Category Archives: Culture

RINO Hunting Destroyed the Conservative Ecology

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Biological ecologies are a complex web of interdependencies between their constituent elements and the same is true for political ecologies.

There was a time, not that very long ago, when the two political parties in the United States each contained divergent factions of liberals, moderate, conservatives and assorted minor ideologies. The Civil Rights movement and legislation fractured the Democratic Party as a considerable number of their ‘conservatives’ were more invested in segregation than anything else politically. After a brief turn as ‘Dixiecrats’ this faction was wooed and welcome into the Republican Party as the wedge that allow the GOP to begin winning elections in the deep South.

This additional faction swelled the GOP and ushered in the Reagan Regime that dominated American politics from 1980 until well into 1990s. However, like HYDRA with SHIELD this racist driven conservatism grew like a parasite with the Republican Party. With the power to win or cost elections it soon, welded to its fast-growing cousin the Social Conservative faction, determined the shape and course of American Conservatism, and thus began the period of ‘RINO hunting.’

RINO is a slur for member of the Republican Party not sufficiently subservient to the conservatism imported from the deep south and it stands for Republican In Name Only. The very nomenclature reveals the transformed nature of the GOP. It became a party that tolerated no dissention, no variation, and no other factions. There had become just one way to be a Republican and those who did not conform, who were not of the body, were cast out, chased out, and hounded out of the party. What had once been a collection of factions became a movement and a movement can only proceed in one direction.

Throughout the late 90s there was a giddiness every time a ‘RINO’ was defeated, resigned, and switched parties. Like a boiling solution what remained concentrated in its purity. Led and goaded by non-politicians such as Rush Limbaugh and bomb-throwing politicians such as Newt Gingrich the GOP moved more and more in lockstep to a beat that had been determine decades earlier by fleeing segregationists.

Racism has always been an American problem and both parties have a long history if welcoming it within their domains. However, once the Democratic party began moving in a direction of racial justice, awareness, and correction the racist had but one party that welcomed them. At first tacitly, then subtly, and eventually openly, the GOP.

With the RINOs, primarily the Northeastern liberal Republicans, driven out of the party, and the communists threat collapsed with the dissolution of the Soviet Union, the GOP turned it unified and obedient movement on American itself. It abandoned all pretense at governing or morality. A political movement that embraces torture is capable of anything.

Is it any surprise at all that such a movement, such a political ecology now deprived of any contrary thought, proved such fertile ground for a con man and a demagogue? That after decades of beating obedience into its base that it would lash itself with the fanaticism of a cult to that new leader?

No, not at all.

The GOP hunted the RINOs into extinction and without that balance dove into neo-fascism endangering us all.

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Why An Armed Society is NOT a Polite Society

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‘An Armed Society is a Polite Society’ is a phrase I first encountered in the 1948 Science-Fiction novel Beyond This Horizon by Robert A. Heinlein. In the novel a futuristic society populated by eugenically bred and genetically manipulated humans one aspect is that people routinely go about armed and that dueling is not only socially acceptable for socially valued. This society is portrayed as prosperous, civil, and peaceful.

Today American society, while heavily armed, is far from polite. Armed people often brandish and use their firearms for minor altercations and annoyances, to say nothing of the epidemic of mass murder that shows no sign of abating.

 Why is that? Why doesn’t the knowledge that others around you may be very likely carrying lethal firearms promote more caution and deference in our society.

Heinlein himself provides what I believe is the reason that his ‘armed’ society is not a polite and civil one with the quote ‘Man is not a rational animal; he is a rationalizing animal.’ (Tunnel in the Sky 1955)

I do not know if Heinlein ever reconciled these contradictory sentiments.

The armed society is only polite if it is rational. If the people can calmly, dispassionately recognize that in any incident of violence they are the potential losers. Perhaps only super humans, bred for exceptional intelligence and mental stability, can achieve this armed yet peaceful society.

People are rationalizing. It is rational to wear seatbelts every time to ride on a motor vehicle, but many do not because they have rationalized that they are excellent drivers and will not cause a crash. Vaccines have plenty of evidence for the effectiveness and safety, but people rationalize not getting vaccinated because they will not get sick. It won’t happen to them.

Firearms are subject to the same faulty rationalizations. The viewpoint is not that ‘they’ might use their weapons on me, but I will be safe because I will use my weapons on them. The gun makes me the dominate in the power struggle, it makes me the victor, imposing my will on the dangerous and unpredictable world.

At our hearts humans remain tribal, hierarchal, social creatures for whom social standing is a powerful motivator and the alure of firearms to ‘elevate’ one’s status to a dominate position eradicates most ability to be truly rational.

Of course the irony is that if were coolly rational not only would we not need to be armed to be polite we would no longer even be human.

