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Despicable Me.doc Size : 5594.5 Kb Type : doc |
Russell Brand, Kristen Wiig, Miranda Cosgrove and Steve Carell’s
‘Despicable Me’: Continuing the Malfeasant Labelling Process
© 2011 Brad Kempo B.A. LL.B.
Barrister & Solicitor
Film after film after film after film after film has been turned into not just a geo-stage but also a historical record that will be around as long as civilization exists. And what are people going to see decades and centuries from now – the world’s richest, most powerful and high profile during the early part of the 21st century describing a group of psycho-pubescent perverts as, among other things, “despicable”.
It was an instant and proved-to-be accurate intuition that the movie was to continue the Chinada High Command labelling process. Its leadership and the millions who subscribe to its Satanic fiefdom-totalitarian commu-nazi genocidal racism belief and value system have devolved to become a sub-human spectacle. That they want to spread their nefarious ways throughout the modern world made it mandatory they be taken out and kept out of mainstream society. It’s unfortunate that even in that knowledge some factions of the coalition leadership acted like they were on board when in fact they weren’t and preferred to pursue an unlawful agenda of piggybacking on the MK-Ultra R&D program.
The motivation for this film production involves the process of ‘labelling’ or ‘classification’ – using language’s descriptive dimension to articulate what the malfeasant are when compared to those who are law and morality abiding; being the difference between who feel shame and remorse and who alter behavior when it’s not aligned with conventional rules and ethics and those who don’t. What producers did was give practical meaning to the primary works of political philosopher Michel Foucault. They contributed to an existing coalition “discourse” on how to understand with comprehensive accuracy who and what the Chinada malfeasant are.
Discourse is important to Foucault because to him language and knowledge are closely linked to power. Speech and writing are not simply the communication of facts that occurs in a vacuum. As important as what is said is who decides what is said. Foucault develops a complex body of thought out of the old saying that "knowledge is power." Whoever determines what can be talked about also determines what can be known. Whoever determines what can be known effectively determines how we think and who we are. According to Foucault, then, language and knowledge always have a political edge.
Source: http://www.sparknotes.com/philosophy/histofsex/section1.html
Foucault’s “archaeology of knowledge” theories is where the lexicon tutorial #1 conclusion finds its source:
On the battlefield, superiority and victory based on it is defined in several ways, like having command of the air, overwhelming troop force and more advanced strategies and technologies. In the first clash of civilizations of the 21st century the ground on which the war is prosecuted and defended is different, but the traditional concept of superiority remains the same. The new methodology of imperialistic warfare involves the mobilization of vast wealth and exploiting inherent weaknesses and vulnerabilities in democracy and capitalism. And how the two sides interact with each other has also completely changed. Where, for example, air superiority usually determined who would triumph in the 20th century, these days the confrontation will be in part determined by who formulates and rules the discourse. Thus the lexicon is one aspect of the coalition’s arsenal and puts the partnership on strategically advantageous higher ground.
At its core the Foucaultian analysis revolves around ‘classification’ as a way to exercise power; for descriptions or ‘categories of personhood’ are employed – criminal, deviant, pervert etc. – allow the institutions of the state to mobilize in a way that deals with them to advance societal interests and objectives.
We see this process throughout the diplomacy archive. Archetypal labels include being vermin:
There are historical labels:
There is the infantile or pubescent label:
President Obama: Stressing the ‘Pubescent’ Dimension of the Chinada High Command
There’s the label that draws an analogy with pandemics: President Obama: Agrees With the Fiefdom Treatise Argument Chinada is a Pandemic Ideological Virus. And the Satanic cult label in 2010 and 2011: I, II, III, IV, V, VI, VII, VIII, IX, X, XI, XII, XIII, XIV, XV, XVI, XVII, XVIII, XIX, XX, XXI, XXII, , XXIII, XXIV, XXV, XXVI.
Gru (Steve Carell) is a super-villain, operating out of his suburban home that serves as a front for a underground lair where he, his assistant Dr. Nefario (Russell Brand), and thousands of short yellow minions plan their nefarious deeds. When Gru learns that another super-villain has stolen the Great Pyramid of Giza, his pride is injured, and he plans an even greater heist, stealing the Earth's moon.
Source: Wikipedia.com
As with most coalition productions of the film and television kind, the very first scene contains the lexicon. In this instance the movie begins in the Egyptian desert; with a Bedouin whose attending his herd of goats. First there is him and seven animals, which totals a China identifying eight. Moments later the audience sees a coalition identifying three pyramids and his outfit’s been rendered with the pattern of Chinada prison certainty – yellow striped ‘dress’, red vest and white scarf.
