"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

2019 TV Round Up

ESTIMATED READING TIME: 5 minutes 14 seconds

Once again the Emmy Awards are upon us, and once again no one cares. But since this Sunday night is supposed to be a celebration of the best of the best in tv, I thought I would briefly share my thoughts on the 2019 television fare I was able to catch.

I rarely write about television only because there is so much of it and I am so behind in watching everything that comes out. An example of which is that I literally just started watching 30 Rock for the first time a few months ago and that show went off the air in 2013.

The advent of binge watching, thank you Netflix, has changed the tv viewing experience so that audiences no longer simultaneously digest new material, but rather do it on their own time. I prefer this method of tv viewing, but it makes writing on the topic difficult and rather useless.

So, since I rarely if ever review television, I have decided to just throw together a cheat sheet of mini-reviews for the relevant shows I have watched this year. I have no idea if any of these shows are nominated for Emmy Awards because I, like every other normal human being on the planet, do not care about the Emmys, in fact my indifference is so great I refuse to even do a google search to see the list of nominees.

So with my laziness established, let’s begin our review of 2019 television!

GAME OF THRONES - HBO: 4 Stars

I watched Game of Thrones from the beginning and as a testament to my limited intellectual abilities I readily admit I didn’t what the hell was going on 90% of the time and had no clue who half the characters were, but the show had an above average amount of nudity and violence, my two favorite things, so I was on board.

Game of Thrones was one of the very few, in fact I think only, tv show I wrote about this year. As previously stated the show’s final season was a definite mixed bag and was not nearly as good as the seasons that preceded it. That said, watching King’s Landing get obliterated was as exhilarating a visual sequence as we have seen in the history of the medium.

The cast of Game of Thrones have always done solid, if not spectacular work. I think Emilia Clarke, Kit Harrington, Nikolaj Coster-Waldau and Peter Dinklage were among those who were the most spectacular.

THE BOYS - AMAZON: 4.5 stars

The Boys is an absolute gem of a show that is the best kept secret on tv. I seem to be the only person who has ever watched the program and have become a sort of evangelist in favor of it. I have told countless friends that they have to check this thing out.

The Boys beautifully deconstructs the corporate superhero mythology that is the dominant myth of our time. If you are sick of Marvel and Disney’s dominance of the superhero space…then watch The Boys. The show is an insightful and piercing commentary on the American corporatocracy, and it pulls no punches. It eviscerates the empty headed corporate flag waving of the media, Disney in particular, and tells more truth in its fiction than the establishment news has ever done in its reporting.

There is a sequence in the show, and I won’t give it away, but it deals with the Hegelian dialectic (problem - reaction - solution) and it is the absolute truth of our time and is brilliant.

The show stars Jack Quaid, who is the son of Meg Ryan and Dennis Quad. This is obvious but still kind of weird to see, but Jack is the perfect amalgam of his two famous parents. At times he looks exactly like his dad, and other times just like his mom…it is like he has his own weird famous parent morphing super power.

The rest of the cast, which includes Karl Urban, Antony Starr, Elisabeth Shue and Erin Moriarty, is top-notch and play their roles with aplomb.

The Boys is not perfect but it really is a fantastic show and a bolt of anarchist rebellious energy into the very stagnant super hero genre. This show actually made me yell in joy at one point at how subversive it is…I kid you not. Anyway, if you love super hero stuff, or are sick of superhero stuff…this is definitely the show for you.


MINDHUNTER - NETFLIX: 4.25 stars

Mindhunter is produced, and sometimes directed, by filmmaker David Fincher. One of my favorite Fincher films, and one of my favorite films period, is Zodiac. Zodiac is a rare Fincher film in that it sort of flew under the radar, in fact I didn’t even see it in the theatre. But after discovering the film a bunch of years ago, I cannot get enough of it…and even use scenes from it when I work with clients. I watch Zodiac so often it has become a running joke in my house…and probably with the FBI agents who are surveilling me.

Mindhunter is like an extended and expanded version of Zodiac, as it is set in relatively the same time frame, and shares the same visual and artistic aesthetic. Mindhunter is, not surprisingly since it is a Fincher project, beautifully shot and lit and looks great.

The acting in the show is solid and subtle, as the main cast maintain a tight lid on things. The guest stars, who play a panoply of serial killers, are creepily fantastic in bringing their famous killers to life.

Mindhunter is, at its core, an extremely well made “cop” show that is decidedly smart and mature. This show is Fincher at his best….moody, unnerving, menacing, unsafe. The show is so well- made I think it would be impossible to watch it and not end up double checking the locks own your windows and doors before going to bed at night and also not looking at the nearly invisible normal people who populate our surroundings and thinking, at least for a moment, that they might be, or are at least capable of being, super predators.

FLEABAG - Amazon: 4.5 stars

Fleabag is what feminist tv/film should be. It is not whiney and self serving with an axe to grind but aggressively funny and deeply reflective. Phoebe Waller-Bridge wrote and stars in the show and her performance is remarkable and her writing, scintillating.

The rest of the cast, which include Sian Clifford, Andrew Scott and the glorious Olivia Colman, give superb performances across the board.

What makes this show such an intrepid piece of feminist comedy is that the female lead has absolute agency, she is not a victim but an active participant in the mess that is her life. The plot of Fleabag is fueled by Waller-Bridge’s character’s actions, not by her responding to other people’s actions. If she is a victim it is of her own bad decisions, not of other people’s.

BLACK MIRROR - NETFLIX: 4 stars

Black Mirror really is a Twilight Zone for the 21st century. The show never fails to be unique, original, challenging and insightful and also never fails to surprise. Black Mirror boasts terrific writing, top notch direction and stellar casts.