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Where Barbie and Star Trek Intersect

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This post will contain spoilers for both Barbie (2023) and Star Trek: Insurrection (1998).

Paramount StudiosThe movie Star Trek: Insurrection centers on a conflict between the Ba’ku a species of alien luddites rejecting all technology and the Son’a a specie that hates and despises the Ba’ku and who have allied with Federation elements to steal the Ba’ku’s planet which bestows eternal youth and immortality. During the unfolding of the plot it is revealed that the two species are in
fact the same and that the Ba’ku faction exiled the Son’a for not sharing their luddite philosophy condemning that faction to death. The Ba’ku created their own mortal enemy and at no point in the movie is this concept acknowledged in any fashion. The filmmakers elide past the concept that it is morally acceptable to effectually sentence to death a people for the crime of not believing as you do. The Son’a campaign of revenge who not justified is understandable.

Barbie interrogates the power dynamic between men and women contrasting Barbieland a Warner Brothers Studiosfantasy domain of unquestioned matriarchy with the ‘real’ world. It should be noted that even the film’s depiction of the real world is strewn with elements that reveal it is as fantastic as Barbieland such as the view from the Mattel offices.

Ken, who has been dismissed and whose feelings have disregarded by Barbie, after visiting the ‘real’ world returns to Barbieland and transforms it into a fantastic and exaggerated version of patriarchy. In the film’s third act Barbie frees the other Barbies from the influence of the corrupted Ken but also comes to understands that her apathy towards Ken’s hurt and pain contributed to his own fall. It is important to note that Ken does not get what he wants, Barbie’s feelings towards him remain aromantic but his feelings are acknowledged he is no longer ‘just Ken.’

The writers and filmmakers of Barbie have a firmer grasp on causality and how pain transforms into anger than the people who crafted Star Trek: Insurrection. With Barbie there is understanding and even eventually empathy for how one becomes a villain where with Insurrection there is only the unrealistic view that good and evil are simplistic ideologies. What a world we live in where a film based on a toy presents a more nuanced and complex take on morality that a leading SciFi feature film.

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Movie Review: Barbie (2023)

Warner Brothers Studios.

Great Gerwig’s 2023 film Barbie exits in a state of quantum superposition. Observed from one perspective it is a light, frothy summer movie, exploding in pink and pastels, full of fun, escapism, and the ahistorical innocence for childhood. From another perspective it is a slashing, scathing satire, scorching its targets with sharp, pointed commentary, ridiculing the inflated egos of the self-important and mocking the political patriarchy. And from yet another perspective is nearly a platonic example of everything wrong with modern cinema as a grubby I.P. driven cash-grab, weaponizing naive nostalgia as it concocts from a plotless, storiless, corporate property a feature film script joining the ranks of Battleship, Clue, and The Country Bears.

This is a very difficult film to discuss as its three natures are all worthy of intense study and interrogation.

First let’s review the film in a non-spoilers fashion, covering nothing that was not one of the several trailers.

Stereotypical Barbie (Margot Robbie) lives a perfect life of frolic and fun in her dreamhouse in Barbieland alongside all the variants of Barbie and Ken. Disturbed by intrusive morbid thoughts which disrupt her ability to live carefree Barbie journeys with Beach Ken (Ryan Gosling) to the ‘real world’ in search of answers. Their adventures and transgressions across the realities endanger Barbieland and Stereotypical Barbie returns to Barbieland hoping to repair the damage and restore its perfect existence.

The film is a masterpiece in the cinema arts. Production design and cinematography embraced the candy cotton nature of the script, abandoning all attempts at ‘reality’ within Barbieland and in doing so created a suspension of disbelief that allowed the film to achieve a verisimilitude that transcends all artificiality. The actor’s stylized performances, particularly while in Barbieland, create their superposition state being both unreal and emotionally truthful. Gerwing’s direction and Rodrigo Prieto’s camera work are flawless, capturing character, scene, and story in a seamless fashion that belies the difficulty of their objective.

Barbie has been called, liberal, leftwing, and ‘woke.’ This is so blindingly obvious and intentional that film might as well be wearing a beret, speaking in a French accent, with knuckles bloodied from street fights with Fascists for how proudly it wears it political and philosophical colors. Criticizing Barbie on such accounts is as ridiculous as disparaging the conservative nature of 1984’s, Red Dawn as it is the point of the project. It is a film with a message, one it does not shy away from, one it does not attempt to slip unnoticed into the plot, one that it fervently believes in.

Barbie is also a two-hour commercial for Mattel’s doll and its sundry accessories, an I.P. focused product intent on producing profit from already possessed property, joining the ranks of G.I. Joe, He-Man, and Pirates of the Caribbean. Its self-awareness and its cutting satire add value and depth to the film but do not erase the corporate goals it also incorporates.

