The Geo-Politicization of Taylor Swift’s ‘Saturday Night Live’
© 2009 Brad Kempo B.A. LL.B.
Barrister & Solicitor
A useful analytical parallel can be drawn between what went on in Lorne and the writing staff’s offices and policies formulated and decisions made in the backrooms of Canada’s federal and provincial cabinets. In both instances what was decided manifests itself in the real world for people to observe and critics to evaluate and critique.
Just as audiences – both public and East-West diplomatic corridor – saw what was prepared behind the scenes on the ‘SNL’ stage on November 7, 2009, so too did the international community through CIA intel assessment and a carefully researched and corroborating Fiefdom treatise investigation observe about the true nature of Canadian governance.
There was no doubt that Taylor’s appearance on and contributions to ‘Saturday Night Live’ would deliver a most remarkable experience; and a show for coalition’s diplomatic history books. She, the “uber-supernova amongst superstars” who has become the most Geo Award celebrated partner and SNL's executive producer, Canadian-born Lorne Michaels and his writing staff, recipients of a 2009 Geo Uber-Achievement Award, produced an hour-and-a-half program that aggressively and repeatedly put it to Chinada’s High Command and their financers, followers and apologists that not standing down its military posture, halting human experimentation and torture and failing to surrender Canada has severe and lasting consequences.
Even before the broadcast, Lorne et al. employed the lexicon in promos for the show. Taylor is wardrobed in Canadian prison certainty (chain link fence):
She appeared in the same outfit for an on-set interview:
The coalition posted over five hundred video stills on its celebrity website – this series capturing some of the lexicon used in segments – knowing NBC would claim copyright and prevent YouTube from posting most of the show's content on the Internet.
Early in the program SNL broadcast one of its famous ‘Digital Shorts’ – this time parodying the blockbuster vampire movie ‘Twilight’. Taylor’s choreographed to execute a Beckinsale-Clinton Maneuver during the opening dialogue to identify the ' freaky monster' quality of the Chinada High Command and its operatives and loyal supporters. The first scene is set in a high school cafeteria. She directs her friends’ attention to four cast members who just walked in and are made up to look like Frankenstein characters:
Taylor: Who’s that?
Friend #1: Who, him?
[clip: Andy Samberg as lead human actor]
Taylor: No them [B-C M.]
Friend #2: Those are the 'Franks'. They don’t hang out with anyone else.
Taylor: [O-S M.] He’s cute.
Friend #1: [B-C M.] Don’t bother.
The first Beckinsale-Clinton Maneuver is captured in this series of video stills:
In a subsequent scene she’s paired with a law enforcement officer who advises her that the monsters have claimed another victim.
Taylor: What’s wrong?
Cop: We found an old blind man [Taylor: B-C M.] strangled to death. Looks like it was an accident.
Taylor: Strangled [O-S M.]? By accident?
Translation: for being willfully blind to coalition concerns, fears and intentions and persist with their nefarious agenda, the malfeasant face lethal military force and the death penalty. For those who have a public persona, their demise will look like an accident to the public.
The next scene is in the in front of her hallway locker. She’s approached by someone who cautions her to be careful:
Friend #3: Hey!
Taylor: Hey LoMax.
Friend #3: You hangin’ with Philip Frank now?
Taylor: What do you have [B-C M.] against the Franks?
The question is rhetorical, since everyone in the diplomatic corridor knows what the coalition has against the Chinada High Command.
The next comedy sketch has Taylor appearing as herself for an entertainment news show interview. The stage backdrop is all Canadian prison certainty. Lorne et al. (i) again service the Custodian Chief’s international persona by conveying how admired he is, (i) how appreciative they and the coalition are for his contributions over the years, (iii) acknowledging his quantum entitlement, (iv) articulating how the coalition’s going to ‘f _ _ k ‘em up good’ for not capitulating and continuing to pursue that which is domestically and internationally outlawed, and (v) drawing attention to the coalition now being ready to effect The Triple “P” of Objective Attainment: Poverty, Prison, Perish.
Host #1: Taylor Swift, Taylor Swift, hi. You’re so cute.
Host #2: You’re adorable.
Taylor: [B-C M.] Hi.
