Pain Hustlers (Netflix): A Review - Phony and Forgettable

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

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. A remarkably empty cinematic exercise that is neither insightful nor entertaining.

Pain Hustlers, starring Emily Blunt and Chris Evans, in the new Netflix movie that tells the tale of Eliza Drake, a stripper in Florida who becomes a highly successful pharmaceutical saleswoman of fentanyl who gets caught up in a corporate criminal conspiracy.

The film, directed by David Yates and written by Wells Tower, is based on the book of the same name by Evan Hughes and is a true story.

I had heard little about Pain Hustlers before checking it out on Netflix. All I knew was that it was in some way about the pharmaceutical industry and the opioid epidemic, and that is starred Emily Blunt. I am all too familiar with the opioid epidemic and its devastating effects, and I like Emily Blunt, so I thought I’d give the movie a shot.

I regret that decision.

Pain Hustlers is one of those movies, which are all too common in the streaming era, that is instantaneously forgettable. The images and story pass before your eyes and evaporate into the ether before you can even register their existence. This film is so forgettable it feels like I never actually watched it…even though I know I did because I wish I hadn’t.

The story at the heart of the film is interesting enough I suppose, as Eliza Drake’s rise from poverty and fall from grace have great dramatic potential, but everything about the film, its writing, its direction, the acting…is poor.

Let’s start with the casting. I think Emily Blunt is a terrific actress. I just rewatched Sicario and she is phenomenal in that great movie. She’s also outstanding in The Devil Wears Prada and A Quiet Place. But in Pain Hustlers she is painfully miscast as a white trash Florida woman who’ll do just about anything to make ends meet. Emliy Blunt is as an actress is, and can be, many things…Florida white trash isn’t one of them.

Blunt is simply too beautiful, too classy and too put together to ever be white trash. Put her in sweatpants and she doesn’t look cheap she looks like an elegant and chic woman in sweatpants. It’s not her fault…it’s just the way things are.

Due to Blunt’s natural grace and style her Eliza never seems too down and out for us to think she or her daughter are in true peril. And when Eliza climbs the ladder of the two-bit corporation that hires her to sell pain medication, it isn’t all that compelling because Blunt makes Eliza seem like she’s well above the low-rent operation anyway.

Chris Evans plays Pete Brenner, the hard-charging pharma salesman who brings Eliza into the fold. Chris Evans is a truly terrible actor and always has been…but just when you think he couldn’t get any worse as an actor, he gives us Pete in Pain Hustlers. Evans puts on an absolute clinic in awful acting in this movie.

Evans, a native of Massachusetts, is remarkable in that he often times as Pete – but not always, attempts a Boston accent, and yet still butchers it. That the accent comes in and out is forgivable only because, like a toddler trying to play drums, it’s so awful you’re glad he occasionally stops trying.

Evans is one of those atrocious actors who thinks he’s really, really good. Like you can see it in his eyes that he thinks this performance as Pete is definitely Best Supporting Actor ground he’s confidently marching across. This level of irrational confidence no doubt helps Chris get the ladies in real life, but the camera is a bullshit detector and it sees right through a dimwit charlatan like Chris Evans.

The always entertaining Catherin O’Hara plays Eliza’s white trash mom Jackie and somehow manages to not be entertaining at all. O’Hara’s Jackie is nothing but a walking caricature and never manifests as a human being, just an annoyance. If she played this character in this way in a three-minute comedy sketch you’d still think it was shallow.

Andy Garcia plays Dr. Neel, the founder of the pharma company in question, and his performance, which he seems to think is fantastic, is instead flaccid. Garcia huffs and puffs and crazies his way through the role but it all feels like a put on and not an actual performance emulating a real person.

Besides the casting and acting, the direction is as second rate as it gets. David Yates, whose claim to fame is having directed 7 of the Harry Potter/Fantastic Beasts films, tries to turn Pain Hustlers into a combination of Wolf of Wall Street and Goodfellas set in the strip-mall pharma world in Florida, but wildly misses the mark.

Yates interjects black and white interview segments into the film to make it all seem “real”, but these segments are legitimately bad as everything comes across as ultra-phony. It doesn’t help that the performances in those black and white interview segments are particularly bad.

