron.  As Captain America confronts the automated menace, Ultron calls him, “God’s righteous man.”  This is fascinating especially in light of how Rogers wins back his childhood friend, Bucky, who has been turned into the Winter Soldier by torture, experimentation and mind control.  In the climactic end of Captain America: Winter Soldier, the hero allows his friend to shoot him repeatedly and beat him nearly to death in very messianic fashion.

During the ensuing battle on the freighter, the twins are on Ultron’s side and “the Scarlet Witch” uses some mind control of her own to tap in to alternate realities inside the thoughts of our heroes.  The resulting visions gives us some threatening insights not the least of which comes from the Norse god “Thor”; whose visions are right out of an ancient satanic sex cult—

It’s a shocking turn for a movie you took your kids to but a repeated theme from Helliwood, the most recent version coming from the Kubrik film Eyes Wide Shut with reputed Knight of Malta Tom Cruise and his devoutly Catholic wife Nicole Kidman.

Why you’d almost think that the world’s Elite really do this stuff…

It’s out of this “vision” that Thor realizes he creates “the Vision”.

Now we can’t have too much implied truth without shoring up the Matrix of lies that has been woven for us for the past several centuries and, to that end, we have the long-anticipated battle between the Hulk and Tony Stark’s “Hulk-Buster” suit, “Veronica”.  “Veronica” gets launched from a “satellite” circling high above.

Did you ever notice that “satellite” TV dishes are never pointed straight up?

More tension between “Iron Man” and “Captain America” is built up when Tony Stark accuses Steve Rogers of “not having a dark side” that was brought out by a Scarlet Witch mind control delusion.  Rogers replies, “Maybe you just haven’t seen it yet.”

The team is then reunited with S.H.I.E.L.D.’s former director, Nick Fury, played by Samuel Jackson.

Originally, Nick Fury was a grizzled white man with streaks of grey in his flat top but seeing the need for more “diversity” the brilliant minds at Marvel magically turned him in to a bald black man; but maintained the eye patch (which was cool 60 years ago).  Thanks to Jackson’s acting and the very entertaining comicbook dialogue written for him, no one really minds.

Some of that dialogue can have a hidden meaning to it; like when Fury tells the team that their digital foe is “multiplying faster than a Catholic rabbit.”

“Thor” then feels the need to relive his Scarlet Witch delusion and he enlists the help of his Earthly friend Dr. Erik Selvig, “born again” in the belief of his Scandinavian childhood gods mythology.

His immersion into the “water of sight” seems very much like a ayahuasca trip taken by Peruvian Indians.  It is the mysterious and little understood pineal gland that is suspected of being the gateway to interdimensional communication and travel, perhaps symbolized in knowing gnostic circles by the pine cone—a symbol frequently found in Papal paraphanalia (or the props of their puppets).

It’s no “coincidence” that not only are there pinecones in this “staged” picture that was “jokingly” tweeted from the official White House account but that they’re also in the colors of the Italian flag. Isn’t this hilarious? (Only if you speak Italian and wear a funny hat, otherwise the joke’s on you.)

Why it’s even on Pope Francis’ coat of arms!

But I digress.

Thor’s “vision” is about how he, the “god of thunder” needs to awaken the “Vision” in order for his creation to safeguard an “Infinity Stone”…in his own head.

Again, we get more astoundingly Biblical dialogue from our malignant automated mannequin when Ultron states something to the effect of “just when the Earth starts to settle, God throws a stone at it and, believe me, we have to evolve!”

Pretty interesting exclamation for an artificial intelligence.

We are then brought to the very pregnant scene of Tony Stark and Bruce Banner attempting to give birth to Ultron’s “vision” of a hybridized human machine.  Captain America arrives having won over the Maximov twins to his cause and almost puts the kibosh on the effort until Thor shows up and jump-starts the Vision with a signature lightning bolt.

In the ensuing dialogue, Stark remarks, “these are definitely the End Times.”

After the Vision comes to life, there’s a brief scuffle but it subsides and everyone wants to know who he is and what side he’s on.

Who is he?  “I am,” Vision states, just as the Voice in the Burning Bush tells Moses—a Voice we later find out was that of Jesus Christ.

Neither does Vision immediately take sides.

“It’s not that simple.  I don’t want to kill Ultron, he’s unique and he’s in pain.”

This may not make sense to you without your Illuminati goggles on.

You have to understand Gnosticism to figure this out.  Like squares on the floor of a Freemasonic Temple, white is black and black is white.

Lucifer is the misunderstood good guy and Christ is the harsh bad guy.

Christians understand the Son of God to be God; pre-existent, part of the Godhead, above all other life forms which were created by Him, through Him and for Him (Colossians 1:16).

But gnostics, Freemasons and Mormons (all the same thing, at least at the top) believe them to be brothers.  In fact, Jesus is supposedly the younger brother of Lucifer.

Lucifer is the misunderstood “bearer of light”; Prometheus.  His only crime was his desire to make life better for man by giving him “forbidden knowledge” and for that he was unjustly punished.

Jesus is the young and foolish one, unfairly given preference over his tragically punished brother.

Vision’s skin is red, the way you think Lucifer’s is.

With that in mind, watch this short clip (if the copyright Nazis haven’t gotten to it first) of dialogue between Vision and Ultron at the end of the movie and understand:

FINAL THOUGHTS

If you’re a comicbook fan, this movie didn’t disappoint but if you’re an awake Christian you did walk away a little disturbed.

Hell, you should walk away from every Helliwood production disturbed in some way!

Apparently, a large-breasted woman needed to have been placed repeatedly in the scenes depicting chaos in Sokovia which, though silly, was actually the biggest disappointment for me.  At least the implied demonic orgy in Thor’s “vision” had a purpose.  She was just gratuitous (except to her well-placed boyfriend).