It is easy to see how Barbie infuriates some, from its appropriation of cinema classics such as 2001: A Space Odyssey to its dismissal of the Snyder edit of Justice League the film stakes out positions and holds them with conviction. The movie that came to my mind as I watched Barbie was not its cinematic fraternal twin Oppenheimer, but 1998’s Star Trek: Insurrection and the relationship between the pair I will have to explore in spoiler containing post.

Barbie is several films coexisting together on that silvered screen, all of them expertly crafted and worth the time and money to see in a good theater,

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In The Arcade Of Life, You Get One Quarter

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A few years ago, an analogy became popular that cis white men were playing the video game of life on ‘easy’ mode and anyone else played at increasing levels of difficulty. A decent analogy but not the one I am going to deploy today.

Life is like a well-stocked arcade with lots and lots of game cabinets for us to enjoy but we have only the one quarter. Death has surrounded me my entire life and if there is one thing that has been beaten into me it is that death comes for us all and none knows when that final moment will be upon us.

Now, you might think that the message I am going for in this piece is ‘seize the day,’ ‘live life to the fullest,’ or ‘follow you dreams,’ all good message but not the one I intend today.

No, today I say:

STOP FUCKING WITH OTHER PEOPLE’S GAMES!

I do not know what it is like to live my life as Trans, gay, bi-sexual, poly, non-white, or any other of the near infinite varieties of human but I do know that like me, like everyone else, they get only one life. They are here only once and death stalks them with the same lack of remorse as it does me. I don’t care what it takes for them to live their single life fully and truthfully. As long as they are hurting no one else, it’s not my fucking business. And it’s no one else’s either!

I have no patience for those who think that their way of life is something to impose upon others. Life is hard and far too short. I have no interest in making it harder for anyone else, particularly for such petty reasons.

Every resource can be recycled, reclaimed, or replaced except time. So to those who aren’t going to listen to me anyone, stop fucking with their games and let them live their truthful lives.

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Pride 2023 Terrifies Me

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It is not what Pride celebrates that scares me, since the late 1970s I have found the legal and social discrimination against the gays and their brethren utterly evil and idiotic. I am old enough to remember the Anita Bryant kerfuffle and recognized even then just how wrong and hateful her campaign was no matter how many times they repeated the delusional incantation, ‘love the sinner hate the sin.’ No, Pride represents the beginning of the real fight for freedom and equality and for aspect of our nation is it as important as the 4th of July.

What terrifies me is the poisonous atmosphere of 2023 with its escalating number of mass shootings along with the rising tide of Family Values Fascism.

Mass shootings are a social contagion, with each instance acting like a chemical catalyst lowering the activation energy of the process, accelerating the reaction brings more shootings and more death. As reported by the BBC there have been more than 200 hundred mass shootings in 2023. The contagion is running unchecked.

The political environment is particularly dire. An entire political party in our two-party system is succumbing to an anti-democratic dogma that can best be described as neo-fascist. Abandoning the rule of law and democratic norms they have embraced hatred and scapegoating as tools to seize power. Still bitter over marriage equality, but recognizing that the tide had turned against them, they targeted another sexual minority for their hatred, lies, and venom, the transsexual community. Empowered by their reactionary fury they stoke fear, anger, and hatred in a base already inclined to violence.

These twin lethal cultural currents are what terrifies me about Pride 2023. It is my most sincere hope we can get to the 4th of July without any deadly violence at Pride events but there will be no shock or surprise if we do not.

Should Pride events be canceled during this terrifying time?

No.

The danger must be recognized and dealt with, but it must not be appeased. That only empowers it more. Pride must go on.

I am terrified but I am also hopeful. These are the dying spasms of an older ideology and generation, survive these and better days are ahead.

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Fast Thoughts

 

The GOP is a parade of corruption, anti-American ideology, and moral collapse.

There is no credible reason for voting for this political party save, grift, power, and bigotry. Everything else is rationalization, justification, and lies.

There are arguments to be made about the size, scope, and reach of government but that is not the question of the day.

The question of the day is do you stand with democracy or against it?

There is no third way.

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The Fragility of Reputation

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Imagine a woman in a monogamous relationship. She has recently discovered texts on her partner’s phone to a young, attractive woman, but the partner dismisses these are innocent conversations with a friend. He’s allowed to have friends, right? The she uncovers gifts to the woman in question, but they too are innocent he protests, it was her birthday and people give gifts to people on their birthday.  Her friends bring photos of her partner enjoying upscale dinners and theater and the man continues to insist all of this, none of which he had shared with his partner means anything at all. After all, she has never seen him screwing this other woman, so there’s no proof that he’s been misbehaving.

With everything that has been concealed and hidden she would utterly right in suspecting him. He has shredded his reputation with her without a private eye snapping photos of him in her bed. The reputation, the belief that he was worth of trust exists only in her mind and once that questioned it is very difficult to ever hold again.

