Hollywood's Self-Inflicted Box Office Problems

Estimated Reading Time: 3 minutes 57 seconds

There’s been a lot of gnashing of teeth in recent weeks because the box office has been so sluggish, most notably the failures of The Fall Guy and Furiosa, which both painfully underperformed in their opening weekends and beyond.

The Fall Guy had such bad box office numbers it actually went to VOD 17 days after premiering in theatres. Not good for a movie boasting two “movie stars” and a gigantic marketing push.

If one were to look at the dismal box office results this Spring and come away thinking the sky is falling, that would be understandable.

Ever the optimist, let me put your mind at ease though regarding the sky is falling pessimism. The sky isn’t falling regarding the movie business…because it’s already fallen. Many will point to last year’s duel strikes as a reason for this year’s box office gully…but that misses the big picture.

The movie business, like American empire, is a dead man walking. That doesn’t mean it’ll vanish off the face of the earth and never be seen again…no, it just means that it will continue its descent into irrelevancy year after year after year until a giant asteroid comes and wipes us off the earth.

The reasons for this are numerous but here are a few of the major ones. 

The corporatization of Hollywood that began in the Reagan years is now complete. The corporate mindset has destroyed the mid-level budgeted movie in favor of blockbuster hunting, and that has led to bloated budgets, and bad movies. The stark decrease in the quality of cinema is pretty dramatic (with notable exceptions).

Another issue is that movie theatres and the theatre-going experience are both abominable. Theatres throughout the country, thanks again to corporate short-sightedness, are equipped with sub-par projectors which result in a greatly diminished viewing experience. Why go to the theatre and pay all that money when you can have a better visual experience at home on your big screen tv in a darkened living room?

As Sartre once taught us…hell is other people…and that is never more apparent than when you go to the movies. Dipshits and dumbasses talking and looking at their phone throughout a screening makes for a very tense and distracting movie going experience….another issue that is resolved by watching a movie at home.

Add to this that very, very few movies are so culturally compelling that people NEED to see them right away in order to stay in the loop. Barbie and Oppenheimer filled that bill last Summer, but those are definitely outliers. For example, would you be “out of the cultural loop” if you didn’t see Dune II in theatres this winter? It’s now streaming on Max just a few short months after premiering in theatres and you can watch it without all the bullshit of theatres, in the comfort of your own home…and go to the bathroom when you want without missing anything and not have to tell people to shut the fuck up or put their phones away. Will a big budget film like Dune II be diminished at a home theatre? One would expect the answer is ‘yes’ as it was made to be seen on a big screen…but considering when I saw it at a movie theatre I felt like I was watching it under three feet of water because the projector sucked so bad, my answer would be no.

The same is true of Furiosa. I like the Mad Max movies, but I’m not itching to go see Furiosa in the theatre because it isn’t mandatory in order to stay current culturally. So, I’ll see it when it comes to Max in a few months…or sooner.

The same is true for the glut of Marvel movies. For the longest time Marvel movies were must-see because everyone was talking about them….and now they’re not. Marvel movies ran its course but Disney keeps cramming them down our throat expecting the same results. I’m sorry but The Marvels isn’t moving the needle. No one cares.

Speaking of Marvel and Disney, another issue is that the massive success of the Marvel movies pre-2020 totally skewed the expectation IN HOLLYWOOD for what constitutes a successful movie.

Marvel movies routinely hit the billion-dollar mark and that became the standard for success. But that was then and this is now and studios and analysts are delusional about the box office potential for most movies. And that delusion gets baked into the cake regarding the budget for films.

Once again Barbie and Oppenheimer were outliers in this regard, and ironically have done more harm than good in regards to setting expectations for studio executives (and the general public).

For example, spending over $300 million to make a new Indiana Jones movie or Mission Impossible movie, is frankly nuts since neither of those creaky franchises are going to generate the kind of interest that will satiate a billion-dollar box office yearning.

The same is true for the new Marvel movies, as the stars of that franchise and the characters they played, are gone. Robert Downey Jr. as Tony Stark is not walking through that door…and I’m sorry but Brie Larson isn’t going to fill that void.

The solution to the Hollywood problem is to change the corporate strategy, and instead of trying to make a billion dollars with a single blockbuster that costs at a minimum $250-300 million to make and another$150-250 million to market, is to make six or seven medium budget films for $50 million or less each with a focus on quality, in the hopes that one of those movies will hit big and fill the coffers.

Examples of what I’m talking about are movies like Parasite, which costs $15 million to make and brought in $262 million at the box office. I understand that Parasite is a remarkable movie from a brilliant filmmaker, but it shows what is possible.

The same is true of movies like Spotlight, which had a $20 million budget and made $98 million. Or even Good Will Hunting, which starred nobodies (Affleck and Damon) and was directed by a non-mainstream guy (Gus Van Sant) on a $10 million budget and raked in $225 million.

The key of course is that the movies have to be good and they have to avoid bloated budgets. The other benefit of making good movies is that more often than not if you make a good movie, it will get Oscar recognition and thus free marketing and a second life at the box office.

It goes without saying that Hollywood will not change its approach if for no other reason than corporations are allergic to actually thinking. And so, the studios will continue to relentlessly bang their heads against the bank vault door in the hopes one of these times it’ll open, even if just for a moment…like it did with Barbie and Oppenheimer, but if Barbie and Oppenheimer type success only comes along every five years or so, that won’t work as a business model.

The bottom line is that Hollywood fucked up their business and fucked up movies in the process…and we are all paying for it and will continue to pay for it for years to come. As a cinephile it gives me no pleasure in saying this but movies, much like popular music, is essentially dying as an artform and is too beholden to corporate interests to be able to save itself.

 Follow me on Twitter: @MPMActingCo

©2024

She Said: A Review - Agenda is No Subsitute for Drama

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

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. This absolutely awful, dreadfully dull, banal bore of a film is a muddled misfire.

I missed seeing She Said, the story of how New York Times investigative reporters Jodi Kantor and Meghan Twohey exposed the Harvey Weinstein scandal, when it premiered in theatres this past November. I wasn’t the only one not to see it as the movie was a major flop, bringing in only $12 million on a $32 million budget.

But She Said, which is based on the book of the same name and stars Carey Mulligan and Zoe Kazan, is now available to stream on Peacock and I just had the great displeasure of watching it.

This dreadfully dull movie is directed by a hapless Maria Schrader and written by an even more hapless Rebecca Lenkiewicz, and is a sort of procedural journalism drama minus the drama….and storytelling, and craftsmanship and skill.

She Said is what happens when a movie is all agenda and no drama or cinematic skill. It’s expected in this day and age that people – the “right-thinking people” anyway, will love this type of movie just because it exists and because it holds the correct cultural/political opinion.

