"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

© all material on this website is written by Michael McCaffrey, is copyrighted, and may not be republished without consent

2018 Mid-Term Elections

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Ever since Trump was elected president in 2016, the media have declared that he would face a comeuppance in the form of vast Democrat victories, or as they call it, a “blue wave”, come the 2018 mid-term elections. While I would like to think that would happen…I don’t think that will happen.

As long time readers know, I was one of “those people” who, in the face of a cavalcade of opposite opinion in the media and in my social circles, accurately predicted Trump’s victory in 2016. As I said in my writing from that time, I didn’t want Trump to win (nor was I a Hillary supporter), I just thought he would. I ended up being right and we have all had to suffer through the never ending reality show that is Trump TV ever since.

The formula I used to predict Trump’s 2016 victory is my McCaffrey Wave Theory, which again, I am sure long-time readers are sick of hearing about…but what can you do? My wave theory uses, among other things, popular culture, most specifically, at least currently, film and television, as indicators of the mood in the collective unconscious. The formula of the McCaffrey Wave Theory is actually very complex and complicated, and takes into account numerous cultural and historical “waves” or “cycles” that are all simultaneously in motion.

Interpreting the data from these waves/cycles and measuring their relationship to one another is how the McCaffrey Wave Theory is able to “predict” certain turn of events. And to be clear, this is not about being Nostradamus and saying planes will fly into buildings on 9-11, but rather about understanding the ebbs and flows of the collective unconscious and knowing when both big and small shifts will occur when portions of the collective unconscious become conscious.

The key elements of the McCaffrey Wave Theory are the archetypes, narratives and sub-texts prominent in films/tv along with their color scheme and visual/cinematic tendencies. These data points are how my wave/cycle theory is able to discern which films and/or television shows are leading indicators and which are lagging indicators of the collective unconscious. Leading indicator films are the ones that express the unconscious desires/fears of the collective, while lagging indicator films are the ones that express conscious fears or desires of the collective.

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Some examples of leading indicator film and tv were pretty obvious in 2017 when HULU’s A Handmaid’s Tale (its narrative and vibrant red and green color scheme) and the DC film Wonder Woman (its narrative and red and blue color scheme) jumped to the fore of our culture in the early summer. These two successful projects accurately foretold of the coming feminist outcry and the rise of the #MeToo movement in the wake of the Weinstein revelations that came out in October of 2017.

A good example of a lagging indicator film was in 2017 as well, when Steven Spielberg rushed into production his thinly veiled anti-Trump/pro-Hillary film, The Post, that underwhelmed both at the box office and come awards time. The Post failed both artistically and financially because it was little more than wish fulfillment that attempted to give the audience what it wanted, not what the collective sub-conscious needed.

In the years leading up to the rise of Trump in 2016, there were numerous films and television shows that were ominous signs of a very dark impulse coming to the fore in American life and across the globe.

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Two glaring examples were HBO’s Game of Thrones with its marketing campaign which for years was warning us all with their ice-blue billboards proclaiming that “Winter is Coming”. The other was Amazon’s The Man in the High Castle, a show about what America would be like if the Nazi’s and Japanese won World War II, which hit the airwaves in 2015 accompanied by a prodigious marketing campaign which had the Nazi Eagle on the American flag and the Imperial Japanese flag plastered all over the New York subway and elsewhere. Both of those shows resonated within the culture because they accurately gave voice to what was lurking in our collective unconscious. On some level we knew what was coming…a horrible “winter” and the Nazi’s/Not Sees…and these shows knew it before we were even conscious of it. (and don’t kid yourself, the Nazi/Not See impulse is not solely of the right, the left has a strong Not See impulse too).

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In 2015 there were many films that were also giving us warning signs of big trouble ahead. The Martian, The Hateful Eight, The Revenant and Star Wars: The Force Awakens were all through their narratives, color schemes (Martian - Red, Hateful 8 - Blue, Revenant - Blue, Star Wars - Red and Blue) and cinematic visuals (shots of foreboding vast expanses) the equivalent of a flashing red sign that a gigantic storm was coming.

In 2016 things got even clearer, as the blockbusters Captain America: Civil War, X-Men: Apocalypse, Deadpool, Batman v. Superman: Dawn of Justice, Rogue One: A Star Wars Story and even La La Land all revealed through their narratives (internecine warfare), sub-text and color schemes (all of them with vibrant clashes of red and blue) that our cultural train was headed off the track if not the cliff.