A bus almost drives over him – filled with tourists going to see the pyramids. In the first group that emerge there are five foreigners – a compensation ratifier, Custodian identifier. The sixth who gets off the vehicle is followed by his boy and wife. As he’s asking her to take a photograph of him in front of the ancient monument and posing three different ways the kid escapes from the harness and runs towards the attraction. When discovering this his mother yells after him “Justin you get back here right now”. He’s attired in a shirt with the skull and crossbones on his chest. The name 'Justin' is chosen because that's the first name of the son of Canada's Prime Minister who procured Chinese joint governance. Several times this way of identifying the closet-authoritarian who befriended Castro to antagonize U.S. leaders and secretly allied with Chairman Mao is used. For example, the May 8, 2007 episode of 'Law & Order' scripted this reference; and a Verizon TV ad did the same in February 2008.
The boy runs up a ramp followed by two guards who coax him back from the edge; but he falls backwards towards what would be certain death but for the fact the pyramid isn’t made of quarried stone; rather it’s a blow-up much to the amazement of everyone present.
When like a trampoline he’s hurled into the air and falls into his father the monument deflates. As it does so the audience observes five tourists taking the brunt of the escaping wind – symbolic of how through the Custodian’s efforts the empire and ego that sustains Canada’s non-transparent paradigm of governance is exposed for what it is. A barrier tape with stripes is added to articulate what’s in store for those who thought they were invincible, insulated and immune in perpetuity.
Producers switch to a news broadcast format; the anchor beginning with “Outrage … tonight” while sitting in front of a screen filled from top to bottom with the pattern of prison certainty.
The news segment includes the bi-line that authorities around the world have instigated protective measures to ensure their valued landmarks aren’t stolen. A prison certainty attired mime is added to an assemblage of four guards in front of the Eiffel Tower. The regularly employed juxtaposition of the Custodian’s quantum (five characters) and prison for his enslavers, experimenters, torturers and deprivers is inserted.
The second example of tanks guarding the Great Wall of China is timed to “there is panic throughout the globe as countries and citizens try to protect their beloved landmarks”. A duck flies through the screen and at “beloved landmarks” the tanks fire artillery at the bird to kill it. This is the first instance of coercive diplomacy in the script.
The third example is of a redneck standing guard with shotgun in hand to protect the town’s giant beer can. On the label it says that the can holds 16,000 ounces – another compensation ratifier.
The anchor is then observed executing a Blair M. timed to “law enforcement still has no leads, leaving everyone to wonder which of the world’s villains is responsible for this heinous crime - and where will he strike next”. The geo-fact is the coalition has been collecting 'leads' aka evidence of who's behind the Article 7 violation and all the criminality that supports it so they can be prosecuted, removed from mainstream society and thus prevent anyone else from being a victim of stealth cognition technologies.
The main character of the film, Gru (a coalition identifying three letters in his name), is then introduced – a close-up of him and wearing what would become his standard wardrobe: a huge scarf with the prison certainty pattern to impress up the “despicable” ones what their unavoidable fate is when the coalition moves to the next stage of reform and accountability.
He’s scripted to be walking through the city park and comes across a boy whose ice cream cone is missing the primary ingredient. The child is attired in quantum and on the front of his shirt is a bulls-eye pattern (color Chinada) which together is producers articulating the child protection theme and drawing attention to how stealth cognition technologies are being used on Canadian kids to make them the perfect street soldier. To humor the distraught boy Gru pulls out a balloon that he fashions into a dog – Dogville punishment theme; and then to show how despicable he really is pulls out a pin and pops it as he walks away – which in geo- terms is another way to describe what’s going to happen to those who behaved as if there was no accountability.
Introduced are three little orphan girls who sell cookies to raise money for operating costs. Throughout the entire film one of them is attired in a pink tooke with three stripes – to saturate the production with condemnation, prison certainty and the child protection themes. Here the entire top half of her body is rendered in that color and pattern.
Gru’s colleague, Dr. Nefario, is introduced executing a Blair M., timed to “I know how you must be feeling – I too have encountered great disappointment; in my eyes you’ll always be one of the greats”.
Angry that every dastardly deed has now been surpassed by the theft of the Great Pyramid he rushes to his underground lair and assembles his minions to announce he’s got a plan to top this historic theft. As he’s describing it an ‘S’ is designed to look like the number five to red flag this scripted line “I have been working on something very big! Something that’ll blow this pyramid thing out of the water”.
