As Instapundit often says, the demand for hate crimes outstrips the supply. While everybody knows that cops routinely hunt & murder innocent blacks for sport in broad daylight, details of such behavior are so inexplicably hard to find that Netflix has begun producing them.
Directors Say Their Netflix Movie ‘Cops and Robbers’ Made for Black Victims of Police Violence ‘Just for Being Themselves’
By Alana Mastrangelo, 24 November 2020
And just in time for Christmas, too! Move over, Charlie Brown!
Netflix is releasing an animated movie called Cops and Robbers, which it’s directors say was made for all of the black people who’ve been “victims of police violence and other injustices just for being themselves.”
The animated short was directed by Arnon Manor and Timothy Ware-Hill, who say that they made the film “for all the Black men, women and children who have been victims of racial profiling, police violence, loss of life and other injustices just for being themselves.”
…yet can’t find the evidence to prove it actually happened.
The animated movie was inspired by the death of Ahmaud Arbery, who was shot and killed in Brunswick, Georgia, in February. Gregory McMichael and his son, Travis, were arrested in May and charged with the murder of Arbery.
“You do not see [black vulnerability] a lot…
…and that for me was important because it humanizes black men. It also humanizes black people and marginalized communities,” said actress Jada Pinkett Smith of Cops and Robbers. “We can talk about the issues, but if you don’t feel, if you don’t really see and understand that and see that there’s nothing to fear — we are human and we bleed just like you,” said Pinkett Smith, who interviewed Manor and Ware-Hill.
Wanna see some black vulnerabilities? Of course you do.
Jada Pinkett Smith Says She ‘Often’ Considered Suicide: ‘Mental Health Is a Daily Practice’
By Stephanie Petit, 12 June 2018
The star has often spoken about her life as a drug dealer after growing up in the tough area of Cherry Hill in Baltimore.
“I grew up in a drug-infested neighborhood where you walk out each day and you just hope that you make it. I came from a war zone,” she told the Mail on Sunday in 2012. “I’ll never forget seeing a friend of mine on the street in Cherry Hill and him calling my name, ‘Jada!’ And I’m like, ‘All right, Meaty.’ I go and see my other friend and then hear ‘phat, phat, phat’ and I come out and he’s dead in the street.”
Her first Alpha ghost actually was a ghost.
She added, “There was a possibility that I wouldn’t make it past 21 – that was the reality. When I turned 40, it was a surreal moment because I had never imagined reaching 40.”
How did she get that messed up?
Regarding Jada’s response to all of this, she said she remembered some of those abusive moments. “I knew that my mother and my father had a very violent relationship early on,” the actress explained.
According to Banfield, he was never violent like that when he was sober. He had to be in an “altered state,” as she put it. And the culprit was alcoholism. Jones described her mindset at the time, stating that she believed it was love.
I heard NO excuse for drug-dealing.
Jada Pinkett Smith has revealed she’s battled several vices in her life – like an addiction to sex. Smith, 46, opened up about her issues during her latest Red Table Talk on Facebook.
“I had a sex addiction of some kind, yes, that everything could be fixed by sex. You know what I’m saying?” she asked the roundtable guests, which included her mom, Adrienne Banfield Norris, husband Will Smith’s youngest sister, Ashley Marie, and special guest August Alsina.
She talked about her sex addictions in public while seated next to her mother? This time, I am NOT asking “where’s Daddy”.
This isn’t the first time Smith has been open about her sex life. In a 2017 interview on Andy Cohen’s Watch What Happens Live, The Girls Trip actress addressed rumours she and Will are swingers.
“Yo, I wish!” that were true, she joked at the time.
You now know why she liked this “Cops and Robbers” movie.
The Matrix 4 star, who noted that she helped get the short onto Netflix, talked about Brittany Howard of Alabama Shakes’ contribution to the film with her performance of the song, “Soon I Will Be Done,” claiming that the song helps people feel compassion for black people that are dying.
Dying over turf wars in the street.
“Having her amazing voice and contribution solidifies and amplifies the messaging I was talking about before with emotion,” said Pinkett Smith. “It’s like there’s a splitting
headache heart that hammers down any walls around a person’s heart and pride and ignorance.”
“There’s that extra component to help whatever the wall or the block might be that stops somebody from understanding or relating or having compassion around the idea that African American people are dying at the hands of cops,” she added. “The song and Brittany just added that component to help pierce and get to the deeper compassion of the issue.”
“She sings so well that lil’ Dewon must be innocent! Does she dance?” “She deals drugs in Baltimore.”
Pinkett Smith added that while “police brutality is nothing new,” Americans are now “watching executions on television” because people are taking videos with their cellphones and posting them to social media.
“We are watching executions on television, which is mind blowing. We are watching young men and young women gunned down on live TV and people are in the streets recording it,” the Gotham star said. “We’ve heard about it before and it would get written up, but now you have the visuals that make it real. We get to see it and that’s the difference. You can look at it and see for yourself what’s happening.”
Now that Netflix is literally manufacturing outrage over how cops treat blacks… yes, I suppose you can.
On that note, the synopsis!
Judging by Ilinca Calugareanu’s “A Cops and Robbers Story,” the NYPD wouldn’t know a good PR move if it shot them in the back.
You want a mulligan to rephrase that with?
No, Illinca does not want a mulligan. I will assume the gender “female”.
Calugareanu’s follow-up to “Chuck Norris vs Communism” introduces us to retired NYPD Commander Corey Pegues, whose biography should be a testament to what’s possible in this country, and not a shameful illustration of why so many American lives don’t get the second acts they deserve. The long and short of it is that Pegues grew up on the mean streets of South Queens during the crack boom of the 1980s, and found himself slinging rock on the corner outside of the neighborhood bodega by the time he was a teenager.