What is great about Black Mirror is that all of the episodes are stand alone so you can watch them at your leisure. This season there are, at least so far, only three episodes and they are fantastic. The best of the bunch is “Striking Vipers” which is both shocking and funny.

I can’t remember being underwhelmed by any episodes of Black Mirror, but I can recall being completely freaked out by more than a few of them. (The one with the dog like hunting drones is stellar!)

THE HANDMAID’S TALE - HULU: 1.5 stars

The Handmaid’s Tale’s first season was an electric piece of television. The fact that the show was in production prior to Trump’s election but spoke so eloquently about women’s anxiety after he won, is a testament to the artistry and craftsmanship that went into making it. The problem though is that the show, which was so compelling in season 1, quickly jumped the shark in season 2, and in season 3 has gone full Evel Knevel on a tricycle over Jaws in a kiddie pool.

It is difficult to overstate what a heinous piece of crap this show has become. The only equivalent I can think of is the precipitous fall of House of Cards which was like a speeding train falling off a cliff after its first few seasons.

Just like House of Cards downfall, what saps The Handmaid’s Tale of drama is that there is no longer any genuine threat to the main character June. June has become an avatar for the girl power people in her audience and thus is given no genuine obstacles to overcome, just manufactured ones, by the fan servicing producers.

At one point while watching one of the episodes in season 3 I said out loud to no one in particular…”I hate this show”…and I really have grown to hate it, which is frustrating because the show in the first season, and Elizabeth Moss’ acting in that season, were just mesmerizing. But now the show really has devolved into a pointless, rambling, dramatically incoherent, self-reverential mess and Moss’ acting little more than her not blinking in order to cry and acting faux tough. The bottom line is this, if Gilead were as awful and authoritarian as it is supposed to be, then June would have been swinging from the wall a long time ago. At this point I watch the show praying she gets hung and puts us all out of our misery.

The show is just so…stupid and frustrating…and the characters equally stupid and frustrating. In season’s 2 and 3 The Handmaid’s Tale has abandoned any semblance of a coherent internal logic and now just seems to be winging it. It is safe to say I will not be returning to Gilead for season 4.

WHEN THEY SEE US - NETFLIX: 1 Star

This show, which is about the very relevant and important story of the Central Park Five, is produced by Oprah and directed by Ava DuVernay….and it shows. That is not a compliment. This mini-series is just God awful. It is embarrassingly maudlin, shmaltzy and unconscionably ham handed.

This show will no doubt win a bunch of Emmys, but that is only because it is the sort of anti-Trump, anti-racist screed that Hollywood dipshits gobble up like Xanax. But do not be deceived, this show is atrociously poorly made. The cast, most notably Jharrel Jerome, are abysmal. Jerome sets the craft of acting back decades, if not millennia, with his corny performance as Korey Wise, one of the Central Park Five.

What frustrated me so much about this mini-series was that it is based on what should be a dramatically potent true story, and a story that is so vital and relevant to our times. But in the hands of DuVernay, this story is sapped of any meaning, and instead turns out to be an emotionally manipulative piece of garbage better suited to the Lifetime channel than Netflix.

Sadly, this story of the Central Park Five is as true to life as the Central Perk Five of Ross, Rachel, Monica, Chandler, Joey and Phoebe. Yikes.

CHERNOBYL- HBO: 4 stars

This mini-series which recounts the 1989 nuclear disaster, starts out great but loses some dramatic momentum late as it staggers to the finish line. Chernobyl looks great from start to finish and is elevated by some great acting, most notably from Jared Harris.

The weak link with the show is the script, as it falls into the tired Boris and Natasha evil Soviet caricature too often. The historical accuracy of the show has been called into question as well, but that is somewhat excusable, but the tired cliches of Soviet inhumanity are not.

The first few episodes of the mini-series were as good as anything on television this year, but the finale was decidedly disappointing and underwhelming. That said, I enjoyed it for the great cast and for how well it was shot.

ESCAPE AT DONNEMARA - SHOWTIME: 2.5 stars

Escape At Donnemara, which was directed by Ben Stiller, is a wholly uneven enterprise. Just like Chernobyl it starts off strong, then there’s a lull and then a significant dramatic and artistic spike in the second to last episode…but then it finishes with a whimper.

Stiller certainly puts some artistic bows on the show, using music and sound and fading to black to nice effect, but ultimately the show only stays on the surface of things and there is never a sense that we are getting at any semblance of the truth.

One of the odd things about the show is that it can feel incredible slow, bordering on dull, and yet that leisurely pace pays no dramatic benefits because the narrative ultimately seems so rushed at the end of the day.

That said, I thought Paul Dano’s performance as Sweat was really phenomenal. Dano makes Sweat a real person, not some caricature. Dano’s Sweat is conflicted, with a vivid and pulsating inner life that is compelling to watch. The show would have been better served with more Paul Dano and not less.

Patricia Arquette’s performance is all show. Arquette’s Tilly is nothing more than a monotonous and endless droning on, and the acting never once reveals anything of use or honesty about Tilly.

Benicia del Toro gives what I would deem a rather lazy del Toro performance…we’ve seen this act before and it has grown tired.

Ultimately, this mini-series has its moments but ended up being unsatisfying.

VEEP - HBO: 4 Stars

Veep was good this season but not great. Of course, Veep had set the bar ridiculously high with its first six seasons, so topping it in the finale was always going to be a tough job.

