Parkland: The Passion of the Christ Kennedy – Boring Idol Worship Movie

True Crime drama about what happened the day JFK was shot based on Vincent Bugliosi’s book. On the fiftieth anniversary year of Kennedy’s assassination, it is no surprise a movie like this was made. In and of itself, I don’t have a problem with that. It remains the single most curious assassination in history for most Americans, and I admit that I was curious to see the details of everything that went on that day myself.

Unfortunately, a movie about historical details does not a story make. I concluded that the movie was a boring hagiography for Kennedy idol worship, because quite frankly there was NO STORY justifying the movie. It was just boring apart from the excitement surrounding the bloody murder and all. We see what happened that day in the lives of people surrounding the event from Abraham Zapruder, who shot the infamous 8mm film, to Oswald’s brother, to the key doctors and cops involved. But there was NO STORY.

BOOOOORING.

I have to say on the positive side that it eviscerates the conspiracy theory which is itself a form of idol worship. Yes, one shooter, no cover-up, just honest internicene squabbles with incompetent government policy and workers on every level as well as a few chance events for a perfect storm. But I believe that conspiracy theories are literally god substitutes. For example, people cannot accept that such a nothing human being combined with unfortuitous chance events can ruin history so deeply. And when you don’t believe in a providential God controlling things, then you cannot live with the absurdity of such meaninglessness, so you create a “god” to fulfill that need for meaning behind events. In the case of conspiracy theories, it is actually an evil god, usually in the form of powerful people who have orchestrated it all for a diabolical plan. This gives meaning and purpose that they cannot live without.

Well this movie shows the very real and non-conspiratorial events that happened that day. Another reason why it is boring as a movie, because reality is often not a very well structured story. And conspiracies make for better movies; detailed real life is mundane.

But that is the idolatry with which I think it ends up replacing the previous idolatry. Why bother telling the story for petty details of pain alone? Unless you want to maintain the fantasy Camelot glory of the man as they do in this movie by elevating the tragedy to godlike importance and blood sacrifice atonement. The blood in this movie made me think of The Passion of the Christ. And they never show the face of Kennedy with a kind of holy diversion reminiscent of how Jesus was avoided in Ben Hur. Even Jackie’s face is often avoided to keep her as a kind of Mother Mary Jackie. The terror and despair in everyone’s faces and lives throughout the whole movie made you think Jesus himself died and America lost its innocence and hope – which is exactly what Kennedy worshippers believe.

The real assassination of America’s innocence was the 1960s. We are still suffering the devastating effects in every area of life from that immoral rebellion.

Ironically, those Kennedy worshippers would damn Kennedy TODAY for being a politician whose policies were more like a modern liberal Republican than the current Democrat party of his heritage. OMG, the god Kennedy believed in less taxes and American supremacy abroad? Why that is as evil as the devil himself: George W. Bush! And to modern Democrats, that would make Kennedy a warmongering racist (of white privilege) since he was a white rich cracker and disagreed with Obama’s policies. Even worse, he was pro-life!

The laughable legacy of Kennedy worshippers is that they are still today actually spinning the story as if Kennedy was killed by a Right Wing “hateful city of Dallas.” These fools must not know that Dallas was a liberal potpourri and that Oswald was a Left Wing Communist who murdered a guy whose policies were more right wing than the Democratic Party would ever tolerate today! JFK would not even be allowed to speak at the DNC because of his political beliefs. Truth just doesn’t matter to idol worshippers.

Just their religion.

And the truth is, a far greater man died on that same infamous day in history. A man whose legacy really has changed the world for the better. A man who, while he doesn’t deserve idol worship, and he would decry it as well, he does deserve a higher recognition. He represented and served a true Camelot God and kingdom, but his death was overshadowed by a media obsessed idol worshipping kingdom of man. He didn’t live a life of wealthy privilege, and didn’t have a world of sycophants covering up serial immoral sexuality, selfish abuse of authority, and drug addiction. He wasn’t a perfect man, but he was a more worthy one.

That man was C.S. Lewis.

Now his is a story more worth telling.

