Review: The Liberator on Netflix

By John Ruberry

By John Ruberry

Lost among the fallout after the presidential election was the debut of a compelling four-episode on Netflix, The Liberator. It tells of exploits of the leadership of Felix Sparks (Bradley James), who eventually reached the rank of lieutenant colonel, of the 3rd Battalion of the 157th Infantry Regiment in the European theater of World War II. Yes, for the most part, this is a true story.

The series which began streaming on Veterans Day, is animated and it uses the new technique of Trioscope, which combines live action and computer and manually created images. The series is based on Alex Kershaw’s book The Liberator: One World War II Soldier’s 500-Day Odyssey from the Beaches of Sicily to the Gates of Dachau. It’s a huge improvement over rotoscoping, most famously, or notoriously used in the first feature film version of J.R.R. Tolkien’s The Lord Of The Rings, which was directed by Ralph Bakshi. The animation is grainy with a touch of sepia, the latter hue of course is common in films set in first half of the 20th century.

For the most part, The Liberator avoids hackneyed plotlines and characters of many World War II projects, other then sepia. There is no “Guy From Brooklyn” in it. But here is a soldier from Chicago, who of course is a Cubs fan. Fact: real and fictional characters from in television and movies are never White Sox fans, unless, as in Field Of Dreams, the South Siders are central to the plot. Oh well, to be fair it was the Cubs, not the White Sox, who played in the World Series in 1945.

When Lieutenant Sparks arrives at Fort Sill in Oklahoma shortly before America’s entry into World War II, he’s given command of “Company J,” which consists of soldiers locked up in the stockade. These ragtag men are a mix of Mexican Americans, Native Americans, and cowboys. 

It’s a tough command, “The Indians and the Mexicans don’t like each other very much,” a jail guard tells Sparks. “And they hate us more.”

But Sparks is looking for fighters, not divisiveness. He and molds them–even though the Native Americans and Mexicans can’t enter a bar off base in Oklahoma. In Italy a captured member of the Thunderbirds is confronted with this irony by a German officer. 

During its two years in Europe, in addition to the invasion of Sicily and the liberation of Dachau, but also the invasion of southern France, as well as the Battle of the Vosges near the German border, and finally fighting in Bavaria, the 157th Infantry Regiment encountered over 500 days of combat. Sure there are arguments and spats among the soldiers. People never always get along. But the soldiers form an effective fighting unit. 

The German troops are treated relatively sympathetically in The Liberator, but only up to a point as the Thunderbirds later of course liberate Dachau.

The supporting cast is superb, particulary the performance of Martin Sensmeier as Sergeant Samuel Coldfoot and Jose Miguel Vasquez as Corporal Able Gomez, two composite characters.

Originally The Liberator was intended as a live action miniseries for A&E Studios for the History Channel but filming such a project in so many disparate locales, the plains of Oklahoma, Italy, the Mediterranean coast, the Vosges, and Bavaria, proved financially impossible. Not so much with animation. Which is why The Liberator is probably on the cusp of what we’ll see soon on the big and small screens. And the use of animation in war dramas will spare us motion picture embarrasments such as the desert combat scenes in the 1965 box office flop The Battle Of The Bulge.

The Liberator is currently streaming on Netflix. It is rated TV-MA, although despite depictions of battlefield wounds and the frequent use of profanity–in English and Spanish no less–I’m unsure why. Oh, some people smoke cigarettes in it too. I’m mean c’mon. This is the 1940s!

Tune in and start watching. You’ll be glad for it. 

John Ruberry regularly blogs at Marathon Pundit.

Quick Under the Fedora Thoughts. If Trump is for it I’m agan it Edition…

Judson: I’m agan it!

Mack: Agan What? You didn’t hear what Daniel said?

Judson: If Daniel said it I’m agan it!

Daniel Boone Ken-Tuck-E 1964

The Atlantic magazine has come out against the Nobel Peace Prize itself

If Donald Trump is for the Peace Prize they’re agan it!


Can we now assume that the Nobel Peace prize for Barack Obama was an affirmative action award?


I think it’s been really something to see the left go on a full defense of what objectively is child porn in their defense of Netflix “Cuties”

If I was Donald Trump I’d direct the AG to investigate if the movies violates US child porn laws as written.

