Bad boy Sean Penn and his bad boy pals

The Hollywood left has a thing for blood-drenched criminals - Stalin (screenwriter Dalton Trumbo), Fidel Castro (director Michael Moore), or Sinaloa cartel kingpin Joaquin “El Chapo” Guzman to name a few

American actor Sean Penn shares a moment with Venezuelan dictator Nicolás Maduro.

WASHINGTON, January 10, 2015 — The Hollywood left has a thing for blood-drenched criminals. Whether it’s Soviet mass-murderer Joseph Stalin (screenwriter Dalton Trumbo), Cuban thug Fidel Castro (director Michael Moore), or Sinaloa cartel kingpin Joaquin “El Chapo” Guzman, all is forgiven provided the murderous goons throw a few crumbs at the little guy.

Actor Sean Penn, writing for Rolling Stone magazine, describes El Chapo as a “cold pragmatist known to deliver a single shot to the head for any mistake made in a [drug] shipment, and later, as he began to establish the Sinaloa cartel, as a Robin Hood-like figure who provided much-needed services in the Sinaloa mountains, funding everything from food and roads to medical relief … a figure entrenched in Mexican folklore.”

It was Penn’s multiple interviews with El Chapo that led authorities to the fugitive drug lord, who escaped Mexico’s Altiplano maximum security prison through a mile-long tunnel last July.

“I’d seen plenty of video and graphic photography of those beheaded, exploded, dismembered or bullet-riddled innocents, activists, courageous journalists and cartel enemies alike,” wrote Penn. “I was highly aware of committed DEA and other law enforcement officers and soldiers, both Mexican and American, who have lost their lives executing the policies of the War on Drugs.”

But Penn “took some comfort in a unique aspect of El Chapo’s reputation among the heads of drug cartels in Mexico: that, unlike many of his counterparts who engage in gratuitous kidnapping and murder, El Chapo is a businessman first, and only resorts to violence when he deems it advantageous to himself or his business interests.”

Read Also: “We The People” are the essence of American exceptionalism.

That sounds familiar.

Sean Penn was in Baghdad prior to the 2003 U.S. invasion of Iraq, serving with 150 others as “human shields” protecting that nation’s ruling Baathist Party—a political institution with roots going back to Nazi Germany—from the threat of regime change.

“Our [American] flag has been waving, it seems, in servicing a regime change significantly benefiting U.S. corporations,” said Penn from the comfort of Baghdad’s Al-Rasheed Hotel. “That same flag that took me so long to love, respect and protect, threatens to become a haunting banner of murder, greed and treason.”

As the San Francisco Chronicle later noted, “Penn offered no particular criticism of Saddam Hussein’s government and instead challenged President Bush.”

Saddam dropped nerve gas on Halabja, a town in northern Iraq’s Kurdish region, one of the many crimes for which he was eventually tried, found guilty and hanged.

Like El Chapo, Saddam’s mass murder was nothing personal. Like El Chapo, it was likely said of Saddam that he resorts “to violence when he deems it advantageous to himself or his business interests.”

While the Hollywood left mindlessly condemns any actions “significantly benefiting U.S. corporations” that employ millions of Americans without the use of murder and intimidation, they are quite willing to tolerate narcissistic, “Robin-Hood-like” billionaire psychopaths “known to deliver a single shot to the head.”

It’s a luxury afforded millionaire, “human-shield” humanitarians like Sean Penn, those who somehow manage to flee war zones—military or narco—well ahead of the shooting.

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