Tuesday, December 19, 2023

Even parasites have the right to free speech


So, recently a couple of friends and some students had asked me about whether or not I was upset—one actually asked if I was “outraged”—about Alex Jones being allowed back in X. I am certainly not outraged, I told them, and not even upset. I had written about this a while back when Jones had first started getting deplatformed from social media. Actually, I am kind of hurt that they didn’t read my old posts about Jones. But in all seriousness, I told them that as someone who tries to be as much of an absolutist about free speech as possible—calling for specific violence, genocide, and murder must be a line any decent person should draw, however—I will defend Jones’ reinstatement on X as strongly as possible. However, I will also use my own freedom of speech to keep pointing out what a morally bankrupt dirtbag he is.

 

As I had also written numerous times before, as I did in one of my recent posts below, Alex Jones is a parasite. He’s a bloodsucker feeding off the grief of others. He has been once since the 1990s when he took advantage of terrorist attacks like the 1993 bombing of the World Trade Center and the Oklahoma City bombing to spin his yarns about the New World Order perpetrating fake terrorist attacks, or “false flag” operations. Of course, the day that must have been the highlight of Alex Jones’ life was September 11, 2001. The murders of 2977 people gave Jones the opportunity to build his conspiracy empire into a multimillion dollar cash cow.

 

Luckily, after he pushed past the bounds of decency one too many times with his lies about the Sandy Hook shooting being a hoax and the families of the slain children being crisis actors, Jones was found liable for defamation and now owes $1.5 billion to these families. Justice was done!

 

But is this any indication that Jones had been changed by the Sandy Hook incident at all? Of course not. He has been spreading his same noxious conspiratorial garbage on his Infowars webpage since then.

 

With that being said, however, I need to hold my nose in disgust and approve of him not being cancelled on social media, but only out of principle. This way more of the world can see the utterly unconscionable garbage he likes spewing and more people will continue speaking out against him. Alex Jones is a cockroach that needs the light shined on him rather than be made a martyr through cancellation. He’s not a truth-teller, not a “dangerous” man who threatens the system, not a maverick and not a rebel. He’s just a cheap hustler.

Monday, December 11, 2023

A modern crime classic on CineVerse

I’ve been behind on Cineverse updates—and I have several other things so say about other stuff, too, in updates coming soon—but check out our recent discussion of The Untouchables right here. Helmed by Brian De Palma, with a screenplay by David Mamet, The Untouchables quickly became a hit after its theatrical debut in the summer of 1987, drawing inspiration from the real-life endeavors of Elliot Ness and other law enforcement agents who banded together to take down infamous gangster Al Capone during the violent Prohibition era in Chicago. The film, produced by Art Linson, boasts a star-studded cast featuring Kevin Costner in the role of Ness, Robert De Niro as the notorious Capone, and Sean Connery (who won an Oscar for Best Supporting Actor), Andy Garcia, and Charles Martin Smith.


This picture skillfully blends historical events (it’s more of a “based on” than an accurate retelling) with compelling storytelling, delivering an engaging narrative that vividly captures the essence of the bootleg era and the battle against organized crime.

Monday, November 20, 2023

Holy God! Alex Jones might be right about something…!!

 …And the conspiracy culture is still as horrible as ever. So check out this Newsweek article from a couple of weeks ago. One of my students brought this to my attention, asking me what I thought about it; whether or not Jones had a valid point. I had missed the story when it originally came out, so when I read it I agreed that Jones indeed had a good a point. The article was also a textbook case of shoddy, biased news reporting that should be used as a teaching tool in any journalism class.  And I shocked myself and felt kind of unpleasant having to admit these things. But, as they say, even a broken clock is right twice a day. 

 

The article, as you’ll see, is about Jones’ appearance on Steve Bannon’s “War Room” podcast where Jones said that he feared a terrorist attack on the U.S. in light of the Israel-Hamas war and the growing tensions in the Middle East. And Jones is absolutely right! Living in New Jersey, working just across the river from Manhattan and remembering 9/11, I know that I am living next to the number-one bull’s eye for every terrorist organization in the world. Hamas and every other terrorist proxy of Iran must dream at night or being able to orchestrate another mass-casualty event that will outdo 2001. Or if they wouldn’t try and attack New York, I’m sure they would just as gladly settle for Washington DC, or Los Angeles, or Miami, or any of our other major metropolitan centers. But it’s not just Jones saying this. FBI director Christopher Wray said the same things to Congress in October, warning that the Hamas massacre of October 7 created a terrorist threat to the U.S. “the likes of which we haven’t seen” since the rise of ISIS. None of this should be controversial.

 

Newsweek, unfortunately, thinks that it is, writing that Jones said this “without offering evidence.” Then the article goes on to quote what sounds like a stale Department of Homeland Security boilerplate press release stating they’re working “tirelessly” to make sure this doesn’t happen and that “encounters of known or suspected terrorists attempting to cross the Southern Border, or encounters of those associated with such individuals, are uncommon.” 