The whole: ” If Donald Trump is against Child Porn then I’m for it” reaction from will be something to see, of course in fairness they’re already all defending it. I wonder how fast they would condemn the movie Fatima about the miracles there if Trump came out for it?


Well at least the new peace deal between Barain and Israel is something that Democrats can celebrate. Right?

If Donald Trump is for a peace deal I’m agan it!


There has been another ambush of law enforcement and the Joe Biden Voters are acting like…Joe Biden voters

I’m sure they’re just getting ahead of the President’s condemnation of this act of terror to be agan what he’s for.


Apparently at least one NFL player has figured it out:

After watching Thursday’s game and also watching the Dolphins players’ video, it shows that it is not about who is standing or who is kneeling for the anthem,” Mayfield said. “But instead, coming together and taking action to create real change. Also after reading many letters and messages over the past few weeks, I have been showed (sic) that a gesture such as kneeling will only create more division or discussion about the gesture, rather than be a solution towards our country’s problems at hand. With that being said, I am choosing to stand for both anthems to show respect, love, and unity to everybody involved.”

Trump will obviously be for this so as you might guess the left is agan it but I suspect those who have invested in him as an advertising spokesman are for it. The real question is this: Given that the Ravens are expected to be blitzing a lot will his offensive line be for it or agan it?

Datechguy off DaRadio Livestream 3 PM EST, Goodyear , NetFlix & Bannon oh My!

This week’s DaTechGuy off DaRadio no frills livestream podcast comes via a new laptop (Thanks to all of you) and some new topics:

  1. Goodyear Goodbye & fighting back
  2. Netflix & the Weinstein / Epstein Culture
  3. Bannon and the big lie

We’ll be talking about these and more on DaTechGuy off DaRadio today at 3 PM EST. You can watch the live stream here (the embedded placeholder of last week’s show will be replaced 5 or ten min before we start)

Looking forward to our time together.

FYI remember this podcast exists to do two things.

  • Boost the readership of the blog
  • Bring in an extra $180 or so a month.

If you like what we do here please share the podcast or consider kicking into DaTipJar. Of course there is the problem of us getting big and effective enough for google, youtube and twitter to ban but we’ll cross that bridge when we come to it.

Review of Season 4 of The Last Kingdom

By John Ruberry

Are you stuck at home during the COVID-19 lockdown? Here’s another Netflix binge-watching opportunity for you: The Last Kingdom.

Last Sunday Season 4 began was released by the streaming service.

On the old platform of Da Tech Guy I reviewed the first three seasons. Here’s a brief summary: Uhtred Ragnarsson of Bebbanburg (Alexander Dreymon), the son of a Northumbrian nobleman, is raised by Danish Vikings, along with another Saxon, Brida (Emily Cox), after his father is killed in a battle. Both of them abandon Christianity and convert to the Norse religion. As adults they serve as bridges, Uhtred much more than Brida, between the Danes and the English. Uhtred, also called “Uhtred the Godless” and “the Daneslayer,” sets his goal to reclaim Bebbanburg, his ancestral castle.

In the first season the four Saxon kingdoms, Northumbria, East Anglia, Mercia, and Wessex have been conquered by a Danish force later called the Great Heathen Army. Only Alfred (David Dawson), the king of Wessex, puts up an effective resistance. Uhtred and Alfred form an uneasy alliance to defeat the Danes. Wessex of course is that Last Kingdom. Alfred is one of two English kings to be given the moniker “the Great.” The other was Cnut, an 11th century ruler.

The series is based The Saxon Stories books by Bernard Cornwell.

Minor spoilers in the next paragraph:

In the fourth season Bebbanburg, weakened after a siege by the Scots, finally seems within reach of Uhtred. He’s been united with his children, yet another Uhtred (Finn Elliot), a devout Christian, who was largely raised in a monastery, and his daughter, Stiorra (Ruby Hartley), who like the elder Uhtred is conflicted in her relations with Saxons and Danes. Edward (Timothy Innes), who succeeded his father, is the new king of Wessex and has a strong influence over Mercia, where his sister Aethelflaed (Millie Brady) is queen. 

