"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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Looking California and Feeling Minnesota: Episode 100 Part Two - Popular Streaming Platform Recommendations

On the conclusion of our 100th episode celebration, Barry and I finish up our streaming service  film/tv recommendations. Topics discussed include the wonders of the Criterion Channel, the god-awful shit that is Peacock, and how HBO Max was better before it became Max. Oh...and a flock of geese gets slaughtered on air for no apparent reason. 

Looking California and Feeling Minnesota: Episode 100 Part Two

Thanks for listening!

©2023

Severance (AppleTV+): TV Review

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

SEVERANCE

SEASON ONE - NINE EPISODES - APPLE TV +

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. A dramatic and insighftul meditation on the cult-like nature and profound evils of corporate America.

Severance, Apple TV’s sci-fi psychological thriller which just concluded its first season, is one of those TV shows that is a joy to watch despite it being such a viscerally uncomfortable viewing experience.

The series follows the trials and tribulations of Mark (Adam Scott), a rather soul-sucked, dead-eyed worker at an ominous bio-tech firm named Lumen, who undergoes a procedure called “severance”, which implants a chip in his brain in order to separate his work memories from his non-work memories.

Every morning Mark steps into the elevator at Lumen and as it descends into corporate hell, his outside life is erased. Then as the elevator doors open at his assigned floor, he awakens to a repeating, Orwellian, work-day nightmare complete with torture chamber break rooms and mazes of endless white hallways leading to nowhere.

At the end of the work day Mark enters the same elevator and the process is reversed, and he returns to his regular, rather sad life, none the wiser as to what has been afflicted upon him, and what he’s been up to all day at Lumen.

Speaking of which, the job Mark and his three co-workers actually do all day at their computers is a mystery even to them as they do it, as they’re never told what exactly it is they’re doing, but considering the brutal cruelty beneath the fake-smiling façade of management, it is most likely profoundly nefarious.

I will avoid going any further into the plot and machinations of Severance because it is best experienced, ironically enough, with a “severanced” mind that is clear from bias and distractions.

And Severance most definitely should be experienced, because it’s a brilliant mediation and examination of the cult-like nature of corporate America, and the banality of evil that is big business bureaucracy.

Severance resonates because it is deeply in tune with the insanity that is America’s mindless and soulless corporate culture as it becomes, with every passing day, ever more deeply intertwined with the modern-day religion that are the socio-political movements du jour.

Severance expertly but subtly comments on the current cancer that is American corporate culture. Lumen is a stand-in for, among other things, big tech, with its yearning for a thought-reducing social credit system and its compliance-inducing addiction to cancel culture. It’s also commenting on the cavalcade of companies forcing Human Resources-inspired indoctrination seminars disguised as “sensitivity trainings” on their workers, as well as the relentless and vacuous public moral preening and pandering of corporations which they use to distract from their pernicious behavior in private.

Lumen, the morally self-righteous, ethically-challenged company at the center of Severance, is Apple, Google, Amazon, Facebook, Twitter, Netflix, Pfizer, Walmart, Goldman Sachs or any other too big to fail behemoth that is above the law and runs our corrupt corptocracy as they exploit and brutalize their workers.

The show is so good at replicating what passes for life in the spirit-stomping, soul-crushing, mind-shrinking fluorescent hell of corporate America that it was at times physically uncomfortable to watch. Having in my younger years been a prisoner in corporate America’s suffocating gulag, Severance triggered my PTSD so severely it made my legs ache and my colon twinge.

The first season of Severance consists of nine episodes, six of which are directed by Ben Stiller. I’ve never been a fan of Stiller’s directing. His previous foray into tv was the Showtime mini-series Escape at Donnemara, which came in as a lion and went out like a lamb. That mini-series was a disappointment as it opened bursting with dramatic potential but ultimately ran out of steam mid-way through and then fell flat on its face at the finish line.

Severance is the exact opposite. The series starts slowly…so slow that I almost bailed on it. But after sticking with it through the first few episodes, I was rewarded for my patience. The series builds more and more dramatic momentum as it hurtles toward the final two episodes of the season which are gloriously nerve-wracking.

A large part of why Severance works so well is its stellar cast.

Adam Scott plays protagonist Mark with a morose aplomb. The great John Turturro is absolutely phenomenal as Irving, the straight-laced company man. Britt Lower is undeniably captivating as Helly, the enigmatic new employee. And Zach Cherry is terrific as Dylan, the master of the mysterious task the office is assigned.

Equally outstanding are Patricia Arquette, as Ms. Cobell, the steely-eyed boss, and Tramell Tillman as her ruthless henchman, Seth.

And last but not least, Christopher Walken gives a sterling performance as Bert, a worker at a different division of Lumen who befriends Irving.

The combination of a culturally relevant story, a well-crafted sci-fi script, deft direction and an impeccable cast, make Severance an alarmingly compelling series and one you should definitely check out. It starts slow, but stick with it, it’s well worth it.  