Julia Louis-Dreyfus is one of the wonders of the world, and her performance as Selena Meyer was so great as to be iconic. The rest of the cast were their usual stellar selves as well.

That said, season 7 felt like the show had definitely run its course and in the age of Trump, where reality is much stranger than fiction, seemed a bit, dare I say it…tame.

I liked season 7, but I think it was the weakest of all the Veep seasons.

BARRY - HBO: 4.5 Stars

Barry is awesome. This show perfectly captures the absurdity of the Hollywood experience for any actor trying to scratch out an existence and chase a dream. The acting class scenes are spot on and poignantly painful for their depiction of the shit show that is acting class in Hollywood.

What is so great about Barry is that it wonderfully mixes shocking violence with exquisitely subtle comedy. Few shows are ever able to do one or the other, but Barry is able to do both and do them extraordinarily well.

The straw that stirs the drink of Barry, is Bill Hader, who is a god send as assassin turned wannabe actor, Barry. Hader’s comedic timing and energy are exquisite, but it is his transformation into the ruthless assassin that makes the show real enough to be worthwhile. Hader is not just a funny man, he is a genuinely gifted dramatic actor, and his versatility is a rare trait indeed.

The rest of the cast, particularly Henry Winkler, are gloriously good. Winkler’s scene stealing work as Gene Cousineau is a stake through the heart of the ghost of Fonzie (hey, second Fonzie reference of this article!). Winkler perfectly captures the insincerity, dishonesty and desperation of those unfortunate souls who become acting teachers…I would know.

Barry is appointment viewing in my household.

Thus concludes my brief foray into television criticism, I hope you found it useful. My top picks this year are The Boys, Mindhunter, Fleabag, Black Mirror and Barry. None of those shows are for the feint of heart, so know that going in. I have no idea if any of these shows are nominated or will win at The Emmys on Sunday night…and more importantly, I don’t care…and neither should you.

©2019

Final Thoughts on the Game of Thrones Finale - Alternative Ending Included

Estimated Reading Time: 4 minutes 02 seconds

Game of Thrones has come and gone and after eight seasons of turmoil has exited with a whimper and not a bang. The final episode, in keeping with the final two seasons, was underwhelming at best. The narrative felt rushed and the drama forced, and so, a show that was a powder keg of possibilities ended with a fizzle.

The finale was lackluster and the last season lacking, and I think it is important to understand why that is and how it happened. The biggest issue, and this seems to be a consensus, is that the last two seasons were rushed, with the narrative being sped up and therefore the drama not earned. It is counter intuitive, but oddly enough the dramatic momentum of the show slowed precipitously when the pace of the narrative increased over the last two seasons. Without the requisite time and space to let the characters and story marinate, simmer and then stew over a warm but not hot flame, the drama was both under done and over done at the same time. This left the story tough on the outside, which made it difficult to chew on, and cold on the inside, which made it hard to swallow, and left an unpleasant taste in your mouth and a queasy feeling in your belly when it was over.

In the recipe for drama, time is a key ingredient and it seemed to be the most lacking in the last few seasons of Game of Thrones. For example, much more time was needed for Dany to be turned into as mad a Queen as she needed to be for the resolution of the story to make dramatic sense.

By increasing the pace of the drama over the last two seasons, and this half season most especially, the show lost its focus and became more about hitting plot points necessary to end it, than in having characters make believable choices in the circumstances they found themselves. When logistics of the production are the main driving point for the arc of the narrative, then the story will crumble under the weight of its dramatic falsity.

Of course, lots of people have lots of opinions about the show and its finale. People like to bitch about things…myself included. But it is important not to let the less than stellar finale and final season undermine the enormity of what the makers of Game of Thrones achieved with this show. As I have written before, we will not see anything like this again…and so while it is fun to nit pick the negatives of the final season, we must also tip our cap to those that got so many people invested in the show in the first place.

With that said…here are my thoughts on what should have happened. Of course, the question arises, who the hell am I and why should anyone give a rat’s ass what I think should have happened to end Game of Thrones? The answer to that is that I am most definitely a nobody and will remain one until the day I die…but…I do spend my time and make my living as an acting coach scouring scripts in a desperate search for drama. I read a ton of scripts and I work with lots of actors trying to dredge up the worthwhile drama in them. My alternative take on the Game of Thrones finale is an exercise based entirely on storytelling where drama takes precedence. Maybe my ending makes no sense in terms of the books (which I have not read), or the budget (which I am not paying for), or the fan base (of which I am not a member)….but it does make dramatic sense…and for me that is all that matters.

So…here it is…my broad brush ending to Game of Thrones.

ALTERNATE ENDING

Main Themes: Duty and Honor

The sacking of King’s Landing should’ve been the first big battle of the last season….with the Battle of King’s Landing and the Battle of Winterfell exchanging places in the story order. In a six episode season (which should’ve been 12 episodes) the Battle of King’s Landing should happen in episode three at the latest, two if possible, and the Battle of Winterfell against the Night King should have happened in the penultimate episode (#5). In a 12 episode final season, which i would prefer, I would have the Battle of King’s Landing at Episode 8 and the Battle of Winterfell at episode 11.

The Battle/sacking of King’s Landing would play out the same way in my version as the show’s actual version, with Dany going all Dresden/Hiroshima on the general population. My one tweak would be that Cersei and Jaime die in each others arms but by dragon fire when Dany sees them trying to escape the Red Keep. Dany and Cersei would look into each others eyes and then Jaime and Cersei would have their conversations “this is all that matters”, and then Dany would torch them. This sequence gives Dany agency in Cersei’s death and also makes Cersei’s death a punishment for all of her evil.

