Adam Curtis’s All Watched Over By Machines of Loving Grace (part 1, part 2, part 3) is pretty excellent. It puts forward an ambitious and interesting thesis, which I think deserves more engagement from the anti-authoritarian left than this rather defensive response at New Left Project. To try and compress Curtis’s already over compressed argument into one thesis, he identifies the idea of a self-regulating homeostasis as a widely accepted common sense of our times, and one which makes it difficult for us to think about changing the world, either about what such a change would mean or what the role of power would be in accomplishing such a change. That New Left Project response is right to point out other traditions which influence the anti-authoritarian left and have more to say about power and radical change, but this doesn’t negate what I think Curtis is trying to do. The ideological assemblage he puts together has a certain coherence, but I don’t think it’s supposed to be exhaustive, I don’t think he’s denying that there are other elements which could be assembled in other ways.
This does, though, raise a problem with the documentary, and indeed with Curtis’s work more generally. Read more↴
Interesting article by Joel Schalit on the role of a fantasized Israeli identity for certain American right-wingers (which I heard about on Doug Henwood’s Behind the News). Schalit discusses the prominence of online commenters who claim to be Israelis bringing the realities of Israel’s precarious situation to an ignorant US left audience, who on investigation turn out in fact not to be Israelis or indeed Jews, but conservative American Christian zionists. A fantasy about Israel as a hard-headed reality serves a particular function in justifying American foreign policy. Read more↴
Hellcats is no Gossip Girl, but it’s quite an entertaining show; its also a troubling one, in a way which I think may be revealing. The show is basically a TV version of Bring it On, portraying the world of competitive college cheerleading, but the main attraction is the adorably subtext-y relationship between the two main characters, Marti, a law student who would probably be described as “feisty,” and Savannah, head cheerleader and lapsed (or lapsing) Christian fundamentalist. This may have reached its high point in the recent episode in which the two settle a disagreement with a pillow fight, the classic nudge-wink signifier of lesbian eroticism (though unusually played here as sweet, rather than titillating).
What’s not so good about the show is the weirdly excessive individualism. Read more↴
Some of the things that made ABC’s new show V terrible can doubtless be attributed to the constraints of making a pilot: the rushed pace, the thin characterization, the complete lack of any visual design sense, perhaps even the terrible dialogue. But the main problem is the show’s politics, which are so stupid as to become offensive. The problem derives in part from the original miniseries, a well-meaning anti-fascist allegory (which opens with a scene of heroic Sandinistas), in which the fascists are reptilian aliens from outer space; the difficulty, of course, being that the idea of an insidious alien threat is itself an uncomfortably fascist one. Still, the original miniseries skirts over this problem, and focuses on collaborators with and resistors to this rising fascism.
The remake, on the other hand, takes this potentially fascist starting point and really fucking runs with it. The new aliens aren’t just lizards, they’re secret lizards who have infiltrated the government and the media, and now they are offering universal healthcare as an attempt to poison humanity’s precious bodily fluids. They are, in other words, an anti-semitic stereotype. Now, I’m not saying that ABC and the makers of V are actually anti-semites. Rather, by making vague and deeply stupid gestures towards contemporary politics (ooh, universal healthcare, how topical), the show accidentally exposes underlying anti-semitism in contemporary political discourse: it’s the teabaggers and birthers as sci-fi (and it’s surely no accident that the one significant black character in the pilot has a secret radical past, and the same beard as ex-Maoist Van Jones).
I didn’t watch Mad Men when it first started, which in hindsight is surprising, as I’m a big fan of both the advertising industry and the style of high Fordism. However, all the buzz I heard at the time amounted to a shocked “OMG THEY SMOKE AND ARE SEXIST,” and there are few things less interesting than minor differences between contemporary and past mores, the ruffs and fardingales of the past.
On the strength of Adam’s recommendation, I’ve been making my way through the show over the past month. Although from the beginning it was clear that the show looked beautiful and was marvelously acted, some of my initial concern remained: was the show’s 1960s setting anything other than window-dressing? Read more↴
Some time ago Adam wrote a fine piece about ethics in House, arguing that House’s apparently unethical behavior—his devotion to solving the intellectual puzzle of illness at the expense of obeying hospital rules or caring about the wellbeing of patients—is in fact the ethical attitude par excellence. Adam explains: “Only by practicing medicine for its own sake and not for the people, and directly enjoying its inherent satisfactions, can he ever hope to solve the hopelessly complicated cases that he is faced with.” You could derive a couple of ethical theories from this. Read more↴