Host #2: Well, [Mariah M.] thank-you so much for doing this interview. I’m Ray Trunk.
Host #1: And I’m Anastasia Sticks.
Taylor: Oh please, I know who both of you are. I love Hollywood Dish.
Host #1: We love that you love it.
Host #2: And we love you. Okay, this is going to be a five-minute interview. And it’s going to air tonight.
Host #1: [Powell M.] She knows how this works. Let’s get started. Are we ready? [Host #2: Bush M.] Sound good?
Host #2: Sound good?
Host #1: I’m popping my P’s.
Host #2: Popping P’s.
[both making gatling-gun style popping sounds]
The next segment is a spoof about teens raising awareness to make their parents better drivers. It begins after a commercial break. Lorne et al. insert a guest host photograph – this one in the colors of China and justice to generate a child protection themed communiqué:
Taylor’s dressed up as a young teenager with gigantic braces delivering a public service announcement – Teens Raising Awareness About Awful Parent Drivers, or T.R.A.A.A.P.D. It contains a coalition identifier – Triple "A", to draw attention to the Triple "E" formula for achieving gains in reform, accountability and demilitarization. It's also a very clever way of spelling the word that encapsulates the Custodian Chief's circumstances in Canada: 'trapped'.
She begins by referring to teens who are texting while driving and segways that into a critique of adult driving. Several clips of her with parents in the car contain the prison certainty pattern.
At the end of the sketch Taylor’s character is confronted by her mom on stage – who’s attired in prison certainty.
Taylor’s first musical performance is her smash hit ‘You Belong With Me’. It begins after a commercial break and Lorne et al. add another photo, this time of Taylor attired in prison certainty:
She embeds a compensation ratifier by wearing five items on left arm and executes an Oprah Maneuver to the lyric “you've got a smile that could light up this whole town” – referring to the Custodian Chief’s personality as understood by the coalition community.
The segment ‘Weekend Update’ follows and there are two geo-embeds. The first is a reference to coalition confidentiality* and is inserted in the script of a spoof about a newspaper commentator who is unable to articulate anything of substance.
For those of you who are not familiar with my work, what I do is read headlines from today’s newspapers and I provide my own skewered views just off the top of my head. Okay? [looks at an article] So let’s start with your New York Times. This is great: “A free credit score followed by a monthly bill”. [O-S M.] You can’t print that.
The next geo-politicized segment is making fun of Canadian singer Sarah McLaughlin – who was unwittingly drawn into the vortex of enslaving human experimentation involving the development of hypno-rape techniques. (See Submission Three) Lorne et al. link it to the Dogville punishment theme.
Sarah: Thanks for having me. […] There’s something else [besides Lilith Fair] I want to talk to you about.
Seth: What’s that?
Sarah: The dogs.
Seth: [stuttering] Oh no, no, no, no, no, no, no.
Sarah: [dbl-h O-S M.] The dogs, Seth.
Seth: [Rooney M.] We talked about this. And you agreed you weren’t going to bring up those dogs from those creepy A.S.P.C.A. commercials.
Sarah: All the dogs you are about to see are dead or about to die.
The next comedy sketch features the SNL character Penelope – a chatty woman who rudely buds in on everyone’s conversations. The character was first geo-politicized in 2007 when she was choreographed to have a gesturing idiosyncrasy – a non-stop Oprah Maneuver.
As the show comes back from commercial another guest host photo is added. It contains the colors of Presidential quantum and China.
The setting is a wedding reception – becoming a platform to articulate the isolation-deprivation (love, romance, family) theme. Taylor’s cast as a guest, named June, who gets so annoyed at this behavior she mimics her and eventually storms out of the room. She’s attired in prison certainty for the event and is effecting a Powell Maneuver throughout. The MC is sporting the prison pattern, plus justice.
When the MC tells the guests “it’s the moment we’ve been waiting for – if I could get you to look that way”, referring to the arrival of the wedding couple, Penelope is observed wearing horse blinders – a way to describe the ideological and coalition threat blind-spot the Chinada complicit and loyal have.
The new wife thanks the crowd for coming, adding with a Cowell Maneuver “It means so much that you’re all here tonight” – which underscores how appreciative Lorne et al. are to coalition partners for tuning in to watch another example of how tenaciously resolved they and the NBC executive are to achieving stated objectives.