The burning of King’s Landing sets Dany up as a morally questionable character due to her torching of innocents. It also means that every character becomes morally compromised by the atrocity because they still need Dany on their side in the fight against the Night King. The Night King is the greatest existential threat to all of mankind, and so it means that everyone…even the mad Queen who kills innocent people, must be kept on board. Every character, from Jon to Tyrion to Arya to Sansa and on and on must bend the knee to one evil, Dany, in order to defeat another greater evil, the Night King.

The Battle of Winterfell then proceeds after the armies march north to Winterfell to meet the Army of the Dead. On this march there are lots of conversations about Dany and what are we going to do? She is mad? etc., etc.

The Battle of Winterfell is shot more clearly and with more coherence and clarity in my version. While I didn’t really dig Arya killing the Night King or the way she did it in the original…I will acquiesce and keep that sequence the same. But in my Battle of Winterfell many more characters are lost. Brienne, Tormund, Greyworm as well as the ones killed in the original all die.

After the end of the Battle of Winterfell and the Night King’s death, Dany embraces an exhausted Jon and they weep and cheer their victory together. Dany then tells Jon that since the threat of the Night King is over, “their child can be born into a world of peace.” Uh-oh…Dany is pregnant…and Jon is the father…the stakes just got even higher in Westeros.

In my alternative finale…Jon is, as always, ready to serve his queen…but Tyrion, Sansa, and Arya all implore him that something must be done about the Mad Queen who is talking and acting like a tyrant.

Jon then has a similar conversation with Dany that he had in the actual finale, and they go back and forth about what is good and right…and Dany asks Jon to join her in making this new world. Jon kills her. Dany being pregnant with Jon’s child as well as being his Queen and love…makes the stakes much higher, the gravity of his decisions much heavier and much more fraught than in the original finale. By killing Dany, Jon is actually sacrificing not just his love and self-conceived notion of his honor and belief system…but his lineage, his child, his everything that he yearned for throughout the story. Jon commits this heinous (in his eyes) act because it is the “right” thing to do for the people, the kingdom and the Starks…and these added narrative obstacles make the weight of that decision much much greater than was in the original finale.

The Lords of the Seven kingdoms then declare Jon, who is the rightful heir, to be king of Westeros. Jon declines and instead exiles himself to the North, to wander among the Wildlings far north of the wall…and to never marry or have children or take lands. His punishment is self-imposed….this gives Jon agency and makes his exile a heroic act and thus he begins his arc of redemption. Jon starts as a bastard longing for acceptance and he ends as a self-imposed exile…forgoing all he yearns for in order to do the right thing.

The council, after much debate and hemming and hawing, all, out of various Machiavellian maneuvers…choose Gendry Baratheon to be king. Gendry is chosen by some because they think he is an peasant who can be easily manipulated to thwart Stark power. But those anti-Stark machination are upended when Arya Stark, who has discovered she is pregnant with Gendry’s baby and thus cannot explore what lies in the West, accepts Gendry’s proposal. Arya thus becomes the Queen of Westeros, and due to Gendry’s rather uneducated background, Arya is now the real ruler of the Seven Kingdoms and eventual mother to a King as well.

Arya marrying Gendry and becoming Queen of Westeros fulfills her character’s arc too as she has thrown off the childish urges for adventure and revenge and instead grows up to accept “DUTY” above all else. Just as her mother and father before her sacrificed for her, Arya now sacrifices her dream of personal freedom for her child and for her family and kingdom. Arya starts as a tomboy repulsed by the trappings of power…and ends as a Queen, ruling over the Seven Kingdoms.

Sansa, assuming she is backed by her sister, then declares that the North will not kneel…and must be independent. Other kingdoms tart contemplating the same thing. Gendry and Arya, with an assist from Bran, decide that in order to quell the “independence” talk, Sansa must consummate her marriage to Tyrion and bear an heir if the North is to be granted autonomy. Both Sansa and Tyrion are horrified and vehemently against the idea.

This is the highest of drama considering Sansa’s history and also considering that it is her sister and brother who are asking this of her. After much hemming and hawing…Sansa does what both Jon and Arya do…she chooses duty…and she accepts her fate and the conditions under which she will become Queen of the North. Sansa chooses to put duty to her people and family above all else and agrees to the pairing. (A shot, through a doorway - like the iconic ending of Godfather I with Michael in a room and Kay watching through a door- of Sansa standing in a bedroom alone. Tyrion enters, they exchange a glance, he kisses her hand, then Sansa walks over and slowly closes the door on the camera, implying they are about to have sex, would be terrific.)

In order to soften the blow upon Sansa…Tyrion is named the Hand and will live in Kings Landing after Sansa is impregnated, leaving Sansa to rule the North on her own. Arya tells Tyrion that she will watch him with a keen eye and have his head if he so much as thinks of betraying her or Gendry. Tyrion looks over and sees Bran, who nods. Tyrion understands that Bran knows everything and that he must be unquestionably loyal to Arya and Gendry.

Bran is now the Three Eyed Raven…and serves as a sort Grand Maester who is part historian, part prophet, part wizard. Bran works closely with Samwell and they become the keepers of history and knowledge. Bran also searches far and wide with his powers to find Drogon and maybe even bring him under the Stark wing with his warging powers.

The show could end with the same Stark montage as the original finale…except this time with Arya sitting on her throne next to Gendry…ruling the kingdom through her husband, with Sansa sitting alone on her throne in Winterfell with her hand on her belly contemplating her soon to be born child, and with Jon riding alone in the cold and snow of the North, feeling the bitter wind of his exile.