 

©2022

Everything's Gonna Be All White: Documentary Review and Commentary

Showtime docu-series ‘Everything’s Gonna Be All White’ fights racism with more racism.

The insipid series is an exercise in self-defeating hyper-racialization and a testament to the deplorable state of our culture.

It is common nowadays to hear some activist or idiot talking head on tv declare that “we need to have an honest discussion about race”. What that usually means is, “you need to shut up and agree with everything I say or you’re a racist.”

I find the best guide to judge whether what someone says about race is to be taken seriously or not is to ask, “if you reversed the races in question, would it be an acceptable thing to say?”

‘Everything is Gonna Be All White’, the new three-part docu-series by Sacha Jenkins on Showtime, is remarkable because it both wants you to shut up and agree with everything it says or you’re a racist, and also spectacularly fails the simple ‘reverse the races’ question.

For instance, in the series, black talking heads say things like “the defining characteristic of whiteness is ignorance” and declare “you know what I hate about white people? When they pretend to be the victim…and when they kill us.” There’s also the charming assertion “honkey see, honkey do”.

If someone said the defining characteristic of black people is “ignorance” or asked “you know what I hate about black people?”, or stated “’racial epithet’ see, ‘racial epithet’ do”, they would be rightfully scorned and run out of polite society, not aired on Showtime.

I wasn’t angered by the aggressive anti-white racism in ‘Everything’s Gonna Be All White’, instead I found it and its animating principle of fighting racism with more racism, to be disheartening, dispiriting, and depressing.

In our hyper-polarized world, the last thing we need is another vapid polemic fueled by emotionalist racial rhetoric to fan the flames of hatred and aid the ruling class in keeping working class people thoroughly divided and conquered.

Fortunately, anyone with half a brain in their head who watches the three, hour-long episodes, as well as an extra, bonus discussion episode, can see that this thin, toxic gruel of a documentary, that pathologizes white people, celebrates victimhood and spouts vacuous racialized talking points, is an unserious exercise that is nothing but the neo-liberal equivalent of a Dinesh D’Souza documentary. In case you’re wondering…that’s not a compliment.

Director Sacha Jenkins’ arrogant claim that his series embodies “the collected feelings of folks of color in America…This is how America has treated us. This is how we feel.” is just another example of his ego-driven, racially-addled myopia.

Of course, Jenkins’ claim of his documentary capturing all of black thought is both self-serving and absurd, as black opinions are expansive, one need only look at the bevy of black intellectuals throughout history, like Frederick Douglass, W.E.B. DuBois, Marcus Garvey and Booker T. Washington to realize that, and today’s black thought is no less vibrant, just consider the gloriously diverse brilliance of both Cornell West and John McWhorter.

To further give an indication of how delusional Jenkins is, in the extra discussion episode he has seven or so guests, all minorities, gathered together and he proudly boasts, “This is what America really looks like!” The only problem is that none of the guests were white, and I hate to break it to Jenkins but roughly 60% of Americans are non-Hispanic whites, so sewing circle is not what America looks like, not even close.

‘Everything’s Gonna Be All White’ is one of those documentaries that isn’t interested in revealing a hidden truth or, God-forbid, persuading people with its arguments. For example, the notion of reparations for slavery is brought up multiple times throughout the series, but the only actual argument made for them is literally, “it’s not a debate, it just needs to happen!” How convincing.

The other topics discussed in ‘Everything’s Gonna Be All White’ are done so with equal petulance and vacuousness.

Incredible insights like the Capitol riot of January 6th was because “white folks throw a hissy fit whenever they’re feeling fragile”, which, considering the “mostly peaceful” riots across the country in 2020, sounds like the pot calling the kettle black, no pun intended, and historical inanities like “white people never got over losing the civil war” (white people won the civil war…for the Union) are bandied about with reckless abandon.

Words and phrases like “black and brown bodies”, “centering whiteness”, “Karens”, “white fragility” and “white privilege” are peppered throughout as though they actually convey anything but the pretentiousness of the speaker and the tortured state of their simple mind.

To further give an indication of how detached from reality this docu-series is, utterly bizarre questions like “why are white people so obsessed with blackface?” And declarative statements like “black face is a rite of passage for white folks”, are uttered and taken actually taken seriously.

What is so disheartening about this docu-series is that it’s so obviously self-defeating as it makes enemies out of potential allies.

Fighting racism with more racism is a catastrophic idea, and judging a person solely on the basis of their race or ethnicity is just as bad.

Contrary to what ‘Everything’s Gonna Be All White’ tells us, not all white people are “Karens” or Capitol-storming, Confederate-flag-waving racists. Just like not all black people loathe whites and think they’re “ignorant” and violent.

People are not their race, ethnicity or their religion. Everyone is an individual with inherent value and worth, and the potential for redemption, who should be judged solely by the content of their character.

It’s a testament to the sorry state of our culture that that obvious truth is now ridiculed and deemed racist, and that an insidious and insipid docu-series like ‘Everything’s Gonna Be All White’ is a part of the discourse.

 A version of this article was originally published at RT.

©2022