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 cliché 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 cliché, 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 Noémie Merlant as painter Marianne and Adèle Haenel as Héloïse, 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.

Saturday, October 29, 2022

Live the "High Life" on this episode of the CineVerse podcast

What do black holes and the future of the human race have in common? Director Claire Denis explores this and other answers in her dark and different sci-fi cinematic treatise, High Life, starring an underrated Robert Pattinson. For this episode of the CineVerse podcast, we were tasked to further investigate this puzzle box of a picture which yielded several insights and observations. Listen to our podcast right here

Wednesday, September 21, 2022

Charlie Chaplin goes to "The Circus" on CineVerse

Charlie Chaplin certainly made more popular pictures (The Great Dictator) and more critically acclaimed films (City Lights) than his 1928 feature “The Circus.” But arguably he never made a funnier one, as the latter is practically bursting with side-splitting gags, hilarious set pieces, and unforgettable comedic stunts. Our CineVerse homework was to head to the big top and revisit this 94-year-old laugher and assess what makes it timeless (to listen to a recording of our group discussion, click here).

Tuesday, September 20, 2022

Killer of Sheep on CineVerse!

In this episode of the Cineverse podcast, we took a deep dive into Charles Burnett’s 1978 student film, “Killer of Sheep.” Burnett may not be a household name like Spike Lee, but he’s unquestionably one of the most talented and respected African American directors. This breakout work remained widely unseen for decades due to music rights issues, but it has been restored and is fortunately now accessible to millions. Take a listen to our discussion right here: https://www.cineversegroup.com/2022/08/diving-deep-on-sheep.htm

Sunday, September 18, 2022

The More Things Change, the More They Stay the Same...Unfortunately

Bruce on the loose! Check out the episode of the Cineverse podcast where we discuss Bob Fosse’s 1974 biopic of controversial comic Lenny Bruce, starring Dustin Hoffman and Valerie Perrine. Its themes of free speech and comedy are all too timely in an age of endless trigger warnings, hypersensitive special snowflakes and the ever more repugnant growth of a cancel culture that either seeks to silence unpopular opinions or intimidate people into self-censorship. https://www.cineversegroup.com/2022/06/bruce-on-loose.html

Saturday, September 17, 2022

Discussing "About Elly" on the Cineverse Podcast


Where does the time keep going? I’ll be updating a series of links to discussions we’ve had about a great collection of films on the Cineverse podcast. This is an episode where we dive into the mystery “About Elly,” from Oscar-winning Iranian filmmaker Asghar Farhadi. A group of friends goes on a vacation at a run-down resort…and one of them disappears. The tension, anger, and paranoia keep building and building in this outstanding sociocultural thriller. 

https://www.cineversegroup.com/.../about-elly-is-about-as...

Wednesday, July 13, 2022

Win a free copy of FATAL POSE!

Check this out! Get a chance to win a free book!! I am running a contest on Goodreads.com to give away signed copies of my award-winning mystery FATAL POSE. 

So give it a shot! You love to read, inflation’s out of control and everything’s insanely expensive, so put a free book on your summer reading list!!

https://www.goodreads.com/book/show/61410573-fatal-pose

 

Tuesday, June 21, 2022

Find "The Lady Vanishes" on the Cineverse podcast!

For any fans of suspense, Alfred Hitchcock should be required viewing. Called the master of suspense for a good reason, his films demonstrate the exact science of what creates tension, anxiety, and edge-of-your seat suspense. While the apex of his career created classics like “Shadow of a Doubt,” “Rear Window,” “North by Northwest,” “Vertigo,” and “Psycho,” just to make a few, it’s interesting to take a look at some of his earlier work as well and see the development of the signature Hitchcock style. We did exactly that on a recent episode of the Cineverse podcast, discussing “The Lady Vanishes,” Hitchcock’s penultimate British film before producer David O. Selznick brought him to Hollywood. Check out our discussion right here.