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As I have previously written, last year cinema gave us some signs of what to expect going forward. The big archetype of the year in 2017 was Winston Churchill…with the films Dunkirk, Darkest Hour and the Netflix show The Crown. The Churchill archetype can be interpreted in numerous ways, but when seen in conjunction with other wave/cycles, it strikes me that the Churchill archetype is manifesting in the Trump’s of the world…in other words…it is actually the Churchill shadow archetype that is taking center stage.

Which brings us to this year and the mid-terms. As I said, there has been incessant talk of a blue wave and in its jubilant wake the possibility of a Democratic House and maybe even Senate where, like a scene out of The Godfather where Michael settles all family business, liberals exact revenge by impeaching not only of Trump but Supreme Court Justice Kavanaugh. As entertaining as that liberal porn may be…I don’t think it is going to happen.

According to my wave theory, there will be no blue wave. Not only will the Democrats not win the Senate, I don’t think they will win the House either, and if they do it will be by the skin of their teeth. Now…before you stick your head in the oven…to be very, very clear…I could certainly be wrong about this, God knows it wouldn’t be the first time. For starters, I have never used my wave theory to predict a mid-term before, and it could be I am interpreting the data entirely incorrectly, this is a distinct possibility. But with that said, ever since last June, when I wrote a piece for CounterPunch on the topic, along with a follow up posting on this blog in July, I have thought that this blue wave was a mirage.

As I stated in my CounterPunch piece, the big warning signs for me were the prominence and success of both Deadpool 2 and Avengers: Infinity War, both of which had narratives, sub-text and color scheme that spoke clearly of the failure of the opposition to Trump to succeed in toppling him.

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Other films, such as A Quiet Place, Hereditary and even A Star is Born, that have all resonated deeply within the culture this year, are also leading indicators of a Democratic failure come the mid-terms because of their narratives and sub-text. Believe it or not, A Star is Born is remarkably insightful sub-textually and that sub-text very clearly (once you crack the code of it) states that if not Trump, then at least Trumpism, is here to stay as a replacement for the old paradigm, as indicated by the song in the film “Maybe it’s time we let the old ways die”. (I hope to have a full analysis of A Star is Born done soon).

Just as importantly, there are lagging indicator films that are, just like Spielberg’s The Post in 2017, falling flat, which highlight what isn’t resonating in the collective unconscious. Films with similar narratives, like the “aggrieved and under-appreciated genius wife/power behind the throne” stories of The Wife and Colette, or the “police shooting/racism” films The Hate U Give, Monsters and Men and Blindspotting, have all fallen flat in the broader culture. Even the colossal failure of the cinematic celebration of multi-culturalism and female empowerment, A Wrinkle in Time, is telling us what is going on in our collective unconscious, and it isn’t good news.

Now…maybe I am dead wrong about all this…maybe I am misreading and misinterpreting the data, that is a distinct possibility. Maybe the Democrats win a huge majority in the House and even get one in the Senate…but neither of those things will lead to a return to “normal”…only an escalation of the clash for civilization that is currently taking place.

Even if Democrats win, the intensity of the political turmoil here in America will not recede but proceed at an even quicker pace. Two more years of impeachment talk and congressional hearings will only heighten the tensions that are already near a boil. If you thought Trump was awful these last two years, wait until he faces an existential threat to his presidency from a Democratically controlled House and possibly Senate.

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On the other hand, if, as I have been predicting since June, there is not blue wave, don’t expect tensions to lessen. If Democrats fail to gain the House, Trump will turn his obnoxiousness up to 11 and liberals and the media will ratchet up the crazy to unseen heights. And on top of that, if Mueller ends his investigation with no bombshells or smoking gun of “Russian collusion”, the liberal and Democratic meltdown will make Chernobyl look like a cookout.

In other words…no matter the outcome on November 6th, the conflagration that is American politics will only grow bigger, hotter and much more dangerous.

The reality is that there is no stopping the collapse of the institutions of western civilizations. Trust me, we have a very, very bumpy road ahead. That means more authoritarianism across the globe (Bolsonaro will win in Brazil) and more shocks to the system, like economic earthquakes, natural disasters and war.

The good news is that this current wave/cycle of collapse and destruction will not last forever. Eventually, after maybe a decade or so (or God help us a decade or two), this collapse and destruction wave/cycle will transform into a more optimistic wave/cycle of growth, stability, relative peace and prosperity. Remember, destruction is the first act of creation, and we will create, hopefully, a more just, localized, thoughtful and sustainable civilization in the crater where this one once stood.

As for the bad news…we are still in the destruction phase…and come November 7th there are going to be a lot of really pissed off Democrats, liberals and anti-Trumpers, who will still have no power in Washington with which to vent their rage. And if you thought things have been bad the last two years, what ‘til you get a load of what comes next because you ain’t seen nothing yet.


