Monthly Archives: June 2022

Monsters from the Id

In the classic SF film Forbidden Planet Professor Morbius enhanced by alien technology unleashes his Id as an indestructible monster to protect his paradise. In a very similar manner, the GOP crafted and unleashed their own Id when they struck the bargain in the Southern Strategy welcoming racists to win elections and now that monster is the party instead of the party’s beast. None of the those ‘wiser’ heads foresaw or intended for today’s Republican party. They had the very best of intentions, but forces unchained are quite difficult to contain.

Today I am seeing many on the left looking to their own monster to wield and that monster is violence. In their minds the recent and terrible court decisions are not a call to political action and work but rather a ‘justification’ to unleash the mob. hat rioting and violence are the bargains they would strike today.

I would ask them whose deaths are justified by their anger?

Thomas?

Roberts?

McConnel?

The Capitol Police person who just happens to be ‘in the way.’

Violence by its nature is uncontrolled and unruly. It will spread further then you ever intent and its final results are unforeseeable.

Violence is always justified in the first person and a crime in the third.

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Writers Going to Write

One of the unfortunate side effects of being a writer, at least for me, is that it’s quite difficult to switch off the part of my brain that writes and re-writes while I am enjoying someone else’s artistic work. I remember attending a best-selling authors book tour at our local bookstore and after he read from a piece having the urge to provide feedback and notes. This applies to movies I watch as well.

On its release I thought Doctor Strange in The Multiverse of Madness was okay but rewatching it on Disney Plus has raised my appreciation of it. That said I have found one line of dialogue I really really want to re-write. Just add three words to line. That’s all.

Wanda Maximoff (Elizabeth Olsen) when lectured about sacrifice by Stephen Strange (Benedict Cumberbatch) answers “Don’t talk to me of sacrifice Stephen Strange. I blew a hole through the head of the man I loved, and it meant nothing.”

That’s a good line, gives real weight to Wanda emotional pain and it works but I think it could be better.

“Don’t talk to me of sacrifice Stephen Strange. I blew a hole through the head of the man I loved, and, because of you, it meant nothing.”

Strange gave Thanos the Time Stone which allowed Thanos to reverse Wanda’s act of killing her love in an attempt to save half the universe. Putting in those three words helps move her motivation from Strange simply being opposed to her to something much more personal.

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The Seal is Broken

Friday’s SCOTUS decision to reverse Roe is utterly unprecedented. Yes, the court has reversed and overturned decisions, major monumental decisions, but never before has the court rescinded a legally recognized individual right. A week ago the people had X number of rights, today it is X-1. The long, arduous path that this nation had struggled on of slowly, inexorable, expanding individual rights has ended. The line has been crossed and it can never be uncrossed. For the rest of the nation’s existence the member of court will know that with enough cajoling and pressure they can remove any right that they find unpleasant. We know already that a member of the court is looking are more recently won rights as targets for elimination. “Cooler heads” tell us to not panic, that this lone voice on the bench has not the votes to imperil those rights. Well, for 50 years there was not the votes to imperil any individual rights and then there were. Precedent and legal traditions no longer stay the court’s hand from the political ends they wish to obtain and for those conservatives cheering you are far too short sighted. That abandoned respect of precedent and tradition can just as easily apply to Heller and MacDonald. Why should liberal justices have any more respect for you recently won rights as you had for theirs? You have initiated a no rules cage match where only victory matters and it will not end any time soon. The aged old guard of the liberal party has continued to play by rules that right has long abandoned but the next generation of liberal pols have watched and learned the lesson to whipped them with and the tables always turn.

I do not celebrate this, but I do welcome it. A return to politics with rules and norms can only be achieved if the right suffers, and suffers terribly, for the unrestricted warfare that they have unleased.

I dream, I hope, but sadly without a lot of faith that it will come to pass, that Friday represents the Right’s Pearl Harbor moment. A devastating attack that was meant to cripple an enemy but instead woke a slumbering giant and that brought about the attacker’s utter ruin.