Thursday, June 16, 2022

"Sing Street" on the Cineverse Podcast

So far the film I enjoyed seeing the most in 2022 was this Irish comedy/teen love story “Sing Street” from 2016 we discussed on a recent episode of the Cineverse podcast. No superheroes, the Jedis, no CGI, no baby Yodas, no dinosaurs! You’ve already seen that 10,000 times! So just check out this funny, moving, underdogs-against-the-odds story about a group of geeky teenagers forming a band in 1980s Dublin. And with some great 80s music to boot!

Safety Last!

The silent comedy masterpiece with Harold Lloyd! I challenge anyone to watch this film and not laugh out loud or hang on the edge of their seat during the iconic building-climbing scene. And check out our discussion on the Cineverse podcast.

Sunday, June 5, 2022

"A Royal Affair" on the Cineverse Podcast


This is a link to another recent episode of the Cineverse podcast I took part in, where we discussed the historical love story, “A Royal Affair.” Interesting seeing favorite Hollywood villain Mads Mikkelsen and “The Man from UNCLE” film’s Alicia Vikander in this Danish drama based on a real love triangle between the mentally ill king Christian VII, his wife Caroline and his doctor Johann Struensee. 

Saturday, June 4, 2022

"Ammonite" on the Cineverse podcast

So here’s a recent Cineverse discussion update: Check out our discussion of an overlooked, haunting film, “Ammonite,” directed by Francis Lee and starring Kate Winslet and Saoirse Ronan whose characters spark and unexpected romance.

Saturday, April 16, 2022

Left Coast Crime 2022

I still can't believe how time flies by when you're getting back to the real world after a literary conference. Last week I had the pleasure of taking part in the Left Coast Crime 2022 event in Albuquerque, New Mexico, not only listening to some of the top authors in crime fiction, but also fans, other debut authors in the genre, and the chance to discuss my work,  FATAL POSE, and the writing process. For fans, authors, and aspiring authors - as fandom and writing really overlap since everyone writing in a specific genre must also really be a fan of such literature - events like this I would highly recommend. It is a fantastic way to discover and interact with very active and exciting communities.

Sunday, April 3, 2022

The Cineverse Podcasts: Breathless

For just over a month now, I had the pleasure of taking part in the weekly podcasts of the CineVerse film discussion group, run by Erik J. Martin who produces the superb Cineversary podcasts commemorating the anniversaries of major films that have had an impact on American and world cinema. I had been a guest on Erik's Cineversary podcasts before for the 50th anniversaries of "Easy Rider" and "The Last Picture Show." So I was definitely excited to join this group of film devotes to discuss an eclectic collection of films, both major blockbusters and small independent films, American films as well as films from around the world. I will be putting up a series of links to the various films we had analyzed recently.

In a bit of a backward order as I'm catching up on blogging, this is the link to our recent discussion of French filmmaker Jean-Luc Godard's seminal 1960 film "Breathless," starring Jean-Paul Belmondo and Jean Seberg. The film is recognized as one of the major works giving rise to the French New Wave movement.

Check out the discussion and by all means watch "Breathless." The film is definitely a unique experience, and one I recommend to people and film students to see how they react. Truth be told, it's not a film I greatly enjoy viewing, yet one that needs to be understood and appreciated as an interesting artifact of a certain time and culture. Volumes had been written about "Breathless" and Godard, so suffice it to say here that the film is an odd, intellectual experience. It's very raison d'être is to break cinematic rules, to defy conventions. To that end, the film is full of jarring editing techniques, dialogue, and plot twists and turns that are designed to confuse and confound its viewers. There are moments where the story rushes along at a hyper-paced clip, using a series of off-putting jump cuts, and then there is a very, very long and slow, plodding scene of the two main characters are stuck in an apartment, reciting dialogue that is often confusing and meandering. Overall, the film is forcing its audience to engage with it, to think about what it wants to say about cinematic conventions, and how so many of the conventions we take for granted in films, especially Hollywood films, are artificial constructs.