Just so viewers know what the correct opinion is, the film gives them a totally ham-fisted scene early on where the two female reporters and their female editor go to a bar in the middle of the day to talk about the story they’re developing. At the bar a drunk thirty-something white frat bro tries to hit on them and Carey Mulligan’s Twohey defiantly stands up to him and shouts him down. You go girl!! The dude then stumbles away muttering about “frigid bitches”. Then Mulligan’s Twohey apologizes to the women she’s with, Kazan’s steely-eyed Kantor retorts, “don’t apologize.” So brave.

This scene is so bizarre, contrived and hackneyed it’s actually unintentionally hysterical. I mean, the scene opens with the waitress bringing over menus and placing them in front of the women and saying, “these are the menus!” That sort of clumsy, amateurish dialogue and blocking is omnipresent throughout She Said.

As for the drunk white thirty something frat bro, that day drinking, horny character is so obscenely absurd as to be ridiculous. But what makes that scene even more funny is that later in the film Twohey and Kantor strut down the street in New York in a long shot and they approach and then walk past two construction workers chatting next to a construction site. I fully expected a cat-calling scene and another Twohey “and then everyone clapped” superhero moment of standing up to predatory men, but then I noticed the construction workers weren’t white guys but minorities and I knew Twohey and Kantor were safe. And sure enough…they walk by unmolested! The lesson, as always, is that only white men are misogynists and sexual predators.

Critics of course are among that desperate-to-be-approved-of group who respond to this sort of vapid virtue signaling (because they do it so much themselves), and so they have written positively about the film because they know they’re supposed to. The paradigm in these situations becomes ‘if you dislike this movie then you love Harvey Weinstein!’, and critics on the whole are much too spineless to actually speak the truth about this movie and risk being seen as ‘bad people’.

She Said isn’t even really a movie, it’s a two-hour and ten-minute #MeToo virtue signal by the New York Times and the female filmmakers meant to extract money from ideologically enthralled fools in the audience and awards from similarly comported morons in Hollywood.

Journalism movies are no easy task. For every All the President’s Men and Spotlight, there’s something abysmal and trite like Spielberg’s The Post, but She Said makes The Post look like Citizen Kane.  

All of those journalism movies had the same obstacle to overcome as She Said, which is that audiences all know how it turns out in the end. We know The Washington Post nails Nixon Watergate, and that the Boston Globe publishes the sex abuse scandal articles, and in this case that The New York Times publishes and Weinstein gets busted.

But nothing is revealed in this movie that we didn’t already know about what the deplorable and disgusting rapist, brute and bully Weinstein was up to, and even the re-telling of known facts is so poorly pieced together as to be laughable. Hell, the biggest obstacle/villain in this movie is Ronan Farrow who might break the story before Twohey and Kantor. And the fact that Weinstein’s Israeli “security team” was out committing crimes and intimidating witnesses and journalists is something She Said refuses to ever admit or acknowledge, is a pretty damning decision in terms of credibility.

In Spotlight, director Tom McCarthy, who isn’t exactly Orson Welles, uses some cinematic and dramatic flair when he crafts his story. For example, in one scene, three characters, two reporters and their editor, simply discuss the story they’re trying to crack, but they do it in a dimly lit basement library which smells because of a dead rat. The characters all comment on how dark and stinky it is and that is great sub-text because it informs both the scene and the overarching narrative of the movie. That scene construction is pretty simple, but nothing like that exists in She Said. Instead, She Said is a litany of women walking and talking on phones.

Another huge issue with the film is that it never clearly lays out the puzzle pieces the reporters must put together in order to “win” – which in this case means getting the story published, resulting in a terribly muddled and unsatisfying movie that have no pulse and no dynamism.

The cast of this film is a collection of very good actresses, but none of them do quality work in it.

I think very highly of Carey Mulligan, but her work as Meghan Twohey is embarrassing it’s so awful. Mulligan’s chesty American accent is tinny and her supposed profound girl power glares and glances laughable.

Zoe Kazan too is a terrific actress but she is as dead-eyed and dull in her role as Jodi Kantor as I’ve ever seen. At one point Kazan’s Kantor comes to life, which is when she bursts into tears when she learns a victim will go on the record against Weinstein. How professional!

Weinstein is not shown from the front in the film (although we hear his voice and see him from behind) because the filmmakers didn’t want to “center” him but preferred to “center” his victims, but the victims aren’t “centered” either. We learn next to nothing about anybody in this movie, and we certainly don’t care about anybody.

Actress Ashley Judd, one of Weinstein’s victims, plays herself in the movie and I understand why that happened, but that choice is undermined when other celebrities, like Gwyneth Paltrow, do not appear even though we hear their voices (I don’t know if it’s Gwyneth’s real voice or not).

The structure of the movie is nonsensical as well. We get flashbacks to a young Irish girl stumbling upon a movie set and later running down the street crying, and we get Meghan Twohey’s pregnancy and post-partum depression (spoiler alert - men are the cause of post-partum depression!!), before we ever get into the story, but none of this is cinematically coherent or narratively comprehensible.

Let me be as clear as I can about this…Harvey Weinstein and his ilk…like Matt Lauer, and Charlie Rose and Les Moonves and all the rest of the predatory douchebags who have long populated Hollywood and every other industry, should get the Vlad the Impaler treatment and have their eyes plucked out by ravens as they bleed to death out of their assholes.

Let me also clearly state that She Said is an absolutely awful, dreadfully dull, banal bore of a film that is a total waste of not only two hours and ten-minutes but also of a fascinating and important story.

She Said should’ve done for the Weinstein scandal what All the President’s Men did for Watergate and Spotlight did for the Catholic Church sex scandal. But due to abysmally poor directing, writing and acting, the movie is a gigantic failure. I guess all I can say is better luck next time. Maybe if they ever make a Ronan Farrow biopic – now that’s a compelling story, they’ll get a writer and director who have half a clue. Maybe, just maybe, they won’t fuck that one up. Oh, who am I kidding…they’ll definitely fuck that one up too.

©2023

Trump, Parasite and the 2020 Election

Estimated Reading Time: 5 minutes 57 seconds

This is an extended version of an article that was originally published on Friday, February 21, 2020, at RT.

TRUMP HATES PARASITE BECAUSE IT PREDICTS HIS ELECTION DEFEAT

Movies are a bellwether of public sentiment, and last year’s crop of class-conscious nominees, such as Best Picture winner Parasite, spell doom for Trump’s re-election.

Last night (Thursday February 20th) President Trump told a raucous rally crowd that he was not a fan of Parasite winning Best Picture at this year’s Oscars.

I think Trump despises Parasite, the South Korean film about class divisions and class struggle, because he unconsciously understands that it is a foreboding omen that foretells his electoral defeat come November.

As longtime readers know, I have developed a theory, named the Isaiah/McCaffrey Wave Theory, that is meant to track trends in the collective unconscious through various data points. These data points are then turned into waves - such as historical waves, empire waves, generational waves, time waves, and culture/art waves.

The theory is rather complex and is simply too long and complicated to coherently boil down in a blog post. So for this article I have simply focused the lens of the theory down to the culture/art waves as a way to measure unconscious trends before, or as, they turn into public sentiment.