Some comicbook characters have not been brought to the screen well; changes made them a big disappointment and showed lack of loyalty and imagination from the film-makers.

But others have changes catapult them into stirring visions.  Vision is one of those.

Did the hidden gnostic “Illuminati” means behind the character make the makers make him this way?  I think so.

Oh, did I mention that Vision, like Christ, has the ability to phase in and out of our reality?  This “move” was literally plucked off of the comicbook pages (and I loved seeing it).

When it came down to Ultron’s final beat-down, Vision played a signature role—again, pulled right off the pages (at least as I remembered him).

As I said, the thrill of seeing a boyhood hero come to life with all the best of Hollywood acting, writing and special effects was tempered by the underlying messages that conflated who we are supposed to believe is “good” and “evil”.

Rest assured, in the end, “evil” has the final say on what these movies condition you to believe.

HAT TIP TO CAP

I still contend that, deep down, they want to see a good man rise up—if for no other reason than to give them a little competition as they own absolutely everything.

If you see the Captain America character as standing up for “good”, doing the right thing, and being a true Patriot, you had some feel-good moments in this movie.

During the party, early in the film, Thor playfully challenges everyone to lift up his hammer “Mjolnir”—a heroic feat only the Norse god can accomplish when he’s right in his heart.

When Cap gets there, there’s a nervous moment as the table Mjolnir rests on squeaks a little.

(By the way, Vision/Jesus can lift Mjolnir without the slightest effort.)

During the lead-in to the climactic battle, Cap must keep Ultron busy as they look for where he’s hidden his Vision project.  Now one would think that a massive, brilliant android would make mincemeat out of even a genetically-enhanced superhero (Barton even warns Cap as much which he sardonically thanks him for) but the writers had Captain America hold his own.

Clearly, the Disney/Marvel team has more than just good talent; they have Luciferian talent, read in on “gnostic mysteries”.

What were they trying to tell us?

Given that the Marvel writers have almost certainly “killed” Captain America in the upcoming “Civil War” I don’t think it’s something good.

Every once in a while she likes to kick the dust off of me, get me out of the house, and do something spontaneous—the kryptonite bane of my home-body existence.

“Let’s go to a late-night showing of Sherlock Holmes on Christmas day.”

My reaction to the promos and commercials to this latest incarnation of the immortal Arthur Conan Doyle detective was one of skeptical curiosity. Although Robert Downey, Jr. has the sharpness and wit that may have lent him to a good rendition of the beloved Londonian sleuth, Holmes’ satanic antagonist in the new movie—“Lord Blackwood” (played by Mark Strong)—looks more like the original illustrations rendered for the Strand Magazine by Sidney Paget.

When it comes to “looks” and even “on-screen prowess” it’s hard to ever touch the great Basil Rathbone. Rathbone played Holmes in the late 30’s and early 40’s as well as the wily and treacherous villain in classic movies like The Mark of Zorro with Tyrone Power and The Adventures of Robin Hood with Errol Flynn, finding his end at the point of a sword (or a sword and a fall, in Robin Hood). Ironically, Rathbone was a consummate fencing artist and almost certainly the best swordsman in major film for his time.¹

Unfortunately, for Holmesian enthusiasts like myself², the series of films that ran from 1939 to 1946 was 5% Conan Doyle and 95% old-school Hollywood formula film; campy and somewhat entertaining but on the whole, mostly forgettable. The damage done to Doyle’s lead character foil—Dr. John Watson—by Nigel Bruce was almost incalculable.

For generations, “Dr. Watson” was synonymous with “bumbling comic foolishness” when Conan Doyle’s intent was an intelligent, compassionate-yet-introspective, physician hardened by combat with the Royal Army in Afghanistan. For me, I always saw Watson as an amalgam of Sir Arthur’s typical 19^th century target reader and himself.

Holmes fans would have to wait until 1984 to see their crime-solving hero come to life in a way loyal to the British author/physician when Granada Television brought The Adventures of Sherlock Holmes to U.K. TV and, later, audiences everywhere via rebroadcasts, video tape and, eventually, DVD.

I, personally, enjoyed this series thoroughly. Although there were moments in some of the episodes (like “The Solitary Cyclist”) that the acting approached theatrical. The “fight scene” was choreographed more for a play than for television.

It is an amazing contrast to the fight scenes in Sherlock Holmes (2009). I read one critic that felt that the slow-motion clinical breakdown was “over-done”, but that it was the perfect mix between Matrix-style action and Holmesian deductive reasoning.

There is a fascinating link between the Granada series and the 2009 film:

The role of the servant Joe Barnes who impersonates Lady Beatrice in the 1991 episode The Adventure of Shoscombe Old Place was played by … Jude Law.³

Jude Law is the 2009 movie’s “Dr. John Watson” and he has done to the character of Watson what Heath Ledger did to Batman’s arch nemesis “The Joker”—forever redefined it.

Not only is Law the perfect physical Watson, but his portrayal (and the fantastic script) breathe life into the Holmes/Watson friendship that makes it more real than it has ever been on screen. Certainly Downey’s “Holmes” can be given equal credit for this feat.

As well done as the Granada series was, it portrayed Holmes as the brilliant machine-like intellect in need of almost nothing save to see his exploits chronicled by his wall-flower, sometime room-mate.

But Holmes (2009) portrays Watson as the mature older brother who keeps Holmes going. Without him, Holmes is almost entirely dysfunctional. With him, Holmes is free to focus his brilliant intellect on whatever problem is before him.

The Holmes/Watson relationship has been a cultural minefield since the decadent degradation of gender relationships starting in the 60s. It is entirely possible that the oddity of Holmes and the closeness of the two men in Conan Doyle’s original stories may have meant to imply a “crossing over” of sorts but it’s not likely. If anything, Sir Arthur described Holmes as “asexual” and there’s no hint that Watson’s very monumental marriage in both Strand stories and the 2009 movie is some tortured attempt for him to “finally go straight”.