INNOCENTLY slinging crack cocaine! It could have happened to anybody, really.
But that was never really his scene. Raised in a family of strong women who nicknamed him “Booby” and gave him shit whenever he tried to deny his inner softness, Pegues just did what he had to do in order to survive.
Well, the black community is writing what they know. That’s good as far as it goes.
That meant acting hard, joining up with the Supreme Team — the notorious gang that ran the neighborhood drug trade at the time — and ultimately risking his freedom for a little street cred after some other hood muscled him off his spot. Pegues went to kill the guy, but he didn’t know how to rack the slide of his stolen pistol, and the gun jammed. Twice.
Speaking of writing screenplays, blacktivists, it’s traditional to use the introduction of the protagonist to make him appear sympathetic, somebody that the audience can identify with… oh.
So he ran. First he ran off the block, and when he got to the end of the street he just kept running until he found himself in the military. By the time he made his way back to Queens a few years later, he wasn’t running from the police; he was wearing their uniform.
You’re welcome, Pegasus… Pegues? You fucked up your life then Uncle Sam’s Misguided Children put you back on the straight & narrow with an honorable discharge and legit street rep. Let’s hope it took.
But none of Pegues’ fellow officers knew how strange it must have been for him to put on the blue every morning, and throughout his illustrious 21 years of public service, Pegues never told them. He kept his criminal past secret, as he had every right to do.
Um, no. That’s employment under false pretenses, an instant termination even in the civilian world. Why would he even hide it? “I did some drugs as a kid then got my act together and served in the military.” That’s respectable.
He put his head down, rose up the ranks in spite of undisguised racism at every turn, and used his personal experience to help make policing more humane.
Which is it? Did white man keep a brutha down or did they give him the promotions he deserved?
To judge by Calugareanu’s film, which runs 77 minutes without credits and doesn’t leave enough room for the nuance this story needs…
The entire Star Whores trilogy didn’t have enough room for the nuance to polish turds of this magnitude.
…Pegues never abused his power. The guy is a noble character, but he might be the first to admit that cops — even retired ones who shared their life stories after leaving the force and made enemies of their former colleagues in the process — have a greater burden of proof these days, and that onus extends to any filmmakers who strive to paint them in a positive light.
Police already wear bodycameras for their every waking moment. We see that Netflix is manufacturing the Narrative that they mysteriously can’t justify in real life, that police deserve to be defunded etc.
Let me say that a different way, just for comparison: Netflix is manufacturing false memories with which to justify the SJWs’ preexisting hate. And the SJWs are okay with intentionally adopting false memories if the Narrative requires it.
I hope I’m wrong… but then, why did they make this movie?
One of the film’s more effusive passages finds its subject recounting the day when, having been promoted to an instructor, he showed a training video about local crime to a class of rookie cops. His heart skipped a beat when his old friends started appearing on screen, and Pegues started to panic that someone might see him in the background.
HAHAHA! Let’s save that one for the inevitable Police Academy remake!
Oh wait, this IS the remake. Fracking year 2020, I tell ya.
His residual fear remains palpable, and we can understand how frustrating it must have been to feel like he couldn’t discuss a part of his life that civilians would understand as the first act of an inspirational trajectory (even Pegues’ childhood friends are proud of him to some degree, which is all the more affecting given that some of them never managed to get out of the game). And yet even with all we’ve come to know about police culture, it’s still jarring to see the world of shit that Pegues stepped into when he finally spoke his truth.
That he’s a drug dealer wanted for attempted murder, a past he’s never been honest about nor left behind? …No, he wrote a book. “My Struggle”?
Calugareanu is broadly able to convey the extent of the NYPD’s response — the anger, the misplaced feelings of betrayal, the refusal to learn from Pegues’ empathic approach to policework — but “A Cops and Robbers Story” is so eager to get to the part where Pegues starts promoting his book that it skitters over how it felt to have his decades of suspicions come true as the system crashed down around him.
Whistleblowing is one thing. Publishing a book complaining about your coworkers’ behavior is another. Especially if you still have the job. Especially if you’re their supervisor.
Some local news footage and a belligerent letter from the police union fail to provide sufficient dimension for the danger that Pegues invited upon himself, and Calugareanu seems uninterested in probing him for how the NYPD’s response may have complicated his thoughts on the corrupt law enforcement agency that gave him a lifeline when he needed it most.
Even when the blacktivists hate on us, they admit that we treat them better than they deserve. I was not expecting to say anything positive about Madame SocJus’ propaganda.
That Pegues’ daughter became a cop is only mentioned in passing at the very end of the film, as is his mantra that he “loves police, but just hates bad police.” The agonized inner conflict that shapes his perspective is worthy of a documentary of its own, but “A Cops and Robbers Story” remains on the outside looking in. The dramatizations that Calugareanu uses to bring Pegues’ teen years to life are erratic, and even stranger for how strong, vivid, and well-acted they are — think Sundance breakthrough, not The History Channel.
Eww. Sundance is Perv Row for NAMBLA.
Perhaps if she had taken the same approach to Pegues’ adult years, her film would have amounted to something more honest than just a good story well told. But it’s also a story that the NYPD doesn’t want you to see, and at the end of the day that’s enough to make it worth watching.
Methinks it’s a story that the NYPD wants a jury to see. This sounds like a slam-dunk defamation case.
Let’s see if a protest chants “Justice for Pegues!” in 2021. Whoa, Gunner, hold on there! Year 2020 ain’t over yet.