The Viking era of the British Isles lasted over two-and-a-half centuries, ending in that auspicious year of 1066. The Last Kingdom is set roughly half-way into that conflict. If the Danes were to issue a knock-out punch, it needed to be by the Great Heathen Army over Alfred. That didn’t happen so that sets the table for a long series of alliances and betrayals. There is plenty of both in the show, in this season the prominent one is a scheme from the traitor Eardwulf (Jamie Blackley), a member of a fallen Mercian noble family. Meanwhile Alfred’s widow, Aelswith (Eliza Butterworth) weaves her plan to fight the Danes. 

The middle section of Season 4 is overly burdened with plots and counter-plots, made even more confusing because many of the historical characters in The Last Kingdom have similar names. For instance we have Aethelflaed who is married to Aethelred (Toby Regbo). Such similarities can work in books, but the scriptwriters for the series should have changed one of those names. There is more. Aelfwynn (Annamária Bitó) is their daughter. Her grandmother is the aforementioned Aelswith.  While Edward is in Mercia, Wessex is ruled by an ealdorman, Aethelhelm (Adrian Schiller). His daughter, Aelflaed (Amelia Clarkson) is married to Edward.

But the season is redeemed by the battle scenes which are quite intense. And of course the later episodes are dominated by major one, a siege with Uhtred and Brita on opposite sides of the walls. The Saxons are led by Edward, the Danes by a new Viking leader, Sigtryggr (Eysteinn Sigurðarson).

A fifth season seems likely as The Last Kingdom has enjoyed a top-ten Netflix viewing all week. One issue that needs to be resolved is that the main characters have barely aged yet Uhtred’s children are in their mid-teens. It’s time for a touch of gray in his hair. And Brida’s too.

The Last Kingdom is rated TV-MA for violence, torture, and nudity.

John Ruberry regularly blogs at Marathon Pundit.

Review: Season Three of Ozark

By John Ruberry

Late last month Season Three of Ozark began streaming on Netflix. The center point of the story is the Bryde family, father Marty (Jason Bateman), a former Chicago financial planner, mother Wendy (Laura Linney), a onetime Illinois Democrat political operative, and their children, teens Charlotte (Sofia Hublitz), and Jonah (Skylar Gaertner).

In the first season Marty, talks his way out of assassination by convincing his killers that he can be of great use to his Mexican drug cartel client, who turns out to be Omar Navarro (Felix Solis), by laundering even more money for him in the Lake of the Ozarks region of southern Missouri. He does that of course for self-survival, but also for his family.

If you haven’t seen Ozark yet the following paragraph and the trailer contains minor spoilers.

But being the money guy–with bloody hands–is a strain for the other Byrdes, even though Wendy is for the most part a willing participant as the family moves up from laundering cash though a failing restaurant, then a fledgling church, and finally a casino boat, which is how the second season ends–the final shot is a sepia still of the Byrdes–with none of them smiling–at the grand opening. 

Warning: “F bomb” in the trailer.

The second season introduced the cartel’s lawyer, the cold-blooded Helen Pierce (Janet McTeer), another Chicagoan. Like the Byrdes, she is facing a challenge by balancing her criminality with her family, specifically her teen daughter Erin (Madison Thompson). Helen and Erin in Season Three move to the Ozarks for the summer.

The primary new character in the third season is Wendy’s troubled younger brother Ben Davis (Tom Pelphrey), who offers the best performance so far in Ozark in an Emmy-worthy performance. Laura Linney is superb again too.

Meanwhile the Navarros are at war with another cartel. And as with most of the major European wars since the 17th century, the battles cannot stay contained in a tight geographic area. The cartels are always “all in” in their fights–and the title of the last episode of the third season is “All In.”

The FBI, which is not shown in a favorable light throughout the series, remains hot on the heals of the Byrdes. Which means Marty and Wendy not only have to balance their money laundering and shell companies with the needs of Navarro along with the demands of parenthood, but they are also under the constant scrutiny of the FBI, this time led by an agent of better character than what we’ve seen before here, Maya Miller (Jessica Frances Dukes). 

One one more headache for the Byrdes is the Kansas City mob.

Of course there was criminality in the Ozarks before the arrival of the Tom and Daisy Buchanan of Missouri, Marty and Wendy, who as F. Scott Fitzgerald said of former in The Great Gatsby, “smashed up things and creatures.” Ruth Langmore (Julia Garner), the leader of that family’s small-time criminal family, is now an integral member of Bryde Family Enterprises. But the other homegrown female crime leader, Darlene Snell (Lisa Emery), an avowed enemy of the Brydes, revs up her operation after a respite.