Back at the orphanage the proprietor quizzes the girls on their cookie selling success. Employing a Blair M. to “did you meet our quotas”, one of them responds with a Colbert M. “we sold 43 mini-mints, 30 tapo swirlies and 18 coconutties”. The digits add up to 19 – a China identifier.
Just how much the lexicon is embraced and employed is further observed in the design of characters. Gru's mother wears glasses that scream coalition identifier. She’s introduced while at a kung fu studio to insert another China reference. Prison certainty saturates the background. He calls her on the way to a bank and impresses upon her that he’s come up with a scheme that will make her very proud of him.
The bank isn’t any ordinary financial institution, because it caters to the underground world of diabolical criminals. Gru enters a community bank and walks into its bathroom where there are three latrines on a quantum colored background.
After an retina scanner confirms his identity the wall opens up and he access a secret passage way that leads him into a gargantuan chamber – rendered in the colors of China; as is the sign “Bank of Evil”.
He walks the lengthy of a long hallway where in the background is the president’s office. Character design and geo-politics converge to create a head executive with Satanic horns. The inner sanctum rendered in the color of quantum which is producers’ way of articulating that in due course Canada’s banks of evil will be seized and interim managed by the Custodian and the coalition as part of the reform process.
The scheme to trump the pyramid theft is to steal the moon. To accomplish this celestial feat Gru needs a device that will shrink it to the size of grapefruit, which is in the possession of Chinese scientists. As he's about to misappropriate the machine an elephant is shrunk to the size of a mouse by technicians in front of a control panel illuminated with China colored bulbs. The size-reduced animal is then scripted to run around a plate of bananas, inserting the lab monkey theme, for the purpose of comparing and contrasting his and the coalition’s size in terms of resources and capability with that of their nemeses which are puny by all measure except ego and arrogance.
When Gru successfully steals the contraption from the scientists it’s stolen from him by who the audience would later discover is the son of the evil banker. Without the device the caper can’t be pulled off.
When conducting surveillance on the banker son's impenetrable lair he sees the orphans gain entry for the purpose of selling cookies; so he hatches a plan to adopt them and employ their lair-accessing capability so he can regain possession of the shrink ray gun. When being interviewed by the orphanage proprietor she reads off a short list of items on his submitted résumé.
The two items on his list of credentials include the “Medal of Honor” and a “Knighthood” – producers way of recalling two of the many awards, honors and accolades bestowed upon the Custodian – bona fide or not – by the coalition for what he risked, sacrificed and achieved. The audience is clued in on how these honors are appearing on her screen - a minion back at headquarters typing in real time the list she sees, which leads to the inclusion of the colors of China:
Upon a successful application Gru takes the girls home and when given instructions on how to behave he includes the prohibition on sneezing, to which he effects an O-S M. to draw attention to one of the ways stealth cognition technologies in the hands of pubescent Svengalis is employed.
Three, you will not cry, or laugh, or giggle, or [O-S. M] sneeze…
The fourth, to which a Bl.M. is employed...
... is “no annoying sounds” – a reference to the noise disruptions of various kinds used by the Chinada High Command to make victims feel stalked, swarmed and surrounded in their home, to disrupt privacy in all its forms and to effect the “climate of fear” by generating death threats when timed to coincide with content on TV or the Internet that references murder and grievous bodily harm.
When he concludes his diatribe he walks away stating “I will see you in six hours”. This becomes another entry in the Satanic condemnation category of diplomacy when producers insert the colors of Canada punishment certainty and a triple Dogville punishment reference.
Family conflict emerges when one of the girls wants a toy; so he summons his minions to arrange it. As he’s instructing them he’s choreographed to effect a dbl-handed Powell-Richie-Santelli M. timed to “this is very important” to articulate how it's critical for the coalition leadership to follow-through on what coercive diplomacy threatens to ensure the peace, security and prosperity of the 21st century. Otherwise this era will be dominated by the global expansion of totalitarian political and corporate cultures as observed in Canada.
Despite his evil personality, Gru begins to warm up to being a father; for after he uses them to get the shrink ray gun back he takes them to the county fair where they all have lots of fun together. Face painting was turned into a Clooney M. with a Canada prison certainty pattern and color scheme. The cotton candy added condemnation to the geo-mixture.
