Morgoth: This is the awkward bit at the start where you have to wait until you see, you gotta switch the YouTube bit off.

Endeavour: We’re live.

Morgoth: We’re live? All right we are live! There goes the new button. It’s the awkward bit at the start where you get an echo. And hello everybody so this is going to be the first in mine, … All right we are live here you get an echo everybody. So this is going to be the first.

Endeavour: Oh I, …

Morgoth: No this isn’t very professional. Where’s this coming from? It’s the Entropy thing all right! We’re all right! Everybody calm down! I’ve got so many things open here you think I was flying a jumbo jet!

Right, so here we go. Yeah, it’s me I’ve switched it off. So this is gonna be a new monthly stream that me and Endeavour are gonna do. And we’re gonna take a look at classic movies. So this isn’t gonna be a series where we just sit around and cry, because the SJW’s ruined Star Wars.

We’re gonna go back and get into some like really good movies. And sort of dissect them and take them apart and talk about why they’re great. So Endeavour likes his classic movies as well. So here he is how are you doing Endeavor?

Endeavour: I’m doing great I think this is going to be a good stream and a good ongoing series. It’s something I’m really passionate about. And I think it’s content that people need, because they’re all sick of the Netflix, they’re all sick of the Star Wars, and Marvel films. And also, you know, people are just sick of the constant bad news about, you know, “Black Lives Matter” burning something down. We want to give our people a culture that they can actually identify with and enjoy, in the strange times that we live in. So, looking forward to it.

Morgoth: Yeah, so what I’d like to do. Well, you know, there’s a few people contacted me before the stream and says:

“I like your stuff but I’m not that familiar with Lawrence of Arabia. Like I don’t know the gist of it.”

Which surprised me, because I’ve seen it about 20 times! And it is and another thing is that people ask me like what’s your favorite movie? Like what movies do you recommend? And Lawrence of Arabia absolutely is in my top five movies of all time! Which I hope we’re gonna kind of I’ll explain why as this goes on.

But just in case you don’t know that much about the movie, the “filum” in English. People like it when I say that! It’s set during World War One and the British Empire is at war. And it is like the whole of the British Empire has been deployed pretty much. And they’re at war on multiple fronts. And Lawrence of Arabia focuses on the Middle Eastern Front, which is against the Turks. Against the Ottoman Empire.

And the problem they have is that the Turks actually holding up pretty well especially, because they’ve got German machine guns, and German artillery, and even aeroplanes. And what they do is draft a young lieutenant out to the Arabian desert to facilitate, or help in Arab uprising, which will tie up the Turks on their eastern flank and draw all of their resources away there. And so that’s the basic story of it.

And then there’s a bit political intrigue, because as you find out the British are in cahoots of the French to carve up the Middle East and colonize it. And then you find that the Lawrence is actually, he doesn’t want that! So Lawrence is on the side, he wants to have like a pan Arab state. And he walks a very fine line between outright treachery towards the British. And the part of this identity crisis about where his loyalties lie, are part of what makes the movie so great.

And so it touches on some sensitive issues which we’re dealing with today. And well maybe at the end we can get into Lawrence himself in the real world.

But it’s framed, it’s like beautifully shot! And there’s another sort of layer. I mean, that’s the plot. And then below that there’s this kind of thing about the Romantic, where the warrior poet is definitely what Lawrence was like. Have you got anything under that basic sort of synopsis of the movie Endeavor?

[05:00]

Endeavour: No that’s pretty, I think that sums it up. It is a three hour and 45 minute long movie, so it is a beast of a film, that’s for sure!

What I will say is that the historical epic is my favorite genre of films. And I think the golden era for those films were the 1950s and 60s. You know, I absolutely loved those three and a half hour long films that opened with an overture, and they have an intermission in the middle. And it’s about some war that the West had fought in. You know, some war, be it World War One, or there’s some good ones with World War Two, or even one about, like Cleopatra. I just love these films. And Lawrence of Arabia is the quintessential historical epic!

I think it is the best of the genre, for many reasons that we can get into. It definitely is in my top ten as well.

Morgoth: Yeah I mean, there’s people in the chat saying like:

“It’d be nice not to have a pozzed movie.”