This is the best Ozark season yet. The penultimate episode, “Fire Pink,” is the most powerful one and it contains an homage to the film noir classic The Killers, which starred Burt Lancaster. The 1964 remake, a thriller with John Cassavetes in the Lancaster role, is worth a look too. It was Ronald Reagan’s last dramatic film appearance. 

Ozark is rated TV-MA. It contains graphic violence, torture, obscene language, and nudity.

John Ruberry regularly blogs at Marathon Pundit.

Review, Pandemic: How to Prevent an Outbreak

By John Ruberry

“While we can’t predict where the next influenza pandemic is going to come from,” Dennis Carroll, the director of the emerging threats unit of US Agency for International Development, says in the third episode of the new six episode Netflix documentary series Pandemic: How to Prevent an Outbreak, “there are certain places that you want to pay particular attention to–and China is one of those, that’s the place where we’ve seen the emergence of virtually all of the deadly influenza viruses over the last half-century.”

Carroll says this while images of a Vietnamese wet market, where live chickens are sold and slaughtered, are shown.

“We know that viruses move from wildlife into livestock into people,” he says early in that same episode.

I’m writing this from home in Illinois, where I am living under Governor JB Pritzker’s shelter-in-place order because of the COVID-19 coronoavirus outbreak. While the origin of this disease is still being debated it is likely, according to experts, that it did first infect humans at a wet market.

I saw Pandemic last week on my Netflix welcome screen and at first I looked away and said to myself, “If I want to know about pandemics I can switch on the local news–or cable news.” And I was concerned that this was, to use the legendary chant from Monty Python and the Holy Grail, a “bring out your dead” series. And it starts that way, with Carroll, at a mass grave in western Pennsylvania, one that is marked by a single crucifix. The site contains the remains of victims of the 1918 influenza pandemic. Yes, not only can it happen here–but it has happened here.

And the “not-if-but-when” pandemic has arrived, only it’s coronavirus instead of influenza.

The focus of Pandemic is on the scientists, the aid workers, and the doctors on the front lines of disease prevention and cures. People like Jake Glanville and Sarah Ives, the scientists who are working with pigs in Guatemala to develop an all-strains flu virus, as well as Dr. Dinesh Vijay, who treats flu patients at a crowded hospital in Jaipur, India. But disease isn’t just an urban phenomenon. In Pandemic, we meet Holly Goracke, the sole doctor at tiny Jefferson County Hospital in rural Oklahoma, who works 72-hour shifts. And we also become acquainted with Dr.Syra Madad, the director of the special pathogens program of New York City Health and Hospitals.

Along the way we are introduced to anti-vaccination activists in Oregon, health care workers at an Arizona border detention center, and World Health Organization disease fighters in the Democratic Republic of Congo, who not only face the risk of contracting the extremely deadly Ebola virus, but also getting murdered by gangs.

Surprisingly, religion is viewed favorably in this scientific docuseries. Madad, Goracke, and Vijay all rely on faith to strengthen them as they battle disease.

Not surprisingly there are a few knocks in Pandemic over lack of funding from the Trump administration. Including from Madad. But she’s not infallible. In January, in a CNBC interview shortly after the debut of Pandemic, Madad praised China’s efforts to slow the spread of COVID-19, although she did parse her statement with, “It’s too early to tell.” I wager she’d like to take that praise back.

If you are suffering from anxiety over coronavirus, you may want to stay away from Pandemic. The same goes if you are an anti-vaxxer–you’ll just get POd. Also, I suggest if you decide to view Pandemic: How to Prevent an Outbreak then take it in just one episode at a time. At times the series is emotionally exhausting.

Pandemic is rated TV-14, Netflix says, because of foul language and smoking. And there are some disturbing scenes.

John Ruberry regularly blogs at Marathon Pundit.

Review: Season One of Ragnarok

By John Ruberry

“The whole world groaned beneath them. A storm, the likes of of which had never been seen, scorched the sky. Ragnarök was upon them, the twilight of the gods.” Nicholas Day, in the Netflix series Myths and Monsters.

Many religions have an end-time narrative, including the ancient Norse faith. If you are familiar with the movie Thor: Ragnorok, then you know that Ragnarök encompasses total destruction, only there are no space ships and no Incredible Hulk in those old tales.