 

Uncommon? There were only 19 terrorists behind the 9/11 attacks! What number are we talking about with “uncommon?” With America’s sieve-like Southern Border, there were 2.5 million illegal crossings of the U.S.-Mexico border in 2023!! Not fearing a terrorist attack on American soil today is willful blindness and naivete on an epic scale.

 

Jones, of course, said he “feared” that a terrorist threat was imminent, just like any sensible person should. So, it was too bad that he couldn’t offer the kind of precise, actionable intelligence Newsweek seems to want when it dismisses his statement. 

 

Now the way Jones’ argument, or anything he says, is now being framed in this kind of a rhetoric by the mainstream press is his own fault. They rightly hate him and he earned the media’s hatred. Jones earned the hatred of anyone with a shred of empathy and decency. He had been a bottom feeder and paranoia monger, stoking the hatreds and fears of the unstable and alienated prone to believing in the most extreme conspiracy theories. His theories about the Sandy Hook massacre of 2012 were used by psychotics to terrorize the families of the victims. He was sued for libel by those families and ordered to pay them $1.1 billion. He got exactly what he deserves. 

 

The point here is that indiscriminately spouting the most outrageous, the most illogical conspiracy theories serves only to taint your credibility forever. It’s a case of the conspiracy theorist who cried wolf. If you claim that evil cabals are plotting against the world every day and point your fingers at the Illuminati, the Freemasons, Satanists, the Deep State, globalist insiders and shadow governments every single day without any proof of their existence, you won’t be taken seriously even when you identify real sources of evil like Hamas, Hezbollah, Iran, and Islamist terrorists.

Sunday, November 19, 2023

A new round of repulsive, anti-Semitic conspiracy theories

As any sensible person who has any kind of a passing interest in conspiracy theories could have predicted, the war in Israel spawned an enormous rancid pool of creative fantasies about what is “really going on.” These fantasies raised their ugly heads literally on October 8, in the wake of Hamas’ barbaric attack on Israel, murdering some 1400 hundred people—including small children and toddlers, some of whom they beheaded or burned alive—and taking over 200 people hostage. Before the smoke from the gunfire and explosions had even cleared, the internet was being flooded by the reprehensible sludge of conspiracy theories about how Hamas was not really behind the attacks. The crux of these conspiracies is the “false flag” conspiracy theory, or the “crisis actor” conspiracy theory. It says that Israel was actually behind the attacks, killing its own people, or that no one was killed and the grieving Israelis we see on TV are actually pretending to have lost loved ones. These are more reprehensible examples of how conspiracy theorizing is still the tool of political opportunists and those so devoid of any human decency as to get some pleasure out of inflaming hatred, violence, and divisions among people.

 

One just needs to place the word “conspiracy” after “Israel and Hamas” in Google and the sites propagating them will pop up. All the usual suspects like State of the Nation, Before It’s News, and scores of others had started spinning out these yarns immediately after the October 7 attacks. Afterward, naturally, the pro-Hamas extremists protesting Israel’s retaliation against the attacks are espousing the same conspiracy theories, as are the worthless scum tearing down posters with the pictures of the hostages still held by Hamas.

 

The ongoing frustration for any clear and rational-thinking individual is that so many people can’t see how absurd it is to put your faith in sources of information that claim EVERY single world event is a conspiracy theory. Maybe if there was a site out there that claimed the only major conspiracy was the JFK assassination and not blame every other headline on hidden cabals, one might think seriously about whether or not they might have a point. Or the only conspiracy is the one that involves UFOs. Or maybe the one about the suppressed technology that could make the water-powered, non-polluting car a reality. But every major event is a conspiracy? Sure, only a fool would take professional conspiracy mongers like that seriously.

 

Unfortunately, too many people like that exist. These are the unfortunate souls completely alienated from consensus reality, perhaps those who feel so powerless and without a voice that they find these convoluted tales about hidden forces of evil running the world plausible and the cause of all their misery.

 

Then there are the ones in America’s so-called “elite” universities who’ve now fallen into this same trap of irrational and ugly conspiracism as well. These are the people who should know better, the ones who are supposed to be molded into the future intellectual leaders of society. Unfortunately, at any number of pro-Palestinian rallies at these universities, one can find the just as many people who believe in the crisis actor conspiracy theories or claims that the all the video footage of the October 7 attacks were created by Artificial Intelligence programs. Hearing the marginalized, those who are down on their luck or lacking any prospects in life espousing conspiracy theories is one thing. It’s a terrible situation, of course, but it’s somewhat understandable. But seeing a student from George Washington University telling reporters that she felt it very likely that the Hamas attack videos were created by AI makes me fear the future. The world is suddenly looking more and more like 1930s Germany and now even those who are supposed to be our best and brightest are protesting and shouting anti-Semitic slogans. It’s a modern tragedy.

 


Saturday, November 18, 2023

The death of physical media might take cancel culture to a whole new level!