House of Cards: Shakespearean Tragedy About the Political Pursuit of Power – of Democrats, that is

Netflix Political Thriller series. An amazingly written and directed series starring Kevin Spacey as Francis Underwood, a Democrat congressman who is withheld from a position in the new Democrat administration in Washington, and enacts revenge on those who betrayed him.

I get tired of all these series that are based on anti-heroes or worse, villains as heroes. But House of Cards is not one of them. At least not yet. It is Shakespearian in its dramatic quality and appears to me to be the set up for a tragedy on the level of Breaking Bad.

There is no bones about the storytellers showing us in the first scene that Underwood is a Machiavellian villain who is not a good man, when he breaks the neck of a dog that survived being hit by a car. Of course he tells us that he is the one who does what needs to be done, but no one wants to do it. But it doesn’t matter what his justification is; if you kill a dog you are evil. That’s movie and TV rules. ☺

And we know that we are going to be following the mind of a man whose sole ambition is power because he tells us so. He regularly “breaks the third wall” and talks to us the audience in asides to give us what is really going on in his mind. It’s a truly satisfying and clever storytelling technique that builds rich irony we could not know otherwise.

A subplot surrounds his wife’s own political ambitions mixed with humanitarian causes and the weird twisted agreement they have in their marriage that looks a lot like the Clinton arrangement, if you know what I mean.

Of course there are others whose stories we follow as well, like the young reckless congressman who is being used as his life falls apart, and the amoral journalist who spouts journalistic integrity about not revealing sources while sleeping with the congressman to get stories for her own advancement.

But here is the interesting thing —no, the fascinating thing. Though it is a series about politics, it is kind of apolitical in that it doesn’t seek to make specific political policy arguments like the West Wing or other courtroom shows these days. And it hasn’t made any political potshots at Republicans that I was aware of. It’s really more about the pursuit of power. In fact, everyone in the show is driven not by truth or justice but by different ambitions of power.

Everyone.

In the entire first season, it seems there was not a person who truly believed in any policy they fought for. They only fought for what was most convenient for their personal advancement or ambitions. Policies are mere means to their ends of power. Talk about the ultimate revelation of the true corruption of politics! The only one who seemed to have integrity, was a low level worry wart who was fired in the first two episodes for her moral convictions.

I make a qualification. There are two women who seem to believe in their causes moreso than others: Underwood’s wife, Claire, played with perfection by Robin Wright, and an activist she hires. But by the end of the first season, they engage in unjust immoral and illegal actions to further their own interests as well. Claire brings food from her privileged class fundraising party out to the protestors outside her event. But of course we see it is only a photo op to look compassionate and make the protestors look bad. And the activist maliciously initiates a lawsuit based on politically correct lies of “social justice” to get revenge on Claire for firing her. An ironic revelation of how social justice is revealed as a weapon of social injustice. In other words, their commitment to a cause is a self righteousness that they use as a weapon of – you guessed it, POWER. In fact, one suspects that Claire like a Lady Macbeth (or Lady Clinton), has her own diabolical purposes that drive her façade of social concern.

One might say this is a cynical show about politics. A very cynical show.

Or, one might say it is a revelation of the truth behind the Democratic Party.

Yes, I know I said that it is apolitical on the surface. And yes, I know the storytellers are all, no doubt, Democrats, and I don’t suspect that is their intent to dump on the Democrats at all. And I know the show is only beginning. But so far, if you think about it, they could have made a show about Republicans doing all this evil and corruption, which is the usual spin, but they didn’t. They chose the Democratic Party.

Which works best because it is the Democratic Party that is essentially the party of the pursuit of Power.

One could say House of Cards is the Anti-West Wing.

Think about it. Of course there are individual corrupt Republicans and big government Republicans as well. And the RNC is full of cowards who bow to political correctness and compromise their values or even seek power. These are the inescapable results of a fallen world of corrupt individuals everywhere. But the Republican Party, as a party, is philosophically founded on creating smaller government and less government for more personal freedom for people to take care of themselves and each other. The party was created to fight slavery, for God’s sake!