A few weeks ago the Norwegian six-episode series Ragnarok began streaming on Netflix. On the surface it’s a teen angst drama. After many years away, teens Magne (David Stakston), Laurits (Jonas Strand Gravli), and their mother, Turid (Henriette Steenstrup), return to the small industrial town, Edda, that is adjacent to a fjord. By the way, “Edda” is the term scholars have given to the medieval collections of Norse mythology, the Poetic Edda and Prose Edda.

As the family arrives in Edda, an old man riding a motorized scooter blocks their car as it stalls. Magne gets out and asks him, “Do you need help?” The old man oddly replies, “Do you know what a strange town this is?” Magne gets the scooter running and then the old man’s wife, who operates the local grocery, smiles at him and then tells Magne, “You’re a good kid” as she touches his forehead. Magne’s hazel eyes then flash with lightning. Magne’s hero journey has started.

Edda is indeed a strange town. Surrounded by gorgeous mountains, the economic engine of the town Jutul Industries, owned by Jutuls, the fifth-richest family in Norway. Its factory sits right next to the fjord. If it is ever said what Jutul produces, other than toxins that end up in the drinking water, I missed it. Vidar (Gísli Örn Garðarsson) is the patriarch and he runs the factory, his wife, Ran (Synnøve Macody Lund), is the principal of the high school Laurits and Magne attend. Their children are Saxa (Theresa Frostad Eggesbø) and Fjor (Herman Tømmeraas). They are all beautiful. Seemingly perfect. Too perfect because the are really jötunn, giants in Norse mythology, the enemies of the gods. And Saxa and Fjor aren’t really children.

Magne learns after his encounter with the grocer that he can run very fast, he has superhuman strength, he can speak Old Norse, and tellingly, he can throw a sledgehammer–Thor’s weapon was a hammer–an enormous distance. And Magne no longer needs his eyeglasses.

Like the young Clark Kent in Man of Steel, Magne has trouble fitting in with other kids, His only friend is Isolde (Ylva Bjørkaas Thedin), another social misfit who is the school’s biggest green advocate. And there is plenty for Isolde to investigate in Edda.

Laurits, who is a bit of a prankster, has better luck working his way up the high school social ladder, which is of course dominated by the student Jutuls, and Ragnarok contains quite a bit of the distress that you find in most television shows centered on teenagers. Meanwhile Magne’s powers, which he barely comprehends, draw the attention of the entire Jutul family.

And Magne and Fjor fall for the same girl, Gry (Emma Bones).

Ragnarok was filmed in Norwegian, it is dubbed in English for Netflix, although the trailer posted here is in Norwegian with English subtitles.

The coronovirus pandemic will sadly find many people with lots of free time on their hands. Watching Ragnarok is a worthy way to fill that void. Although I’m still working, for now, and I viewed the series last week.

Netflix has already approved a second season.

Ragnarok is rated TV-MA. It contains brief nudity, violence, foul language, teen alcohol consumption, and sexual situations.

John Ruberry regularly blogs at Marathon Pundit.

Review of the Netflix series Thieves of the Wood

By John Ruberry

Are you missing some Robin Hood in your life? If you are a Netflix subscriber and you can stomach graphic violence, including torture, as well as gratuitous nudity, then you may want to take a look at the ten-episode Belgian series Thieves of the Wood, which began streaming earlier this month.

And you must be patient. Thieves of the Wood moves slowly, and if you don’t know about Jan de Lichte or Flanders of the 18th century, as I didn’t until a few days ago, you might get lost.

After watching the first episode I was indeed lost. So I got on my iPad where I learned that Jan de Lichte was a real person, a highway man, who of course robbed from the rich. After all, stealing from the poor is never very profitable. At the beginning of that first episode, de Lichte (Matteo Simoni) is being dragged on a sandy trail by mounted Austrian troops, he’s accused of murder and desertion. Now is the time to bring some historical perspective. Most of contemporary Flanders, a Dutch speaking region, lies in Belgium. But in the 1740s this region was then part of Austria although it was occupied by France. Historians call this conflict the War of Austrian Succession.