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Disney+’s Obi-Wan Kenobi

The six episodes of Disney+’s latest Star Wars derived series Obi-Wan Kenobi had now released and with the finale watched I can give me impression of the show.

meh

Obi-wan Kenobi lacked the flair and novelty of The Mandalorian but also presented more heart and characterization that The Book of Boba Fett landing squarely between the two shows.

Set ten years after the rise of the galactic empire, the fall of Anakin Skywalker to the dark side of the force, and the slaughter of the Jedis, the series follows Obi-Wan Kenobi, on hiding from Disney StudiosImperial Inquisitors hunting the few remaining surviving Jedi his force-powers atrophied to near non-existence. Kenobi’s seclusion is shattered when as part of a plot to draw him out of hiding ten-year Lea Organa is kidnapped and her adopted parents call upon him to find and rescue her. Leaving the safety of his desert cave Kenobi brings him in the sights of an obsessed young Inquisitor and exposes him to a vengeful Darth Vader.

The problem with Star Wars in its most recent iterations is that development-wise it has grown quite incestuous.

The original film released in 1977 drew inspiration from Japanese Samurai movies, American adventure serials, and Campbell’s theory of the monomyth. (Along with literary SF traditions such as John Carter and it even angered Frank Herbert who felt it had lifted significant elements from his work Dune.) The point is that Star Wars 77 engaged in that rich artistic tradition of being in conversation with the culture and its artistic history.

The new millennium’s Star Wars is only in conversation with itself. It’s references are to other Star Wars stories and properties. With the exception of The Mandalorian which borrows heavily from American Westerns and Samurai films each new film and television series is an act of self-cannibalism as plot and story are derived almost exclusively from the pre-existing cannon.

While Disney’s other property the Marvel Cinematic Universe has been critiqued for an overreliance on 3rd act CGI heavy battles the MCU has shown that superheroes can be used to tell a variety of stories. Political Thrillers (Captain American: the Winter Solider) Dysfunctional Family Comedies (Guardians of the Galaxy) and even Horror (Dr. Strange in The Multiverse of Madness) but Star Wars remains telling the same sort of story over and over with few exceptions. The Mandalorian and Rouge One are the rare examples of the franchise taking risks and going in new direction with new characters with little use of the tired Skywalker drama.

Obi-Wan Kenobi was not bad, but it was tired and gave me very little that was truly emotional engaging, I have hopes, but they are fading, that the franchise will find new territory to explore and leave the Skywalkers to history.

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CineFix’s Top 10 A24 Films

The YouTube Channel CineFix-IGN, which releases regular and top-notch film analysis and exploration videos this week dropped another of their ‘Top 10′ lists, this time for movies released by those lovers of indie cinema A24.

Consistent with their previous top 10 lists they broke the list down into categories. I found it amusing that I had seen 7 of the 10, a personal record for me I think, and own 3 of them on physical media.

Here is the listing of their top 10 A24 titles.

10) Debut features: Lady Bird (2017) dir. Greta Gerwig

9) Science Fiction: Ex Machina (2015) dir. Alex Garland

8) Fantasy: Everything Everywhere All At Once (2022) dir. The Daniels

7) Coming of Age: The Green Knight (2021) dir. David Lowery

6) Survival Horror: Green Room (2016) dir. Jeremy Saulnier

5) Supernatural Horror: Hereditary (2018) dir. Ari Aster

4) Existential Horror: The Witch (2016) dir. Robert Eggers

3) Traumatic Drama: Midsommar (2019) dir. Ari Aster

2) Quirky Character Drama: Uncut Gems (2019) dir. Josh and Benny Safdie

1) Capital ‘D’ Drama: Moonlight (2016) dir. Barry Jenkins

 

The three I have not yet seen are, Lady Bird, Green Room, and Moonlight. The owns I own are Ex Machina, The Witch, and Midsommar.