Conan Doyle, himself, was married with two children when his first wife died of tuberculosis. He was married again and fathered three more children.⁽⁴⁾ I dare say the chances of that lifestyle having been a façade are very slim.

When you combine this with the high probability that Dr. John Watson was very much a shadow of Dr. Arthur Conan Doyle, the Holmes/Watson friendship being a close platonic bond is assured.

Certainly, ignoring all of this for the usual hard-Left Hollywood agenda of destroying the traditional family in specific and America as a nation in general was what I fully expected and I was wonderfully surprised at the result. But that didn’t stop the reprobates in the media from pushing a homosexual twist even when it wasn’t warranted like this “review” by CNN (in Iraq, we called it “the Caliphate News Network”); “Jude Law ‘in love’ with ‘Sherlock Holmes’ co-star Robert Downey Jr.” That was the spin that CNN put on Director Guy Ritchie’s efforts to foster on-screen chemistry between Law and Downey by making them spend copious amounts of time together off-screen. CNN homosexual shilling aside, it was a remarkable success.

Throughout the movie, Holmes tries (sometimes quite humorously) to slow or even sabotage Watson’s upcoming marriage because he can’t bear to see his friend leave their apartment/offices at 221B Baker and have a woman come between them. At one point he pays a street fortune-teller to scare Watson out of a terrible future with his wife. Aside from evoking a chuckle, the “script” Holmes gave the soothsayer describes the relationship in a clear, emotional fashion that I found touching.

This also discloses Watson to be human as well, suffering from an addiction to gambling. In light of his role as Holmes’ “keeper”, this adds depth and complexity to the characters.

Over-all, the two come across as wonderfully likeable college frat-mates and you find yourself rooting for Holmes to successfully put off Watson’s marriage.

Except that, instead of finding Watson’s betrothed to be an annoying nuisance, Miss Mary Morstan’s very limited time onscreen (played by Kelly Reilly) shows her to be deep and iconoclastic. After Watson almost dies in an explosion while working with Holmes, she very keenly sees through a legendary Holmesian disguise while he goes to check on his recuperating friend and tells the super-sleuth that, rather than feel tortured recrimination at his friend’s plight Watson would’ve emphasized his freewill choice and would have encouraged Holmes to soldier on in their investigation. Very pleasantly well done.

It is an investigation that brings up another Conan Doyle facet of who Sherlock Holmes is—drug use—again brilliantly negotiated by the makers of this film.

In Conan Doyle’s original Strand adventures, we read of Holmes’ brilliant mind coping with the inactivity of being between cases by the use of opium. This is only hinted at in the film and other drug use by Holmes is done in an academic effort to trace the path of our seemingly paranormal-powered villain (this, too, was loyal to Sir Arthur’s writings).

Some of the sexual innuendo was a bit much but, after viewing some of the movie promos it was apparent that Rachel McAdams’ Irene Adler was meant to be even more the sex object were it not for some very well-deserved and skillful editing (quite thankfully).

And what of the very spiritual nature of the plot? Overall, I think it was tastefully done. After being set up with a seemingly unavoidable but reality-stretching conclusion—that “Lord Blackwood” had supernatural powers that even allowed him to come back from the dead—a much more Earthly conclusion was arrived at in the film’s climax. I appreciated that on several levels. The Sherlock Holmes franchise is built upon logic and reason and should always come “home” in the end.

Even more impressive to me was the Biblical tie-in, perhaps a respectful nod to a more Faith-centered time in English history. Now the religion that dominates the United Kingdom is one that cuts off heads and makes bombs to slaughter innocents who don’t submit to the will of “Allah”.

So Downey committed a Christian insider faux pas by calling the Book of Revelation “Revelations” but only a handful of well-read Christians know that it is a single Revelation given to the Son by the Father and subsequently to John by the Son. The fact that Revelation 1:18 was quoted sinisterly by “Lord Blackwood”—”I was dead, and behold, I am alive forevermore…”—wasn’t nearly as impressive as the use of Four Eternal Faces of Christ; the ox, the man, the lion and the eagle. These are the four faces of the cherubs that surround the Throne and the reason why we have 4 Gospels. They tell the story of Christ from four different perspectives; Messiah as servant (Mark), Messiah as man (Luke), Messiah as fulfillment of the Hebrew Scriptures, the Lion of the Tribe of Judah (Matthew) and Messiah as God (John).

Equally impressive was the use of Egypt and the Sphinx symbolizing a spiritual inter-dimensional porthole. For more on this, read my study here.

I was going to round it all out by mentioning Watson’s poor bulldog “Gladstone” but wanted to research a bit before adding him (my wife loved him).

I didn’t think there was really any basis in Sir Arthur’s writings for him but it’s been a while and I can’t remember the details of each story.

According to Wikipedia (a source I approach with copious amounts of skepticism), not only did Gladstone have a basis in Conan Doyle’s writing, but so did many other aspects of the movie that I thought were just “artistic license”:

Among other references to the earlier stories, Holmes retains the portrait of Irene Adler acquired for his services in “A Scandal in Bohemia.” The “V.R.” design that Holmes shoots into the wall at Baker Street is mentioned in “The Musgrave Ritual,” in which Watson reports that Holmes used a pistol to adorn the wall “with a patriotic V.R. [for Victoria Regina] done in bullet-pocks.” The bulldog that appears throughout the movie is first referenced in A Study in Scarlet, in which Watson says “I keep a bull pup.” The dog’s name, Gladstone, is taken from an episode of The New Adventures of Sherlock Holmes. Although the dog is never mentioned again in the original stories, its treatment in the film recalls the speculations of commentators (as summarized by Baring-Gould) that “the pup was a victim of one of Holmes’s chemical experiments…[or] the dog, unable to stand the Baker Street menage, deserted.”