In terms of the McCaffrey Wave Theory’s (MWT) viability, it did accurately predict the last presidential election - the first in which it was used…which most prognosticators, political scientists and other theories did not. In fact, the MWT thought that Trump’s victory was glaringly obvious…which is why I was so puzzled when everyone else was so shocked by the result.

In regards to the culture/art wave of the MWT, the primary (and most easily digestible) data points are the top ten box office films and Oscar nominated films for the year previous and the year of a presidential election. There are other secondary data points as well, but box office/Oscars are the one that we will use in this article because those films are the ones that most resonated with the general public. (And it should also be noted, film is not always the primary art/culture data point, that changes through history as different art/culture forms take precedence over others.)

Artists…even those that work in corporate Hollywood, are like antennas attuned to the collective unconscious, and their art is the act of taking the unconscious and making it conscious. In other words, artists take dreams and put them into reality. These artists are not consciously predicting the future, they are just acting on whatever resonates with their own subconscious when they are choosing what stories to tell and how to tell them.

Due to the nature of the film business, it takes years for their work to come to fruition…which is why cinema can be a leading indicator of what comes next in public sentiment as the lag time between concept and fruition gives time for those sentiments to come closer to the surface of the collective consciousness.

According to the McCaffrey Wave Theory, the titles, narratives, themes, color palettes and archetypes present in the most popular (box office/awards) movies hold clues as to what lies ahead in terms of public political preference.

The basic premise regarding these pieces of information, is to consider them like a dream and interpret them through a Jungian perspective. Dreams come from the unconscious, and movies/art are collective dreams born of the collective unconscious. Jungian dream interpretation is used because it is the best way to try and decipher the language of symbols with which the unconscious (collective or personal) communicates.

With this in mind it is also worth remembering that Oscar nominated and Box Office winning films aren’t just about the movies, but the marketing around those movies. The messages of these movies are not confined to the two hour viewing experience or to just those who see the film, because marketing will put incessant advertisements, tv and radio commercials, magazine and newspaper coverage, and billboards and posters in front of the entire populace. This will have the effect of not only being a leading indicator of public sentiment by expressing the symbols of the collective unconscious, but, as Freud’s nephew Edward Bernays teaches us, also being somewhat of a driver of that sentiment.

With all of this background in mind…let’s take a look at recent electoral history using the MWT before we dive in what lay ahead for 2020.

2016 ELECTION

The box office and Oscars accurately foreshadowed Trump’s 2016 win as in 2015 both Spotlight and The Big Short, two stories about outsiders taking on a corrupt establishment – The Catholic Church and Wall Street respectively, won Oscars, with Spotlight winning Best Picture.

Three other nominees, The Revenant, The Martian and Mad Max: Fury Road, were about men overcoming long odds and surviving in the starkest of situations. These films also had very distinct color palettes, with Mad Max and The Martian having red as their primary color, and The Revenant having blue as its primary color. These films also had similar visual schemes as they frequently used wide panoramic shots of bleak and desolate landscapes.

Even the title, Mad Max: Fury Road, was a sign of what lay ahead, Mad, Max, Fury…these words are obviously pointing to a jolting amount of anger coming to a boil in the collective unconscious. In terms of Trump, he was Mad to the Max, and his road to the White House was paved with Fury -and in the wake of his election, Democrats were the ones at Maximum Mad and filled with Fury.

Symbolically, these films tapped into the archetype of the outsider taking on the corrupt establishment (Spotlight, The Big Short), and the individual man overcoming staggering odds to survive in the bleakest of environments. Trump followed suit as he ran as an outsider taking on Washington and survived bleak odds and the grueling gauntlet of a decidedly adversarial establishment media to win.

The 2015 box office also presaged Trump’s election, as the box office champ, The Force Awakens, could’ve been titled “The Populist Force Awakens”, as it foreshadowed a forceful awakening of something. That something was the populism that propelled Trump to the Republican nomination and elevated Bernie Sanders to be a threat in the Democratic primary.

Like The Revenant, The Martian and Fury Road, The Force Awakens also used similar wide shots of bleak environments as the previously mentioned Oscar nominees, and also had a clashing red and blue color scheme…most notably in its movie poster…where red (the color of Republicans) is superior to blue (the color of Democrats). (See visual aids below)

Another top ten box office film in 2015 was Hunger Games: Mockingjay Part 2. The title “Hunger Games” is all about warfare and a lack of resources…people being hungry and there being winners and losers. This is the same theme that Trump ran so successfully on in both the party and general elections. In addition Trump’s favorite political tactic, “mocking”, is also prominently highlighted by the title.

Two other 2015 top ten box office winners signaling Trump’s victory were Mission Impossible: Rogue Nation and Minions. Mission Impossible: Rogue Nation could be the title of Trump’s entire campaign and presidency…as his winning was deemed “impossible”, and the nation needed to go “rogue” to elect this “rogue” candidate. “Minions” is also an apt description of Trump’s devoutly loyal followers.

The word “rogue”, defined as “a dishonest or unprincipled man”, made a very large appearance in the 2016 box office as well when Rogue One was a big box office winner. This meant that the “rogue” was not only a symbol the collective unconscious was desperate to make conscious, but also one that was advertised and marketed to the American public from the Summer of 2015 through to the end of 2016.

The top ten of 2016’s box office was chock full of primal words that indicated a less civilized, animalistic, predatory nature…such as Zootopia (a utopia of madness), Jungle Book (a handbook for life in a jungle), and Fantastic Beasts and Where to Find Them (a road map to the beast).

2016 also brought us the very clear signs of the hellaciously contentious energy in both the party primaries and in the general election. The most glaring examples were Captain America: Civil War and Batman v Superman which both told stories of internecine warfare with blue (Captain America) versus red (the billionaire Iron Man) as the opposing colors. (See visual aids below)

Another comic book movie, Suicide Squad was a top ten box office earner and it astutely summed up the feelings of the anti-Trump establishment Republicans and the Democrats after Trump’s victory.

But the biggest box office clue to Trump’s impending victory was the astounding success of Deadpool, the red clad, wise-ass outsider superhero, who premiered on the big screen in February of 2016. Is there any more Trumpish a superhero than the irreverent, anti-establishment Deadpool?

Hell or High Water, a 2016 Oscar nominee about two brothers who rob the corrupt banks in Texas that robbed their family, was another movie with wide shots of bleak environments (with a bleak reddish color palette), that thematically was right in Trump’s wheelhouse.

2012 ELECTION

Looking at other elections through the MWT is enlightening as well.

In 2012 Argo, Zero Dark Thirty and Lincoln, films about government accomplishing great things, were nominated and monopolized attention throughout the year leading to Obama’s re-election. These films told the narrative of government as effective and good…and obviously reflected a satisfaction with the status quo…which would mean an incumbent’s re-election.

Silver Linings Playbook was another Oscar nominee that year and its title is one of optimism (silver lining) and planning (a playbook)…which sums up Obama’s re-election message.