So…that is what I think should’ve happened. If the show had gone one more full season they may have been able to pull it off…but alas…we will never know. I guess I better get started writing my fantasy novel masterpiece because that is the only way these ideas will see the light. And thus concludes my speculative Game of Thrones pseudo-fan fiction!

©2019

Brief Thoughts Before the End of Game of Thrones

Estimated Reading Time: 4 minutes 14 seconds

When Game of Thrones first appeared on HBO I admit I was skeptical. In general I don’t watch much television except for whatever sporting event that isn’t golf I happen to stumble upon, but I do usually make an exception for HBO.

I prefer to watch HBO because their shows are not suffocated within what I call the “Network Box”. The Network Box is why most network tv shows suck…they are stuck in a box of creative limitations in terms of what they can say and show, and monetary limitations in terms of how much money they must generate in order for the network to stick with them.

On network shows the language is censored, the violence muted and the nudity non-existent. Because of this it all feels so…manufactured and phony. And because the network’s demand so much ad revenue for each show, niche programs stand little chance of surviving their early years when they are building an audience and creative momentum. So why watch network TV when it is all garbage and anything worthwhile will be cancelled before there is any resolution to the story. And so…I generally give HBO shows a chance because they have more likelihood of being good and of not being cancelled if they aren’t blockbusters right away.

That said, I watched Game of Thrones originally more out of an obligation than out of interest for that first season. Then something completely miraculous happened…at the end of season one Ned Stark got his head chopped off. Stark, who was played by Sean Bean, the biggest star on the show, was the central character for season one, and when he found himself kneeling with the executioners axe poised over his neck, I watched with a bemused detachment.

As that scene unfolded I kept trying to figure out how Ned would be saved…who would swing in, or ride by, and in typical Hollywood fashion, somehow save the star. But then they actually cut Ned’s head off and I literally jumped up from my seat. I was startled, unnerved, exhilarated, agitated, excited and shocked. I was pacing my empty living room yelling aloud, “HOLY SHIT! HOLY SHIT!!”It was at that moment that Game of Thrones made its bones! Ned’s head was gone and it was on!

I never became a Game of Thrones superfan. I never read the books or delved into the maze of online fan sites and theories and such. I did watch every episode though, but if I am being honest, I rarely knew what the hell was happening or who half the people were, but that didn’t matter. The show as beautifully shot, wonderfully acted, well-written and was never miserly with violence or nudity. As I was fond of saying to friends about Game of Thrones, “come for the blood and guts, stay for the boobs and bush”…and that is exactly what I did.

One of the great not-so-secrets of Game of Thrones’ success was that it would take the most mundane scenes, filled with nothing but expository writing on the political machinations or history of Westeros, and turn it into interesting eye candy by setting the non-action in a brothel or bedroom with beautiful women, and occasionally men, cavorting in the background in all of their Medieval naked glory. Game of Thrones seemed to understand the most basic laws of human nature…which are, in no particular order…people like to look at beautiful people, people like to look at beautiful people naked, and people like to look at two or more beautiful people naked and simulating sex.

Besides the naked bodies and the consequence filled violence, the highlight of the show for me were the dragons. When Dany’s three fire-breathing, winged progeny grew up and took to the world, they were the most beautiful things I had ever seen on television. When the dragons were unleashed in battle, whether it be to save Dany from an assassination attempt, or to nearly kill Jaime, or to save Jon from the wights…they were glorious. When the undead ice dragon obliterated The Wall, it was simply stunning to behold. And when Dany went full Dresden and unchained Drogon to shock and awe in the battle of Kings Landing last week, it was absolutely spectacular. Remarkably well shot, with seamless special effects, the aerial destruction of Kings Landing was one of the greatest visual sequence ever seen on television.

In addition, when Drogon’s head came out of the darkness on the beach in last week’s episode to incinerate Varys…that was a truly delicious shot. It was also an example of creation through limitation…as the darkness wasn’t just visually striking…it saved money, as they only had to do a limited amount of CGI for the dragon head and not the whole body.

Which brings us to the budget issue. Game of Thrones has an enormous budget, the equivalent of a Hollywood blockbuster, but it isn’t unlimited. As I wrote earlier in regards to the Battle of Winterfell, that episode’s dark and muddy visuals which so many, myself included, found annoying, could very well be a result of penny-pinching and cutting corners in order to save money for the Battle of Kings Landing. Sure enough, last week’s Battle of Kings Landing was everything that this season’s earlier Battle of Winterfell was not. It was crystal clear, visually coherent and cinematically gorgeous.

Another complaint many have had, myself included, regarding the final two half seasons is that the narrative has seemed decidedly rushed, and thus less cohesive and coherent, especially in contrast with the pace of the earlier seasons. In my opinion, the story would have been better served had they done two full seasons instead of two half seasons, but again, the budget is probably the reason that didn’t happen.

If the producers had done two full seasons then the cast may have been up for significant pay raises and would have had a tremendous amount of leverage with which to get those pay raises. By doing two half seasons, the showrunners are only paying the cast for one full season, thus keeping them on their original “rookie” contracts and avoiding shelling out a big pay day.

The budget issue is a complex one and there are no doubt mitigating and complicating factors all the way around, including but not limited to people not wanting to be stuck working on this project any longer. Yes, Game of Thrones is undoubtedly the greatest thing most of these folks, be they actors, crew or producers, will ever be associated with, but working in TV is a grind, and working on a show in far off locales even more so. As successful as the Game of Thrones has been, I’m sure nearly everyone working on it is relieved it is over.