Are there favorite movies you just love to watch over and over again? A TV show that’s kind of like comfort food you can always go back to and binge watch? Fans of “Friends” and “The Golden Girls” always talk about how they can always unwind from life’s stresses by going back and watching a good marathon session of back-to-back episodes. For me they’re Sylvester Stallone and Clint Eastwood movies. I think I could put on a one man show theatrical production of every “Rocky” and “Rambo” movie where I would play every role and recite all the dialogue perfectly. From television it has the be “Columbo,” the greatest mystery series ever, in my opinion. But if you rely on streaming services to watch your old favorites rather than purchasing them on physical media like DVDs, Blu Rays, or 4K discs, you better think again about whether or not those films and TV shows will always be available at the push of a button.

 

Now sure, you say, you are familiar with how streaming services rotate shows and movies in and out. But that’s not a problem for you because you purchased digital downloads of your favorite entertainment. You own them. They’re in your account in Netflix or Hulu or Paramount+ or whatever streaming service you’re using. 

 

Well, no so fast! One day you might want to re-watch and old favorite, only to find that it’s gone forever.

 

I was recently interviewed for this Fox Business News story about the rapid movement to replace physical media with streaming and some of the legal details of streaming that many people might not be aware of. These legal details could seriously limit access to media content in the future. 

 

As the article details, retailers have started moving away from selling physical media. Sometime early next year Best Buy will no longer be selling discs. Other retailers might follow suit. So, if the only place you can access films and TV shows—or music for that matter—is a streaming service, you will be left at the whims of when those streamers decide to make the content available. And, more importantly, the article explains, “buying” those movies, TV shows, and music might not offer you unlimited access to your content either. Because when you pay for that content, you are actually paying for a license to play that content on your own devices. Those movies don’t belong to you the same way that your DVD or Blu Ray does. The copyright holder of that content has the right to withdraw that content any time they like. You could one day log into your Netflix or Amazon Prime account, looking to watch one of the favorites you purchased, and find it gone from your digital collection. It is perfectly legal.

 

Or if that favorite old film does not completely disappear, it could suddenly alter. It could become much more politically correct! Remember the recent controversies over the publishers censoring Roald Dahl’s books and several of Ian Fleming’s original James Bond novels? Imagine that happening to old movies and TV shows because they don’t have enough minority characters in them, or because white actors are playing characters of color. Imagine dialogue suddenly changing. Or, given the fast-advancing state of artificial intelligence technology, you might see all of this old content altering into whatever fits current attitudes and fashions. It’s America’s version of China’s cultural revolution under Mao looming over us, where our entire cultural history stands to be wiped away to please the unsilent politically correct fringes who seem to be offended for a living and can’t make it through a day without throwing tantrums about being oppressed by TV shows, commercials, books, or Internet memes.

 

But read the article…and fear for the future.

 

And buy your favorite movies, TV shows, music—and books, for that matter—in physical media if you can.

Friday, November 3, 2023

I’m profiled in the AJCU’s “Connections”



I’m honored to be profiled in the recent edition of “Connections,” the online magazine of the Association of Jesuit Colleges and Universities. You can check it out right here. 

 

It’s an overview of classes I teach, my research and commentary on mass media issues, popular culture and popular entertainment and why I think certain media products like vampire stories and this summer’s Barbie movie touch the collective nerves in audiences to make these products blockbuster successes. Barbie and vampires I had written about in this blog earlier as well.

 

I also discuss how my research into fandom led me to my interest in the conspiracy theory phenomenon. As I discuss, conspiracy theorists are basically no different from Trekkies writing fan fiction. Just like the fan fiction writer wants to take control of some text he did not originally create and make his own—often subvert it and rewrite it—so do conspiracy theorists want to write their own fan fiction about every day’s headlines. They want to take reality and reinvent, to rewrite those headlines to match the creative fantasies inside the conspiracist’s head. Of all the classes I teach, the one about the conspiracy theories, I firmly believe, is my most important one.

Saturday, September 30, 2023

We deep dive into a classic on the CineVersary podcast


Where were you in '62? If you lived it or not, check out this CineVersary podcast special on the 50th anniversary of George Lucas' classic, "American Graffiti." I'm the special guest for a discussion of a movie packed with romance, racing and amazing rock 'n' roll. Since I was named an honorary member of the Pharaohs and the reigning sock hop champion, you need to listen!

Sunday, September 10, 2023

Always let vampires onto your viewing list!


Directed by Tomas Alfredson, the 2008 Swedish horror film Let the Right One In—an adaptation of a novel by John Ajvide Lindqvist (who also penned the screenplay)—centers on the dynamic between a young boy named Oskar and Eli, a vampire child who appears to be Oskar’s age but who has lived for centuries. The film unfolds against the backdrop of a small wintry Swedish village, contributing to its distinctive visual approach and ambiance. Through a blend of horror, romance, and themes related to coming of age, the movie crafts a one-of-a-kind and thought-provoking storyline.

Let the Right One In garnered significant critical and popular praise thanks to its inventive take on the vampire genre, capacity to elicit both fear and compassion, evocative cinematography, deliberate pacing, and deep exploration of the intricacies of human emotions and connections.

Listen to our CineVerse discussion right here.

Saturday, September 9, 2023

Check out this lead on Glengary Glen Ross on CineVerse!