And yeah Lawrence rivera really isn’t. And if you want to, like a fun fact here, is that there’s not a single female character! Like the movie is three and a half hours long! It’s a monster of a movie! And there’s not a single female character in it! Not one! There’s like the Arab women make a funny noise with their tongues as the men are going in a battle, at the battle of Aqaba.

And there’s a scene where the Turks have been through a village and there’s some raped women, with the implication that the Turks have raped and slaughtered everybody in the village. And that’s actually the only time women appear in the whole movie! Like it’s a really masculine movie! Whether it’s the warrior kind of spirit of like the Arab, the Bedouin tribes themselves, or whether it’s the hierarchical, like regimented, and really high well organized machine of the British army as well.

Endeavour: Yeah that’s actually something I noticed, as well. I was wondering throughout the film, not that it’s something that really distracted me. But I just noticed after the film. I don’t think there was a single line of dialogue from a female in the entire movie [chuckling]! So yeah, no feminism to be found here!

Yeah if, you know, the video game Battlefield One they had a few missions that were taking that took took place in the Sinai Campaign. And you played as an Arab woman that was fighting for Lawrence of Arabia! And it was just so ridiculous! Because just so obviously fake! But the film, you know, it definitely is a very masculine film and you definitely see that with the both the British army and with certainly with the culture of the Arabs.

Morgoth: And it’s culture, … I mean, one of the things Lawrence of Arabia is so famous for, as with most David Lean movies, David Lean, of course, don’t worry he’s safe. He’s like an English gentleman. And all of his movies, so David Lean, and Bridge on the River Kwai, there’s Ryan’s Daughter, Dr Zhivago, A Passage to India. And another one, an earlier movie from a Charles Dickens novel. But I forgot which one that was. But at any rate they’re all got this beautiful cinematography.

Like he loves to have his characters in the middle of these like beautiful like vistas, as they say on Red Letter Media! And everything’s like, especially on this you can see that he’s obsessed with the desert! As obsessed with the desert as Lawrence is. It’s just gorgeous the way it’s been filmed.

Somebody in the chat says Oliver Twist. It was, yeah that’s right.

Endeavour: Yeah, you know, I will say that one thing that I think is very important for an epic film is the setting. And Lawrence of Arabia really nails the setting. There is the scenes of Lawrence like wandering the vast deserts, or the scene where he’s galloping through the canyons and echoing at the beginning of the film on his camel, and then just like the beautiful environments of the cities like Cairo, Jerusalem, Damascus. And it really has the feeling of a magical land, the Middle East, as they presented it in the film. And also an ancient one. So it’s just like the perfect backdrop for an adventure film, and for a war film.

Morgoth: Yeah. And it starts off, … There’s the thing about Lawrence where he’s got his own kind of philosophy. He really is like a Romantic character. Like a warrior poet. And he begins with, one of the famous scenes, and there’s a lot in this movie. But one of the famous scenes is where he’s burning the match. And his mates in like the barracks where they are, and he let’s the match burn into his fingers. And somebody says:

“How doesn’t it hurt?”

And he’s called William Potter. Did you notice that all of the characters have got these really quintessential English names like Potter and Jenkins?

[10:00]

Endeavour: Allenby.

Morgoth: Yeah, Allenby! General Allenby’s, like apart from Lawrence himself, Allenby’s my favorite character in the whole movie! And we can get onto him in a minute.

But what David Lean does, of course, is where Lawrence is he says:

“Well the trick William Potter, is to not mind that it hurts!”

And then the camera pans in on the burning match, and it changes into in the like the vast burning desert! And it’s so, what he’s done there, it’s a clever little, it’s so good, it’s so clever, because it’s Lawrence saying like, he’s a kind of idealist and he believes that he can overcome material circumstances through just mind! Through just pure willpower!

And so we’ve seen him do that trick with the match, and then it fades in to like the vastness of the Arabian Desert. And now what we’re going to get into when the film begins in earnest, when he sets out, is that he’s now going to impose his will! Use that kind of thinking! It’s kind of idealism over the whole of the Arab world. Which he then goes on to do.

Endeavour: Yeah, what I’ll say about Lawrence the character, is that I think that he very well embodies the greatness of British society at the time. Because he wasn’t a General, he wasn’t a Lord, or anything. He wasn’t like upper class. But he was a middle to upper middle class man. But one who was extremely well educated, very learned. He had a fascination with the Middle East, and with the Crusades. He loved Crusade history, which also just makes you imagine that his journey must have just been absolutely magical!