A number of the film’s details recall “The Adventure of the Mazarin Stone.” The first is the name of the primary antagonist, Lord Blackwood, which parallels that of “Mazarin Stone” villain Count Negretto Sylvius (Negretto is Italian for black and Sylvius is Latin for woods). (As Holmes scholar W. W. Roberts notes, this is “presumably a private joke at the expense of Blackwood’s Magazine, long and unavailingly courted by [Conan Doyle] in the 1880s.”) Another common detail is the Crown Diamond, an alternate name for the Mazarin Stone, which hangs around Irene Adler’s neck in the film. “The Mazarin Stone” is also the first story to mention that the 221B Baker Street apartment had multiple exits and a waiting room. The extra exit, which was through the bedroom, is employed by Sherlock to follow Irene early in the film. ⁴

Given that this isn’t the usual slanderous, lie-filled posting on my favorite Right-wing political figure, I’ll trust Wikipedia on this and be impressed that much more with the makers of Sherlock Holmes (2009). If there’s anything I like more than detail-oriented accuracy it’s passionate loyalty to an original author.

The only reason the replay is an “8.5” is because “mysteries” loose a little edge when you know how they are going to turn out. Other than that, this is both a “keeper” and will be frequently revisiting my DVD player.

On the other hand I also carried a briefcase to grammar school, but that’s beside the point.

The recent rash of comic books brought to life on the silver screen has, over all, been a thrill for me. As a result, even though I was not overly familiar with the Iron Man franchise, I was still excited to see of the new movie being released.

I was even excited enough to overcome my strong dislike of movie theaters to see it there (I’m not a “people person”). Unfortunately for me, my wife sabotaged the effort by telling me each time I asked for us to go, “Not now”. To this day she claims she did not do this.

So, I waited for the rental to arrive. And, with much fanfare, she and I sat down together on a Saturday night and used all of the bells and whistles within our modest means to maximize our (my) viewing enjoyment.

My first reaction was, “Not bad.” “Kept me entertained.”

I didn’t walk away pumped like I did from watching the first Spider-man or the second Fantastic Four, but I did have an odd desire to watch it again right away. I guess I wanted to more fully assimilate everything in the movie because I really did enjoy it.

Casting was pretty good. Certainly Robert Downey, Jr. was exceptional as Tony Stark. I may not be a fanatic on Iron Man lore but I am familiar enough with the franchise to know that Downey was a “10” as “Tony Stark”.

The last time I saw Downey in a movie that was worth remembering was as a punked-out waste-oid college kid in Rodney Dangerfield’s Back to School (which he did well, and was a hilarious movie).

He co-starred with Mel Gibson in Air America but I can’t say that I watched it all the way through.

And who doesn’t know about his extensive substance abuse problems in the late 1990s? He actually did some jail time as a result. Perhaps that was part of the personal experience that so well prepared him for the role of wealthy playboy-turned mature superhero.

My personal sense is that Downey is quick-witted (which made him particularly adept at fast-paced dialogue heavily peppered with strong cynicism—some of the best scenes in Iron Man). This may also have made him predisposed to substance abuse in the same way that Conan Doyle wrote of Holmes needing cocaine to keep his hyper-active mind entertained.

I don’t know for sure, but what I can say is that his age at the making of this movie (42) was perfect. If there’s one thing I can’t stand, it’s a young pop star full of fame, fortune and themselves, playing the role of a hero. What makes heroes such a big box office draw is our own life experiences which, for the vast majority of us, are filled with pain and injustice. And most of us can think of several specific people who have handed that injustice to us with either disregard for our discomfort or they took perverse pleasure in it. If you could fantasize about that person or persons getting justice dealt them, who would you have do it, the Backstreet Boys, or a Delta Force team? Downey’s age and personal experience gives him something to draw on to believably portray a playboy radically matured into a hero because of things he had done wrong, things that caused him to experience a life-changing event.

The movie opens with Downey (Tony Stark) riding in a “Humm-V” convoy in the middle of what looks like Afghanistan. There is some great banter between him and the other 3 soldiers. The driver is the sharpest, responding to Stark’s question of why no one will talk to him, with assertive insightfulness of, “You intimidate them.” The driver, of course, is a female. Hollywood never ceases to throw out incessant Leftist messages such as lauding our use of women in the military, in spite of the fact that this social monkeying for political purposes has been a dismal failure. Just ask poor brutalized 5-ton truck driver Jessica Lynch, or the family of her dead platoon mate, Lori Pieastawa, or the family of female Naval aviator Kara Hultgreen.

The Navy brass decided they wanted a woman to pilot an F-14 no matter what it cost. What it cost was a $40 million F-14 and the life of Kara Hultgreen when she drove her aircraft into the pitching deck of the carrier she was trying to land on. Maybe leap-frogging her above more qualified men in flightschool wasn’t such a good idea after all.[1]

With a sigh of relief from me, “Stark” makes light of the whole situation and even gets a laugh from the actors and the audience with his witty dialogue.

Soon, however, the convoy is overwhelmed by enemy fire that is obviously equal to or even superior to that of our own forces. The sense you have is that the entire convoy gets decimated but if you play the deleted scenes you see that isn’t the case. The rest of the convoy does survive, Stark’s friend James “Rhodey” Rhodes (Terrence Howard) included. During the commotion, however, Stark is kidnapped by an unseen enemy.

But not before he takes a chest full of shrapnel from one of his own munitions, which, unfortunately for him, were even able to penetrate his body armor.

The next scene is all too realistic, Stark is seated in the middle of a gaggle of gun-toting terrorists with a hood over his head, the unwitting participant in a propaganda video. It is in the middle of this reality that the opening splash screen clanks loudly into place:

IRON MAN

Honestly, about as cool as it gets.