Yates also uses a voice-over (Goodfellas style) that doesn’t propel the narrative but just feels like a cheap way to cover over the glaring flaws in the cinematic storytelling. As my film school editing professor once told me, “voice-overs are bad…unless your Scorsese…and nobody is Scorsese.” David Yates is certainly not Scorsese.

The film is consistently visually stale, the performances are relentlessly uneven and remarkably dull, and the story lacks a compelling or dramatically satisfying arc. What is left is a big budget after school special film that comes and goes without the least bit of notice. That stars like Emily Blunt and Chris Evans are in this film only makes it all the more perplexing as to how this got made…and why.

Pain Hustlers is set in 2011, in the wake of the first wave of the opioid epidemic when a chill had gone through the pain management industry thanks to America’s waking up to Purdue Pharma’s rapacious greed and criminality. The drug at the center of this movie though is not oxycontin, but rather fentanyl, an opioid even more powerful, and deadly, than oxycontin.

The film tries to walk along a straight razor as it argues that fentanyl is a great drug, but that corporate greed is what causes it to become problematic due to over prescribing. It presents charming rogue pharma salespeople as the real working-class heroes who get screwed (sometimes literally) by the corporate big wigs who ruin the fentanyl utopia these hard-working, hustling salespeople created.

That is a very complicated moral and ethical argument to make, and maybe it’s a worthwhile one, but Pain Hustlers and its director Yates are too low rent artistically (and intellectually) to ever clearly make this argument, or any argument regarding the opioid crisis coherently. Which is a shame as nuance is welcome artistically even in the most seemingly Manichean of circumstances.

In recent years there have been numerous opioid epidemic projects based on non-fiction books that have made it to streaming services. In 2021 there was the miniseries Dopesick on Hulu, and in August of this year the miniseries Painkiller premiered on Netflix. While Dopesick wasn’t great, it was decent enough…but now with Pain Hustlers, Netflix has churned out two straight, similarly titled, really bad opioid themed projects based on books in the span of three months. Not good.

As much as I proselytize and evangelize regarding the horrors of the opioid crisis (which is still ravaging the country) and the villainy of the pharmaceutical industry and the corruption of our government, I simply cannot recommend Pain Hustlers as it isn’t informative, insightful or entertaining.

The truth is that Pain Hustlers is completely and entirely forgettable, so don’t waste your time watching it. I’ve not read the book Pain Hustlers by Evan Hughes, but I can only hope that it is better than the movie…so go read that. Or better yet, go read the books Dopesick by Beth Macy, Painkiller by Barry Meier, American Overdose by Chris McGreal and Dreamland by Sam Quinones. What you discover in those books about our country and the moral and ethical corruption of our vile ruling class, will change the way you look at our world and help you to understand that those who rule and own us, passionately despise us and actively want to do us great harm.

 Follow me on Twitter: @MPMActingCo

©2023

Dopesick: Miniseries Review and Commentary

Hulu’s new opioid epidemic drama, Dopesick, is a must-see mini-series in the age of vaccine mandates.

The series dramatizes the mendacity and corruption of big pharma and lays bare how the powerful in business and government callously and cruelly harm regular folks for ungodly profits and unchallenged power.

Dopesick, the new dramatic mini-series about the opioid crisis on Hulu, is a flawed show, but despite its shortcomings, it’s most definitely must-see television.

The eight-episode series is compulsory viewing because in this age of vaccine mandates, where anything short of unabashed adoration of big pharma and government health agencies, as well as compulsive compliance to their edicts, leaves you ostracized from society, it lays bare the corrosive corruption of capitalism on “science” and exposes egregious government complicity with a pharmaceutical company that directly led to the holocaust of the opioid epidemic.

Dopesick is based upon Beth Macy’s non-fiction book of the same name and that, as well as ‘Pain Killer: An Empire of Deceit and the Origin of America’s Opioid Epidemic’ by Barry Meier, ‘American Overdose: The Opioid Tragedy in Three Acts’ by Chris McGreal, and ‘Dreamland’ by Sam Quinones, should be mandatory reading for everyone in order to understand the scope and scale of the opioid epidemic as well as the sinister machinations that launched it.

The Hulu mini-series tells the story of the hell unleashed when OxyContin hit the market. Unfortunately, the performances can sometimes be a bit uneven, and the show also does falter when it unnecessarily gets distracted with woke pandering on feminist and LGBT issues, but thankfully that irritant doesn’t diminish the vital tale of big pharma mendacity and government malfeasance at the heart of the story.