But in contrast to the middle class of the present day, oftentimes we think of them as, you know, degenerate, materialistic, they’re, you know, are very selfish, and they kind of give in to this ridiculous morality we have of the present day. But I think that a lot of the greatness of British society at the time was owed to that kind of middle cog, which the entire thing runs on, being so damn excellent, really!

So like, for example, Lawrence he spoke French, I think German, Arabic. He could every single educated British man needed to know how to read Latin and Greek. He had gone on a trip from France all the way down to Italy, I think a bicycling trip. And then, you know, he spent some years in the Middle East before the war.

And I mean, he’s just like the kind of guy, the kind of like middle class guy, you know, he wouldn’t have been, without the mythos around him and without the stories that were written about him, he probably would have just been an ordinary British officer. But one who is just so brilliant. And I think that there was just so many brilliant men around back then. And that’s really kind of what a great Empire really ran off of its not just the Lords, the Generals and such. It’s also that brilliant middle class.

Morgoth: Yeah, well his father was like aristocracy. And he didn’t, he wouldn’t marry Lawrence’s mother, so Lawrence was illegitimate. And there’s a scene in it where Omar Sharif, Sherif Ali, he asks him about his name. And he it kind of has to tease it out of him. And he says that his he doesn’t really have any claims on anything.

But one thing that his father did do was he came back into the scene and put him through Oxford. And yeah, he learned all about Arab culture and all about Islam, the Middle East, and also learned several languages. And this was at a time when these kind of people would study the classics. So they had this much more rounded view of the world. And you get this thing today where the Arabs, the Bedouin tribes, they definitely are like “the other”. They make it specific that they are different. Which, as opposed to the British. And so there’s lines in it where he says that:

“Britain is like this fat country.”

It’s because it’s like nice and green! And one little thing you’ll notice about Lawrence’s character he’s always overcoming. He’s always got something to overcome. And the first, was his sort of background. And he says that means he can pretty much just form his own path in life, because he doesn’t have the sort of father hanging over him. And then, of course, you see that he keeps saying this thing where:

“Nothing is written.”

Especially when they cross the Nefud Desert.

So it’s like he’s got his own world view, his own philosophy, which is quite Nietzschean, and untraditional, you know?

[15:22]

Yeah. And I will also say that maybe in contrast to the middle class today, Lawrence though he’s a very worldly man, you know, he traveled all across Europe, the Middle East, he loved all these other cultures, he’s not deracinated though! So he is still an Englishman, or, I know he was born in Wales, but he is still of a man of the British Empire.

He had a great appreciation for the Arab culture. But one thing that maybe a lot of people might not understand, because the film kind of wasn’t really correct here, is that Lawrence actually did know about the Sykes Pico agreement. The agreement for the French and British to carve up the Ottoman Empire after the war. He knew about that for basically for several years.

So even on the assault on Aqaba he already knew about that. But ultimately as much as Lawrence loved the Arabic culture and he wanted them to have an independent Arab state — and I think he genuinely did want that — he was a British officer and his loyalty was to the British Empire.

And it would be treasonous of him, it would have been treasonous of him to tell them about that before the war was won. So ultimately he, I don’t think it’s entirely accurate to say Lawrence was a traitor. Because he may have had a great appreciation for the Arabs, but he definitely did stay loyal to the British.

Morgoth: Yeah. Well, I mean, the struggle that he has with his own allegiances is like a major part of the filum. So David Lean doesn’t shy away from it at all! And there’s a part in it, I mean, it was skipping ahead a little bit. But there’s a part and then it also like, Laurence’s sexuality is also nudged and winked at throughout the movie.

But then when he gets captured by the Turks there’s a quite a lot there. And I will say I mean, we were just talking before we went live, that as far as the Middle East, what the Arabian people, the Arabian culture, is quite romanticized. I mean, even by today’s standards, you know, it’s like it’s kind of realistic. And they are different, but isn’t in a negative way. I don’t know what the politically correct would think about it, because it seems like quite a, you know, it seems almost like a celebration over that times. But it isn’t Western! It is like fundamentally different!

Whereas the Turks, they come in for quite a hard time from David Lean’s direction. And I also suspect from like Lawrence’s book. That’s The Seven Pillars of Wisdom. But I was thinking about this, because so what happens is in the film he is like sort of like leading the Arabs. And like I was saying before, he thinks he can be anything he wants, just by using his mind, just through willpower he can be whatever he wants, whatever he decides. And it works for him.