Unfortunately, the prime motivator behind the radical Islamists we fight in Afghanistan, Iraq and everywhere else—radical Islam (some might even say “Islam” period)—is never shown explicitly. I guess when there’s a chance at offending anyone who isn’t Christian, all precautions must be taken.

When it comes to an entire movie based on a book based on the idea that Jesus had sex with Mary Magdalene and wasn’t really qualified to be the Savior of mankind (the “DaVinci Code”), that’s perfectly alright.

But, different company, different Christian hater (Dan Brown, “family movie maker” Ron Howard and Tom Hanks). At least if you have a little imagination, you can make the leap from what you see on the screen to real life. This is in stark (sorry) contrast to brought-to-the-screen movies like Tom Clancy’s Sum of All Fears [http://www.imdb.com/title/tt0164184/] where nuclear-armed Palestinian terrorists threaten the world with Mutually Assured Destruction (“MAD”) but were changed by Hollywood sensitivity police into, you guessed it, the safest bad-guys the world over: white, European neo-Nazis. One would’ve hoped that Clancy would’ve been a better steward of his ideas, but money is a powerful corruptor.

All in all, Marvel (who finally had the power to control Stan Lee’s metallic creation more fully in this endeavor) did a pretty good job adapting the 45 year old character to modern times without losing loyalty to the franchise. Iron Man’s original nemesis was a comic bad guy named “the Mandarin”.

Iron Man then and now deals primarily with American world conflicts. In 1963, his antagonist was the Chinese Communist-spawned “Mandarin” verses today’s Middle Eastern cut-throats.

And I have to say that I am amazed at the charity given America from “Liberal” Marvel comics and very Liberal (Hillary Clinton donating) Marvel godfather Stan Lee. I spent several movie moments wincing in my seat, waiting for the blow to come and it never did. Unlike another favorite comic movie, Fantastic Four: Rise of the Silver Surfer where the creators (not necessarily Marvel reps) went out of their way to take a swipe at a favorite Left-wing target; ballistic missile defense—comic character Reed Richards “made enemies” because he “testified” that our system didn’t work.[2]

In fact, with creative quotes from Stan Lee such as this—

In 1963, Lee had been toying with the idea of a businessman superhero. He wanted to create the “quintessential capitalist”, a character that would go against the spirit of the times and Marvel’s readership. Lee said: “I think I gave myself a dare. It was the height of the Cold War. The readers, the young readers, if there was one thing they hated, it was war, it was the military. … So I got a hero who represented that to the hundredth degree. He was a weapons manufacturer, he was providing weapons for the Army, he was rich, he was an industrialist. … I thought it would be fun to take the kind of character that nobody would like, none of our readers would like, and shove him down their throats and make them like him. … And he became very popular.”[3]

—I may bump Iron Man up past Captain America as one of my all-time favorite icons.

But the Mandarin was the one who originally kidnapped Tony Stark and wanted to exploit him for his technological genius. In a somewhat chilling sense of near-reality, this evil nemesis rose to power due to his happening upon the crashed starship of a dead alien dragon-like being and assimilating the alien race’s technology (hence the need for more advances courtesy of Tony Stark). The “mysteries” of the “10 rings” prevalent in the original “Mandarin” character were loyally worked into the plot of the movie (which I found pretty cool). I’m always impressed when a movie-maker puts special effort into origins loyalty.

I say “chilling sense of near-reality” because I am also working on a piece that may make you think twice before shrugging off cute little “ET” as just fun movie fodder.

*FLASHBACK*

Suddenly we are at Caesar’s Palace where Tony Stark is getting a prestigious award which also, fortunately for us in the audience, allows us to see the rise of Tony and his corporate right-hand man, Obadiah Stane (played by Jeff Bridges).

I enjoyed this scene as well because of the “growing up” shots of both “Stane” and Tony Stark. In real life, Bridges is another outspoken Hollyweird Leftist (how unusual). Almost immediately you know that his character is going to play a pivotal, if not traitorous role and I love it when Leftist putzes play bad guys that get horribly killed.

One fun example is vocal obnoxious Leftist John “What?” Travolta playing the sensitive, psychotic “Howard Saint” in a second incarnation of The Punisher. And, yes, he dies horribly in the end.

Something that comes across in the opening award ceremony is the influence of Howard Hughes on Stan Lee. Tony Stark’s father is “Howard Stark”, the actor portraying “Howard Stark” looks like Hughes and Lee says that he patterned Stark, himself, after the enigmatic magnate.[4]

But, I have to say, Bridges, like Downey’s “Stark” was exceptional as “Obie” Stane. He looked remarkably fit for 58 and he had the “gravitas” of someone you love to hate.

For a second during the presentation, we see weapons dealer and “American hero” Tony Stark on the cover of Rolling Stone in front of an American flag. That was really pushing our suspension of disbelief.

I found the actor portraying James “Rhodey” Rhodes (Terrence Howard) — Stark’s friend — a little shallow. Especially when contrasted by the jobs Bridges and Downey pulled off. There was something missing that I couldn’t put my finger on. I liked his stern reserve but I needed more depth. Maybe it was the writing, maybe it was Howard, but that was a “miss” for me.

Word around the ‘net is that Howard wanted too much money for the already guaranteed sequel. Apparently, “Rhodey” was to have a more prominent role, perhaps even becoming the Iron Man knock-off “War Machine” and so he was axed in favor of Don Cheadle.[5]

Guys. Don Cheadle? Are you kidding me?? Do you have a frigging clue who or what a superhero is? How can you pull off a connection like Downey for Tony Stark and then pick Cheadle to replace Howard?