Again, it's an odd and confounding film, but perhaps one that we can appreciate in an age when Hollywood cranks out little more than mindless superhero epics or preachy virtue-signaling award-bait films that leave little to the imagination and personal interpretation. 

So listen to the podcast and give "Breathless" a try.

Tuesday, March 29, 2022

If I were to film and cast and score "Fatal Pose."

Whoa! Where did the time go? 

Well, life and the job and various other circumstances got in the way of updating the blog in a while, so I wanted to post this link to the latest interview I gave about FATAL POSE recently. Hermione Lee, the incredibly talented young author of the the young adult romantic fantasy IN THE NAME OF THE OTHERWORLD, recently interviewed me for her Facebook Blog, "Writers and Writing."

We discussed everything from my inspirations for the book to who I could see cast in the lead role if it would ever be made into a movie and what music would be ideal for the soundtrack.

The short answers are in the following order: the inverted mystery format from the classic TV detective show "Columbo," Henri Cavill in the lead role as Gunnar Marino, and classic Sammy Hagar-era music by Van Halen in the soundtrack.

So right now, you want to click on the link to Hermione's page. And right now you want to read FATAL POSE by going to its Amazon page. Just do it right here and now! 

Tuesday, December 28, 2021

Forget the losers who make fun of you for enjoying Hallmark Christmas movies!


Forgetting to Google myself often enough, I missed this article from October in Cosmopolitan where I was quoted on how people feel pressured to say the actually “hate” certain types of entertainment they usually consume. This pressure has given rise to a sort of oxymoron of a phrase called “hate watching,” or how people who watch a certain show regularly would then turn around and claim to watch just to reinforce their hatred of that show.

 

The term is quite foolish and the article correctly points this out. There is no such thing as “hate watching.” You enjoy watching something but you feel embarrassed to admit it when all your friends make fun of your favorite entertainment.

 

In my quote, I make the point that most often female-centric entertainment gets most of the disrespect and the pressure on their fans to justify themselves. Traditionally, women who enjoyed watching soap operas or reading romance novels got most of the grief. These days relationship-oriented reality shows like The Bachelor and The Bachelorette get piled upon as well.

 

Since we’re in middle of the holiday season as I write this, just between Christmas and New Year’s, it makes me think of all the people who enjoy piling on the Hallmark Channel’s Christmas movies. I wonder how many fans of those movies claim to be merely hate watching in order to “know how bad they really are.” What I would suggest to all those Hallmark Christmas movie fans—while Hallmark Christmas movies are not really my thing, I do enjoy watching Hallmark’s various cozy mystery series—is that they should first give all their critics the middle finger and then ask those very sophisticated and hip friends of theirs if they haven’t yet gotten sick of Batman and Spider-Man reboots. I mean, how many times can you really tell the same old story about how witnessing his parents’ deaths warped Bruce Wayne and created Batman? Or the significance of Uncle Ben’s death to Peter Parker’s psyche.

 

Watch whatever you like and ignore the losers who give you a hard time for it!

Saturday, December 18, 2021

Some guy named Oliver is upset with declassified JFK documents…

Oh, yeah! Oliver Stone! Now I remember. He used to be big in the early 90s. Unfortunately—or, rather, fortunately—he hasn’t been relevant since. Nonetheless, as he was readying the November 22 premiere of his new Showtime documentary, “JFK Revisited: Through the Looking Glass,” about, you guessed it, explosive new “facts” that prove a vast Deep State conspiracy killed John F. Kennedy, he had been giving various interviews, basically handed the microphone  by the media to revisit conspiracy theories that have been long proven to be a pack of sensationalistic, absurd fabrications. The Hollywood Reporter gave him the opportunity to write this op-ed piece about his dissatisfaction with a newly released batch of recently declassified government documents about Kennedy’s murder. For Stone, not surprisingly, the documents are still incomplete and it still gives him reason to disbelieve the official version of events.