Some of the interesting stories featured include Dr. Finnix (a terrific Michael Keaton), a small-town doctor who gets seduced first by the drug company and then by the drug itself, Betsy Mallum (Kaitlyn Dever), a working-class girl who became a slave to Oxy and Federal Prosecutor Rick Mountcastle (Peter Sarsgaard) and DEA agent Bridget Meyer (a dismal Rosario Dawson), both swimming against the tide as they try to hold Purdue Pharma accountable for the carnage it has unleashed.

Also dramatized are the wholly dysfunctional Sackler clan, owners of Purdue Pharma.

The Sacklers are a greedy and loathsome bunch. Arthur Sackler invented medical marketing back in the 1940’s and 50’s, and came up with Valium as “mother’s little helper”, also creating a use for the drug to treat the ever-amorphous ailment of general anxiety.

Arthur’s nephew Richard Sackler (Michael Stuhlbarg) attempted much the same with OxyContin.

In the late 1980’s, Purdue Pharma was in danger of losing its patent on MS Contin, a morphine pill for cancer patients that was the company’s main source of income, and would face a financial calamity when cheaper generic versions of the drug hit the market.

It was in this desperation that OxyContin, a longer lasting version of the opioid oxycodone, was born. The drug was introduced in 1996 and was aggressively promoted.

Purdue created dummy pain organizations and media outlets as their propaganda division to push the narrative of an “epidemic of untreated pain” ravaging America. These organizations, like the American Pain Society, lobbied the medical establishment to make pain the “fifth vital sign”, and succeeded.

Remarkably, Purdue then got the FDA, despite no studies showing this claim to be true, to allow the company to put a label on OxyContin saying that danger of addiction was extremely low. In a stunning coincidence, the FDA official who granted this extraordinary label request, Curtis Wright, months later left the FDA to take a $400,000 job at…Purdue Pharma.

Purdue then unleashed its hyper-aggressive salesforce armed with the carrot of gifts, free meals and vacations, as well as the stick of lawsuits from patients if doctors didn’t prescribe Oxy, into medical offices specifically targeted by a database that focused on painkiller prescriptions, disability claims and loose regulations.  

The salesforce was also armed with a plethora of dubious marketing materials that claimed “less than 1%” of users will become addicted to Oxy.

The sales staff referenced the Porter-Jick study as proof of the ‘less than 1%” claim, and that became the cornerstone of the “pain treatment” movement and was even taught in medical schools across the country.

The stunning revelation about the Porter-Jick study is that it isn’t a study at all. It’s just the anecdotal observations of a crank doctor complaining in a five-sentence letter to the editor in the New England Journal of Medicine.

Purdue’s strategy only became more dubious and depraved as time wore on.

Oxy was supposed to work for 12 hours a dose, but for many people the effect didn’t last nearly that long. Purdue called this issue, “breakthrough pain”, which sounds an awful lot like “breakthrough infections” in regard to Covid.

“Breakthrough pain” was treated by doubling the dose. When the 10mg fails, you go to 20mg, then to 40mg…on up to the mother of all pills the 160mg.

When addiction quickly followed, Purdue claimed that the signs and symptoms of addiction weren’t really addiction, it was an ailment called “pseudo-addiction”, and pseudo-addiction is really just untreated pain and the only remedy for it is…you guessed it…more OxyContin.

The answer to everything was more OxyContin. And of course, with more Oxy comes more addiction, more death, more suffering, more despair, and more profits.

A similar paradigm seems to be in play regarding Covid vaccines, which when they fail results in calls for boosters, which in turn leads to more profit for big pharma. Like with the financial collapse of 2007/2008, failure can be remarkably profitable for big shots.

To be clear, I’m not advocating for or against vaccines, I’m advocating for critical thinking. The gullible and the goaded are fools to take big pharma or government’s word for gospel truth, be it about Covid, WMDs, or anything else, especially when profit and power can be gained by lying. As Dopesick teaches us, the wisest approach is skepticism regarding big pharma and government’s claims and cynicism regarding their motives.