Green Room is the film I have the most anxiety about watching. It is a strange quirk of character that fantastical horror, monsters, witched, zombies, cam create dread in me but far from enough to cause any hesitation in starting the film, but grounded realistic horror, such as trapped in a back room while a gang of fanatical neo-Nazis led by Patrick Stewart try to kill you can set my hand trembling. The utter banality and real-world nature makes such a prospect more terrifying than all the zombies or Swedish death cults.

Of the seven that I have seen the one that worked the least for me was Uncut Gems. While exceptionally made and Adam Sandler’s performance was fantastic, I found his character so repellent and unsympathetic that I cared nothing for his fate. Nor was he interesting enough as a character to leapfrog over his repulsive nature. It was not the actor, but the character as written that left me cold.

Still, when the A24 logo appears on the screen I know that quality and vision will follow.

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Noir Review: Pickup Alley (1957)

As part of the collection Noir Archive #3 Pickup Alley is a British police and crime film that in the UK was released as Interpol but retitled for its American distribution.

Victor Mature plays narcotics detective Charles Sturgis, a man with a personal vendetta against a major drug smuggler Frank McNally, the incomparable Trevor Howard, who murdered Sturgis’ sister. When drug mule Gina Broger, Swedish Actor Anita Ekberg, shoots one of McNally’s underlings when he attempts to assault her, this creates the crack in the operation that finally

Warwick Films

allows Sturgis to properly begin the chase. With teamwork from Interpol and Across the ocean and the European continent Sturgis follows Gina in his dogged pursuit of McNally, a criminal so talented and intelligent that no police force has even a decent sketch of him much less a photograph.

Pickup Alley is a mediocre film, neither great nor terrible. Mature is good enough as the vengeance obsessed detective but doesn’t rise to the heights of some of his other performances. The stand-out actor here is Howard, thoroughly enjoying himself, reveling in his character’s evilness, with only occasional forays into eating the set. It’s worth watching this film just for his performance.

Ted Moore’s cinematography and John Gilling’s direction are competent journeyman work lacking any particular flair. The film is shot and the frames composed professionally but feel like that are missing that extra bit that elevates work from competent to artistic. That said the budget appears to be fairly limited and that may have hampered the overall look of the production.

Pickup Alley, a nonsensical title, is neither great nor bad but at 92 minutes neither does it overstay its welcome. worth watching once but unlikely to become anyone’s favorite noir.

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I’m Back

So, I have been busy these last two weeks looking after my sweetie-wife following her surgery. Everything went very well and today I am returning to my day job. I am also returning to, hopefully, regular updates to this blog and back to my writing.

Here are a few thoughts on recent shows but not full deep dives.

Star Trek: Strange New Worlds

Following the adventures of Captain Christopher Pike, commanding officer of the Enterprisebefore Kirk, this series seems to have found the right balance between honoring the past and original series while striking out for new territory with new characters and fresh takes on old ones. I am particularly enamored with Jess Bush and her take on the underutilized character Nurse Christine Chapel. There are breaks with canon but so far these have created new and compelling storylines that justify the rupture.

Ms. Marvel

The latest MCU series to debut on Disney+ Ms., Marvel follows the life of Kamala Khan a Pakistani-American highschooler and devoted Captain Marvel fan as she navigates life in the MCU, her Muslim family and neighborhood, with varying levels of devoutness, and her sudden and inexplicable acquisition of superpowers. The show’s style is vibrant, energetic, and exploding with energy, much like the life of a teenage while neatly balancing the fantastic with the reality of modern life for a character caught between tradition and the wider American culture.

I have very little actual knowledge of Muslim-American culture, and less that would apply to the specifics of being Pakistani-American teenage girl, but the show feels honest and respectful giving me an insight I have not before possessed. Well worth the watch.

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A Response to Jordan S Carroll’s Article Misunderstanding a Classic 60s SF Novel

 

On May 29th Jacobin.com published the ironically titled article To Understand Elon Musk, You Have to Understand This ’60s Sci-Fi Novel by Jordan S. Carroll in which the good professor misread or misrepresented the novel The Moon is a Harsh Mistress (1966) by Robert A. Heinlein as a guide to understanding Elon Musk.

