Spiderhead

The pursuit of manufactured obedience follows the pharmaceutical path, as Spiderhead's solo unattached dismal warden despotically pursues reckless inactivity. 

Unsupervised with serious responsibility he develops several potential new drugs, and tests them on his prison's inmates every decision he makes of his own free will.

Fret not concerned enthused viewer, he wants to keep things friendly and fun, and even strikes up acquaintances with his test subjects while becoming addicted to the drugs himself.

They're far off so far away inimically isolated from spirited criticism, idyllic mad spontaneous digressions only provocatively questioned by one rogue assistant. 

Seeking to make billions on joy and happiness not to mention free form conversation, he still can't dishonour discreet somnambulism with soporific sequestered sedulity. 

Problem: to make sure the obedience drug works he needs to challenge ethical parameters, and see if people will do horrifying things simply because they've been recommended.

Thus, he convinces a test subject to administer his "paranoia" drug to another, but "paranoia" isn't really the right word, it rather encourages excessive terror. 

The subject's driven to suicide after the dose is accidentally augmented. 

But genuine guilt indeed manifests.

With the mass megalomania in jeopardy. 

Here we go again with the pursuit of hegemony unilaterally applied, attempting to accomplish sadistic ends to alarmingly overwhelm free choice and expression.

Odd how so many people spend so much time consuming arts and entertainment, while also cutting down creative synergies, the 1970s and David Bowie were miracles.

The irony let loose in Spiderhead is that independence itself seeks mindless automatons, who'll listen and follow the guidance of whomever no matter what the proactive cost.

Like the dreamy demagogue preaching equality who locks everything down after the revolution, Abnesti proceeds to definitively ensure no one else like him will ever co-exist. 

As others have likely suggested, is it not better to mal/adroitly attune, independent instincts to constructive endeavours to promote diversity and innovation?

Without such inherent expression does decay not metastasize with fetid impersonality, and prevent the development of sundry alternatives from multivariably delineating enchanted metamorphosis? 

Never stop writing poems just because you're convinced someone else is better. 

Keep writing absurdity ad infinitum. 

Who cares if no one else is interested?

Fire in the Blood

It's hard to believe that medicine is available to alleviate the suffering of millions of impoverished global citizens, and, that due to associated prohibitive costs, they're left to die because they can't afford treatment.

According to Dylan Mohan Gray's Fire in the Blood, pharmaceutical companies are the most profitable in the world, but their obsession with increasing their profits primarily and treating the sick as an afterthought is disturbing; always thought curing illness was the primary function of discovering cures for illness, mistaken was I, holding on to a drug's patent so that you can monopolize its sale to people who have no alternative and then jack-up the price is the primary function, recently formalized by the WTO's adoption of TRIPS.

It's revolting.

The film is about the struggle of many African countries to receive access to antivirals which combat but don't cure AIDS, allowing people who contracted it to live a relatively normal life.

A brilliant doctor from India,Yusuf Hamied, created a generic alternative, produced and sold it for a fraction of his American competitor's price, but the sale of his drug was initially not permitted in many countries due to their governments acquiescence to the demands of patent holding pharmaceutical giants, whose stranglehold on the free market was more voraciously tightened by TRIPS.

Apparently these companies don't even spend much on research and development, the majority of R & D for new drugs being funded by the public sector. Why governments don't patent the drugs discovered through such research and then sell them at affordable prices is bizarre, such sales prolonging the lives of their tax payers, thereby increasing tax revenues.

In my opinion, religious organizations should be passionately defending the rights of poor people to have access to affordable medicine.

Isn't this issue profoundly more important than whether or not gay people can get married?

They're gay. They love each other. They want to get married. Who cares? Love doesn't know the difference.

Fire in the Blood mentions how the costs of potentially life saving drugs are becoming prohibitive for many Americans as well.

Prices keep going up, wages keep staying the same.

Another serious problem.

The East

Professional integrity lands itself a high-level covert assignment, full of danger and risk, wherein it must clandestinely adjudicate its broad range of astute sociological reflexes to infiltrate a stealth pack of humanistic hyperreactivists and expose their audacious whereabouts.

She finds them far too easily, but after coyly yet adhesively nestling, finds herself inductively considering their proactive cause, which seeks stricter much more effective regulations regarding the ways in which big business generates profit.

She works for a rather big business herself and must come to terms with its motives as she becomes increasingly integrated in both domains.

Her partner is frustrated.

Her conscience is bifurcated.

Friendships coalesce.

She is neither arrogant nor weak.

The East melodramatically yet crucially materializes the dissonant underground social dynamics of altruistically pursuing game changing objectives (the comments made by the underground collective occasionally seem at odds with their ethical ideals), bringing some of Terry Eagleton's arguments to life, without shying away from juxtaposing economic with ethical impoverishment.

The scene where Izzy's (Ellen Page) estranged parent jumps in the toxic sludge works well.

Laws can be made to correspond to the goals fought for in this film.

Made and enforced.

Check out Vincent Lam's Tommy Douglas, part of Penguin's Extraordinary Canadians series, and find out what the CCF party did for ordinary hard working citizens of Saskatchewan in a relatively short period of time, when a lot of people thought nothing could be done.

They enacted social democratic change while balancing the budget.

They proceeded cautiously and soundly to legitimize their movement's thrust.

Not that easy to do of course, but there are people all over the world who become rather upset when their water supply turns carcinogenic.

It's just common sense.