There’s plenty in the films of Martin Sheen to belie the claim that he is some sort of Catholic good fella just as the use of the office of Amnesty International for mayhem underscore the felon, but the most contemptible claim being made by this moral imposter is the vicious enthusiasm by which he represents a right to designate himself media watchdog and Praetorian guard of the 60’s legacy in movies.   JFK, Jr. was lost on his watch, as a result of his maneuvers and probably by his hand. As noted elsewhere, British Labor’s fearful legacy in the mess was to demonstrate prior targeting through Yojimbo. To get rid of JFK, Jr., all they had to do was killed Heinz first. This raised the value of their trophy.

        To pull this omnipotent cultural heist Sheen weaponized AIDS for his burglary.   Hollywood was always the real wild West Wing, as we learned in Dealey Plaza. Accomplice plotting in London’s Texas Schoolbook wore the twin mask of fake discovery and failure to warn.   It was schemed as an informational property gold rush and the NAACP made this totem in prior agreement.   

       Sheen had tapped into the Federal Reserve of hostility for the heritage and legacy of America’s stake in historic democratic ideals and principles by conjuring the warlocks of African American bad blood towards the white.   He arranged a parochial sting based on the bald eagle of a woman, Indian revenge, while rioters raged of being African kings contemptuously schooling over the meaning of squaw, with every growl of disdain covering the greasly lisp of collusion.

        Announcing that the cognitive dissonance of brain trauma and peer rejection was helter skelter, they blacked out child development to create a golem to double cross and inveigle for the partnership of Epstein and Graham, weighing in every bias, while taking turns taking away something dear to see the queerbait cry.