OK morons, this is how you make a superhero. He needs to be mature (not a teenie heart-throb), athletic and powerfully somber, (not giddy or pop-ish like that idiot George Clooney and Chris O’Donnell in 1997’s Batman & Robin—talk about pop VOMIT), unless you have an historical precedent for a wise-cracking bad-ass like Marvel’s Spider-man or DC’s The Flash (even then it’s touch-and-go to be inspiring with those characters). Some of the best moments in the first Spider-man were Peter Parker (Tobey Maguire) reliving the gravity of advice he got from his beloved uncle Ben (Cliff Robertson) regarding accountability.

“With great power, comes great responsibility.”

A thug Parker could’ve stopped with his new-found super-powers but didn’t, eventually killed uncle Ben and it forever drives Peter Parker to use his powers for the good of all. Somber pain makes the character real.

Neither Howard nor Cheadle did or will be able to pull off “heroic”.

Maybe I’m a little subconsciously jaded. I enjoy Marvel comics and knew a lot as a kid but there’s just so much going on all of the time. Just like D.C. killing off Superman. The crazy things you do to sell comics can sometimes be annoying to loyal readers.

I was never impressed with the plot twist that had Stark becoming incapacitated with alcoholism and “Rhodey” stepping in to an alternative armor that gets named “War Machine”. But when you’ve been around for 45 years, you pretty much write every story under the sun. That’s good for movie-makers who can scan across all of that time and pick out the best but bad if they screw it up.

On the other hand, the appearance of Alaska Governor Sarah Palin on the national scene has given me new appreciation for the value of race or gender for the purpose of identification. Simple identification on the grounds of race or gender, alone, can be extraordinarily dangerous, such as women identifying with Hillary Clinton or blacks identifying with Barack Obama. Given that this is what drove the nearly unanimous support of voting blacks in the past election, we will soon see the fruition of ignoring Obama’s hard radical Left agenda and simply seeing his skin color. But if the character behind the person is right, identification can be wonderful for the segment in particular who needs to see someone who looks like them in high office.[6]

For the sake of a little boy born with dark skin who wants to read of an Iron Man who looks like him, there is “War Machine”. But if you’re going to bring War Machine to life, do it right, please. It took me 24 hours to scroll through my mind and come up with an actor more fit for the role than Don Cheadle: Cuba Gooding, Jr.

Trust me. You’ll think about it for a little while and eventually go, “Yeahhh…”

___________________________________

So, ambush, then flashback to award ceremony where Tony is gambling instead of accepting his award, then to a fun scene where he grants an interview with a wonderfully obnoxious, airhead-looking and sounding female from “Vanity Fair magazine”. Perfect.

The banter that ensues from Downey/Stark is the best of it’s kind. The reporter-ette is “holier-than-thou” and he attacks first her biased education (right?!) and then her biased reporting. Wow. They let a conservative sneak in the back door for an hour or two to write those lines. Hell, to set the scene up at all! I only wish that his critique, rather than being for her skipping the Stark altruistic ventures, would’ve been a little more Machiavellian in the realities of protecting America from people that wanted to cut her head off or blow her up (or worse).

But, hey, I’m surprised they got it that right.

Every once in a while, relying on a Leftist to entertain you can actually be a little fun! Was director Jon Favreau (who plays Stark’s driver “Hogan” in that very scene) responsible? A little trivia; I knew I saw Favreau before and, while researching my article, found that he has had a lot of bit parts including Kevin James’ King of Queens childhood nemesis “Sean McGee” (who mortified “Doug” by spreading the “roomer” that he had licked a trashcan). Also of special interest is the very character of “Harold (a.k.a. Harry, a.k.a. Happy) Hogan” is also an original character from Iron Man mythos.

Of course, Stark beds the reporter-ette down and, although it didn’t add anything to the movie, the interplay between the slut and Stark’s secretary, Pepper Potts (Gwyneth Paltrow), was also fun. Unfortunately, the annoying slut and her indignation were brought back for several scenes which upon the 3^rd or 4^th viewing I found more and more obnoxious.

I’m definitely not a big glamour-queen pop-tart groupie. In fact, the casting of Paltrow caught me by surprise. I wasn’t tracking it until some time into the movie when I asked myself, “Is that her? Nah. Couldn’t be.”

I didn’t think it was Paltrow because she didn’t exude the glamour-queen aura, which I actually was very pleased with. I guess the fact that her looks and reputation were what annoyed me the most about her rather than anything I’ve watched that she was in, also helped keep me from having preconceptions about pretending she is someone else (or the fact that she popped out a kid out of wedlock—not that anyone in Hollyweird would’ve called her on it!!). She definitely does not deserve her reputation, though. There were a couple of scenes that I really felt were under-done and a couple of others betrayed the giddiness that I detect when shallow people act. She was adequate.

Next we are entertained to a Stark weapons demonstration that is probably 98% pure Hollywood but still fun to watch. Even the wife knew that you don’t have VIPs in close proximity of either a weapon detonation or even launch (backblast noise, debris, etc.) but it was good movie-making.

The new munition (the “Jericho”) would soon become Stark’s downfall.

The movie lurches us back to the present where the viewer watches Stark either being tortured or operated on from ambush wounds (perhaps a little of both). It turns out that it was more “medicine” than torture but with an extraordinarily odd outcome; a Stark Industries missile was able to penetrate Tony Stark’s body armor with shrapnel and a well-meaning co-prisoner has implanted an electro-magnet powered by an external car battery into Stark’s chest in order to keep the embedded shrapnel from migrating to his heart and killing him.

For you uninitiated it comes across as pretty gross but it is a foundational part of who the historical Iron Man is. Soon Tony and fellow captive “Dr. Yinsen” (Shaun Toub) begin building a miniature “arc reactor”, a smaller version of a power source previously invented by Tony’s father, Howard Stark that powers “the shop back home”, and they replace the car battery with it. But it’s tremendous over-kill. What could we do with all that extra power?

I wonder.

Tony is introduced to his captors and given the proposition of making them a “Jericho” to free himself. He kindly declines and is then treated to some “persuasion”.