Ultimately, Dopesick is a worthy watch because it tells the ugly truth about what the powerful are willing to do to regular folks, up to and including killing them, in order to make an ungodly profit.

 A version of this article was originally published at RT.

©2021

American Animals, Anthony Bourdain and Late Stage American Empire

Estimated Reading Time: 7 minutes 59 seconds

THE FOUR HORSEMAN COMETH

A couple weeks ago on a Thursday night, I realized that I was free the following Friday morning, so I decided to schedule a movie. After scanning what was available, I settled on American Animals. I didn't know much about the film but thought I would roll the dice. It ended up being a synchronistically wise choice.  

After a fitful sleep, on Friday morning I awoke to the news that Anthony Bourdain had killed himself. As it is with news of any suicide, I was deeply unsettled upon hearing it. I was not a fan of Bourdain's, I had never seen his show and do not consider myself a "foodie" in the slightest, but still his death by his own hand was jarring. 

What added to my shock at Bourdain's death was that the night before, I had watched a 2012 documentary directed by Ross Ashcroft, titled The Four Horseman. That documentary referenced Sir John Glubb, a British historian who in 1976 wrote an essay titled "The Fate of Empires". In that work, Grubb lists the seven stages of Empire which are...1. Pioneers, 2. Conquest, 3. Commerce, 4. Affluence, 5. Intellect, 6. Decadence and 7. Decline and Collapse. 

The Four Horseman film argued that the U.S. was in stage 6 - Decadence, in 2012, the year of its release. Accoring to Sir Glubb's thesis, signs of an empire In the age of decadence include an undisciplined - overextended military, conspicuous displays of wealth, massive disparity between rich and poor, obsession with sex, exorbitantly wealthy sports stars, and synchronistically enough...celebrity chefs…like Anthony Bourdain. In fact, one of the chefs the film shows to make its point is Bourdain. If Bourdain was a symbol of American Empire's decadence in 2012, in 2018 he is now the canary in the coal mine, and his suicide is a foreboding omen. 

AMERICAN ANIMALS

Which brings us to American Animals. American Animals is a remarkable film, not because it is exquisitely made, it isn't, or masterfully acted, it isn't, but because it so accurately and unflinchingly diagnoses the disease that is killing America. While I watched American Animals I couldn't help but think of Bourdain, and to a lesser extent designer Kate Spade (only because I had never heard of her until her death - to the shock of no one, I am not much of  an accessories aficionado) because what ailed Bourdain and Spade, and what ails all of America, men in particular, is what propels the story of American Animals….namely a total lack of meaning and purpose in our lives and the suffocating depression that accompanies that void.

Of course, most people would look at Bourdain and Spade's glamorous lives and think they lived with tremendous meaning and purpose, they had it all…but something was missing. Their lives were as empty, vacant and devoid of meaning as the rest of ours despite their wealth and fame. Bourdain and Spade are symbols of the recurring theme of a fading empire where "you can never get enough of what you don't need". Their lives were representative of America's (and the West's) decadence, as they became famous for feeding our insatiable appetite for the frivolous, and in death they are symbolic of the existential angst and ennui that grows like a terminal cancer upon our collective soul. 

WARNING SIGNS FROM PROPHETS OF DOOM

According to Sir John Glubb's theory on the stages of empire, America is certainly either in the very tail end of the decadence phase or across the Rubicon into the decline/collapse phase. Glubb's theory coincides with other philosopher/historians view on the subject and they all point towards America being in the late stage of empire.

For instance, Camille Paglia has spoken of the rise of transgender mania as a sign of the decline/collapse of civilizations, citing Greece, Rome, the Mauve decade and Weimar Germany as examples. 

Paglia states that transgenderism has become a fashion used to treat the alienation from which some people suffer. Paglia warns of the two headed beast that is the current attachment to the transgender issue…namely that as the cosmopolitan acceptance of such things grow, its shadow grows as well in the form of a brutal, uber-masculine authoritarianism. Paglia cites ISIS as a current example, but one doesn't have to go far in history to see other horrifying examples, like Hitler's Germany filling the void created by the collapse of Weimar Germany. A quick glance around the world today also shows the shadow of hyper masculine authoritarianism rising from Trump's America to Russia (Putin), the Philippines (Duterte), China Xi) and Turkey (Erdogan) to name but a few.