©2018

A Star is Born: A Review

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****THIS IS A SPOILER-FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. No need to see this tired old horse be beaten once again.

A Star is Born, written by Bradley Cooper, Eric Roth and Will Fetters and directed by Bradley Cooper, is the fictional story of the tumultuous relationship between famous singer/songwriter Jackson Maine and the talented newcomer he discovers named Ally. The film stars Bradley Cooper as Maine and Lady Gaga as Ally, with supporting turns from Sam Elliot, Andrew Dice Clay and Dave Chappelle.

For months now there has been a tremendous amount of buzz swirling around A Star is Born, with industry insiders gushing about Bradley Cooper’s directorial debut and Lady Gaga’s feature film debut. To be completely honest, I really had no interest in seeing A Star is Born, but solely out of a duty to you, my dear readers, I braved the perfect weather out here in Los Angeles and ventured out to the local cineplex in order to find out what all the fuss was about.

I went to the first show of the day on a Tuesday and the theatre was pretty crowded. I had also heard reports from other, less film business oriented parts of the country, that screenings had regularly been sold out even daytime screenings, since A Star is Born premiered. It seems that this is one of those movies that people who usually don’t go to the movies go to the movies to see.

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As the lights dimmed and the film started I got distracted by an older couple entering my screening. This wasn’t just some old couple…this was the oldest couple. The man, or more accurately…the 2,000 year-old man, slowly but determinedly made his way up the stairs, with his wife, Methusala, close behind. It was hard to tell because of the darkness, but one of them was carrying a walker, which seemed strange to me that they would lug this thing all the way up the stairs. I would’ve done the chivalrous thing and helped them except I quickly deemed them enemies of my state for having arrived 15 minutes late for a movie, something that is irredeemably evil in my book.

Like the Sir Edmund Hillary of movie theaters, the 2,000 year old man climbed the stairs, then planted his flag and entered my row. He made a bee-line for the center of the row and I dutifully stood up to let him pass and stayed standing so his lagging sherpa of a wife could pass once she got to me. The thing to understand is this, I am an incredibly important and fancy person, so I only go to theatres that have assigned seats, and of course, being the law-abiding citizen that I am, I was sitting in my assigned seat.

The movie continued to play in the background as I watched the drama of the 2,000 year old man unfurl before me as he was trying to read his ticket number and the numbers on the seat in our very, very dark theatre. 2,000 year old man kept shuffling back and forth saying to himself, “fourteen and sixteen, fourteen and sixteen”. Little did 2,000 year old man know, but the even numbered seats were all the way over on the other side of the theatre, which would’ve been an Everest-esque climb to this guy who was as old as dirt. I was tempted to help 2,000 year old man out by picking him up and throwing him the 30 feet or so where his seats were, but I thought better of it…I didn’t want to get old people smell on me.

Methuselah then scurried by me and went from being a lagging wife to being a nagging wife when she decided to shout at her husband that she didn’t care where their seats numbers were, she was sitting down right where she was. She then told him to sit down too and shut up on top of it…and that is exactly what he did.

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I then turned my attention to the movie screen and there was Bradley Cooper pretending to rock out with his guitar and I thought to myself “these old people are going to HATE this movie!”. It reminded me of when I was a kid and this equally decrepit old couple I knew peripherally were complaining to my parents after having seen Neil Diamond in The Jazz Singer. No doubt these dusty people saw the original The Jazz Singer when they were young and thought they were getting some more Al Jolson this time around and were viciously disappointed to get Neil Diamond instead because as we all know…Neil Diamond is no Al Jolson God-Damn it!!

The 2,000 year old man and his bridezilla Methuselah were probably a retired married couple with grown children out of the house when the original A Star is Born came out in 1937, and made a pledge to one another to only trek out to these new-fangled movie theatres if and when A Star is Born remake hit the big screen. So, by my count, this was officially the third time since 1937 that 2,000 year old man and Methuselah have hit the cineplex, having seen the 1954 Judy Garland/James Mason version of A Star is Born, followed by the Barbra Streisand and Kris Kristofferson version in 1976…both of which I am sure were followed with a night of perfunctory yet ravenous lovemaking.

A glance at film history shows us that roughly every 20 years or so this old A Star is Born war horse is run out of the barn with a new saddle and new horseshoes and is dragged across the cultural consciousness. My math isn’t great but by my calculations that means that this new 2018 Bradley Cooper/Lady Gaga version was long overdue, coming more than 40 years after the last Streisand/Kristofferson dance. As they say, everything old is new again or as I say about the 2,000 year old man and Methuselah, everything old gets older…and so it is with cinema. I am sure that 2,000 year old man and Methuselah kept their lifelong pact and followed up their A Star is Born viewing with an afternoon and evening of excruciatingly arduous and ancient sex…I hope they enjoyed that more than the movie.