This is precisely the situation with Justice Thomas. No one can prove that he exchanged a single vote for all the elaborate gifts and lifestyle he has enjoyed at the benefit of his conservative billionaire friend. But that proof is immaterial to shattering of trust.

The courts survive entirely on reputation. They have no armies, no police, no real enforcement capability. If you doubt that look up the Trail of Tears. They work because everyone accepts that they are fair and if that is questioned everything crumbles.

The court must clean house or our very nation will teeter even closer to a point of no return. No nation is guaranteed a tomorrow.

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Frighteningly Prophetic: Shock Treatment

20th Century Studios

 

Shock Treatment, made following the cult success of The Rocky Horror Picture Show, started its cinematic existence under two cursed stars, the folly of attempting to craft a film to be a cult hit, something that nearly aways fails, and the terrible timing of hitting production during a writers’ strike. A bomb at the box office and with the cult crowd, Shock Treatment is film discarded and nearly forgotten.

And yet these days it haunts my thoughts.

Budgets and strikes reduced the original vision until the film’s setting transformed symbolically in a single location, a television soundstage where all the action and the character’s lives are played out for the live audience. A bizarre collection of characters populates the story, a seemingly blind game show host, played by the recently late Barry Humphries, a brother/sister pair of actors (Richard O’Brien & Patricia Quin) portraying doctors on a hit medical show from which the viewers take real medical advice, and puppeteering all of it the media creation and fast-food spokesman, Farley Flavors (Cliff de Young in a dual role). Flavors manipulates opinion and emotions with his broadcasts finally presenting Jante (Jessica Harper) while drugged out of her senses as a model of mental health to sell the audience on committing themselves to his mental institution. Even Janet’s rejection fails to derail the plot, with Flavors discarding her as trash, the sudden reversal irrelevant to the masses under his spell.

I cannot but see the striking parallels between this 41-year-old film and today’s political environment. In 2019 I wrote another essay about this foresight and the 4 years that have passed has only strengthened the film prophetic nature. It is far too easy to see that the wildly cartoonish character of Farley Flavors is a dim shadow of the real-life threat that is Donald Trump. Impeachments and insurrections have no more damaged his ability to control his own cult than Janet’s rejects damaged Flavors. The film’s depiction of the nearly irresistible pull social conformity and the facade of community from the fake history of Americana of the 50s is eerily predictive of the entire MAGA movement, that could so easily and without any irony adopt the song ‘Thank God I’m a Man’ as their anthem.

I had never before considered Shock Treatment a horror film but it undoubtedly. lives in that space now.

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Let’s Get Back to Wolf Men

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Last week horror film Youtuber Ryan Hollinger released a video essay on 2010’s The Wolfman a remake of 1941’s The Wolf Man. The 2010 film was not particularly well received nor was it a hit at the box office and Hollinger put forth his own analysis of why the film performed so poorly. I

Universal Studios

watched the movie in the theaters on its release and found the adaptation tepid, dry, and wholly uninteresting and despite an amazing cast, Benicio del Toro, Emily Blunt, Anthony Hopkins, and Hugo Weaving, only Weaving managed to captivate and hold my attention. You can see my original review of the remake here.

While I think Hollinger makes a number of good points about why the remakes failed, I do believe that he missed a critical element.

Curt Siodmak’s script for the 1941 film is a lean, spare affair quite suitable for a modest production with a brief running time of a scant 70 minutes but that is not to say it is without subtext and subtlety. In 1941 turmoil engulfed the world. Depending on how you counted the Second World War had been raging for 2 to 4 years and

Universal Studios

fascism seemed to be conquering the globe. A refugee fleeing Nazi antisemitism Siodmak and his brother landed in Hollywood marked by their experiences something Curt injected into The Wolf Man. The script’s subtext is about how even ‘good’ people become monsters under the wrong influence. A clear for what Siodmak witnessed in Germany with the rise to power of the Nazis. Repeated several times in the film is the famous poem Siodmak penned;

 

Even a man who is pure in heart,
And says his prayers by night
May become a wolf when the wolfsbane blooms
And the autumn moon is bright.

We all have the beast within us, and it only takes the wrong circumstance to awaken it, to release it, to the ruin of all including ourselves. This elemental truth is missing from the 2010 remake. It is a tragedy that Lawrence Talbot became cursed the potential lies within everyone. Any person can be filled with hate and perform terrible acts upon their fellow humans. This is the central theme that seems very much missing from modern werewolf tales. It isn’t about the bite but the darkness we hold inside. It’s about how easy it is to hate.

Given the cultural and political storms sweeping the globe we are ready for a return to TheWolf Man and a reexamination of the hatred at the center of a poisoned heart.

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