Glubb and Paglia's theories of America being in a state of decadence or on the cusp of decline/collapse, are reinforced by other historian philosophers. WIlliam Strauss and Neil Howe wrote of their generational theory in their book "The Fourth Turning of America". Howe and Strauss believe that history is cyclical and is defined by generations falling into different 20 year archetypes that repeat over an 80 to 100 year cycle. According to Howe and Strauss in The Fourth Turning, a generational cycle is made up of four "turnings" which they define as 1. High (growth), 2. Awakening (maturation), 3. Unraveling (entropy) and 4. Crisis (destruction). In The Fourth Turning, which was published in 1997, Howe and Strauss predict America would be entering into its next "fourth turning" around the time of 2008 (which oddly enough coincided with the financial collapse of that period) which would last about twenty years. For an indication of what a Fourth Turning holds, the previous Fourth Turnings in American history brought us the American Revolution, the Civil War and the Great Depression and World War II.

Howe and Strauss's theory of generational cycles is played out on a macro scale by German historian/philosopher Oswald Spengler (1880-1936) in his magnum opus "The Decline of the West" where he wrote of the four seasons of civilizations. Spengler wrote of civilizations going through the same cycle as the seasons of a year, Spring, Summer, Fall, Winter, except over a thousand year period. According to Spengler, Western civilization is on the downside of its run, and is into its extended "winter". 

"NO ONE WANTS TO BE ORDINARY"

As Neizstche tells us, God is dead…and he's right. The God that was the foundation, for good or ill, of 2,000 years of Spengler's western civilization, is no more, and unlike our current stock market, the God bubble is one you cannot re-inflate. No Gods have stepped forward to adequately fill the void left by the Judeo-Christian God, and so we are left in a state of disorientation…as we stumble around seeking something with which to orient ourselves. 

As the tagline of American Animals says, "No one wants to be ordinary", which could be the tagline for the American Church of Self. In trying to replace the God of the last two centuries, Americans have hit the apex of individualism by trying to turn ourselves into gods. 

One form of our Self worship is the Religion of Celebrity. In America in the reality tv age, everyone can be a star, or dream of themselves as a potential star. We have fisherman (Deadliest Catch), truck drivers (Ice Road Truckers), chefs (a whole channel of them!), rednecks (Honey Boo Boo), hoarders (Hoarders), criminals (Lock Up) and even junkies (Intervention) having shows made about them. Anyone doing anything anywhere can have delusions of grandeur about a television show being made about their lives. The mundane is now insane as we try to evolve into gods at the center of our own universe. 

Our culture routinely trivializes the sacred and it has forced us into pernicious indivualism and away from collectivism, in order to look for meaning within ourselves. Our cultural and personal narcissism keeps us glued to the black mirror tabernacle of our various screens in a never-ending search for validation and love. This self absorption leads to a toxic myopia that has spread like a contagion throughout our entire culture, from politics, where no one sees beyond the next election, to finance where no one sees beyond the next earnings period, to our personal lives, where no one sees beyond the next hit of endorphins brought on by consuming something…anything…in order to fill the void in our souls. 

NARCISSUS AND MORPHEUS

The opioid epidemic is another sign of America's decline/collapse. Narcissus was unable to look away from his Self and so he died, just as Americans cannot turn away from their virulent individualism and its accompanying arrogant self-absorption, and so they fall into the arms of Morpheus and into an extended narcosis, which comes from the same root word "Narco"- meaning numbness, as Narcissus, and means a state of stupor or unconsciousness. We are numbed and put into a stupor by our iPhone obsessed self-absorption and opioids are just an extension of that yearning to detach and numb. Notice it is an "I" phone that we are gazing into all day long…mesmerized by our own reflection staring back.

The ritual of buying and fixing with narcotics has replaced the sacred rituals of the Judeo-Christian God. The new God is Self and with opioids, one dissolves into themselves entirely, and the pain of the outer world disappears, at least momentarily, and is replaced with the bliss of Godhood. 

"THE CAPITALIST WILL SELL YOU THE ROPE WITH WHICH YOU INTEND TO HANG YOURSELF" - ME TERRIBLY MISQUOTING VLADIMIR LENNIN

Besides the epidemic of opioid abuse, further proof of America being in decline/collapse is that it is also in the throes of a suicide epidemic, as suicide has increased 30% since 1999. Sadly, Anthony Bourdain and Kate Spade were caught in this growing wave of suicide, and yet they were rich and famous but money and fame are a poor spiritual salve…as they only lead their adherents to feeling even more empty and despondent. 