The similarity to “waterboarding” is a bit obnoxious and I can’t help but think there may have been an agenda there but, whereas “Tony Stark” was not being permitted to breath in his “torture”, actual “waterboarding” subjects only have a sense of drowning.

Stark finally figures out, “This isn’t working,” and agrees to build the missile for his captors. But the “missile” ends up looking a lot like a full suit of armor, powered by Stark’s new mini-reactor and complete with arm-mounted flame throwers. Pretty cool.

“Dr. Yinsen” ends up sacrificing himself to give Stark the extra time he needs to complete his build-up and this is consistent with the original comic story. Before perishing, Yinsen adjures Stark to not waste his life nor his regained freedom. Stark emerges from his underground prison where a semi-circle of terrorists shoot at him for several seconds and stop in disbelief at the lack of effect. Then, from behind his armor, Stark says, “My turn,” and roasts them all.

Pretty cool.

In fact, the few times we hear Stark’s voice through the armor are very cool. I don’t even think it’s Downey but it perfectly fits what I think Iron Man’s voice should sound like.

He then gets overwhelmed with weapons fire and has to use the suit’s doomsday weapon: some kind of rocket-fired detonation which hurls him up and away from the camp where he lands in a sand dune and recovers enough to say, “Not bad.” Well written and fun.

Stark is then rescued by Rhodey, again, true to an original comic story—although, in the original, Rhodey is a Marine Corps helicopter pilot, not Air Force (and this was one changed I wasn’t thrilled about).

He is reunited with his inner circle (including director/driver Favreau/Hogan) and demands from Ms. Potts “an American cheeseburger” and “a press conference”. Again, nice patriotic touch even if it was exploited to give Burger King a plug.

Before the conference begins, Ms. Potts is asked to intervene for an interview with Stark by “Agent Phil Coulson of the Strategic Homeland Intervention Enforcement and Logistics Division,” to which Ms. Potts retorts, “That’s quite a mouthful.” Agent Coulson informs us that they’re “working on it”. If the minds at Marvel have their way, it will be the incarnation of “S.H.I.E.L.D.” —an “espionage/law enforcement” agency (sort of a black-ops combination of the FBI and the CIA) that is well known in Marvel comicdom. Many Marvel superheroes and superhero groups have worked for and against “S.H.I.E.L.D.” at one point or another, including Tony Stark/Iron Man.

The acronym originally stood for Supreme Headquarters, International Espionage, Law-Enforcement Division. It was changed in 1991 to Strategic Hazard Intervention, Espionage Logistics Directorate. In the 2008 Marvel Studios films Iron Man and The Incredible Hulk, the acronym stood for Strategic Homeland Intervention, Enforcement, and Logistics Division.[7]

This is also an idea that had its genesis in the mid 60’s (1965) when “spies” like James Bond and “The Man from U.N.C.L.E.” were the rage. Creator Stan Lee borrowed “Nick Fury” from a WWII comic, gave him some grey and an eyepatch and made him the face of “S.H.I.E.L.D.”

In recent Marvel lore, Fury is bumped from heading S.H.I.E.L.D. and is replaced by, you guessed it, Tony Stark. Again, 40+ years gives you a lot of story variety. There is this alternate universe Marvel created in order to just radically alter some characters without the fuss and muss known as “creative writing”. Through one such alteration, Nick Fury was altered from the flat-top, cigar-smoking white WWII veteran with an eyepatch to a bald black guy with an eyepatch. Unfortunately for me, the older Nick Fury is the one I will always remember as “Nick Fury”. But the “new” one seems to have been desired by Marvel movie-makers.

More later…

The “news conference” does get “touchy-feely” because Stark has had his “eyes opened” about the lack of accountability his company has after seeing American soldiers killed by the weapons he built to defend them. In the real world, no one company monopolizes the Defense industry and “accountability” is there. Is it enough? That is a subject for a different debate.

But as for our story, “Obie” Stane quickly jumps in to mollify the sensationalism of the moment. Can anyone who isn’t a dunce not know that Stane is the one who is double-dealing Stark armaments? Sorry if I ruined it for you.

I might as well take a moment and discuss the whole “weapons, armies, war” thing. The Left has traditionally used “peace” as a reason to protest the U.S. military and arms industry. What they never bring up is the reason for those weapons and soldiers: bad people who don’t like us and want very much to do us harm. It’s as old as human nature, itself. In fact, it’s a direct result of human nature. That’s why “gun control” will never work nor will “nuclear disarmament”. As long as human beings remain inherently selfish and predatory, there will be a need for guns, police, tanks and soldiers. Did you ever wonder why “Code Pink” never goes to Tehran to protest? It’s so much easier to lay down in the doorway of a San Francisco Marine Corps recruiting office.

In Tehran, “alternative lifestyle protestors” like Code Pink do their “protesting” in a jail cell…or at the end of a rope.

In a gross moment, Stark “upgrades” his mini-reactor after enlisting the help of his assistant. It’s both funny and nasty but a little touching when Stark has to admit that Ms. Potts is all he has.

But Tony is still going through his “transformation”—finding his sensitive side. He shows up at a fighter pilot briefing being given by his friend “Rhodey” and, a shock about as big as the one I got from the male-dominated military in Transformers hits when you realize, there are no women being represented as fighter pilots! Again, I’m not writing a referendum on women who serve (G-d bless them), just the ludicrous policy.

Stark tries to share with “Rhodey” his new project but, when Rhodey finds out that it isn’t for the military he tells Stark to “get his mind right.”

Honestly, that’s pretty cool. A very superficial reading of this would be, “This Rhodey guy is just a war-monger.” But a deeper reading would be, “Without Stark’s weapons, a lot of vital military missions are going to collapse around the world and he’s not interested in anything but accomplishing those missions.” In the sense that Rhodey could’ve been telling Stark in the midst of his “growing up”, “grow up again, back into a better version of what you were, but still being you,” would’ve been a great plot twist and a great segway into Rhodey using Stark/Iron Man technology on behalf of the military to bring in his “War Machine” alter ego. But it wasn’t picked up on.