So when they cross the Nifud Desert, firstly the Bedouin tell him that it’s impossible to, and crazy, because he wants to cross the Nifud Desert, because the Turks are at Aqaba and they’re kind of expecting the British to arrive by sea as the British almost always did. So they’ve got their cannons pointed out to the sea. And Lawrence decides to go across the desert and hit them from behind. And even the Arabs are saying:

“Well, this is crazy! You can’t do it!”

And there’s this kind of they’ve got this superstitious attitude, like:

“Don’t test god like this! There’s certain things, that yes, guns are facing the sea!”

So that Sherif Ali is saying, Omar Sharif’s character, saying:

“You can’t like test god like this! There are some things that you shouldn’t do! And leading 40, or 50 men across the Nifud Desert is tempting god!”

And Lawrence replies that:

“Nothing is written!”

Your fate is not set! It’s up to the human will.

And so he makes them go across. And that’s the first time you see it. But then later in the scene with the Turk, the Turkish army, and that captain, he’s obviously like a bit of a pervert. And the implication I think is that they did actually at least sexually molest, … They whip Lawrence. And it’s also I think implied that they sexually abused, maybe even raped him pp.

[20:01]

And what happens is a real crisis for Lawrence, because, and he says:

“I’ve reached the end of myself.”

Like you can’t willpower your way out of that. There’s limits to it! There’s limits what you can just use through your willpower and mind. And that’s what he comes to realize. Because the Turkish captain’s like literally looking at him and they saying:

“You’ve got blue eyes, you’ve got really White skin, like are you German, or are you English?”

And so it’s like he recognized that there was, … There’s this thing these days where the Left will say, … It’s a big thing of the moment where you have the Left, or Critical Race Theory and all this, and this is like based on the idea that European colonialism racialized the world. And yet you can see just in this scene on Lawrence Arabia, that’s just complete garbage! The Turkish captain, that’s got nothing to do with colonialism. He absolutely recognizes an “other” in Lawrence., you know what I mean?

Endeavour: Yeah. There’s a lot I actually had to say about, … You said a lot there I have a lot to reply to. One thing about how the Arabs are portrayed, and how they’re different from the British, and maybe how this would be politically incorrect today. Because it is a very favorable portrayal of the Arabs. But they are certainly not liberal! Like they’re extremely illiberal! I mean, they make, and it’s actually really shocking for Lawrence at the beginning.

Usually what you see in the PC films today is that the non-Whites are always like the peace-loving guys living in this harmonious tribe. But that’s really not the case with the Arabs. Part of Lawrence’s development in the film is that at the beginning of the film he’s just shocked by how little regard the Arabs actually have for life.

It actually kind of reminded me of the video you had made about the White liberal meeting a world without empathy. That’s not to compare Lawrence to liberals of the present day, but like the first scene that you see Sherif Ali, Omar Sharif’s character, Lawrence is out at the well with his guide [Tafas] and Sharif Ali just shoots him in the head. And Lawrence is shocked! He said:

“You murdered him!”

And he just replies:

“He was drinking at my well. He’s not supposed to do that.”

And the guy’s life does not really matter that much to an Arab of a different tribe. And they have a very different conception of the self. And their tribe to them is a lot more important than the individual. The other a good example is when he goes back into the desert to save Gasim. The Arabs basically just say:

“We should just leave him. It’s written! He was meant to die here. And if we go back then we’re going to get stuck in the desert.”

And Lawrence, I mean, he has a lot of, at the start of the film, he’s a lot more humanitarian than a lot of the Arabs. But that certainly changes later in the film.

And maybe the turning point you could say was when he was actually later on forced to execute Gasim, because they had a coalition of tribes who are going to assault Aqaba together. And what happens is that Gasim, who was part of Omar Sharif’s tribe, he steals from and kills a member of the other tribe. And basically they feel like the honor of their tribe has been insulted. So the other tribe wants revenge.

But Sharif’s tribe would be offended if revenge was taken out against them by that other tribe. So what Lawrence then says is that in order to prevent a blood feud between the two of them, he himself will execute Gasim.