De Lichte escapes. He returns to his hometown of Aalst, which is run by corrupt Flemish aristocrats, led by Mayor Coffijn (Dirk Roofthooft). Just as de Lichte arrives in Aalst, so does the new bailiff, that is the chief of police, Jean-Phillipe Baru (Tom Van Dyck). Both learn that punishment is harsh in Aalst. Baru is horrified when he learns that a man and a woman are about to be flogged for the crime of stealing two rabbits from Coffijn’s estate, then branded–while their children watch. Now paperless, they are exiled from the city to live in a nearby forest.

Those woods are not the Nottingham Forest of Errol Flynn’s The Adventures of Robin Hood. The refuge is overrun by abject poverty, disease, prostitution, and opium smoking. De Lichte, aided by his half-brother Tincke (Stef Aerts), organize the downtrodden to fight back against the oppression, although it’s not until the fourth episode–I did say that Thieves of the Wood requires patience–that their plans bear fruit.

The loot is shared. Everyone wins in the forest. While Coffijn seethes

The scriptwriters are clearly hostile to the Catholic church. There is no Friar Tuck in this forest, in the town presides an imperious priest, Picke. He reminded me of the cruel Lutheran bishop in Ingmar Bergman’s Fanny and Alexander. 

As the series played out to me I fully expected a Donald Trump reference or two, especially since America comes up in the dialogue a couple of times. Then it hit me. Two of the town council members, including Mayor Coffijn, wear orange, or I should of course say red, periwigs. Perhaps that’s only a coincidence. Perhaps not. 

Some of the good: The costumes of Thieves of the Wood, including those wigs, are first-rate and the cinematography is superb. 

And now some of the bad: There are no subtitles, the Dutch dialogue instead is dubbed by British actors. The American entertainment industry suffers from the false premise that we won’t watch subtitled offerings. But last night I saw the Korean film Parasite, which is subtitled. Not only is Parasite an Academy Award nominee for Best Picture (and Best International Feature Film), but it is also performing very well in the domestic box office. Deservedly so, I’d like to add. 

Thieves of the Wood is rated TV-MA for reasons I listed above. 

John Ruberry regularly blogs at Marathon Pundit.

Review: The Two Popes

By John Ruberry

“I’m not familiar with this part of the garden,” Pope Benedict XVI (Anthony Hopkins) tells Cardinal Jorge Bergoglio (Jonathan Pryce) as they enter an area overrun by brush and deadwood in The Two Popes. Benedict then asks the Argentinian, “Which way?”

That garden, at the Vatican’s Palace of Castel Gandolfo outside of Rome, could rightly be called Benedict’s garden, as he was the Pope. Yet Benedict asks the man who ends up as his successor, Bergoglio, who became Pope Francis in 2013, for direction. Oops, I mean directions.

Clearly the scriptwriters and the director of The Two Popes favor the liberal leadership under Francis–the garden scene neatly ties up that sentiment in a bow.

Later, as Archbishop of Buenos Aires, Bergoglio decries inequality, repeated images of ugly walls are shown.

The Two Popes is largely fictionalized story centered on the theological divide between the 265th and the 266th pontiffs. After a limited theatrical release, including a showing at the Chicago International Film Festival, which was sold out, preventing Mrs. Marathon Pundit from seeing it, the film debuted Friday on Netflix. The Two Popes is worth seeing, whether you are a Catholic or not, or a believer or not. The Welshmen in the lead roles, Hopkins and Pryce, provide superb performances. Of course Hopkins’ career has been justifiably rewarded, including gaining four Academy Award nominations, and winning the Best Actor Oscar for his role as Hannibal Lecter in The Silence of the Lambs. Amazingly, despite stellar work in such movies as Something Wicked This Way Comes, Brazil, The Adventures of Baron Munchausen, and The Man Who Killed Don Quixote, Pryce has never been honored with an Academy Award nomination. He deserves it for his performance as Francis, but my guess is that the Academy will overlook Pryce again.

The interplay–and the arguing–is what keeps The Two Popes going.

As for the fiction, there is plenty of it here. There were no long meetings between Benedict and Bergoglio; the catalyst for their movie summit was an offer of resignation from the cardinal, which is harshly rejected as a challenge to Benedict’s authority. The future Pope Francis turned 75 in 2011, it is customary for archbishops to retire at that age. It can be assumed that the pair never discussed the Beatles or their Abbey Road album. And it’s quite likely that Benedict’s favorite television show is not Kommisar Rex, an Austrian detective program where a German shepherd solves crimes. This sidetrack is probably a sly reference to Cardinal Ratzinger’s long term as the head of the Congregation for the Doctrine of the Faith at the Vatican under John Paul II, where he picked up the nickname “God’s Rottweiler.”