In regards to this latest version of A Star is Born, I found it to be as cinematically vital and vibrant as watching 2,000 year old man and Methuselah’s afternoon delight…but before I dive into the shit pile, let’s try and focus on the positive for a moment.

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The good news is that Bradley Cooper does terrific work as Jackson Maine. Cooper has matured into a quality actor and his Maine is no cookie - cutter character, but a rather a layered and complex human being. Cooper makes the wise decision to wrap Maine up tight and keep his wounds hidden until they split open and bleed all over him. I am not a Bradley Cooper fan, but I must say my respect for him as an actor is expanding over time.

Sam Elliot also does admirable work in a rather underwritten role as Maine’s brother, and every time he is on-screen the movie is elevated just a tiny bit from its descent into the bowels of absurdity.

Now for the bad news…well...A Star is Born is really little more than a paper thin exercise in star fucking. A Star is Born is the perfect Hollywood blockbuster for the Trump Age, all surface and no soul. It is a shallow, vacuous and empty shell of a film, a movie about stars, made by stars and is the perfect embodiment of reality tv filmmaking.

This is not a good movie, it is an amateurish, melo-dramatic soap-opera. I am willing to bet regular folks like the movie, but I found it to be insipid, insidious, absurd and cinematically obtuse.

Lady Gaga is undoubtedly a very talented women, but acting is not one of the talents she possesses. Yes, she is a terrific piano player and a remarkable singer, but her acting leaves a whole helluva lot to be desired. Gaga’s acting works in music videos because they are all surface and no substance and last about 4 minutes, but in a two hour movie, her lack of skill becomes more and more glaring with every passing scene.

Gaga is joined by her on-screen father, Andrew Dice Clay, as being uncomfortably bad in the movie. Clay seems like he is auditioning for a community production of Guys and Dolls or something.

As for the script…well…this film asks its audience to take extreme leaps of logic and to suspend its disbelief to such a great degree that it is simply untenable. While the core of the story is sort of “Hollywood myth-making” believable, in execution it becomes bizarrely inane.

My biggest issues with the movie are the logical problems…like since Ally is such a great song writer and has come to prominence with Maine’s audience which is rock/country, why does she then turn into a bubble gum pop idol? It makes no sense at all. On top of that, Ally’s music is a steaming pile of shit, just atrociously and comically bad on every level…why do audiences love it so much and why does she even win critical acclaim for it as well?

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Now, their might be a way that does make sense, but only in the deep hidden meaning of the film, which I will get into in much more detail in a separate post. There is a deeper message in A Star is Born, and once you crack the code of it, which I think I have done, it becomes pretty interesting (and this message may be entirely unintentional and sub-conscious on Cooper’s part), but that hidden message is so obscured by the rudimentary surface of the movie that it will be totally invisible to most every viewer except the most extreme like me.

As for Bradley Cooper the director, there has been a lot of talk about an Oscar nomination for his directing, his acting and the film. I will say this, Hollywood loves its own, and I would not be surprised if Cooper gets nominated for all three categories and maybe even screenplay too…but he is not an Oscar worthy director…not even close…and is only remotely worthy of an acting nod, and even that is an incredible stretch.

Cooper’s direction is pretty lackluster. He has a distinct liking for using flattering close-ups and a whole lot of flaring light, but the aesthetic, like the story, falls rather flat. Cooper’s direction of actors isn’t much better, as many of the supporting roles (the aforementioned Clay and his limo driving cohorts) are painfully awful.

My biggest question regarding A Star is Born is why? Why make this movie? And why do people, critics included, love it? I don’t get it, I really don’t. I don’t understand why anyone would think this is worthwhile cinema. My one guess as to the commercial and critical success of the film is that in an Age of Turmoil people like their lies to be pretty and their catharsis to be easy and cheap.

In conclusion, as Bradley Cooper’s character Jackson Maine opines, an artist needs to have something to say, sadly, with A Star is Born, Bradley Cooper the director has nothing to say. A Star is Born is little more than old Hollywood nonsense that feeds America’s celebrity addiction.

As a cinematic venture, A Star is Born is all hype. It is a vapid enterprise that gives the pose of depth but is entirely devoid of soul. If you like mainstream manipulative melo-drama in a conventional Hollywood celebrity package, A Star is Born is for you. If, like me, you like your cinema to be more substance than style, you will recognize that this Star is most definitely still-born.

©2018