And it’s really interesting the morality that the Arabs have in the scene, because they put very little importance in the men’s actual life. It wasn’t necessarily that Gasim killed one of their men that made them angry. It was the fact that he had violated their tribe. He had disrespected them as a group. And it was not necessarily, it would not have been the fact that Gasim was executed for the crime that would have made the other tribe angry. It would have been that that tribe had then in return disrespected them. So Lawrence then solved the problem by executing him himself.

And, you know, in the second act of the film, the second half after the intermission, Lawrence changes quite a bit. Because at the beginning of the film he’s shocked when Sherif Ali kills his guide. Or at how they treat his servants. How they’re whipping the servants they give to Lawrence.

At the end of the film, he orders Arab mercenaries to massacre an entire garrison of Turkish men and take no prisoners! So, you know, you just see how the war has just worn him down! And, you know, he really just kind of sees a more, well brutal way of life that the Arabs live in contrast to the Europeans, who have a much more, who are a lot more empathetic. They put a lot more value in human life. With the Arabs it’s a lot more brutal and a lot more tribal!

[25:37]

Morgoth: Yeah the thing with the Turks is where, like I was saying, he has a kind of crisis when whatever happens to him, … I think that it is implied that he was sexually abused. And they throw him out onto the street. But they don’t actually realize who they have there. They think it’s just like maybe a German soldier who’s lost his way, or something. They don’t realize that they’ve actually got Lawrence.

But then it’s after that, that he goes through a similar kind of crisis. Like he has at the start when he says, when he meets King Faisal, who’s also alec Guinness plays him. And he’s also an interesting character. And he goes through a crisis where he sits on the sand dunes all night wondering how he can get the Arabs into a stronger position.

And then he it happens to him again after the Turkish scene where he let him out of the jail, and the, whatever. He’s tortured basically. It affects him. And then he wants to, he goes back to his own kind, because he’s been made aware of his limitations.

And then Allenby won’t have it. And Allenby who’s like a real, I wouldn’t say a snake, but he is definitely a fox! And he kind of convinces Lawrence to go back. But when Lawrence goes back, you know, everybody recognized that and says he’s a changed man. And it’s almost as if he’s out for revenge on like all of the Turkish army.

And the famous cry of “No prisoners!”, and they slaughter like every last one of the Turkish column! And he’s you’ve got a picture where he’s just completely drenched in blood, and he’s still pulling on the trigger of the pistol, and there isn’t even any bullets left in it! So he pulls out the knife and starts stabbing them! It’s a pure rage! And they’re just like pools of blood in the sand and everything.

Endeavour: Yeah, they actually have another scene like that at the end where after the Arabs have taken Damascus, they have a prison camp with Turkish soldiers in it. But they have like I think it’s like five, or six times the camps capacity in that camp. And the Turkish soldiers are basically just starving. They’re just dying in this camp. Like they have no food, they’re sick, they’re injured, and they’re just like being left there to rot. And then eventually die.

When Lawrence goes there he actually starts laughing when the other British officer comes and says like:

“This is outrageous!”

Because, you know, it goes back to the different conception that the European officers have of humanitarianism, and the kind of the value of human life. Whereas the other British officer he thinks:

“Oh this is horrible! This is outrageous!”

But then Lawrence, who’s just been through this horrific war, who’s just like, you know, possibly been sexually assaulted, just ordered like an entire column of Turks to be massacred, just starts laughing hysterically when the officer scolds him for that. So, you know, you really see how the war wears Lawrence down as a man.

Morgoth: Yeah, I mean, even like the Turkish captain says:

“You look older than 27.”

And he’s got like a fresh bullet wound on his arm. And I mean, in fairness, I mean, I’m not gonna like justify what happened with the Turkish column. But like you do see the Turkish column moving away from a little village. And then like you see women, it’s like the second and only time you actually see women. And it looks like they’ve been raped and murdered. So that again that that implication is that the Turkish columns just completely pillaged this video, this village.

And you see as well that somebody one of the Arabs comes out, and it’s what like that honor thing you were saying before, where he basically just charges alone into the Turkish column as a kind of blood feud. And he knows. They just shoot him. And then all of the rest of them go down. And it’s just a bloodbath.

Endeavour: Yeah, they say that it was his village that was massacred.

Endeavour: Dryfus, Mr Dryfus, …

Morgoth: Yeah, Dryden isn’t it?

Endeavour: Yeah, maybe Dryden.