2012 also saw Django Unchained get Oscar nominations and do very well at the box office. The film is about a black man, Django - played by Jamie Foxx, getting revenge upon racist Southerners and slave owners. Of course, this archetype of the empowered black man in a racist America, was attached to Obama during his presidency.

2011’s Oscar nominees had two films that pointed towards Obama’s impending victory, the first was The Descendants, a movie set in Hawaii, the state of Obama’s birth, and The Help, a film about working class black women dealing with racism in the Deep South.

2008 ELECTION

Obama’s election in 2008 is also apparent when seen through the MWT perspective.

In 2007, No Country for Old Men won Best Picture and could have been a bumper sticker for Obama’s campaign against his older opponents Democrat Hillary Clinton and Republican John McCain.

Other nominees from that year were Michael Clayton, a story about a lone man taking on a corrupt corporate establishment, and Atonement. Obama ran as the archetypal fighter against corporate malfeasance…and his election would symbolize, among many voters, an atonement for the sin of slavery and Jim Crow.

2007’s box office also gave indication of a major shift occurring in the collective. Pirates of the Caribbean: At World’s End and Harry Potter: Order of the Phoenix were the top two movies that year. At World’s End symbolizes the ending of something, and the title Order of the Phoenix is a cry to rise like a Phoenix from the ashes (of the Bush administration, Wall Street collapse etc.) and restore “order”…which was the narrative and archetype Obama embraced.

Another top ten box office film was Legend, which starred Will Smith and told the story of a black man surviving a pandemic and working to find a cure. Once again, the archetype of the black savior is perfectly embodied by Obama.

In 2008, the box office was dominated by Hancock, a story of a black superhero, and The Dark Knight, both metaphors for Obama (a black man as a white knight, hence the dark knight) as the man to save America from the disastrous chaos of the Bush reign.

Other 2008 box office winners signaled pro-Obama sentiment as well, with Madagascar: Escape to Africa 2 and Narnia: Prince Caspian landing in the top ten for the year. Escape to Africa has the word “Africa” in the title, which is significant in an election where there is an African-American candidate…and “Prince Caspian” once again indicates preference for the younger - “prince”.

Although these film’s were not released until right after the election, both 2008 Oscar winner Slumdog Millionaire and nominee Milk, pointed to Obama winning. Slumdog Millionaire is the story of a poor Indian boy (who is brown skinned and born into poverty), overcoming great odds and making it big, while Milk is about a first…the first openly gay politician elected to public office. Obama, of course, would become the first black man elected to be president.

2004 ELECTION

Bush’s re-election in 2004 is also found in the MWT data.

In 2003, The Return of the King, a title that is an incumbent’s wet dream, won both the box office and Best Picture Oscar. Another Oscar nominee was Master and Commander: Far Side of the World, which is a powerful title in an election involving a “commander” in chief waging two wars on the “far side of the world”.

A plethora of sequels in the top ten box office of both 2003 and 2004, such as Matrix Reloaded, X2, Bad Boys 2, Spider Man 2, Shrek 2, Meet the Parents 2 and Ocean’s 12, all foresaw Bush’s reelection as he was going for a sequel in the form of a second term.

2004’s Oscar winner, Million Dollar Baby, could have been a moniker hung on Bush, as he was labeled by his critics as an entitled, petulant, silver spooned child born into enormous wealth, power and privilege. Another nominee, Sideways, indicated not a moving forward but rather a perpendicular movement…thus re-election.

2020 ELECTION

Which finally brings us to 2020.

Purely as a political observer I have long felt Trump was going to win re-election in 2020, and 2/3rds of the American public feel the same way. The MWT has also pointed, ever so slightly, in that same direction…until very recently. It was on Oscar night, when Parasite, the ultimate outsider (a foreign film with subtitles), beat out 1917, the status quo nominee, that I noticed a pronounced shift in the waves.

Parasite’s Best Picture win is a very clear signal that the economic populism of 2020 is an even more vibrant energy in the collective unconscious than it was in 2016.

Further proof of this is that in 2019, of the nine films nominated for Best Picture, a staggering six of them deal specifically with issues of class. Parasite, Joker, Once Upon a Time in Hollywood, Ford v Ferrari, The Irishman and Little Women all tell varying tales of class warfare and struggle. This is as strong an indicator of a single sentiment as we have ever seen in the art/culture wave of the MWT in recent memory.

The box office indicates a dramatic change coming as well, with Endgame (the highest grossing film of all-time) - which signifies a definitive ending, and Rise of Skywalker - indicating something rising, dominating, as did the overtly revolutionary populist Joker.

It is also noteworthy that both Endgame and Rise of Skywalker are the end of the respective story arcs of two record-breaking, blockbuster franchises. This Star Wars narrative arc is a cultural cornerstone and is over forty years old, and Marvel’s narrative arc has monopolized the culture for well over a decade. Both of these iconic stories ending in the same year is an extraordinarily compelling piece of evidence that the end of an era is upon us.

Rise of Skywalker is not only significant for these reasons, but also because of its color scheme. In the movie’s poster, the dominant color is now blue, whereas in 2016’s The Force Awakens, red dominating blue was the color scheme.

Endgame too has a color scheme of a purple-ish blue completely dominating red in its posters which is fascinating. The off-blue-ish color is striking because it is so unusual…and portends that not only is red waning but that it is not business as usual on the blue side of the divide.

These symbols in the art/cutlure wave could not be more clearly telling us that the thing ending is Trump’s presidency, and the thing rising is Bernie Sander’s class-fueled populist revolution.

Here are some more pieces of evidence to back up that assertion. Aladdin, the tale of a blue (Democrat) genie who grants wishes, was a top ten big box office winner last year. The symbolism is obvious as, fair or not, Bernie Sanders is being labeled as someone “giving away free stuff” by his critics in the establishment.

Another sign is much more esoteric, and that is the film Jumanji:The Next Level. The film was in the top ten of the box office last year and on its surface seems quite benign, but when you dig into it, things become pretty fascinating. Let me preface this by saying once again that this is Jungian dream interpretation, and you may find this interpretation to be a bridge too far. But here it is…

When you break the word Jumanji down into what it sounds like….it becomes “jew” + “manji”. Of course, the word “Jew” in the consciousness is striking in a year with the potentially the first Jewish presidential candidate.

The other part of this equation is even more subtle, but potentially much more powerful. The word “manji” is a Japanese word for a symbol…the symbol being the left facing swastika - as opposed to the right facing swastika used by the Nazis. To interpret this data from a Jungian perspective, that would mean that “Jew” + “manji” could be interpreted as a Jew who reverses the swastika/Nazism. I am not calling Trump a Nazi, but there is a strong sentiment in the culture that does attach him to the Nazi archetype. The conclusion to draw from this is that Jumanji symbolically means the current right (Republican) facing swastika will be reversed into a left (Democratic) facing manji. It might also signify Bernie Sanders, potentially the first Jewish candidate for President, will reverse the gains of the archetypal “Nazi”, Trump. (Again…I am not calling Trump a Nazi, only that he has been branded with the Nazi/“not-see” archetype in the public consciousness)

Another vital point is that like Trump in 2016, Sanders is running as the archetypal outsider. For instance, the media keep saying that Bernie is a joke and he can’t win the nomination or the general election, but remember, the media once said the same thing about Trump, and treated him with the same contempt.