Penelope pops in to interrupt the new wife’s remarks indicating she just got back from her honeymoon. Her aggressive protracted Oprah Maneuver red flags the Custodian Chief deprivation in this regard to advance the human experimentation program.
June reacts with “what was she doing up there, that is so rude”. Her date, her husband who’s familiar with Penelope’s antics, seeks to calm her with “June, relax, let’s just have a good time” – to which Taylor executes a Diaz Maneuver. This confirms the kind of life that will follow twenty years of hell caused by militarized totalitarianism.
June condemns Penelope harshly, arguing she’s ruining this special day. The latter interrupts with “This is my day; I bought it from the government; it’s National Penelope Day in 14 countries”. Taylor’s Diaz Maneuver timed to the celebratory reference and the compensation ratifier is another initiative to service the Custodian Chief’s international persona and indicate that agencies throughout the coalition’s public sector membership are working around the clock to trace plundered wealth and global hegemony earmarked assets that will be seized and go to compensating him for his losses.
The next comedy sketch is set in a police station where kids are scared straight by hardcore convicts. The guest host photo contained the color of condemnation & justice with Taylor executing a Branson Maneuver:
Three SNL cast members were recently arrested for speeding. The sketch is geo-politicized several ways; one by outfits – the two prisoners are attired in light gold uniforms and Taylor’s brandishing a red headband = China. One of the three is in the color of justice.
The cast member who plays the felon in previous sketches boasts that one time he got his Camero up to 88 miles per hour. The police officer executes a Colbert Maneuver to corroborate the double China identifier.
One of the kids jumps up to comment; causing the two convicts to pounce on him. The cast member's character mimics striking the mouthy teenager's groin area. He does so three times to “no more babies” to underscore what happens when the ‘Iron Fist’ tribunal convicted are put behind bars for life or for so long that by the time they get out they won’t have viable sperm.
He adds the kid better shut up because otherwise he’ll be sent to the showers where “the only speed you’re gonna reach is 88 dudes per hour”. Taylor executes a Prince Harry Maneuver timed to the double China identifier. The convict adds: “We ain’t talking about no flex capacity, […] we’re talking about a butt’s capacity – and yours just hit 1.21 gizawatts”; you wanna joy ride – you’re going to be a joy to ride”. The gizawatts figure is added once more. All digits add up to a China identifier.
One purpose of the segment is to impress upon the Chinada malfeasant that homosexuality and sodomy are commonplace in prison – what they’ll experience when they are sent away forever or for what will feel like forever.
It ends with the supervisor police officer executing a double-handed Colbert Maneuver when asking if the kids learned their lesson – clearly the malfeasant won't have until they're locked away; followed by one of them pointing out the window indicating the two felons are helping a little ol’ lady across the street. He moves to the window and exclaims they are killing her. His second Colbert Maneuver, timed to this revelation, is a communiqué generating red flag that turns the sketch into not only a description of what prison life will be horribly like, but also a threat of the death penalty to achieve stated objectives.
The next comedy sketch is set in the apartment of a couple who have a roommate – Taylor (Anna). It begins with a clip of the building’s exterior. The prison certainty (chain link fence) pattern is prominently evident.
The two are settling in to watch a movie – the title chosen by Lorne et al. for geo-political purposes:
Master and Commander: The Far Side of the World is a 2003 film [which takes] place in 1805, during the Napoleonic Wars. Captain Aubrey of the British man-of-war HMS Surprise is ordered to pursue the French privateer Acheron and "burn, sink or take her as a prize".
Source: wikipedia.com
Anna returns from work and the two best friends embrace in a protracted and embellished fashion. The relationship between them is so strong the boyfriend is marginalized.
He’s attired in prison certainty, his significant other’s in quantum and Anna’s in reddish-orange and yellow = China. The sofa’s in the color of justice and contains the prison certainty pattern.
When Anna says to her best friend “I love you, you’re my everything” the guy executes a quasi-Clooney Maneuver to red flag another instance of servicing the Custodian Chief’s supra-celebrity status*. Because they make so much of their greeting, looking like they hadn’t seen each other for a long time, he asks whether she’s "been out of town". The Preston Maneuver turns his query into another corroboration of the White House invitation (1, 2, 3, 4, 5 X3, 6 X3, 7, 8, 9 X2, 10).