In 1992, James Foley helmed the cinematic adaptation of David Mamet’s Pulitzer-prize-winning play Glengarry Glen Ross, setting critics and audiences abuzz with excitement about its performances, dialogue, and tense dramatic sequences. The screenplay, also penned by Mamet, ensured a faithful representation of the play's dialogue and themes.

The movie boasts an exceptional ensemble cast, including Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris, Alan Arkin, Kevin Spacey, and Jonathan Pryce. Set in a cutthroat and highly competitive real estate sales environment, the story revolves around a group of salesmen who resort to extreme measures to secure deals and achieve success. It’s a gripping narrative that delves into themes of desperation, morality, and the unforgiving realities of the American Dream.

Check out our CineVerse discussion right here.

Friday, September 8, 2023

Read all about Barbie's smash hit success!


Have you seen one of this summer’s blockbusters? Since true runaway super blockbusters were very few and far in between all the major duds like The Flash, Indiana Jones and the Dial of Destiny, Ant Man and the Wasp, Elemental, Fast and Furious…uh, whatever number it was, and underperforming embarrassments like the live action Little Mermaid, there aren't many of them. But the buzziest and money-makingest movie of the summer turned out to be Barbie. If you want to know all about this history of the iconic doll that inspired the film, along with all of its various controversies, check out the special edition magazine in the picture above. While the Barbie juggernaut keeps rolling along and playing in theaters, the magazine is still on shelves everywhere. And pay close attention to the comments about the doll’s long, colorful, controversial history by yours truly.

Sunday, September 3, 2023

The best of the best war films on CineVerse

This is the second of our summer double-feature on Steven Spielberg with what I would argue is the best World War II film ever made and Spielberg's best film to date. In 1998, filmmaker Steven Spielberg unveiled "Saving Private Ryan," a war epic that is celebrated for its gripping and realistic combat scenes and depiction of ethical dilemmas faced by men during wartime. The film’s narrative centers on a perilous odyssey: locating and rescuing Private James Francis Ryan (Matt Damon). The mission's urgency is underscored by the tragic fate suffered by Private Ryan's three brothers, all of whom perished in the line of duty. Retrieving him from the heart of enemy-held territory is deemed imperative to offer solace to a grieving mother. The movie meticulously chronicles the expedition led by Captain Miller (Tom Hanks) and his unit, charting their tumultuous passage through enemy-occupied France to find Ryan.

Check out our discussion right here.

Saturday, September 2, 2023

Our discussion of an important modern classic on CineVerse


In another CineVerse discussion from this summer, we looked at one of the most riveting of Steven Spielberg’s films. His most important, personal, revered, and critically acclaimed work, "Schindler's List" tells the true story of Oskar Schindler, a German businessman who bravely saved around 1,200 Jewish workers during the Holocaust. Spielberg's exceptional storytelling abilities are evident in this picture, the screenplay for which was crafted by Steven Zaillian, based on Thomas Keneally's novel Schindler's Ark.

Listen to our analysis why this film is still so powerful and relevant at this link.

Friday, September 1, 2023

Casting a critical eye on sensationalistic news reporting with "Ace in the Hole" on CineVerse

With a thousand things going on at the same time, some of which will be announced right here very soon, I've been remiss again in updating the blog. But check out this episode of the CineVerse podcast where we put an early critical examination of tabloid journalism under the spotlight. Directed and co-written by Billy Wilder, "Ace in the Hole" – also known as "The Big Carnival," was released to little fanfare in the summer of 1951. Starring Kirk Douglas, Jan Sterling, and Robert Arthur, the plot centers around Chuck Tatum (Douglas), a struggling reporter who stumbles upon a potentially major story: a man trapped in a collapsed mine. But instead of promptly rescuing the trapped individual, Tatum milks the situation to prolong the event, creating a media circus to advance his career.

Wilder’s work emphasizes the unethical nature of yellow journalism and the exploitation of human tragedy. By critiquing the media's manipulation of news for profit and public attention and exploring themes of corruption, avarice, and the corrosive power of personal ambition, the movie proved to be ahead of its time; its cynical tone and scathing subtextual commentary on the dark side of media help "Ace in the Hole" remain relevant today.Fascinatingly, the film bombed at the box office upon initial release. But it has since garnered significant recognition as a thought-provoking morality play exploring media ethics and the pursuit of sensationalism. It also features one of Douglas’ most unforgettable performances.

Saturday, August 12, 2023

Conspiracy Theories and Thought-Stopping Cliches

In March I was the keynote speaker at the Central New Jersey MENSA chapter’s annual convention, discussing misinformation and conspiracy theories, the reasons so many are obsessed with them more than ever today, the pernicious social impact of these belief systems and how to try and combat them. But we also discussed an aspect of conspiracism that is just as dangerous to society; the turning of the phrase “conspiracy theory” into a thought-stopping clichĂ© deployed to shut down conversation, debate, and any and all questions aimed at institutions of power. In the months since the MENSA gathering, this problem only seems to be getting worse. Calling someone a “conspiracy theorist” is now the surest way to try and silence anyone who disagrees with you. 