Sanders is running against the establishment of both Washington AND the Democratic party. Also like Trump, he is despised by the mainstream media, who, like establishment politicians, belittle, dismiss and denigrate him every chance they get.

On a purely political and psychological level, it is obvious that the public viscerally loathes Washington and the media more than anything, which means that just like Trump in 2016, Sanders has the right enemies…and this will be a key to his success.

In conclusion, there is certainly a chance that the data that makes up the History, Empire, Generation, Time and Art/Culture waves, will shift in the crucial coming months, and the waves will obviously reflect, and I will report, that shift. But with that said, as currently configured, the Isaiah McCaffrey Wave Theory, most notably but not exclusively the art/culture wave, clearly indicates that Bernie Sanders is going to be the next President of the United States.

©2020

VISUAL AIDS

The blue-ish purple of 2019 Endgame surrounding red.

2019’s Rise of Skywalker has blue dominated red…in contrast to the color scheme of 2016’s The Force Awakens.

Blue once again taking up a larger percentage of the frame than red in 2019’s Rise of Skywalker.

2016 - The Force Awakens has red front and center over blue.

2016 The Force Awakens with its protagonist having the appearance of holding red…the color which dominates the frame over blue.

Red v Blue in 2016’s Civil War.

Red v Blue in Batman v Superman…notice that red wins.

Deadpool…the Trumpiest of superheroes…being snakry and wearing red in 2016.

The Big Short : A Review, a Diagnosis and a Warning

ESTIMATED READING TIME: TEN MINUTES

****THIS REVIEW CONTAINS SPOILERS!!! CONSIDER THIS YOUR OFFICIAL SPOILER ALERT!!!****

MY RATING: SEE IT IN THE THEATRE!

"IT AIN'T WHAT YOU DON'T KNOW THAT GETS YOU IN TROUBLE, IT'S WHAT YOU KNOW FOR SURE THAT JUST AIN'T SO." - MARK TWAIN

The Big Short, directed by Adam Mckay and written by McKay and Charles Randolph (based on the book The Big Short by Michael Lewis), is the story of a collection of men who foresaw the financial collapse of 2007/2008 and bet big against the housing bubble and Wall Street and won.

The Big Short is a truly remarkable film, without a doubt one of the very best of the year. It takes the difficult and complex subject of finance in general, and the collapse of 2007/2008 in particular, and not only breaks it down into understandable pieces, but does so in an extremely entertaining and insightful way.

When The Big Short ended and the credits rolled, I was curious as to who directed the film. I was stunned when I saw that Adam McKay, of all people, had directed it. Prior to The Big Short,  Adam McKay was better known as Will Ferrell's director, having been at the helm for the Ferrell films Anchorman: The Legend of Ron Burgundy, Talladega Nights: The Ballad of Ricky Bobby, Stepbrothers, and Anchorman 2 : The Legend Continues. In my mind, directing a singular comedic talent like Will Ferrell amounts to turning on the cameras and getting out of the way. It was previously unthinkable that a director with Adam McKay's resume would have the skill to make a film as impeccably crafted as The Big Short. McKay's direction is nothing short of masterful. McKay is able to flawlessly weave together the multiple, complicated narratives of the film, all while never losing the mesmerizing pace of the story. He shows a tremendously deft touch even with the most minor of scenes and lets the visuals tell as much of the story as the dialogue. 

There is a subtlety and specificity to McKay's direction that speaks volumes to his talent and vision. Two sequences stand out in this respect. The first is when we see a brief daytime long shot of Las Vegas with a freeway in the foreground where a homeless man urinates in the shadows of the traffic. The man, with his shopping cart filled with his possessions by his side, is barely visible in the shot, but that is the point, because those obliviously driving by him on the freeway above are blind to his plight and the one that awaits them as well.

The second shot is of a man and his family, who we meet very briefly earlier in the film, evicted from their rental home because of a landlord who gets foreclosed upon. The family now live in their van parked at a convenience store. This scene, which is visuals accompanied by a voice-over not directly connected to the action, shows a little boy running away from the family van. The shot is maybe three seconds long, but it stops your heart it is so well done. This shot cinematically conveys to the viewer absolutely everything they need to know, and all without a word. It shows how vulnerable and dangerous life is for people on the margins in America. My reaction to that brief shot was visceral…how could it not be? The shot is so quick you can only react to it on a gut level, and at that level, you instantly fear that the little boy will run into traffic. That shot connects the bigger story of The Big Short, to the human story of those devastated by the housing collapse. That little boy is in danger and it is because of the shenanigans of the big banks. These two shots/sequences are the type of small details that make all the difference in a film, and they highlight Adam McKay's exquisite direction of The Big Short.

The acting in the film is solid across the board. Ryan Gosling easily does the best work of his career as Jared Vennett, a bond salesman at Deutsche bank. He gives a funny, dynamic and charismatic performance that is the engine driving the film forward. Steve Carrell does exhaustive work playing the unlikable but ultimately compelling Michael Baum, the manager of a hedge fund whom Vennett approaches to invest against the housing market. Christian Bale gives a layered and intricate performance as Dr. Michael Burry, the eccentrically awkward mastermind who uncovers the fraud at the heart of the housing bubble. Brad Pitt brings a surprising gravity and humanity to the film as former JP Morgan trader Ben Rickert, and acts as a counterbalance to Gosling's fast talking and ego-driven Vennet. The rest of the cast is superb as well, with Hamish Linklater, Rafe Spall, Jeremy Strong, Max Greenfield and Billy Magnussen among others who all do standout work.

"TRUTH IS LIKE POETRY, AND MOST PEOPLE HATE POETRY" - OVERHEARD AT A WASHINGTON, D.C. BAR

I saw The Big Short in the theatre on the same day that I saw Spotlight. This was just by coincidence, but in hindsight it is easy to see that the movies are actually companion pieces. They have a lot in common as both The Big Short and Spotlight are flawlessly crafted films. Both pictures are superbly written, acted, directed, shot and edited. In addition both The Big Short and Spotlight explore similar themes, namely institutional blindness, perverted forms of religion, and the moral and ethical rot at the center of American life. 