* 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18
Anna retreats to her bedroom to change into her pajamas. Her girlfriend’s cell phone rings. It’s Anna calling from her room. He executes a protracted Rooney Maneuver to her “Hello, how are you? What – what happened?” – a rhetorical question about what transpired over a twenty year plus period of time that shocked the conscience of the international community and in significant measure proved Canada had become both secretly de facto governed by the Chinese and militarized by them as part of a global hegemony strategy.
Anna re-enters the livingroom carrying a knitted blanket – the pattern is prison certainty and is identical in fabric, size and composition as the one on the Custodian Chief’s bed – another example of how much the coalition knows about him and his Dogville circumstances.
As the two cuddle together they engage in conversation; some of which is geo-relevant. They start chanting: “Hay is for horses and chickens and fish, hit me three times and I’ll grant you your wish”. After they finish the three animal-referenced, five chorus lyric that includes a reference to President Obama, the girlfriend asks him in the third person “does he get it?” – to which he executes an Eva Maneuver, geo-acknowledging the fact the malfeasant haven't yet comprehended the profound jeopardy they’re in – one that is being spearheaded by the U.S. president.
They chant again, this time: “Hay is for horses and chickens and fish, hit me three times and I’ll triple your wish” – a way to describe that everything the Custodian Chief seeks in his future will come true in part due to the contributions by the American administration.
Taylor’s second musical performance begins with former and ad hoc returning cast member Amy Poehler announcing it. She’s attired in a very loud prison certainty scarf.
As the song is delivered there’s a noticeable change to the standard stage. Lorne’s added an ornamental section to the door frame – prison certainty (chain link fence).
The song ends with the camera panning out to capture a candelabra with five lighted reminders of what’s in store for the Custodian Chief both in terms of taking possession of his historic damages and making up for two decades of stolen love, romance, intimacy and family.
The last segment of the show begins with the guest host photo; one that's all about delivering justice to both the malfeasant and their multitude of victims, including the Custodian Chief (quantum):
It’s a comedy sketch about bunnies, thus referring to Jay Leno’s April 7, 2006 ‘knock Harper's teeth out’ comedy sketch as documented in Just How Livid Coalition Partners Are Their Reasonable Demands Were Met with Arrogant Belligerence - A Retrospective on the Use of Coercive Diplomacy. Lorne et al. place an assaultive bulls-eye on the face of Canada's constitutionally and internationally delegitimized federal political leader for his continuing perpetuation of the Chinada agenda and thumbing his nose at the coalition even after he was embarrassed during successive world summits (1, 2, 3).
The color of the backdrop is signaling justice for everyone who his constitutionally unlawful government made suffer.
While the entire episode cannot be watched on the NBC website unless the viewer is accessing it in the United States, producers posted a Canada-watchable post-show interview of Taylor – one that includes clips from some of the comedy sketches. It’s hosted by an SNL cast member, who employs the lexicon as follows when she's recounting her experience. We did a ‘Digital Short’ called ‘Firelight’ [2:21: Jason: Eva M.]
[…]
It was really hard for us to stop laughing [during the filming] [2:04: Jason: A-J-Erin M.]
The first draws attention to the communiqués in the segment. The second is another instance where coalition partners articulate how they find it almost laughable that the China-Canada military alliance would take on the United States and coalition army. It’s such a mismatch a rout like what Saddam Hussein experienced in March 2003 is in the making. It would be unconditionally ludicrous but for the profound and historical threat Chinada poses.
Taylor contributes by inserting the number twenty and employs a Hayden Maneuver when describing what Lorne told her about how long she had to conduct the adieu. It’s timed to be heard @ 0:49 – a Taylor identifier; which links the two of them within the coalition community since she is the most Geo Award celebrated partner. She goes on to say with a quasi-Charlize Maneuver as a red flag the hosting of ‘SNL’ as a coalition product was the most favorite thing she’s ever done in her whole life.
As a concluding remark to the documentation of this extraordinarily remarkable display of coalition creativity and tenacity, half way through the 2008 – 09 season Lorne