 

As I had written before in my discussions of my work on the conspiracist phenomenon, its reflections in art and popular culture as well as my run-ins with members of this community—and as you can read in my dialogue with many of these people in this blog, especially the recent posts about the special edition magazines on vampires and Dungeons and Dragons—I think these belief systems have metastasized into something destabilizing and malignant in societies where they take root. And these theories have spread in numerous foreign countries as well, not just in the United States. Check out links here, here and here, for articles about conspiracy beliefs in Europe. Far from merely questioning authorities and being suspicious of bureaucracies and officialdom, the modern conspiracy movement has turned into a phantasmagorical alternate universe where no consensus reality exists, where people create their own reality at will. 

 

Conspiracism has created delusional subcultures of people who believe the Earth is flat, that reptilian aliens are running the world, the Moon landing is a hoax, and that the New World Order cabal used nuclear warheads and death rays from space to destroy the World Trade Center towers on 9/11. These are, of course, a very, very few examples of what goes on in conspiracy world. If you are an avid reader of conspiracy sites like "Before It’s News" and "State of the Nation" and any number of their ilk across cyberspace, you can be deluged by a daily tsunami of conspiracy theories about false flag attacks, predictive programming, crisis actors, the “true” origins of Covid, and rococo yarns spun about “Khazarian” plots to enslave the world that sound so illogical that even the most whimsical science fiction fan couldn’t suspend enough disbelief to accept them on the pages of low-rent pulp novels.

 

Conspiracism leads to a dangerous, unstable world of total relativism, a world where there is no consensus reality, a rejection of all proven expertise, and a place that rejects empirical, evidence-based logic. Although conspiracy world claims to be looking for the “truth” that is “out there,” truth actually does not exist in that world. Truth and reality are whatever you decide they are because they make you feel good. If someone attempts to interrogate your truth, to attempt to counter it with empirical facts, you dismiss that person by accusing them of being a part of the conspiracy. In conspiracy world, people will not only make up their own creative fantasies about human sacrifices and vampiric blood-drinking rites being carried out in tunnels under pizza parlors, but they might pick up a gun and storm pizza parlors on a rescue operation. In conspiracy world, people’s lives were put at risk after a fraudulent claim that the measles vaccine caused autism. Starting in 2020, thousands of people with compromised immune systems, in essence, committed suicide by refusing to take the Covid vaccines after choosing to believe their own personal truth about those vaccines carrying microchips made with alien technology in order to alter human DNA.

 

And conspiracy theories are dangerous because they make many more people automatically suspicious of charges of official misconduct, corruption, and coverup. If people read enough claims of Covid 19 having been caused by G5 cell towers as a part of a mind-control operation by the Illuminati, they tend to dismiss the very real forms of governmental overreach during the pandemic, dishonesty about the efficacy of the vaccines and the lockdown efforts to contain the virus, and the heavy-handed attempts to censor and limit questions and public discussion about the possible origins of the outbreak itself. This is how the term “conspiracy theorist” turns into a thought-stopping clichĂ©, a cudgel to beat down any skeptic of official narratives and policy.

 

The most egregious example of the weaponization of the term “conspiracy theory,” its use as a tool of censorship was in the case of Covid origins. The early hypothesis about the origins of Covid favored by the scientific establishment was that it originated in Wuhan in a wet market where animals like pangolins and racoon dogs were sold for food. Almost from the very beginning, however, any alternative hypotheses like the possibility that the virus could have escaped from a local laboratory where gain of function research—research on how to modify viruses to make them more deadly—was underway was derided as dangerous, “baseless” conspiracy theories. How the idea that a disease outbreak starting in the city where a laboratory was working on increasing the lethality of viruses could be regarded as “baseless” defies all sense and logic. The Chinese government not only denied these claims vociferously, but it hampered the world scientific community’s efforts to find the outbreak’s origins. But such would be expected from a genocidal dictatorship. One would not expect it, however, from many in the scientific establishment who immediately declared that any and all discussion of the lab leak theory should be suppressed immediately. Science, after all, is a method for seeing knowledge, seeking empirical, quantifiable facts. This process involves constantly questioning research findings themselves, double-checking, and constantly replicating previous claims to the truth to make sure that no mistakes had been made. However, in the Covid era's anti-conspiracy hysteria, not only was the idea that a lethal virus could escape from a research facility that was tasked with creating lethal viruses a “baseless conspiracy theory,” but that it was a racist conspiracy theory for good measure. Moreover, it is outrageous how American technology giants like Facebook banned all information suggesting the lab leak theory for nearly two years. 

 

As this article details, during its early days in power, the Biden administration had exerted so much pressure on Facebook that the tech giant was removing joke memes about the possibility of the Covid vaccines being dangerous. The government’s attempt to exert pressure on a private media company to influence its content is censorship in its purest, most reprehensible form. Critics of this policy today are labeled as, of course, “conspiracy theorists.