This is just my opinion…and I am not the one writing the checks…but I would have preferred not only two full seasons but also a flipping of the Battle of Winterfell and the Battle of Kings Landing. To me, I think it makes more narrative and creative sense, at least in hindsight, to have the beautiful Battle of Kings Landing first, and then the Battle of Winterfell in the penultimate episode. Of course, I would also want to spend more money and have the Battle of Winterfell shot entirely differently and even have a different ending, as the one they went with was way to Hollywood for my tastes and out of character for the show.

Also, I would still have Jaime and Cersei die at the Battle of Kings Landing in each other’s arms, which was very poetic, but just not by being buried under rumble, which was not visually satisfying. I would have had them try to escape, then see Dany on Drogon, and Dany see them, and she and Cersei make eye contact, then Cersei and Jaime have their final goodbye conversation and hug and then…DRACARYS…and the Lannister twin’s charred remains would be frozen in an eternal embrace. But again…this is just my opinion and I am sure others have differing ones that are just as valid.

As for what will happen in the finale…I have absolutely no idea mostly because I am still not even sure what the hell has already happened. As I wrote before, the bottom line is this, we should enjoy Game of Thrones and the Game of Thrones phenomenon while is lasts because we will see nothing like it ever again. Sure, people will try to copy its success, but cultural forces will limit what other series can do in Game of Thrones‘ wake, and will no doubt make little more than cheap, watered-down, politically correct and tokenly diverse imitations on the original rather than improvements.

You only get one shot at ending something as epic as Game of Thrones. As of right now, the show’s creators, D.B. Weiss and David Benioff, have definitely faltered coming down the abbreviated stretch. That said, it is not impossible, but certainly not likely, that Weiss and Benioff could right the ship in the show’s final eighty minutes. Whether they stick the Game of Thrones landing or not, Weiss and Benioff should be lauded for having gone as far as they have with this show and having been as successful as they have been with it. Game of Thrones is a monumental television achievement and regardless of whether it ends as well as it began, we should be grateful of that fact and shouldn’t lose sight of it.

©2019

Undead Army of the Woke Will Make Sure Game of Thrones is the Last Show of Its Kind

Estimated Reading Time: 4 minutes 04 seconds

****WARNING: This article contains some information about Game of Thrones and Avengers: Endgame that might be considered minor spoilers if you haven’t watched the series or seen the movie yet. You’ve been warned.****

The surge of political correctness in recent years all but assures that in the future, edgy shows like Game of Thrones will be strangled in their creative cradle.

In 2011, Game of Thrones premiered on HBO as an exceedingly well-acted and beautifully photographed fantasy-drama of swords and sex, chock full of palace intrigue, familial rivalry and violent conquest. The show flouted Hollywood storytelling conventions and quickly became a cultural phenomenon. Sadly, we will never be able to enjoy anything like Game of Thrones ever again.

The reason that we’ll never see anything like Game of Thrones again is because in the eight years since the television adaptation of George R.R. Martin’s fantasy novels first hit the small screen, much has changed, and not just in the mythical land of Westeros. In the real world, and the unreal one of social media, political correctness has taken the throne and vanquished all contenders, leaving the bloody head of rational thought on the end of a spike as a warning to anyone who dare speak up against the zeitgeist of neo-feminism, inclusivity and a coddling sensitivity.

In the past few years, movements like #OscarsSoWhite and #MeToo have dramatically changed the landscape of Hollywood by weaponizing diversity and victimhood and using them to bludgeon opponents and silence dissent. The “woke”, whom Merriam-Websters defines as those being “aware of and actively attentive to…issues of racial and social justice”, have taken over the entertainment industry. Just like the Night King’s Army of the Dead broke through The Northern Wall to attempt to destroy all of humanity in Westeros, the Army of the Woke now march on our popular culture intent on obliterating all worthwhile entertainment.

A wonderful example of the vacuity of wokeness came in the form of a Game of Thrones outrage tweet from actress and high-priestess of political correctness, Jessica Chastain, where she slammed the show for the character Sansa’s claim that having survived a plethora of traumas, including rape, transformed her into a strong woman.

Chastain tweeted,

“Rape is not a tool to make a character stronger. A woman doesn’t need to be victimized in order to become a butterfly. The #littlebird was always a Phoenix. Her prevailing strength is solely because of her. And her alone.”

Chastain’s tweet is not only an advertisement for her intellectual dwarfism, not to be confused with the intellect of a dwarf, which Tyrion proves can be formidable, but also an actual advertisement. “Phoenix” is a reference to Chastain’s new X-Men movie, Dark Phoenix, which also happens to star Sophie Turner who plays Sansa on Game of Thrones. It appears Jessica Chastain’s superpowers include self-promotion and shamelessness.

Like Chastain, the pc brigade turns everything, including popular entertainment, into a referendum on social justice issues and their own self-worth. The woke spend their time not enjoying arts and entertainment but rather policing them in search of offense or wrong-think in the hopes that they will get the joyous opportunity to vent their self-righteous rage.

Evidence of this is found in articles from major publications with headlines such as, “Game of Thrones Treatment of Women Will Tarnish Its Legacy”, “On Game of Thrones Daenerys Targaryen faces a sexist double bind – like so many women leaders”, “Game of Thrones Keeps Killing Off Entire Immigrant Populations, And It’s a Problem”, “’There are no black people on Game of Thrones’: why is fantasy TV so white?”, “Racist or just bad writing? What Game of Thrones latest shocking death says about the show”, “Game of Thrones: too much racism and sexism – so I stopped watching”, and finally “My Feminist Opinions Ruined Game of Thrones for My Boyfriend”. These stories are emblematic of the fact that the woke are social media Savanarolas perpetually in search of works of art or entertainment to throw onto their bonfire of the vanities. These people don’t just want their politically correct opinions to “ruin Game of Thrones for their boyfriend”, but to ruin all of popular culture for everybody.