"TO SEE WHAT IS IN FRONT OF ONE'S NOSE NEEDS A CONSTANT STRUGGLE." - GEORGE ORWELL

The institutional blindness on display in The Big Short runs not only through Wall Street, but also the media and Washington. When you hear talking heads on television say that no one saw the financial collapse of 2007-2008 coming, realize that this is just one more form of that blindness. Hindsight is usually 20/20, but not when you are unable to admit you were catastrophically wrong in the first place. As the great American Prophet (or is it Profit?) Dr. Phil is fond of saying, "you can't change what you don't acknowledge"…you're god-damned right about that, good doctor. Besides the characters at the center of The Big Short, there were other people who saw the collapse coming too, but they were the "wrong" people, so no one listened to them. Hell, even a clueless dope like me saw it coming. Ask my poor clients who had to listen to me ramble on and on about it day after day. Of course, most of those clients, and most of my friends, just nodded politely at my ramblings and ignored them…and lost a ton of money. I, and a very tight circle of friends, ended up being right not because we were geniuses, God and you dear reader know that isn't true, but rather because we weren't infected by the mania brought on by the lure of easy money that had gripped, and still grips, the nation. One of the glaring symptoms of this mania is that it brings with it a greed-induced frenzy that makes it, to paraphrase Orwell, 'hard to see what is right in front of your nose'.

The institutional blindness at the core of American capitalism comes from years of uncritical thinking from the people inside its foundational institutions. No one at any level of the American capitalism food chain, from University economics and finance departments, to the media to government to Wall street, dare question the basic premise of American capitalism because it has become a most-holy, sacred religion. This religion deems insatiable greed not only healthy for the economy, but a "good" and worthy attribute for everyone. This new church of American capitalism found a cinematic saint in Gordon Gekko in Oliver Stone's 1987 film Wall Street, but St. Gordon was just preaching the gospel of the semi-non-fictional Saint Ronald Reagan from the early 1980's. Both St. Gordon and St. Ronnie were followed by free market saint and snake oil salesman extraordinaire, Bill Clinton in the 90's, who cleared the way for "unfettered, free-market capitalism" to take a giant shit on all of us.

"THE CAPITALIST WILL SELL YOU THE ROPE WITH WHICH YOU INTEND TO HANG HIM" - VLADIMIR LENNIN

Ask anyone with an advanced degree in economics or finance if during their long years of schooling they ever had to take a course on an alternative economic system to capitalism. The answer will be a resounding "no". That is not to say that socialism or communism or any other "ism" is better than American capitalism. But it is to say that when people are taught, or more accurately, conditioned, to NOT think critically about their economic system (or anything else for that matter), then that system stops being an economic one and starts being a religious one. Religion is based on faith and to its faithful adherents, is beyond reproach…see Spotlight as evidence of that. When something as profane as American capitalism becomes sanctified, corruption and collapse are sure to follow, just as it did with Soviet "socialism". With religion comes magical thinking, and so it is with American capitalism, which must contort reality in order to reinforce its faith based belief system. So we get deformed and distorted economic information from the powers that be because they must keep the house of cards standing at all cost. The Big Short humorously shows how while the underlying mortgages crumbled, the mortgage backed securities made up of those same bad mortgages actually went up. That is what happens in religion when reality doesn't conform to the sacred belief system, magical thinking kicks in and…MIRACLES OCCUR…up can become down, black can become white, or as those of us living in reality say…FRAUD HAPPENS. This charade of American capitalism can only last so long, as reality has a funny way of cutting through the bullshit of magical thinking and kicking you right in the nuts…just ask Lehman Brothers or Bear Stearns.

"TELL ME THE DIFFERENCE BETWEEN STUPID AND ILLEGAL AND I'LL HAVE MY WIFE'S BROTHER ARRESTED" - JARED VENNET, THE BIG SHORT

See, in American capitalism, fraud is not a bug, but a feature, it is baked into the cake. Fraud and magical thinking are at the very heart of American capitalism. The fraud that runs rampant is easy to see.  We have all of the big banks rigging bids on municipal bonds and bilking every city in the nation for billions of dollars. Then we have Royal Bank of Scotland, HSBC, JP Morgan Chase, Barclays, Bank of America, UBS and Citigroup and the LIBOR scandal, where they manipulated the world's interest rates and in so doing a good portion of the world's economy. Then there is the fraud on display in The Big Short where big banks defrauded their customers in order to cover their asses as the mortgage market tumbled. This doesn't even touch upon the criminality of banks laundering money for drug cartels, or rate-rigging the currency rates. 

In all of these scandals, no one was sent to prison. No one was held criminally liable. The Banks simply paid a fine, sometimes in the billions of dollars, but never had to admit to wrong doing. This is the casino-gulag business model, banks make $10 billion in fraud and only pay $1 billion in fines. That is a pretty good deal if you can get it…and the big banks know how to get it.

I had a conversation recently with an older friend, very conservative, who told me that he was "sick and tired of all the big bank bashing" because Wall Street "creates a lot jobs and a lot of wealth". I nodded politely so as to not offend his religious belief in American capitalism. The reality is that Wall Street, like Las Vegas, "creates" nothing, but they do "engineer" more gambling opportunities where the house always wins, and the concept of "the common good" never has to rear its ugly head.

"THE IGNORANT MIND, WITH ITS INFINITE AFFLICTIONS, PASSIONS AND EVILS, IS ROOTED IN THE THREE POISONS. GREED, ANGER AND DELUSION." - BODHIDHARMA

This taps into the moral and ethical rot at the center of America. Wall Street and Main Street, both infected with an insatiable greed, no longer invest, they speculate. The myopic greed and lure of easy money that has infested America makes corporations and regular people cut off their nose to spite their face, all in the name of higher short-term earnings and to the detriment of the long term, the common good and common sense. This is no way to run a company, or a country…but it's what is happening all around us. We have CEO's who mine their company for short term profits, which often times includes profit through fraud, in order to appease shareholders and get their bonuses before moving on, all the while ignoring the long term health of their business. The same is true of government, where politicians ignore the long term health of the country in favor of the short term health of their political careers and the next election. Regular Jane's and Joe's did the same thing by "flipping" houses and trying to run with the wolves on Wall Street…but found out the hard way that it is a rigged game. Now, they do the same thing in a different way by going into debt just to pay their bills month to month. This myopic approach to finance, politics and life, can only last so long before the bill comes due. Robbing Peter to pay Paul only ends up, at best, with either Peter or Paul breaking your thumbs, or at worst, with the two of them burying you in a shallow grave out in the desert.

The Church of American Capitalism and the moral and ethical rot that comes with it, has also infected American Christianity in the form of the "Prosperity Gospel". This Prosperity Gospel is the perfect symbol for the lascivious and lecherous greed, that like a cancer, has metastasized through all walks of American life and bastardized Christianity into little more than Santa Claus for adults. Turning greed into spirituality and religion is the last straw in the fall of the moral underpinnings of any nation and its people. Gordon Gekko once said, "Greed is good", but the Prosperity Gospel of the Church of American Capitalism teaches , "Greed is God".