Morgoth: Yeah, but him anyway. And like what’s so great about Allenby is that he knows the politicians, and scumbags, and bureaucrats, and in almost every scene in the movie he kind of distanced himself from it. And he suggests a course of action, and then he realizes like that, he’d be a scumbag if he did it. So he says:

“Well, I’m not a politician. I’m just a soldier, thank god!”

The politicians are portrayed as being complete scumbags! But the British army isn’t! Not so much. Allenby’s like sort of crosses the line.

Endeavour: Yeah, you know, I think that Allenby he, … Well, what I said earlier was that Lawrence kind of captures the middle class of British society at the time. I think Allenby is a better representation of the upper class. So, you know, in contrast to the Arabs understanding of honor where it’s a lot about the respect for their tribe. With him he sees his honor in things like prestige, and being a British officer, and in meritocracy and his success on the battlefield.

So I really love the scenes in the officer’s mess hall, when the guys are all there having drinks in this beautiful Egyptian palace. Because I think that even while the middle class, as I mentioned earlier, I think that a lot of the greatness of British society at the time was due to that great middle class. There is an upper class that actually had an understanding of hierarchy, and an understanding of loyalty, to something, you know, greater like, you know, an Empire.

I really like the character of Allenby as well, because he really captures that British gentleman, the officer, the General who is all about prestige, but also about meritocracy. So, he’s an interesting character too.

Morgoth: I mean, at the end of the movie when it’s like everybody’s heading towards Damascus. Lawrence and the Arab tribes are heading towards Damascus. And they want to hold it and keep it until King Faisal gets there. And then basically they’re going to create an entire like pan Arab nation. Well, of course, the cats out of the bag about the Sykes Pico treaty, where the British and the French actually going to carve up the Middle East amongst themselves. And they want to get there as well. So it’s like this kind of wacky racist thing [chuckling]! Everybody’s trying to get everything.

But then the Arabs and Lawrence actually get there first. But the tribalism really comes back to kind of bite them on the arse! Because they can’t organize anything!

So you’ve got one tribe is in charge, … I was watching it, … I mean, I watched it again just last night in preparation for this. And you’ve got this Arab council and they’re pulling knives on each other! And like there’s one tribe got the generator part of the city, where the electricity and the generator is. And then another tribe has got the waterworks. And then another tribe is in charge of the pipes, or whatever.

And they’re all at each other’s throats, because they’re all playing each other. And I thought, isn’t this a perfect example of how much of a strength diversity is! Like you literally can’t run a city with diversity! It’s just all this tribal conflict is going to ruin it.

And what you see is like Allenby knows that they won’t be able to do it. So he tells all of the British engineers to stand down and just sit in their barracks. And then you get this scene where he’s standing in the room of his and he’s reading a book on fly fishing! And sort of practicing his cast. And he’s saying:

“I think I might take this up after the war.”

And then you look through the window and the whole city’s up in flames! And he’s just waiting it out, because he knew they wouldn’t be able to organize it. And he knew eventually they were going to come to him and ask for British assistance in getting the city up and running and keeping things safe. And I just thought it was typical of Allenby and the British Empire’s mentality throughout! It’s like unbelievable confidence!

[35:11]

[TO BE CONTINUED]

[105:18]

END

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xx UNFINISHED TRANSCRIPTS — Volunteers Needed

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See Also

Millennium Woes with Morgoth on Brexit — TRANSCRIPT

Millennial Woes’ Millenniyule 2017 No. 66 – Morgoth — TRANSCRIPT

Morgoth’s Review – YouTube Hangout 01 – Skeptics and Cucks — TRANSCRIPT

Morgoth’s Review – YouTube Hangout 02 – Merry Holocaustmas — TRANSCRIPT

Morgoth’s Review — Discussing the Government’s Anti-Extremism Agency ”Prevent” With Based British — TRANSCRIPT

Morgoth’s Review — Hate-Reading The Guardian – Hirsch, Critical Theory & Nihilism, Jan 2019 — TRANSCRIPT

Morgoth’s Review — The Psychotic Left, Feb 2019 — TRANSCRIPT

Morgoth’s Review – Fishing For White Pills, Feb 2019 — TRANSCRIPT

Morgoth’s Review – Hope Not Hate and the State of Play, Feb 2019 — TRANSCRIPT

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