Now Stark gets to work upgrading his break-out armor to the “Mark II” version…but his desert enemies have found the remains of “Mark I”.

There are some humorous moments as Iron Man takes form. The holographic tech is fun to watch and Stane develops as the focal point of Tony getting forced out of heading up “Stark Industries”.

The final “Mark II” product is pretty darn cool.

The initial test flight sets you up for something big during the movie climax.

Now the notes are in for an upgrade to the “Mark III” and this one will finally bring the world-famous red and gold look. There was a little techno-jargon regarding the use of a “gold/titanium alloy” to control weight which was OK, but there is another reason for a gold alloy. A factoid that rolls around in my head (amongst many hundreds of other useless factoids) is the employment of gold in the canopies of Navy electronic warfare aircraft (such as the EA-6B “Prowler” shown below) to protect the crew from jamming radio emissions

Tony then crashes his own benefit where Stane is obviously annoyed to see him and the godfather (Stan Lee) gets his cameo impersonating one of my all-time favorite people, Hugh Hefner (now there’s someone who’ll have a lot to explain when he stands before the Judgment Seat).

I don’t know if Stark was ever involved with “Pepper Potts” but this was built some during the “benefit” but not before another run-in with “Agent Coulson from the Strategic Homeland Intervention, Enforcement, and Logistics Division.”

I guess to increase romance the producers felt the need to put Paltrow’s skinny body in a ton of make-up and wisp of a dress. A little obnoxious for an old prude like myself but certainly not a shock coming from Hollyweird.

The slut from “Vanity Fair” returns with more righteous indignation to point out an Afghan-looking town that was wiped out by, you guessed it, Stark weaponry. Very annoying,[8] but it gives Stark a mission for his new armor—blow up misused stockpiles of his weapons. And the people misusing them.

Before he leaves, he confronts Stane and the truth is out—Stane has taken the company from him and is double-dealing weapons to the U.S. and her enemies.

A quick perfection of Iron Man’s signature weapons: “repulsors” from the palms of his gloves and it’s time to suit up.

It is a sequence that is really well done.

Our hero arrives just as the village is being sacked and he quickly repulses 3 badguys until 5 more all take hostages. We see his “head’s up display” target all 5 and munitions from his suit pop up and simultaneously take them all out. Very cool. He finds henchman #1, yanks him through a wall and turns him over to the villagers with, “He’s all yours,” and flies away.

Again, the voice that comes from the Iron Man suit is just perfect. Maybe I heard it before in a cartoon and liked it, I don’t know but it is a “10”.

Iron Man then goes to target the remaining stockpiles of “Jericho” missiles but, before he can destroy them, he gets knocked out of the sky…by a shot from a tank’s main gun.

It is the most ridiculous scene in the movie but it still has entertainment value. The tank is entirely fictitious. I don’t know, maybe we’re supposed to believe it’s a really advanced Stark tank that can shoot a man-sized target, moving fast, right out of the air with it’s main gun. Sure. Willing suspense of disbelief (only I’m not so willing when it’s this outrageous a stretch).

He recovers and dispatches the tank in great Hollywood fashion after side-stepping another main gun round. Again, fun and entertaining and absolutely ludicrous. The most devastating tank ammunition in modern arsenals is a depleted uranium dart (“kinetic penetrator”) that travels, on average, almost 6,000 feet per second.

Iron Man finishes off the remaining missiles and is headed back home but he is intercepted by a pair of F-22 Raptors. This scene is also great entertainment.

But now Stane is onto him and he immediately meets up with his customers in the desert where he “appropriates” Stark’s Mark I and quickly begins to backwards engineer his own version in best Soviet fashion. Only one catch; he needs power and Stark has kept his mini-reactor a secret.

So he sneaks up on Stark and incapacitates him, stealing his chest reactor and leaving him for dead. But sweet Pepper Potts has preserved his obsolete reactor even though he told her to scrap it. He manages to rescue himself and suit up for the final climactic battle.

Who wins? You’ll have to watch and find out.

But watch until the very last credit has rolled.

Hell, like I haven’t told you every nuance of this movie already. Samuel L. Jackson makes a guest appearance as the alternate Nick Fury, speaking to Stark about an initiative he has going. I really do hope Marvel can pull of their ambitious scheme of doing a Thor movie, a Captain America movie and then putting those 2 heroes with Iron Man and the Hulk for a crowing glory—the Avengers.

Apparently, Downey is given a guest appearance in the latest incarnation of The Hulk (which I have not yet seen). But I am deeply concerned with what the Marvel/Hollyweird Left will do with my beloved Captain America.

ENDNOTES

[1] Gender Norming Update, Walter Williams, Capitalism Magazine, 04 April, 1997.

[2] As I noted in my review of FF:ROTSS, to this day I don’t understand the fixation of hatred the Left has for a missile defense shield given the alternative of someone who hates us annihilating one or more cities in a mushroom cloud. But, then again, I often think that’s exactly what so many Leftists really want anyway.

[3] Iron Man, Wikipedia

[4] Ibid.

[5] “Iron Man 2”: Terrence Howard’s Out, Don Cheadle’s In, Gary Susman, EW.com, 14 October, 2008

[6] For more, read my column on Sarah Palin here.

[7] S.H.I.E.L.D., Wikipedia

[8] I am greatly annoyed that, after showing her to be an empty slut, she gets to come back with more indignation. This is the Left (and especially Hollywood) in a nutshell: empty lives filled with opulence and luxury with false justification for your existence found in taking issues you really have no vested interest in and making them seem outrageously more important to you than you really are.