The Democratic Party philosophy, on the other hand, is based on building bigger government and expanding government control, and creating more dependents on government handouts to get votes, which is more power and control over people’s lives. Its very essence is Power, for gods’ sake! (That is, for the sake of being gods).

So the RNC is based on smaller government and less power, while the DNC is based on bigger government and more power. Yes, there are evil people in each party, but this series, so far, is a lens into the actual philosophy of the DNC and their corrupt systemic mindset of POWER.

Let’s see if they try to spin it around as the series goes on, but for now, it was refreshing to see a Hollywood political TV show finally speak the truth to Power.

Hunger Games 2: Big Government Catching Fire

Sci-fi Dystopia sequel about a world tyrannized by government control of the masses. Same basic story as the first one, only this time, Katniss, who won the gladiatorial Hunger Games in the first movie must now enter a new Hunger Games for all the winning tributes of previous Hunger Games.

Pretty simple and straightforward and not a bad idea. Except that the first half of the movie was pretty boring watching Katniss dealing with the politics of being handled by the government marketing for their own nefarious purposes as she tries to defy it in subtle ways and maintain her usefulness to the state to keep herself alive. The government is using her to promote what she hates and she is trying to protect her loved ones, including her boyfriend from being punished by the state. Lots of discussions and maneuverings about the effects of how they spin and image her.

Whatever, just get to the games!

My problem with the first movie was that it made teens killing teens bloodless and like a videogame which cheapened the moral point and actually promoted a dehumanizing violence. They should have shown how brutal it was so that it would be repulsive and make a moral point.

This time, they try to make the violence more real and less television, BUT less personal or human and more about man against nature or forest traps. So much of their time is spent avoiding a poisonous mist and baboons and other “traps” rather than killing the others. I think this also cheapens the serious moral component of the story, and makes it like a ramped up Survivor TV show. But it is also less interesting because the conflict is less human.

But the revolution is brewing for movie #3.

There was a cool moment of grace in the movie when Katniss speaks of Peta (I can’t remember for sure who) saving her in the past and realizing that “He could have killed me, but instead he showed me mercy. That’s a debt I couldn’t pay.” Yes, that is Grace. And that is the only way out of a system of justice or injustice.

But the biggest thing that stood out to me was how eerily familiar the statist tyranny was. The world where big government controls everyone’s lives and is incestuous with rich liberal privilege and big business and big media looked scarily like the current Obama administration that has been taking America down the path of Big Government control and statism with the support of Big Media and Big Entertainment. And that’s the purpose of sci-fi futuristic movies: to show us where we will end up if we continue down the course we are going.

Make no mistake, the enemy in this movie is Big Government. The wealth that surrounds it is not free market wealth, but the kind of crony privileged class that grows up and surrounds political regimes of power, like Hollywood and Big Business in the hands of the Big State (you know, like, ahem, right now). They buy the privilege and use it to crush true free competition and control the information for the masses. The bizarre media elite of the Capitol in Hunger Games looks like only slightly exaggerated versions of the carnival like celebrity world of our own Hollywood.

And all this statism is done in the name of taking care of the people who aren’t as good at taking care of themselves. The people don’t know better, so the government must give them what’s good for them. And in so doing create an even bigger disparity between the rich and the poor as only those who are hooked into government can grow fat from the teat – and everyone else becomes poor. Sound familiar?

Simply put, it’s fascism.

American Hustle: Love Brings Truth in a World of Lies

Caper Movie based on a true story from 1978. A couple of con artists, Irving and Sydney, played by Christian Bale and Amy Adams, are caught and forced by the FBI to help them conduct stings on political and mafia powerbrokers in Jersey. Bradley Cooper is Richie, an ambitious FBI agent that gets embroiled with the two of them in a love triangle that messes with all of their heads and ours as we wonder every step of the way, who is conning who?

Okay, it’s hard not to like this film for me. The 1970s is just about the most perfect era when it comes to soundtracks. Although I didn’t hear the best ones like Led Zeppelin, Boston, ELO and the like, it was still a pleasure to swim in the glory of some of the lesser quality of the best rock and roll ever (and even some disco ☺). The writing is fabulous, the acting is brilliant, Jennifer Lawrence STEALS the movie with her funny annoying New Jersey housewife schtick. All the characters are sadly pathetic in the most fascinating of ways. David O. Russell is a fantastic director (having given us the brilliant Silver Linings Playbook).