 

In his documentary, Stone now points the finger to Allen Dulles, one of the founders of the CIA, as the chief mastermind behind the assassination. Stone apparently has decided that Lyndon Johnson, his head conspirator in his 1991 film, “JFK,” was not really the grandmaster behind the conspiracy after all. And Stone must have decided that his insanely long list of conspirators, including FBI agents, J. Edgar Hoover, the Dallas police brass, members of every intelligence agency and high-ranking commanders in each of the armed forces, “the homosexual underworld,” New Orleans businessmen, and Texas oil tycoons was not quite long enough.

 

Why Stone is given the platform to make his new documentary now and treated to a great deal of favorable media coverage is puzzling. In the wake of Covid, anti-vaccination movements, and the age of QAnon, the media’s long-running romance with conspiracy theorists has thankfully cooled off. Oliver Stone, however, has turned up again and somehow he’s being given the benefit of the doubt by outlets like the Hollywood Reporter. Maybe they think this favorable treatment is okay since Stone’s films supposedly performed an important function of inspiring much needed skepticism in people when it comes to official government sources and organizations of power and influence.

 

Except Stone’s work has done nothing of the sort. “JFK,” his magnum opus, his impassioned call for truth and justice and taking back democracy from shadowy cabals that subvert the will of the people, is a piece of fraud. The film is a manipulative con job that created enough controversy to garner the film smash-hit box-office numbers at the time of its release and made Stone a lot of money. Luckily, not only have historians dismantled the film at the time of its release, but the in the years since, numerous publishers have bucked the conspiratorial trend and put forth several books challenging the JFK conspiracy mythology. Amidst the multimillion-dollar conspiracy industry the media had created over the decades, feeding the appetites of book readers, TV-viewers, and moviegoers wanting to believe in real life capers and shocking mysteries, more rational minds have prevailed and have thankfully debunked all the conspiratorial foolishness clouding John F. Kennedy’s memory. Among several books and documentaries on the subject, the best one is Vincent Bugliosi’s “Reclaiming History,” not only answering every conspiratorial argument but exposing Stone’s film in a chapter so long and so thorough as to let it stand alone as a book by itself.

 

While the exaggerations and manipulative slight of hand in Stone’s torturously long 3-hour movie can hardly be covered here—again, I highly recommend Bugliosi’s book just for its analysis of the film—I think it’s important to make the point that “JFK” is deliberate deception and not, as film critics and his fans always claimed, simple artistic license in order to create a coherent narrative. “JFK” is a carefully constructed set of distortions and misrepresentation of facts and people. The most egregious of these distortions is the presentation of where people sat in Kennedy’s limousine as it drove through Dealey Plaza. The lynchpin of the entire Kennedy conspiracy is the argument that the bullets that struck Kennedy and Texas governor John Connally could not have come from the direction of the Dallas School Book Depository and been fired by Lee Harvey Oswald. “JFK” attempts to demonstrate this in one of its courtroom scenes where Kevin Costner’s Jim Garrison character displays a drawing of the car, its seats, and the positions of the car’s occupants, proving beyond a doubt that bullets that struck Kennedy and Connally would have had to magically shift in mid air to cause the damage they did. The scene is a dramatization of conspiracy theorists’ “magic bullet argument” that also claims to prove that the wounding and killing shots could not have come from Oswald’s position on the sixth floor of the book depository. The problem of the scene, however, as is the case with the entire conspiracy theory it’s based on, is that the position of the seats and their occupants in the film is not accurate. Stone knowingly changed the position of the limousine’s occupants to make the “magic bullet” arguments of the conspiracy theorists look plausible. This is not creative license for the sake of dramatic impact. It’s a piece of deliberate deception. The entire  movie is flim flam, an elaborate lie intended to deceive people.