"WHENEVER I WATCH TV AND SEE THOSE POOR STARVING KIDS ALL OVER THE WORLD, I CAN'T HELP BUT CRY. I MEAN I'D LOVE TO BE SKINNY LIKE THAT, BUT NOT WITH ALL THOSE FLIES AND DEATH AND STUFF." - MARIAH CAREY

The other religion, besides the church of American capitalism and greed, so masterfully on display in The Big Short, is the uniquely American religion of Celebrity. Director McKay wisely uses famous people to talk directly to the audience and explain complicated financial terms and processes. This has a dual effect, one, it breaks down the complex language of finance which Wall Street uses to make people think only they can do this stuff, terms like Collateralized Debt Obligations (CDO), Mortgage Backed Security (MBS), and Credit Default Swap (CDS), into language the layman can understand. Two, it surreptitiously tweaks the audience for being so mindless as to only pay attention when a celebrity is talking. The celebrities involved, Margot Robbie, Selena Gomez and chef Anthony Bourdain, all get the point across both on the surface level of explaining the information, but also on the subversive level of proving the audience as suckers for the famous, a.k.a. high priests and priestesses of the Church of American Celebrity. If Collateralized Debt Obligations, Mortgage Backed Securities and Credit Default Swaps were explained by some dry academic, people would, as they've been trained to do, instantly tune out, but when it is done by Margot Robbie in a bubble bath…attention will most surely be paid. 

"WE FORGET THAT THE WATER CYCLE AND THE LIFE CYCLE ARE ONE." - JACQUE COUSTEAU

Speaking of bubble baths…at the end of the movie, there is an update on what the main characters are up to since their big short paid off. We are informed that Dr. Michael Burry, who closed his hedge fund right after the collapse of 2007/08, now focuses his investments on one commodity…water. This is pretty interesting because running throughout the film there is a very subtle subtext about water. If you watch the film again, pay attention when water is in a shot (like Ms. Robbie's bubble bath cameo), what characters drink it and when they drink it. There is one scene where Dr. Burry, while talking about shorting the housing market, chokes on a swig of water from a bottle, which, knowing the context of his later investing work, is very intriguing. Another scene involves a swimming pool with an unwanted reptilian guest lurking in it behind an abandoned Florida house. The house no doubt abandoned because of the "gully" (definition of a "gully" is "a water worn ravine") in the housing market. That scene is juxtaposed with a scene of a lavish swimming pool at Caesar's Palace, which is populated by investment bankers (from Goldman Sachs!!) and a woman from the SEC. Gators, bankers and feds…oh my!!! Water is the hidden secret within The Big Short, and the secret about water in today's world is that it will soon replace oil as the commodity over which we go to war.

"EVERYONE, DEEP IN THEIR HEARTS, IS WAITING FOR THE END OF THE WORLD TO COME." - HARUKI MURAKAMI

In conclusion, The Big Short is a phenomenal, must-see film, that shows us what went catastrophically wrong back in 2007/2008, and what is still wrong with our system. It is up to us to break free from the magical thinking brought on by the Church of American capitalism, and the distraction from thinking brought on by the Church of American Celebrity, and to see the truth that sits right in front of our nose…the American financial system is not only fundamentally and structurally flawed, it is irreparably broken and untenable. The house of cards is coming down whether we are ready for it or not…it isn't a matter of if…it is a matter of when. You can either prepare for the coming tsunami* or not, that is up to you…but what you cannot do this time around...is say that no one told you it was coming. 

*See what I did there? Tsunami…water? C'mon..pay attention!!!

©2016

Spotlight : A Review

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

MY RATING : SEE IT IN THE THEATRE!!

Spotlight, directed by Tom McCarthy and written by McCarthy and Josh Singer, is the true story of a team of reporters from the Boston Globe's Spotlight team, who investigate and report on child sex abuse by Catholic priests in the Boston Diocese. The film stars Michael Keaton, Mark Ruffalo, Rachel McAdams, Stanley Tucci, John Slattery and Liev Schrieber.

Spotlight is one of the very best films of the year. It is a tense drama, exquisitely acted by a sterling cast, deftly directed and intricately edited. Spotlight is the type of film that seems like it could have been made during cinema's golden age in the 1970's. It feels like a distant cousin of that decades All the President's Men, another story of journalism and hard-driving reporters investigating a scandal deep at the heart of a thought to be untouchable power. Interestingly enough, in Spotlight, John Slattery plays Boston Globe journalist and editor Ben Bradlee Jr., the son of famed Washington Post Executive Editor Ben Bradlee, one of the key players at the Post during their Watergate reporting, who was played by Jason Robards in All the President's Men.

Even though Spotlight is set in the late 1990's and early 2000's, it is really an insightful period piece about the last days of the relevancy of newspapers, and of the dying craft of investigative journalism. The film pays homage to the last generation of journalists who will have had the opportunity to work full-time doing investigative reporting for a newspaper. Corporatism and the internet have devastated the newspaper industry, and Spotlight shows us that industry's last gasp, and what we are missing now that it is, for all intents and purposes, dead.

Spotlight is also about the scourge of institutional blindness and the insidiousness of silence in the face of that blindness. The willful institutional blindness of the church, the press, the courts and law enforcement, and of the people of the city of Boston is on full display in the film. At its heart, Spotlight is really an indictment of the city and the people of Boston. Boston is one of the most parochial places you could ever imagine. For a place filled with legendary institutions of higher learning, it is remarkably narrow-minded and short-sighted. As the film shows us, the suffocating claustrophobia, knee-jerk myopia and the vicious parochialism of Boston created a toxic brew of dysfunction, arrogance and deference in which predatory priests and the Church hierarchy thrived. Only an outsider could break the spell of Boston's willful blindness, and in Spotlight that role is played by Liev Schreiber as Marty Baron, a Jewish editor from Miami who is new to the city and the Globe, and not beholden to the Church. Baron is the one who instigates the Spotlight team into investigating the church and pushes them to dig deeper and reach higher up the hierarchy in their work.

When the story of Spotlight ends, and the indictment of Boston is complete, a very long list of other cities and town scrolls across the screen. These cities and towns are places where other Catholic sex abuse scandals have been uncovered, and the viewer gets the dawning realization that Spotlight isn't an indictment against the city and people of Boston, it is an indictment against all of us, no matter where we live. We are all guilty of the same blindness and cowardice, to one degree or another, on display in Spotlight.

Director Tom McCarthy and his editors do a spectacular job deftly maneuvering the viewer through the morass of the allegations and the cover up at the heart of the film. He keeps a solid and steady dramatic pace, never letting the story lose steam or the viewer lose interest. McCarthy shows a great skill in pacing and tempo throughout the film. Spotlight is littered with detailed little gems which frame and shape each scene and propel the story through the entirety of the film. McCarthy is an actor himself, and his understanding of acting is on full display in Spotlight. He keeps the scenes tight and the actors loose. McCarthy directs the drama to be  vibrant, but never pushes the pace too hard that we lose the subtlety, specificity and humanity at the heart of each of the performances.

The acting on display in the film is exquisite across the board. Even the small, local hires, playing abuse victims and local residents, hit it out of the park. This is a top-notch, professionally acted film from top to bottom. Michael Keaton, Mark Ruffalo, Rachel McAdams and Brian D'arcy James play the Spotlight reporters perfectly. They bring a tangible sense of purpose and vivd detail to their work that drives each scene and ultimately the narrative of the entire film.