I come here not to defend Heinlein’s novel, its philosophies, or its meaning but rather in protest the professor’s inaccuracies and omissions that create a strawman for his argument.

Here from the article is Carroll’s description of the novel core conflict.

It’s about a lunar colony that frees itself, via advanced and cleverly applied technology, from the resource-sucking parasitism of Earth and its welfare dependents.

 

The Moon Is a Harsh Mistress depicts a moon colony forced by the centralized Lunar Authority to ship food to Earth where it goes to feed starving people in places like India. The lunar citizens, or Loonies, revolt against the state monopoly and establish a society characterized by free markets and minimal government.

 

Absent from this recounting and the entire article is the quite essential element that in the novel the moon is a penal colony. It is a prison removed from courts, laws, and governance. Exile to the moon is a one-way life sentence and even the guards and the despotic warden are, due to physiological changes wrought by prolonged life in 1/6 gravity, unable to return to Earth. People born on the moon are not technically prisoners but have no rights save whatever is granted by the warden’s generosity and can never live upon the Earth. It is a despotic, authoritarian dictatorship without any form of oversight. By omitting this element of the narrative Carroll is free to portray the people, for they are not citizens anywhere, of the moon as greedy libertarians indifferent to their fellow man.

The novel takes solutionism to the extreme when Mannie enlists the help of a sentient supercomputer named Mike to lead the overthrow of Earth’s colonial government on Luna

 

Here Professor Carroll has reversed the cause and effect of the novel’s progression. Mannie is not a revolutionary who enlisted the secret sentient computer into the revolution but rather it was the curious computer, Mike, that sent the apolitical Mannie into the revolutionary meeting because he had no way to listen in on the meeting. It is only after Mannie is won over by the revolutionaries and reveals to the pair that recruited him that the lunar colony’s central computer is aware that they decide to utilize this unique resource. Mike leads nothing, he is a tool and in many ways a child treating the revolt as a game.

When it comes to the revolution itself Carroll is no more careful in his representation that he was in depicting the conditions on the moon.

Mannie the computer technician, designs their clandestine cell system like a “computer diagram” or “neural network,” mapping out how information will flow between revolutionists. They determine the best way of organizing a cadre not through democratic deliberation or practical experience but through cybernetic principles.

 

Either Professor Carrol is ignorant or has chosen to ignore the history of Clandestine Cell Structure that has been used in resistance and revolutionary movements decades before the novel’s publications. In his haste to prove that everything from the novel that has apparently influenced Musk is tied to modern tech bro culture is has ignored or misrepresented actual history.

And here is another distortion of the novel’s events.

Even when it comes time to establish a constitution for the Luna Free State, the conspirators use clever procedural tricks to do an end run around everyone in the congress who is not a member of their clique. Smart individuals always win out over mass democracy in Heinlein’s fiction — and that’s a good thing.

 

First off, they did not ‘do an end run around’ the congress they established the congress with their command cell member occupying all the key positions. They attempted to create the impression of a representative government while retaining full control and that’s what happened — for a while.

The Lunar Congress, unaware that they were supposed to be rubber stamps and nothing more, formed a new government and with a stroke undid all of the revolutionaries careful plotting. Because this was not a revolution that shot the most capable revolutionaries after the victory, as so many in history has done, an actual representative government replaced the despotic tyranny of the penal colony. Not quite what Professor Carroll told people in his article.

And that brings me to the final and most critical blindness in the article and in people who hail the novel as a tale of a successful libertarian revolution.

In the novel the revolution failed.

Yes, the penal colony was freed, and a representative government replaced a dictatorship, but that government very quickly transitioned away from anything approaching pure libertarianism into a more conventional form. The novel opens with the Mannie bemoaning the coming of new taxes, and then once the flashback to the revolution is over, it ends with him contemplating immigration to some less populated area. The Libertarians lost the government. The moon did not become an outpost of pure unfettered capitalism and unregulated markets. It became Earth. If Musk thinks the novel points to an unregulated future, he has misread it as badly as Carroll.

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