 

Furthermore, what ultimately makes “JFK” inexcusable and the “it’s only a movie” argument unacceptable is the fact that Stone had always staunchly claimed that his film was NOT “only a movie.” Upon its release, Stone claimed in interview after interview that the film is perfectly accurate in every one of its claims and the depiction of the assassination. He had, in fact, urged moviegoers to use his film as a tool for activism and reject the Warren Commission’s conclusions about Oswald acting alone. 

 

One can not ethically use deception as a tool to get people to take action. As I always discuss with my students in the media ethics course I teach, when you lie to someone, you are robbing them of their autonomy. You are no longer free when you make your decisions about how to act based on someone else’s deliberate deception. When someone is lying to you, they are leading you around by a leash. They have turned you into their slave, their puppet.

 

“But even if Oliver Stone distorted the facts in a movie, could there not be a greater good in inspiring people to question the government, be skeptical of the official version of events, and think for themselves?” Stone’s defenders usually ask. 

 

The answer is “no.” The conspiracy mythology propagated by “JFK” has not led to a world of skeptical critical thinkers. It has led to a world of QAnon, Flat Earthers, anti-vaxxers, and belief systems that deny any kind of consensus reality, science and logic. As Tim Weiner writes in his excellent Rolling Stone article about Oliver Stone and his conspiracist derangement: 

 

“I can tell you for a fact that our democracy is suffocating under an avalanche of disinformation. Trump won the 2020 election! Covid vaccines are seeded with microchips! Democrats are blood-sucking pedophile communists! 9/11 was an inside job! Our body politic is being poisoned by lies. They stalk the land like brain-eating zombies. And we can’t seem to kill them.

 

“We have a moral obligation to call bullshit when we see it. Especially when public figures promote lies for profit. Stone’s JFK films are fantasies. Conspiracy theories are not facts. They’re a kind of collective psychosis. And they’re driving our country down the road to hell.”

Saturday, December 4, 2021

How Books Are Made: With Patience...

Here's a story I ran across in the Saint Peter's school newspaper about my book signing event when FATAL POSE came out. It slipped my mind when the story ran and I wanted to share it here for an amusing example of how long certain books can gestate before finally finding publication. 

As I discuss in the article, FATAL POSE had originally started rattling around in my head way back...in college. So, that actually would be in the, well, let's say early 1990s. No, age is not making it slip my mind! But the point is that when you realize that the kernel of a good idea for a story exists, don't worry about needing to work with it, reshaping it, putting aside and coming back to it, or just taking it completely apart and rewriting it from word number one.

As I discuss in the article, I actually do outline all that I write very carefully and always know exactly where a story is supposed to end up. Except when the story is finished, I might realize that something - or a number of things - might still not work. Such was the case with FATAL POSE.

After a lot of life getting in the way, other books getting published, agents and editors coming and going, many of them passing on the book, FATAL POSE finally found life at World Castle Publishing.

So hang in there and keep punching away at that keyboard.


Friday, December 3, 2021

At the Recent Philcon Conference




It was almost remiss of me to not mention my participation in the recent Philcon conference of the Philadelphia Science Fiction Society in Cherry Hill, New Jersey (close enough to Philly). After last year’s all-online conference, it was exciting to be able to talk to a full conference hall of people rather than just stare at a computer screen, and it was great walking through the dealers’ room browsing books.
 

 

And, of course, doing readings and book signings or THE CEDAR VALLEY COVENANT and CONFIRMATION: INVESTIGATIONS OF THE UNEXPLAINED was outstanding. The interactions with one’s readers, the fan communities that frequent literary conferences, are an experience all authors should take part in. 

 

Those same fans also let me know they will keep me on my toes if I want to writefiction about conspiracy theories…no theory in any book they have read, they told me, is as demented as the “real” ones so many people swear they believe in these days.

 

Well, it’s a good thing my books critique conspiracy theories!