Upon his return home Dr. Nefario advises him there’s a time factor he must be aware of, stating “We have 12 days until the moon is in optimum position – we can’t afford any distractions”. With the necessary device to accomplish the diabolical theft in his possession he contacts the evil banker to get the funds to pull it off. Again the East-West audience observes just how much the lexicon informes and influences producers. The television design contains a coalition identifier, this time to highlight how much mass media was used to effect back-channel diplomacy and as a means of communicating with the Custodian.
The banker’s used to critique coalition shortcomings. A Bl.M. is added to “Let’s face reality Gru; you’ve been at this for far too long with too little success”.
The kids offer their savings and his minions all chip in and they make up for the banker’s refusal to provide investment capital. A coalition identifier is added to the piggy bank.
With the project now a ‘go’ the calendar countdown is on. It’s scheduled for the 26th. And right above it is the 19th another China identifier.
When he turns around from examining the calendar he sees the kids have colored his Dogville punishment representing dog. The choice of lexiconic constituents – condemnation.
After refusing to read them a bedtime story several times Gru finally capitulates. Producers craft a book that contains a reference to the ‘puppet’ dimension of the Custodian’s lab monkey puppet status. Colors chosen are quantum and condemnation and a coalition identifying prison certainty.
He becomes so attached to the kids Dr. Nefario convinces him they’re serious distractions and could jeopardize the plan, compelling him to return them to the orphanage. The proprietor orders them to take responsibility for ‘their’ failure and producers script them to sit in the “Box of Shame”. That there are three of them is a way to heap more of what has been to date inefficacious condemnation on those who think this labeling is of no consequence.
Feeling remorseful for what he had to do to further the theft he can’t sleep. As he lies in bed contemplating the loss of his family producers replicate a famous scene from ‘The Godfather’ to insert the label of gangster government the coalition used to describe Canada’s non-transparent paradigm of governance (1, 2, 3).
Gru’s lack of having a family in the past led him to make a typical bachelor error: mix the wrong kinds of clothes in the washing machine. He accidentally laundered the girl’s pink outfit with his space suit, turning it that color, which was producers' way to add condemnation to the theft of the moon, in a geo-political context on the macro level several trillion dollars (the RCC prosperity theft analysis) and on the micro level the Custodian's entire life - profession, business ventures, relationships, family of his own, wealth generation ... everything. To him this is a crime of the highest magnitude. And the coalition agreed, which is why they agreed to the size of and ratified his quantum so many times.
With the moon is shrunk and in his possession he’s reminded of what he’s missing – the girls' dance recital they begged him to attend. The ticket stub floats by with the China identifier on it. Condemnation floods the screen. The geo-parallel is in articulating where the Chinada High Command's priorities are - committing diabolical crimes like Article 7 R&D and multi-trillion dollar prosperity theft than on what is ultimately most important --> family.
He hurries back to Earth but gets there too late. He learns that somebody else picked them up from the auditorium – his nemesis, who’s kidnapped them and his holding them for ransom – the moon, which Gru reluctantly gives up.
However, the banker's son refuses to hand them over and a chase begins. It comes to Gru's attention that the shrinking of objects has a shelf life - that they return to their natural size. So once he gets the kids back he leaves the moon in his nemesis' possession. When it returns to its natural size he's trapped on it with no way to return to Earth.
The news anchor cuts in effecting a Clooney M. timed to “This time good triumphs…”.
The film ends with Gru enthusiastically reading the kids a bed time story. “Oh look it’s a puppet book”; but this time there aren’t three there’s only one – the hole in the book is where he sticks his nose – a very clever way to generate a Clooney M.. The book’s cover contains a unicorn attired in prison certainty and the color combination is Chinada.
Behind one of the kids is a toy – a bunny rabbit to remind everyone of the early 2006 coercive diplomacy directed at Canada’s political leader, threatening to kick his teeth out for refusing to capitulate to coalition demands when taking office. The transcript of the initiative is the January 20, 2007 episode of SNL.
Gru's rhyming story begins with a historical reference about the Custodian in the late 1980s when he predicted his life was going to be successful and satisfying; which is folowed by drawing attention to what the coalition is going to do to the Chinada High Command for what they did to him:
One big unicorn strong and free; thought he was happy as could be.
Then three little kittens came around and turned his whole life upside down.
The rabbit is inserted again to recall one more time who in recent times could have mitigated his pain, suffering and loss but didn't and therefore is fully culpable.
Because Gru missed the dance recital due to his evil and greed he schedules another one with all minions and his mom in attendance. A minion beside them is choreographed to execute a Z-J M. timed to “you turned out to be a great parent; maybe even better” which ended the production with a prediction that when the Custodian has a family of his own he'll be an extraordinary father.