 

But who is mostly to blame for this weaponization of the term “conspiracy?” I would still argue that it’s the conspiracy culture itself. It’s still the clown world of QAnon and people who had never gotten the note that the eighties are over and there are no global Satanic cults running daycare centers—or pizza parlors—and performing blood-drinking rituals in tunnels deep under the earth. There is, however, the despicable evil of global sex-trafficking organized crime rings, organizations that engage in the trafficking of children as well as adults. They do exist and they constitute a $150 billion a year industry. The problem, however, is that warnings of the existence of these crime syndicates have now been tainted by conspiracism. It becomes harder for some to talk about global crime rings when the discussion raises the echoes of State of the Nation, QAnon, and the madness of their conspiracy theories.

 

Likewise, many had been perfectly comfortable with the censorship of any discussion and debate about the origins of Covid, the effectiveness of draconian lockdown measures, and the effectiveness of vaccines and boosters. As we now know, however, Covid most likely came from a Wuhan lab, the most restrictive of lockdown measures during the pandemic proved to be no more effective in stopping the spread of the virus than the most lax of the Covid policies, and many people who had been vaccinated and boosted still got sick from Covid and still spread the virus. But the madness of conspiracy world helped kill off any tolerance for debate, discussion, and the questioning of official narratives about the pandemic.

 

And that is the true danger of conspiracism.

Wednesday, July 5, 2023

Long Live the Undead!


If you love vampires as much as I do, take a look at the above special edition magazine about the undead on magazine racks everywhere! I am quoted extensively in this issue discussing the history of beliefs in vampires, and how these creatures have been such a fascinating open text for storytellers for perhaps as long as people have been telling scary stories. 

 

The magazine traces the history of vampires from ancient religions and folklore to literature and modern popular culture like films, TV shows, fashions, role-playing games, and even people who live the vampire lifestyle 24/7. From monstrous vampires to sexy vampires, immerse yourself in the world of the undead in this magazine and see why vampires are the most attractive of all supernatural being.

 

In the article “Undead Evolution,” check out my quotes on how even the narrative structure of such out-there conspiracy theories like Pizzagate and QAnon have incorporated the themes and plot structure of Bram Stoker’s “Dracula.” Diabolical elites with enormous wealth at their disposal hunting humans—especially children—for Satanic blood-drinking rites in a far-reaching plot to poison and undermine society sound familiar? Sure, it’s Count Dracula’s evil plan to buy up London real estate and prey on unsuspecting humans. And it’s also at the core of the QAnon mythos with its fantasies of blood-drinking elites in the Deep State and the New World Order running the world and sacrificing abducted children in catacombs under pizza parlors. For over a hundred years, however, no one has ever believed that “Dracula” was anything other than fiction. It’s a strange world we live in, though, when the high foolishness of QAnon has sucked in so many believers. It’s almost like modern conspiracism has become a mind-plague that spreads through the population like a vampire disease.  

Tuesday, July 4, 2023

The 1974 Conspiracy Classic, "The Parallax View"


Check out this recent episode of Cineverse where we discuss the seminal 1970s conspiracy thriller, director Alan J. Pakula’s The Parallax View, starring Warren Beatty. 

This is a film I discuss extensively in my book, CONSPIRACY FILMS: A TOUR OF DARK PLACES IN THE AMERICAN CONSCIOUS and it’s one of the films regularly screened in my class on the history of conspiracy theories and conspiracy films. As I argue in my book, The Parallax View is one of a small handful it films from the late 1960s and early 70s that established the conspiracy theory film as a distinct genre with its uniques set of archetypes that set it apart from other thrillers, mysteries, and action films. 

 

The narrative follows Joseph Frady, an intrepid reporter (Beatty), as he embarks on an investigation into a series of enigmatic deaths associated with the clandestine Parallax Corporation. Frady's pursuit unveils a perilous network of political intrigue and secrecy.The Parallax View delves into government corruption, assassination, and the manipulation of public perception. The film benefits from the stylish guidance of Pakula, who adeptly weaves a web of tension and paranoia throughout the story. The cinematography, editing, and skillful use of visual symbolism further contribute to its lasting impact. 

 

As all successful films hold a mirror to their times, reflect the most unsettling freefolating anxieties of the culture that created them, The Parallax View shows us how the JFK, RFK, Martin Luther King assassinations, followed by the Pentagon Papers and Watergate scandals, birthed an era of suspicion and conspiracy theories. Speculations about conspiracies that have been proven nonexistent beyond a shadow of a doubt (JFK, RFK, MLK) and very real instances of corruption and conspiracy (Pentagon Papers, Watergate) birthed an era of justified and healthy suspicion and skepticism in officialdom, institutions of power, and the elites. But, as we see today, the reach of conspiracism is ongoing and often toxic and destructive to a society. Check out The Parallax View and ponder how we can spot that line between healthy suspicion and the poisonous fantasy worlds of Pizzagate and QAnon.

Examine a “Portrait of a Lady on Fire” on CineVerse

If you want to expand your cinematic horizons to acclaimed foreign films, check out this episode of Cineverse and Portrait of a Lady on Fire, a 2019 French film starring NoĂ©mie Merlant as painter Marianne and Adèle Haenel as HĂ©loĂŻse, the daughter of a countess who is determined to marry off her reluctant daughter to a wealthy Italian aristocrat and present him with a portrait of his future bride, who refuses to pose for the painting. Set in 18th-century France, this narrative emphasizes a blossoming romance between a female painter and her subject. 