The feminist criticisms of Game of Thrones are particularly vapid because they are so demonstrably wrong, as women are the most pivotal and powerful characters on the show. The most formidable and effective rulers on Game of Thrones have been Queen Cersei and her nemesis Daenerys, Mother of Dragons. Arya Stark has gone from a little girl to the deadliest warrior in all of Westeros, who became a legend when she killed the Night King. Ser Brienne of Tarth, the first women to ever become a knight, is the most noble and honorable knight in all the Seven Kingdoms. And last but not least is Sansa Stark, who has suffered brutally but whose resilience has allowed her to become the ruler of the North and, who knows, maybe even sit on the Iron Throne when all is said and done.

All of these women have faced great difficulties and horrendous challenges, but they have prevailed not only in spite of them but because of them. In Game of Thrones as in life, what doesn’t kill you only makes you stronger, but the woke warriors either lack the interest or ability to interpret the show in any other way than to see women and minorities as victims.

If you want to see the future of popular entertainment in the wake of Game of Thrones, look no further than the corporate behemoth Disney and their Marvel and Star Wars franchises. The first phase of the twenty-two film Marvel Cinematic Universe just concluded with Avengers: Endgame, and the woke contingent’s victory is obvious with Captain America now a black man and Iron Man replaced as the center of the story by an all-powerful female character, Captain Marvel.

The Star Wars films too have devolved into a politically correct mess where diversity and inclusivity trump narrative cohesion and dramatic coherence. And if you publicly voice displeasure about the direction of Marvel or Star Wars…you are labeled a misogynist and racist troll.

Game of Thrones warned us for years that “Winter is Coming”…well, winter is now here, and hordes of woke zombies have descended upon us to suffocate all but the most sterile of entertainment. Just like Varys and The Unsullied were castrated on Game of Thrones, so our popular entertainment is being neutered, except this time with the dull blade of politically correct utopianism.

A version of this article was originally published on May 17, 2019 at RT.com.

©2019

Game of Thrones: The Battle of Winterfell and the Fog of War

****WARNING: THIS ARTICLE CONTAINS SPOILERS FOR GAME OF THRONES EPISODE THE LONG NIGHT (SEASON 8 EPISODE 3)****

Last Sunday night’s episode of Game of Thrones (Season 8 Episode 3), titled The Long Night, was the climactic battle between the the Starks and their allies against the Night King and his army of undead wights. The Battle of Winterfell, as it has been dubbed, is thought to be the penultimate clash on the iconic program, with only the fight between the Stark/Targaryen forces against Cersei Lannister and her army in Kings Landing remaining.

The Long Night was a strange episode as the Battle of Winterfell was built up for years as a cataclysmic clash between the forces of good and evil, literally life and death, but the show uncharacteristically deviated from its long standing thematic and narrative traditions by limiting the amount of carnage upon the main characters of the show.

Game of Thrones made its name by flouting Hollywood conventions and sacrificing its lead characters on the altar of great story telling. Ned Stark lost his head so that Game of Thrones could be taken seriously, and the Red Wedding solidified the shows commitment to leading character carnage…but in The Long Night, way too many characters survived the apocalyptic battle. There is no way that Lady Mormont, Jorah Mormont (bad night for House Mormont!), Beric and Theon Greyjoy should be the only notable characters to go down in the Battle of Winterfell.

How did Davos Seaworth, Brianne of Tarth, Tormund, Varys, Missandei, Grey Worm and Podrick not die? I understand why they’d want to save Jon Snow Daenerys, Tyrion, Jaime, Sansa, Arya and Bran…but I don’t get why secondary characters weren’t slaughtered en masse. And even the ones who did die went in very Hollywood ways, with Lady Mormont’s action hero death while killing a zombie giant the most dubious. And while we are at it, Arya’s killing of the Night King was cool and all, but not totally in keeping with the show’s grounding in its established reality. I mean, how did Arya jump over all these people to get to the Night King? And if Game of Thrones is going all Hollywood, why not have Arya die while killing the Night King, at least then it feels somewhat in keeping with the shows themes?

Narrative choices aside, the biggest issue people are having with The Long Night is the cinematography of Fabian Wagner and director Miguel Sapochik, with many complaints that the show was much too dark and too visually muddled. I happen to agree with those complaints and thought it would be a worthy topic to briefly examine.

Game of Thrones has done an exceptional job of filming “medieval” combat over the years and so I was surprised to see them flail about on The Long Night. The mistake that the creators made was to try and convey the “fog of war”, the confusion and disorientation that can accompany combat, by literally creating a white/blue snow fog to simply obfuscating visual clarity. This sort of approach is an error that many make and it never fails to fail.

To be fair, the episode did have some bright cinematographic moments though, the lighting of the Dothraki swords and their charge into the darkness being one of them. But then the visuals went down hill when the White Walkers conjured up a wind storm to conceal their movements and sow confusion. That is a great battle plan for the White Walkers to take Winterfell, but a bad one for tv viewers trying to watch the fight.