American Consumerism/Capitalism is equally vacuous and noxious, as we try to purchase meaning and purpose and only end up with an even greater vacancy within ourselves. As the Adam Curtis documentary Century of the Self so insightfully reveals, Americans have been taught to want, and to instinctively try to satiate that want through consumerism. In a never ending cycle, we are conditioned to feel alienated and then to want to assuage our alienation by buying something that will take our anxiety and alienation away. In many ways, Paglia makes this same argument regarding transgenderism, which is now sold to young people as a way to cure their sense of alienation. 

What is even more remarkable, is that according to Rene Girard's Mimetic theory, it takes little effort to condition people to want something, as Girard explains that one person sees what another person wants and then decides they want the same thing BECAUSE the other wants it. This is a contagion that spreads quickly, and can be another explanation for transgenderisms rise in the West and also America's cascading decline (opioids, suicide, gun violence etc.). It also explains American Capitalisms numerous financial bubbles, where people so easily get seduced into the irrational exuberance accompanying the inflation of a bubble, and are so remarkably blind to the fundamentally unsound economics underlying a bubble, which cause it to inevitably collapse. Look no further than the housing/financial collapse of 2008 for an example of that, or take a gander at our current stock market which is overvalued by at least 50% beyond any reason, to understand how to see what the uncomfortable realities in front of one's nose is a constant struggle. 

"OUR GREAT WAR IS A SPIRITUAL WAR…OUR GREAT DEPRESSION IS OUR LIVES" - FIGHT CLUB

As I watched the young men of American Animals, victims of their own unconsciously conditioned desires, frantically flail around trying to extinguish the malaise in their souls by attempting to find meaning and purpose in their empty lives through an idiotic heist, I thought of this quote from Fight Club, 

"We're the middle children of history, man. No purpose or place. We have no great war. No Great Depression. Our Great War is a spiritual war…our Great Depression is our lives. We've all been raised on television to believe that one day we'd all be millionaires and movie gods and rock stars. But we won't. And we're slowly learning that fact. And we're very, very pissed off."

Chuck Palahntuk wrote that in 1997 and it is as accurate a diagnosis of a time (then and now) and a place (America) as any document in the history of mankind. The sickness of which Palahntuk wrote, and which American Animals shows, is spreading and gaining in strength. The  opioid crisis, suicide epidemic, pornification of our culture, egregious financial and political  corruption and worship of celebrity and sport are all signs of our decadence morphing into our decline and collapse. 

9-11 was the beginning of the end of America's run atop the world order and the financial crisis of 2008 was the end of the beginning of the end….and Trump is the first snowfall in what will be a long, cold and dark winter. Winter isn't coming. Winter is here. And Puxtapawny Phil won't come out to see his shadow any time soon because he has hanged himself in his den. 

A palpable despair has fallen like a pall over America. The fear of the end of the decadence we have known and its replacement by an ominous unknown is deeply unnerving to many. Foundational collapse shakes things and people to their core and America is quaking with an unconscious consternation of what is around the corner.

What comes next could be as banal as America falling from atop the world order and simply being replaced by a group of super power nations or another hyper-power (China?). Or it could be the U.S. dollar losing its status as the reserve currency of the world…or a Soviet style collapse…or a major and catastrophic war…or a devastating financial meltdown…or American democracy being usurped into a dictatorship or splintered by a civil war…or any other calamity or series of calamities. I do not know exactly what will happen, all I know is that the way things have been for the last 20 years, never mind the last 70 years, won't last much longer and that even more tumult and turmoil is on the way.  

CYCLES OF HISTORY

A big part of the reason why Americans are feeling such despair is that we in the west are conditioned to see history as linear, not cyclical. This linear thinking is detrimental to our mental health because it brings with it a built in myopia that can fan the flames of despair. When people feel that history moves in a straight line, they come to believe that things will always be moving in the direction they are now, forever, which leads to irrational optimism during good times and a devastating feeling of futility and lack of resilience in bad times. 