Tuesday, June 13, 2023

See something "Indiscreet" on the CineVerse podcast!

 

As a fairly representational romcom from the 1950s, you can do a lot worse than Indiscreet, released in 1958 and brought to life by director Stanley Donen and screenwriter Norman Krasna, who adapted it from his own stage play titled Kind Sir and received an Academy Award nomination for Best Original Screenplay. The film stars the legendary Cary Grant and Ingrid Bergman in the lead roles, accompanied by Cecil Parker and Phyllis Calvert. The picture tells the story of Anna Kalman (Bergman), an actress who finds herself entangled in a romantic affair with the charismatic diplomat Philip Adams (Grant). However, Anna soon discovers that Philip is married, leading to a series of humorous misunderstandings and complications.

Click here to listen to a recording of our CineVerse group discussion of Indiscreet, conducted last week.

Indiscreet thrives on star power. It reunited two iconic Hollywood actors, Grant and Bergman, in their second and final collaboration, after their first appearance together in Hitchcock’s Notorious. Both actors were renowned for their on-screen charm and charisma, and their chemistry in the film adds to its appeal.

Saturday, April 15, 2023

Talking Religion and Science Fiction on Angel Studios' "Lightwise"

What are the connections between science fiction and religion? How are they different and how are they the same? What kinds of questions do they ask and what kinds of answers do they usually provide? 

I was excited to be the first guest on the new Angel Studios filmed podcast, “Lightwise,” a biweekly program that examines topics in the arts, movies, and TV in a way that amplifies the light, or are founded on inspirational and optimistic messages. Angel Studios, producing various films, documentaries, and live action and animated shows through crowd funding, has been making waves in the entertainment industry by garnering smash hit viewership numbers for its products that are rivaling major Hollywood productions. Their TV series “The Chosen,” about the life of Jesus Christ, is not only a major hit, but recently its theatrical release of a special edition of several of their season 3 episodes outperformed mainstream releases from much bigger studios.

 

In the pilot episode you can watch right here, host Joel Ackerman and I talked about how science fiction and religious faith intersect, where they are similar, and how they are different. Both religion and scientific inquiry—and science fiction by extension—I argue, are on the same basic quest. They are both asking the similar big questions of who we are, where is our place in the universe where did we come from, whether or not a sentient being created us, and where we might be going in the future. How those questions are answered, however, is where the two approaches can diverge…but not as much as some might think.

 

So check out the episode and hear us tackle these big questions and discuss how they are reflected in major sci fi entertainment like “Star Wars,” “Star Trek,” “The Matrix,” and literary classics by Mary Shelley, Isaac Asimov, Jules Verne, and H.G. Wells.

Saturday, April 1, 2023

Facts, fiction, conspiracies, and Dungeons and Dragons

A new film based on the venerable Dungeons and Dragons role-playing game opened this weekend and I am quoted in this special edition magazine exploring all aspects of the game, its history, development, fan community, and fans who had played the games since childhood who are now major A-list stars.

If you see the magazine above on rack in a store, be sure and pick up a copy—or 5—for all of your friends and family members.

 

But most of my quotes appear in story about one of the strangest controversies that engulfed the game starting in the late 1970s. Following the suicide of James Dallas Egbert, a mentally ill college student in 1979 who also happened to be an avid D&D player, unwarranted speculation followed that perhaps the immersive fantasy world of D&D had the power to push young people to self-destruction and violence. But Egbert’s death also coincided with the “Satanic Panic” of that decade, a bizarre moral panic about a vast, international conspiracy of Satanists running daycare centers across America, sexually assaulting and murdering children in occult rituals, and seducing other youngsters to Devil-worship through heavy metal music, violent films, and, of course, a fantasy-oriented game like Dungeons and Dragons.

 

Check out a more detailed read of the history of the Satanic panic right here. I also wrote about the phenomenon in my book, CONSPIRACY FILMS: A TOUR OF DARK PLACES IN THE AMERICAN CONSCIOUS.

 

What is more bizarre than the claims of this layered, convoluted myth is how long the moral panic it created lasted. It took another decade until level-headed, intelligent people finally made peace with the fact there was no vast underground of Satanists, despite the fact that there was barely a scintilla of evidence for any of these allegations from the moment the very panic began. The reason for this, however, is the conspiratorial mindset it was all founded on. Conspiracism is founded on the very logical fallacy that no evidence for the existence of a massive conspiracy theory is evidence in itself. There is no evidence of a massive conspiracy of the Dallas Police Department, the FBI, CIA, oil barons, bankers, the Army, the Navy, the Air Force, the Marines, or weapons manufacturers having killed Joh F. Kennedy, this line of thinking argues, because the evil cabal behind the conspiracy made all the evidence disappear. There isn’t a shred of credible evidence for the Moon-landing-hoax conspiracy theory or the 9/11 conspiracy theories because the hidden forces of evil made that evidence disappear. The result of all of this, however, is that the conspiracists will wind up living in a fantasy land, in a delusion created by their own minds.