It is great to see Michael Keaton follow up his great artistic success in last years Birdman, with his solid work in Spotlight. Keaton is pitch-perfect as Walter "Robby" Robertson, a native son of Boston and well-respected journalist. I hope Keaton continues to make these kinds of choices in the projects that he chooses as he is such an asset to any film where he can bring his skill and experience to bear.

McAdams does the best work of her career as reporter Sacha Pfieffer.  McAdams is as grounded and genuine as she has ever been on screen. She displays a humanity and a compelling internal life that is both steady and captivating.

Mark Ruffalo follows up his terrific work in last years otherwise disappointing Foxcatcher, with a dynamic performance as reporter Michael Rezendes. Ruffalo brings a magnetic power and a tangible wound to the role that is mesmerizing. Ruffalo has been on a roll lately with great work and Spotlight is some of his best.

Both Liev Schreiber and Stanley Tucci have smaller roles but they do spectacular work. Both men are actors of extraordinary craft and talent, and they both bring all of their skills to bear in Spotlight. Without Schrieber and Tucci's multi-dimensional portrayals, the film would have suffered greatly.

Spotlight is the type of superbly crafted film of which I wish Hollywood would make more. Spotlight, The Big Short, which is another great film from this year, and 12 Years a Slave from 2013, all had minuscule budgets around $20 million and all of them at least more than doubled their budgets in profits. Instead of spending $100 or $200 million to make a monstrosity like The Avengers or some action piece of crap, why not take that money and make five or ten Spotlights, or The BIg Shorts or 12 Years a Slave? Those three films combined cost $60 million to make and have grossed $363 million. With moderate budgets like that, there is less risk and higher reward, as opposed to a $200 million film, which will nearly double its budget on marketing and then need to make a billion dollars just to be considered a success. Spotlight shows that good and great films can be made relatively inexpensively using just the skill, craft and talent of the people involved. I wish for all of our sakes that Hollywood would learn that lesson, but I have a sneaking suspicion that they won't. Regardless of the state of the film industry, Spotlight is proof that there are still artists out there capable of making high quality, smart films. 

In conclusion, Spotlight is one of my favorite films of the year. It teaches us hard lessons about our own cultural blindness and the price that the most vulnerable among us pay for it. It also shows us a time not long ago, when the press could, on its better days, hold those in power accountable. Those days are long gone, and Spotlight reveals to us that our culture is lesser for the loss of true investigative journalism. Spotlight is well worth your time, money and effort to go see it in the theaters. I strongly encourage you to do so. 

©2016

****WARNING, THIS FOLLOWING SECTION CONTAINS SPOILERS!! THIS IS YOUR OFFICIAL SPOILER ALERT****

FROM THE KONSPIRACY KORNER!!

(This section is written by my lifelong friend and our resident conspiracist, Prof. Rev. Dr. Steve Keithans a.k.a The Mayor of Westfield. The good Professor Reverend Doctor Keithans views may or may not be the same as my own, but regardless, I am happy to share them here with you now.)

The strangest thing…when speaking with my good brother Michael McCaffrey about the film Spotlight, one of the great elements that we both noticed about the film was how fantastically well paced it is. But to my eyes there was one small hiccup which stuck out to me like a sore thumb. Films have a visual style, rhythm and pace to them. Shots are consistently framed and lit in a certain style and held for a certain length creating an unconscious rhythm for the viewer of a film. Each shot informs the shot that follows it and is informed by the one that preceded it. Spotlight quickly establishes its visual rhythm and sticks with it through the entire film…except for one…single...shot.

The shot in question takes place at exactly 1 hour 23 minutes and 22 seconds of the film. The shot is of the Boston Globe parking lot as editor Mark Baron (Liev Schreiber) arrives to the office. It is a wide shot, one which we have not seen yet, nor will we see it again. We have seen this same parking lot before but only in close ups and two shots of the actors in their cars. In this shot, from a high angle wide shot, we see Baron pull his car in to the parking lot. Looming over the parking lot, and dominating the shot, is a big "AOL Anywhere" billboard and the background is the skyline of Boston. Here is a screen capture of the shot.

It is an odd shot in the context of the visual style and rhythm of the film and it is jarring to the unconscious of the viewer because it breaks that rhythm. It is pretty striking that the one shot that is out of rhythm with the entire film is that of an AOL Anywhere billboard which happens to have a giant pyramid with an all seeing eye in it. What makes the shot all the more jarring is the context of where it shows up in the film. The scene directly following this shot shows Mark Baron entering the Boston Globe office, in the foreground a group of people are gathered around a television watching breaking news. The breaking news is the 9-11 attack. Baron stops in front of the television long enough to see a jumbo jet crash into the World Trade Center. 

When I first saw the film I felt uneasy with the parking lot shot, but didn't really give it much thought. The sensation was one of slight discomfort, something just seemed off, nothing more. It was more subconscious than anything and it barely registered in my conscious mind except to say…"hmmm…that feels…off".

Upon my second viewing of the film, I was more consciously jarred by the visual anomaly, and I wondered if this was just a very unsubtle case of AOL product placement.  

Then I thought, well, maybe the director is trying to symbolically say that newspapers in general, and the Boston Globe in particular, don't know what is coming at them, the black swan theory if you will…that they are blind to their own on-coming demise in the form of AOL (the internet), much like the U.S. was blind to the 9-11 attacks. 

Then I wondered if maybe this shot has a deeper meaning that the director was not even conscious of, or maybe he was…who knows, right? Maybe the all seeing eye highlighted in that shot is symbolic of one of the shadowy "secret societies" that are known to use child sex abuse rituals when they practice their dark art. Or maybe it is symbolic of the all seeing eye of "the powers that be" in the military-intelligence-surveillance industrial complex who were either complicit or entirely behind the 9-11 attacks in order to increase their power and control by creating a "new Pearl Harbor". Or maybe those two groups, the child sex abuse ritual people, and the military-intelligence-surveillience industrial complex people are cross pollinated and are actually one in the same and this shot shows us a brief glimpse of their vast power and control…the billboard does say "AOL Everywhere" after all.

Then I wondered if maybe this shot was a secret warning from an insider of one of these groups, alerting anyone with the eyes to see that this nefarious, shadowy group was behind both the sex abuse in the Catholic church, and 9-11 and most everything we see in the media (once again…"Everywhere"). And then I wondered if this shot was indicating that another 9-11 was coming, this time aimed at Boston.

And then I wondered why my head hurt so much, and then I realized that my tinfoil hat was on way too tight. Sadly, after I removed the tinfoil hat from my head, the aching still remained…and even more unsettlingly, so did the anomaly of that shot and the all seeing eye in the pyramid looming over the city of Boston, and glaring right at me…and seeing right through me…knowing and controlling…"EVERYTHING".

©2016