But a cyclical view of history is an antidote to this unease, as Strauss and Howe write, the crisis brought upon by the apex of individualism in the Fourth Turning does eventually pass…and will always be replaced with something much more upbeat, optimistic and collective. The only question to ponder now is how long will our era of collapse last? Will we live long enough to see the brighter days of the First Turning of the next era? 

As America and the West spiral downward, pain, anguish, angst and despair will steadily rise. We are seeing it already en masse in our culture with opioid addiction, suicides and mass shootings. The perils of living in such a time are numerous. The advice I would give is do not fall prey to the sirens call of the flag-waving optimist who is a dictator in disguise or the fool's gold of an over-inflated stock market. It would also be wise to not fall victim to your emotions, which are constantly being nefariously manipulated and exploited, but instead rely upon your reason. As those around you lose their heads…struggle mightily to keep yours…and above all else…keep breathing.

GOING THROUGH HELL

As I have been tracking my own historical wave theory (Isaiah/McCaffrey Wave Theory®), I have mentioned many times on this website that this year (and in the previous few years) there have been numerous signs in cinema of the impending collapse of American empire, including Deadpool, Infinity War, A Quiet Place, American Animals and Hereditary.

Last year cinema was overflowing with the Churchillian archetype (and its shadow - The Authoritarian) in movies such as Dunkirk and Darkest Hour and the tv show The Crown. I wish I could've relayed a bit of Winston Churchill's advice to Anthony Bourdain and Kate Spade as they suffered the torment of their dark night of the soul, from which they would not survive…but since they are not hear to read my words, I will share Churchill's sage advice with you in case in the coming turmoil you find yourself lost in the same Sea of Despair as Bourdain and Spade. 

"If you find yourself going through hell…KEEP GOING!"

In closing, sit back and enjoy some easy listening mid-90's alt-rock/pop that astutely describes the lack of meaning and purpose that is decaying America from the inside out. Mr. Jones and me...we are desperately trying to distract ourselves by any means necessary from the devastation that is hurtling towards us at an ever quickening pace…sha la, la, la yeah.

Mr. Jones

Counting Crows

Sha la, la, la, la, la, la
Oh
Uh, huh

I was down at the New Amsterdam
Starin' at this yellow-haired girl
Mr. Jones strikes up a conversation
With a black-haired flamenco dancer
You know, she dances while his father plays guitar
She's suddenly beautiful, we all want something beautiful
Man, I wish I was beautiful
So come dance this silence down through the mornin'

Sha la, la, la, la, la, la, la
Yeah
Uh, huh
Yeah

Cut up, Maria
Show me some of them Spanish dances
Pass me a bottle, Mr. Jones
Believe in me
Help me believe in anything
'Cause I, I wanna be someone who believes
Yeah

Mr. Jones and me tell each other fairy tales
And we stare at the beautiful women
She's looking at you
Ah, no, no, she is looking at me
Smilin' in the bright lights
Comin' through in stereo
When everybody loves you
You can never be lonely

Well I'm a paint my picture
Paint myself in blue, red, black and gray
All of the beautiful colors are very, very meaningful
Yeah, well you know, gray is my favorite color
I felt so symbolic yesterday
If I knew Picasso
I would buy myself a gray guitar and play

Mr. Jones and me look into the future
Yeah, we stare at the beautiful women
She's looking at you I don't think so, she's looking at me
Standin' in the spotlight
I bought myself a gray guitar
When everybody loves me
I will never be lonely
I will never be lonely
Said I'm never gonna be lonely

I wanna be a lion
Ah, everybody wanna pass as cats
We all wanna be big, big stars
Yeah, but we got different reasons for that
Believe in me 'cause I don't believe in anything
And I, I wanna be someone to believe
To believe, to believe
Yeah

Mr. Jones and me stumbling through the Barrio
Yeah, we stare at the beautiful women
She's perfect for you
Man, there's got to be somebody for me
I wanna be Bob Dylan
Mr. Jones wishes he was someone just a little more funky
When everybody love you
Ah son, that's just about as funky as you can be

Mr. Jones and me starin' at the video
When I look at the television
I wanna see me starin' right back at me
We all wanna be big stars
But we don't know why and we don't know how
But when everybody loves me
I wanna be just about as happy as I can be
Mr. Jones and me, we're gonna be big stars

©2018