 

At least people playing Dungeons and Dragons know that it’s all a game, it’s all make-believe. It was only their critics, the conspiracy theorists, and the moral crusaders who wound up not being able to tell fact from fiction.

Thursday, February 16, 2023

We're working on The Florida Project on the CineVerse podcast


Is it possible to depict the life of children in a feature film without cloying themes and situations, overscripted dialogue, and implausible performances? The Florida Project by director Sean Baker proves this is more than possible. Recently CineVerse spent some quality time with this film and arrived at several key conclusions (to listen to a recording of our group discussion, click here)

Feel the heat of "Burning" on the CineVerse podcast


Bong Joon-ho’s Parasite took the world by storm in 2019, further demonstrating the ascendance of South Korean filmmakers and their mastery of the cinematic arts. But a key predecessor to Parasite – a movie that shares many similarities and, one could argue, is equally praiseworthy – is Burning (2018), produced, co-written, and directed by Lee Chang-dong. Last week, we at CineVerse gathered close to the brilliant light and heat generated by this film and conversed extensively about its ample virtues. Our major discussion points are outlined below (warning: spoilers ahead; click here to listen to our group discussion)

We study The Browning Version on the CineVerse podcast

 

In 1951, a film adaptation of Terence Rattigan’s 1948 play The Browning Version was released that garnered high praise for its fidelity to as well as expansion beyond the source material. A 1994 remake starring Albert Finney contemporized the tale and introduced the story to a new generation. A close examination of the latter edition was undertaken by our CineVerse group last week; here is a roundup of our primary discussion points (click here for a listen to a recording of our group discussion)

See why Hitchcock was the master!

Alfred Hitchcock called Shadow of a Doubt his favorite among all the pictures he directed. And it's easy to see why: Here is a film endowed with richly layered characters; a brooding atmosphere of infiltrating evil contrasting against a bright and cheery family milieu; memorable performances by Joseph Cotton and Teresa Wright—perhaps the best of their careers, with Cotton playing against type as Uncle Charlie, a rare villain role in his acting career—and masterfully composed shots imbued with stylized lighting that evoke the very best of the classic Hollywood period and the encroaching influence of film noir. Check out our discussion of this suspense classic right here on the CineVerse podcast.


Thursday, February 9, 2023

A Deep Dive Into "To Kill a Mockingbird" on the CineVerse Podcast

While my blogging has fallen by the wayside for a while, I’ve been busy with various projects, a couple of which I will soon report on right here.  

In the meantime, though, it’s been my pleasure to keep taking part in Erik Martin’s CineVerse podcast discussion group. A few weeks ago the group gave its verdict on To Kill a Mockingbird, which marks a 60th anniversary. Spoiler: The group loved it. For proof, read a summary of our major talking points gathered below and lend an ear to a recording of our group discussion right here.

Among the questions we addressed include: has this picture stood the test of time? Why is it worth honoring 60 years after its release, and why and how does To Kill a Mockingbird still matter?

·       It’s one of the best films about serious adult matters ever told and shown from a child’s perspective, thanks to director Robert Mulligan adhering closely to the book by consistently presenting Scout and Jem’s point of view and keeping the camera at relatively low angles, often looking up and in awe of adults.

·       Likewise, the performances are among the finest and most believable of any child actors ever cast in a Hollywood film. Mary Badham as Scout (nine years old at the time), John Megna as Dill (also nine), and Philip Alford as Jem (around age 13) are each excellent in their roles. Interestingly, despite their fine acting, Badham and Alford didn’t parlay these performances into a long-running acting career.

·       It feels relevant and important today because more Americans in the 21st century have increasingly come to reckon with our nation’s shortcomings about racial relations and our problematic history of racial inequality. While Mockingbird has some elements modern audiences may consider troubling, including the concept of an impossibly perfect white savior and the fact that the black characters largely remain on the periphery, this is a morality tale that debatably hasn’t lost any of its power to remind viewers how challenging life proved for African-Americans at this time in history, and how truly segregated our country was.

·       To Kill a Mockingbird also persists as one of the finest and most faithful translations of a beloved and widely read novel ever made. Consider how often movie adaptations of books fail to live up to readers’ expectations or do justice to the quality of the source material. This is a rare but prime example of a film that could be equal to the book it is based on. Original authors are often dissatisfied with big-screen versions of their work, but Harper Lee expressed her delight with the finished film product.

·       Additionally, the opening title sequence is distinctive and different for an early 1960s film, showcasing close-up views of childhood objects, including crayons, jacks, coins, and figurines as well as quick sketches and colorings made by the hands of a youngster. Immediately, we are immersed in the imaginative world of a child, which sets the tone and the narrative expectations right from the start.

·       Lastly, the bygone milieu recreated, that of a small town in 1930s era Alabama, looks and feels authentic, thanks to the fine attention to detail in the areas of architecture, costumes, and visual elements emblematic of the Great Depression coupled with the crisp black-and-white canvas rendered expertly by cinematographer Russell Harlan.