It’s a pretty predictable theme of con movies that you can never believe what you see, but it works well because it remains a true revelation of human nature, the dark side of every one, even the apparently good people. As the con men repeat, “People believe what they want to believe,” we are introduced to a story that explores both this epistemological question and its moral ramifications on our lives. We see the result of the truth, also spoken by the hero, that people tell themselves lies to protect themselves from the truth and even from themselves.

It is a world of gray that Irving brings to the black and white self-righteousness of Richie the FBI man as he is introduced to the con world. We see Irving also involved in the sale of expensive art forgeries. But when Richie challenges that morality, Irving shows him a Rembrandt masterpiece at a museum and tells him it’s a forgery, but people don’t know. It’s forged so well that people cannot tell the difference, so what is the difference if they can’t tell? How is anyone hurt?

This is a movie lays out a world of morally gray life at every angle. We see Irving fall in deep love with Sydney only to discover that Irving is living a double life because he is unhappily married. But no one in this movie is all bad or all good. But no one is entirely honest either. The FBI agent Richie seeks justice, but he is overly ambitious and flawed with a violent temper that hurts others in his quest for truth and justice. He also has his sexual weakness as well, but he ain’t a corrupt lawmen. No one is fully corrupt in this film except the mob. Even the mayor Carmine, played by Jeremy Renner, that is getting stung for playing loose with the law is depicted as someone who is not intent on criminal deeds, but rather a man who breaks a few rules to help the people of his beloved city. He is a hero of the working man. These are all people who seek to navigate through a grey world without moral absolutes, because as Rosalyn says, “Sometimes, all you have in life is F*ed up poisonous choices.”

I think there is also a powerful underlying theme that love brings honesty and truth into our lives. For all three leads, when they finally and truly fall in love in the story or experience a genuine relationship of honesty giving from another human being, they shed elements of their dishonesty and seek to be known. We see each person respond to their friend or lover by coming clean, and then facing the pain of the consequences of their betrayal and coming clean. It is all quite redemptive, that is: love redeems our flaws with the clarity of black and white truth in a morally compromised world of grays.

The weakness of the story for me was in the criminal as hero storyline. Look, I don’t have a problem with heroes being flawed and all that. Of course, we’re all tainted. But I just don’t like movies that get the audience to root for a criminal to get away with a crime. Unless…

SPOILER: In this case, the con men ultimately con the FBI. And I don’t have a real problem with that – if they were conning corruption. The problem is that in this movie, the FBI guy was flawed, but not corrupt. If he was corrupt I would have more sympathy for the protagonists, but as it stands in this story, the FBI was just not as experienced. He was incompetent but not corrupt. His naïve machinations trying to capture the mob places our protagonists in jeopardy, so they get out of it by protecting the mob boss from their sting (who would kill them all when he found out) and blackmailing the FBI to let them go.

It all ends up fine in the end with our heroes returning money to the FBI and going clean in their lives. Without THAT ending, I would have hated the movie. Because getting away with a crime is not justice, no matter how much we sympathize with a hero. But as it stands, the theme is a powerful truth with a slight flaw: Love redeems lies and brings honesty, but the ends justifies the means.

Here is my cultural concern: If we tell stories that justify to people that they can disregard law when they think government is incompetent, then we cannot complain when we have a society of people that disregard law when they think it is incompetent (which it virtually always is). We build the very anti-authority into citizenry that we then complain about when we have such blatant criminal disregard for law like tax evasion, knockout games and flash mobs and a police that can no longer stop the riots and crime that happen around the country by radical activists in their protests. Or the absurd increase in shooting sprees because such criminals know the law has its hands tied and they will become heroes as antiheros in the media.

I don’t believe this is the intent of the filmmakers, but I do think it can have that effect on the audience values if we are not careful.