There are numerous flashback scenes involving Francis, including his early romance, his call to the priesthood, his muddled legacy from Argentina’s “Dirty War,” his rise, then fall, and his rise again within the Argentine Catholic Church. 

In the garden walk scene, Bergoglio condemns Benedict’s handling of the pedophile crisis within the priesthood, which included confession of the guilty–he calls it “magic words.” Benedict’s retort is harsh and telling, “Magic words, is that how you describe the sacrament?”

The Two Popes gives viewers plenty to think about. 

John Ruberry regularly blogs at Marathon Pundit.

Fall of Berlin Wall anniversary offers lessons for misguided millennials

Blogger next to Berlin Wall slab at the Gerald R. Ford Presidential Museum in 2018

By John Ruberry

Saturday was the thirtieth anniversary of one of the most profound events of the 20th century, the fall of the Berlin Wall. What began as a bureaucratic slip became a people power moment as oppressed East Germans stormed the wall checkpoints and with the help of West Berliners, literally began hacking away on what Winston Churchill called “the wall of shame.”

It was also a wall of failure. The smartest and most gifted people of communist East Germany were more likely to seek freedom and prosperity in the West. The brain drain threatened the stability of East Germany, so after receiving permission from his fellow dictator, the USSR’s Nikita Krushchev, Walter Ulbricht ordered construction of the wall in the summer of 1961.

Just a few days ago Dennis Prager explained on his show that there is a difference between a dictatorship and a totalitarian state. Augosto Pinochet’s Chile was a brutal nation in the 1970s, but if you didn’t like it, you could leave Chile. Not so in the USSR, until its final days, where my wife was born, or in the absurdly-named German Democratic Republic. East Germans who tried to escape to West Berlin would have to conquer not just the wall, but also beds of nails, attack dogs, and barbed wire, as well as avoid sharpshooters in watch towers. The number of people killed attempting to escape in the 28-year existence of the wall is disputed–about 200 is a common estimate.

Of growing up in the Latvian Soviet Socialist Republic, Mrs. Marathon Pundit told me this morning when I was discussing this post, “We were slaves, really.”

Meanwhile, a YouGov poll released last week shows that over one-third of millennials approve of communism, which betrays the failure of our schools and universities that seem much more interested promoting the 56 genders and waving their fingers at guys like me over “white privilege.” Oh, the founders of the communist movement, Karl Marx and Friedrich Engels were white dudes. As were the earliest communists in power, Vladimir Lenin, Joseph Stalin, and Leon Trotsky. All five of them came from middle class or wealthy backgrounds. They had white privilege.

OK, millennials!

The lessons of the rise of Adolf Hitler and the evils of Nazism obviously should never be forgotten. But what is overlooked by schools and society are the murderous regimes of Stalin (20 million killed, maybe more), Mao Zedong (65 million killed, maybe more). and Cambodia’s Pol Pot (1.5 million killed and perhaps more, roughly 20 percent of that nation’s population).

Another 30th anniversary involving a repressive communist regime passed this summer–the Tianammen Square protests in China that ended in the slaughter of pro-democracy activists. For 24 straight weeks there have been pro-Democracy protests in Hong Kong. The more things change…

Ulbricht and his successors’ East Germany didn’t have the high death count, but it excelled in mental torture. Its KGB was the Ministry of State Security, commonly known as the Stasi, whose goal was to “know everything about everyone.” Two movies are essential viewing for millennials–actually for everyone–to learn more about East Germany. Both of them are available on Netflix, Karl Marx City, a documentary, and The Lives of Others, an Academy Award winner for Best International Feature Film. Fittingly, The Lives of Others is set in the year 1984.

Apologists for communism regularly point out that the reason these Marxist regimes failed is that the wrong people were in charge and “real communism” has never been tried. It is they who are wrong. People in power, for the most part, have one thing in common. They want even more power.

There are exceptions of course. King George III asked an American what George Washington would do now that he had defeated the British Empire. When told that the general would return to his farm, the king replied, “If he does that, he will be the greatest man in the world.”

Is that lesson being taught in many American schools? I doubt it.

John Ruberry regularly blogs at Marathon Pundit.