Jerry Bruckheimer and Isla Fisher’s 'Confessions of a Shopaholic':

Gangster Governance and “Where’s the Canadian Lawyer’s Quantum and Remuneration?”

[Canadian prison certainty]

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There’s so much to be shocked and horrified about in the Canadian lawyer’s

experiences at the hands of domestic authoritarians and imported serial

human rights abusing communists. One that captivated the partnership and

which was the source of inspiration for several geo-initiatives is the

‘gangster governance’ style obstruction of justice he faced a few weeks after

filing the Federal Court lawsuit.

What happened to him over a quarter century and how much he helped the

United States and its coalition partners should have produced something

other than a series of promises, guarantees, assurances and representations

regarding his quantum and what more than 20,000 hours of work produced.

This was the first time the partnership was criticized for leaving him in

poverty. Not watching this remarkably geo-politicized film until June 2011

allows for a full understanding why he was – the MK-Ultra Gate scandal.

The Bruckheimer film was released in February 2009, well after the

Canadian lawyer began to critique coalition shortcomings in arranging

possession of his ratified quantum and remuneration for his thousands of

hours of labor advancing its interests and objectives:

The film is geo-politicized beginning with the first scene (Video) as the

credits are rolling. His commitment to coalition interests and objectives

continued to the end.

Confessions of a Shopaholic is a 2009 American film adaptation of the Shopaholic series of novels by Sophie Kinsella. Directed by P. J. Hogan, the film stars Isla Fisher as the shopaholic journalist and Hugh Dancy as her boss.

Rebecca Bloomwood (Isla Fisher) is a shopping addict who lives with her best friend Suze (Krysten Ritter). She works as a journalist for a

gardening magazine but dreams to join the fashion magazine Alette. Source: wikipedia.com

In addition to lexiconic colors and that unmistakable pattern of prison

certainty, the voiceover is scripted with a coalition identifier and quantum

ratifier. The protagonist is reminiscing about what it was like being a little

girl in stores watching women buy fancy clothes with credit cards:

They didn't even need any money. They had magic cards. I wanted one. Little did I know ... I would end up with 12. We all have a destiny in life and since I was 14 I knew I was put on this earth to shop.

The premise of the film is irony – a woman who’s addicted to shopping is

hired to work for a New York magazine that preaches economic restraint.

She’s to the ceiling in debt and yet she’s instructing her readers how to be

frugal.

The first most geo-relevant scene involving the quantum issue is right at the

beginning when she’s walking down retail store row and sees a must-have

scarf. It and the manikin are both colors of the Canadian lawyer’s damages

and includes the prison certainty pattern. Over time she becomes

associated with this garment – known as the “Girl in the Green Scarf”. This

has the effect of embedding and repeatedly high profiling this geo-matter

throughout the film.

When first introduced through the shop window producers insert a massively

large China identifier to give the quantum – Presidential quantum attired

manikin it’s appropriate geo-context.

The gangster governance theme begins with the protagonist walking into an

office building and as she’s riding the escalator up she hears the loud voice

of a man who’s giving instructions to someone on the other end of his cell

phone. The content of the call is to her remarkably similar to her debt

predicament. The scene includes an elevator for the purpose of high

profiling what stealth cognition technologies can do when used by occult-

embracing pubescent psychopaths - surreptitious assassination without

culpability.

How can she get so far behind? You take that information and use it against her [and draw on her] pride, integrity; honor. Tell her she’ll lose everything. Tell her you’ll slap a lien on her house. Tell her we’ll print it in the papers. You got to take her right to the edge of the cliff. Let her think you’re gonna push her over. Call her back and get what we want out of her.

[Isla exits escalator; walks to elevator]

When she gets to the elevator the coalition audience observes what

producers added: a sign on the frame of its ID number – B star 3 - the

Canadian lawyer’s first name initial and a coalition identifier. The star seeks

to service his international persona. She thinks she’s avoided him, but as

the doors are about to close he slips in. That’s followed by the next stop

where the floor sign three is displayed.

Two exit and two enter, making it five in the elevator. She pushes the

button for floor five and when the doors open she bolts.

However he recognizes her when she stops, pivots and looks back at him.

Bruckheimer et al. choreograph her to be standing next to a big sign: “Trout

and Bass” - which was just juxtaposed with a quantum ratifier in the

elevator.

[Chinada prison certainty]

The debt collector has been chasing her for months and eventually catches

up to her – doing so by being an audience member during the taping of a

live show on which she is a guest. Her father, played by John Goodman,

discovers her on the morning talk show. He’s attired in Canadian prison

certainty, his wife in quantum and the protagonist in justice. And he's

choreographed to effect an Execution M.

The debt collector stands up, introduces himself and exposes her to the

magazine’s in-studio and at-home audience for the hypocrite she is. His

speech is used by Bruckheimer et al. as the medium through which they

condemn the coalition for not providing the Canadian lawyer with any

quantum or remuneration:

I’m from the All City Debt Collection Agency. My name is Derek

Smeeth. [stagehand tries to take mic away] No, no, no – the best is yet to come. Did you realize that Miss. Bloomwood is currently in the hospital with gallstones? Check is in the mail [audience: Diaz M.] 14 times. Check is lost in the mail [Diaz M.] 14 times. Recovering from chemical fruit acid peel. Called back for second tour of duty in Bazra. Which of these excuses is true?

The protagonist is convinced by her roommate she needs to seek

professional help for her shopping addiction; so she enrolls in a shopaholics

anonymous class. One day she’s ‘caught’ by the proprietor with two bags of

clothes – one containing the dress she bought for the interview and the

other is her bridesmaid’s dress. She’s compelled to deliver them to a local

charity store to be rid of this ‘contraband’. A bit later she returns to the

store wanting them back.

Isla: I’ll buy them [back]. Clerk: You will? That’s great. Great. We need every cent here. Isla: Okay, how much? Assistant: 110.

Isla: What? How is this a charity store? Clerk: [w/ purple dress] This is from Barney’s. Isla: I know. Okay, I don’t have enough for both. Assistant: [bridesmaid dress] This one’s twenty.

Clerk: Maybe come back for this one? Assistant: Which is more important?

This is where the isolation-deprivation issue is raised. Producers juxtapose

the color of justice (her program interview outfit), the issue of marriage

(bridesmaid dress color of condemnation) and the number 20, the lexiconic

constituent representing two decades of enslaving torturous human

experimentation. Intentionally depriving a person of regular social

interaction that leads to romance and marriage for the purpose of

developing the MK-Ultra asset inflicts mental pain and suffering – the

definition of torture.

The protagonist eventually acquires sufficient funds to pay off the debt in

full. Because he caused her so much grief, she wasn’t going to conclude this

situation without causing him some back. So she arranges to pay what she

owes in pennies; delivering them to his office. The sum that’s been due

throughout the entire film: $9,412.25. In lexiconic terms that’s a Taylor

Identifier (94), a coalition identifier (12) and the quarter is 1/4th of a dollar

– a quantum ratifier (5).

[jar lids: Chinada & quantum]

The movie ends with her walking down the kind of street that feeds her

addiction. Manikins in the shop windows beckon her to satisfy her insatiable

appetite for new clothes. Producers again insert the colors of the lexicon –

Canadian prison certainty.

She runs into her love interest in front of a shop window with lexiconic

colors. As they’re embracing she looks over his shoulder to observe a store

clerk placing a pair of shoes in the display – again another opportunity to

conclude the film with the kind of condemnation that’s been raging in the

back-channel environment for years: Chinada.

The credits begin after produces fade to black, but slowly – ending with that

now geo-famous quantum colored prison certainty patterned scarf.