Ender’s Game: Ludicrous Movie Spouts Identity Politics, Child Supremacy and Insect Rights

Sci-fi Action. I love the coming of age genre if done well. I even admit that children can sometimes have a special skill or insight because of their youth and lack of experience. And yes, I understand that placing children in the role of heroes has a certain commercial appeal to many people. Sometimes seeing the world through a child’s eyes can be an entertaining and enlightening experience. And yes, again, I know the novel is very popular with youth (which doesn’t surprise me).

But I’m sorry, this movie was laughably ludicrous. I think it is because it is founded on a fundamentally fallacious notion that is very popular in our society: That children contain the wisdom we lack and need. It is about the inappropriate elevation of juvenility. We’re not even talking teens here or college age. If the characters were that old, I might actually not laugh as loud. But in this case, the heroes who save the earth are an army of military leaders under 15 years old.

The beginning of the movie sets the premise that the earth was invaded by some insectoid aliens and the only way to overcome them is to train children to lead the forces because, after all, kids are so good with video games. Ender is the “One,” the promising young cadet that Harrison Ford’s General character believes will lead their forces to victory because he supposedly has a special character quality Ford is looking for: It turns out it’s the ability risk all in order to win. But he has to train him and so most of the movie is about cadet school and preparation for the big battle.

But that is only the beginning of the sheer ridiculous nature of what happens next.

Full Metal Jacket with children this is not.

The problem is that the story is so serious and has such high stakes with an epic status (and epic music) that we expect to see a Mel Gibson or a Liam Neeson handle it as mature adults. Or at least a young up and coming adult star. But a tiny pre-teen cannot hold up that kind of dramatic weight. It just doesn’t work (Maybe in an animated cartoon, where everything is tongue in cheek, but not here). And here’s why: Because pre-teens who have not even entered puberty yet, are simply biologically, spiritually, and morally undeveloped. And we all know that. They do not have the capacity to handle sexuality (though the world of entertainment tries to force that on them). They cannot deliberate big moral stakes because they need to be taught right and wrong because they are basically selfish little creatures. They can’t lead complex battles because true war strategy requires maturity and experience of understanding psychology that no children, no matter how genius, can possibly have. The genius or special skills that a child may have would be raw technical skills like hand eye coordination on a video game or maybe a sharp memory. None of these things hold up against the real world of mature human or sentient interaction. It’s just laughably ludicrous to suggest so. That is why I could not keep a straight face watching it.

Nobody in this movie is believable in their role. Ender is supposed to be some “chosen one” but he is just a scrawny little zero who has cherubic cuteness that I did not believe for one moment hid any kind of strategic genius, let alone the “hardness” of soul or ruthlessness that he was supposed to be exuding. Really? This cute little cuddly kid ruthless? Not for one minute. When he fights two different bullies and beats them up, truly cringe-worthy moments.

Ender is wrestling with the kind of issues that we are all familiar with in hard core military situations like cruel drill sargeants, A ruthless General, bullying competition, and the valor of self sacrifice and complex psychological war strategy. Watching the movie was really like watching children play war (which is outlawed by the public schools BTW). They take it all so serious, but we just watch them and chuckle, “How cute they take themselves so seriously.”

The drill sergeant, bless his heart, was a big lovable black guy trying to sound like he was mean, which made me cringe for the poor sweet man.

The bully, and this one I could NOT believe they did, the BULLY was an officer who was a tiny little rodent guy who was the SMALLEST one on the entire squad. The shots of them face to face made me laugh. Ender, “the oppressed” looking down at the bully, who was almost cut out of the shot he was so dang small. I kept thinking, even Ender, the scrawny little pip, could hurt this guy.

Almost nothing in this movie was believable.

Wait, I take it back. The only thing believable was the existence of little girls in the military. I say this because anyone who knows the reality of the frontlines of war will tell you, women cannot compete in real war scenarios. Our anti-science fascist government women-in-the-military policy notwithstanding, they drag the military down because they are not biologically built for the level of physical stress needed. The standards have to be lowered to accommodate them, which places more lives in jeopardy and gets more soldiers killed. But I guess the Left doesn’t really care about soldiers dying anyway. BUT at this young child age in the movie, boys are so undeveloped that girls really are about their equals in the physical realm. They haven’t developed yet. Okay, so I’m for girls in the child military I guess. If we are going to kill ourselves with politically correct lunacy, we might as well go all the way.