There may be two reason why Wagner and Sapochik may have made the decision to muddy the visual waters at Winterfell, the first being that they wanted viewers to experience the chaos and confusion of war, the second being that they wanted to save some money from their huge budgets by limiting the amount of special effects they had to use to cover the scope and scale of the enormous battle. Both reasons are legitimate but misguided. Regardles of why, the end result was that viewers didn’t feel like they were participants in the Battle of Winterfell, they felt like they were going blind.

It is a common mistake to conflate darkness with a lack of light, what darkness means in cinematic terms is a a sharp contrast between dark and light. In cinematic “darkness” viewers still have visual clarity but with a “lack of light”, contrast gets watered down and visual coherence evaporates.

Clear and clean contrast between dark and light make for clear and coherent images that convey both narrative and thematic information. For example, go watch The Favourite (2018), and notice the exquisite use of candles in the voids of darkness. Those images propel the story and the sub-text by using ‘illumination’ (literally and figuratively) that marks a clear delineation between the dark and the light. In The Long Night, light and dark wash into each other, colors are non existent and the action all becomes a visually muddled, grey mess.

Two films came out in 1998, Saving Private Ryan and The Thin Red Line, that showed visually interesting ways to convey the fog of war. Spielberg’s Saving Private Ryan and its iconic Omaha Beach assault scene is a perfect example of how to maintain visual clarity while creating a sense of anxiety and confusion (the fog of war). Spielberg and his cinematographer Janusz Kaminski‘s camera dances amidst an understated and muted light from an amphibious vehicle, into the water, and up the zig-zag maze of the beach all while under assault from barely discernible machine gun nests. Kaminski’s camera picks up the textures of the muted colors and materials in each shot. Viewers are given a soldier’s eye view of the carnage of D-Day, and the camera movements and tangible textures help to convey the confusion of that assault, but the visuals were never unclear for more than a brief second or so. Kaminski’s camera shows us what is happening very precisely and distinctly and its handheld movements aided in creating tension and anxiety in viewers.

Later in the film Spielberg uses a character looking through a telescopic sight to watch a battle to convey the fog of war and confusion of what is happening. This sequence is interesting because unlike in the Omaha Beach scene where viewers are active participants in the action, in the telescopic sight scene the character becomes an audience member as he tries to watch the action and discern what is happening. To Spielberg’s credit, this was a great way to create psychological reciprocity between the audience and the character.

In The Thin Red Line, Terrence Malick and his cinematographer John Toll use crisp and clean visuals with dynamic and rich colors to convey the fog of war. In the sequence where the Marines must make their way up a lush, green hillside to find and eliminate a machine gun nest, Malick and Toll give viewers a clear look at the surroundings, and just like the Marines, no clear shot of the machine gun nest. The rolling green of the hills are like a never ending sea and the machine gun nest a crocodile that only pokes its eyes and nose above the water line. The beauty of Malick and Toll’s visuals is in stark contrast to the physical and psychological mayhem unleashed with them.

Malick also gives clear focus to the nature which surrounds the battle, with Toll’s camera lingering long on a flower or an insect crawling on a leave of grass. Malick and Toll’s use of natural light and their ability to crisply define the colors, textures and contrasts of the setting make his fog of war confusion breathtakingly beautiful and utterly horrifying. (watch The Thin Red Line and notice that Malick’s camera picks up every little bump on Marine’s helmets…it creates an intimacy through texture that is one of Malick’s signature, understated styles.)

The Long Night made the same error of visual incoherence that Clint Eastwood made in American Sniper, where Eastwood rolled in a sand storm in Iraq to convey the moral confusion of the Iraq war. That tactic did not visually work in American Sniper either as it created little more than a cloud of yellow dust just like The Long Night gave us a blueish white cloud of snow. In Eastwood’s case I can almost guarantee you that his creative decision to muddy things up was a result of budgetary concerns, as he is a notorious slave to budget. As for The Long Night’s decisions making…they do have large budgets, but hey also have at least one more big battle in this final season, so maybe they were cutting corners too.

Game of Thrones have made some of the greatest battle scenes in television history, as the Battle of the Bastards, The Spoils of War and Hardhome have shown, but with The Long Night they fell into more than just the fog of war trap, they failed to fully establish the geography of the scenes and battle ground and never established a coherent time line.

As the Battle of Winterfell raged on, the locations of characters was never clearly elucidated, and so the lack of visual clarity became ever more heightened. I understand not wanting to give the “god shot”, an overhead view of things to show who is where and what is happening, but by failing to make the geography clear, the battle felt redundant and circular, and lacked specifics which could have heightened dramatic tension to a greater degree.

The timeline was as muddied as the visuals, as Arya ran through the castle trying to escape wights in an extended sequence, the battle raged outside. But when the camera returned to the battle outside, nothing had changed, and because viewers had no central character upon which to focus, the battle seemed aimless and incoherent.

Maybe the focus should have been on Samwell, and we viewers could have seen the battle through his perspective at times (like the telescopic scene in Saving Private Ryan), or we could shift perspective through a series of characters in order to get clarity on different areas of the fight. Maybe have Jaime, Arya, Jon Snow, Danerys and Theon lead us through the battle and we see what they see…so when Lady Mormont gets killed it is through Jaime’s perspective…things like that.

Look, I thoroughly enjoy Game of Thrones, I admire the show for its integrity and quality, and I was disappointed in parts of the episode the Long Night. The bottom line is this, Game of Thrones has given us eight glorious seasons of thrills, chills, carnage, nudity, incest, murder, dragons, zombies and palace intrigue, I only hope they can right the ship for the final three episodes after their visual and thematic missteps in the much discussed Battle of Winterfell.

©2019




2018 Mid-Term Elections


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.

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.

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).

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.

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.

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.

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