SPOILER ALERT: Now, on to the ludicrous themes: The whole movie is a subversive attempt to undermine the strong military superiority of America. It builds up this scenario that the aliens are large insects in order to get us to really cheer for Ender to become the hero and kill them all. They swarm like bugs. Get us to perceive them as “the Other,” in order to show us our bigotry at the end when Ender realizes he is guilty of committing genocide against the aliens.

We are supposed to realize that the insects are actually sentient beings who were only trying to communicate with us and build their own army to protect themselves. And we in our fear strike out to kill them all pre-emptively in order to protect ourselves because we believe they are going to kill us all. “It’s us or them,” as the General says. Because the insects invaded earth once and were repelled, they are now going after them to kill them at their home planet so that they can not just stop the war, but “stop all future wars.” (Of course, the first invasion of the insects is discovered later to just be all one big misunderstanding. Oooookay.)

Hmmmm. What political connection do you suppose they are trying make with that analogy in our world of Islamic “swarms” where America is the only one holding back the explosion of worldwide Islamic imperialism? Like maybe Iran, right? Yeah, right. Except Iranians are not like insects. They are simply an evil nation led by an evil leader that is building nuclear warheads in order to wantonly kill Jews and anyone they don’t like, just like Hitler, AND they have said so themselves. History proves they will do it. This is obviously the analogy they are trying to make. But the comparison doesn’t even begin to work.

And that is also the fundamental flaw of the analogy of this film. It denies the image of God in man, it denies human exceptionalism and likens human beings as no more valuable than any other animal. As if a colony of insects is as important as a colony of human beings. It is the evil and insanity of animal rights activists. Insects are NOT sentient beings. They’re not even similar to sharks, tigers or other predators whose nature is to kill and eat. This storyteller took just about the worst possible analogy you could make for his point. It actually disproved his own point.

They will say, “How do we know there aren’t creatures out there that are sentient just like us but are insectoid?” (This is “moral equivalency” foolishness) And these same idiots call Christians stupid, as believing in fairy tales and superstition? To liken insects to humanity is anti-scientific sophomoric moral nonsense, and reminds me of the evil stupidity of animal rights activists who try to protect cockroaches instead of human beings.

To posit that a human / insect comparison is an analogy to racism or colonialism in our world is laughably preposterous. Should we also stop the genocide of viruses and bacteria because we are arrogantly considering human beings as superior life forms? In fact, if there is no human exceptionalism then you can’t even criticize humans for “genocide” as if that is wrong because that is the act of placing a SUPERIOR MORAL status on humans that they do not have. Nature does what it does, and if we are simply the same as all animals, then you cannot damn us for doing what we do by nature, which includes genocide.

Another failed analogy that doesn’t only fail rationally. It fails morally and existentially because not for one moment watching this movie do I think that anyone will believe that those insects re the moral equivalent of human beings. We know humans are exceptional, and that is why we have a basis for knowing racism and so-called imperialism is wrong while still knowing that humans are exceptional to other animals. Because we are created in the image of God. Without God, all you have is survival, and things like genocide are not wrong.

There is one little statement in the film about the insect population that they are pursuing our planet for our water because, “like us, their population rate is unsustainable.” REALLY? These filmmakers really believe this Overpopulation Lie at the very moment that statistics show that almost all the developed nations have population rates that are in fact dying out? We are not replenishing our populations fast enough to sustain our life. The EXACT opposite of the Left Wing overpopulation fascists who want to kill more people so we aren’t such a burden to the goddess Mother Earth. Sheesh. The lunacy does not end.

So there’s a young child soldier who is a Muslim that says an obvious Muslim saying to Ender, “Salaam Alykum,” which means peace be upon you. Again, Really? A positive Muslim character but not a single positive Christian character? This is another irony of the film’s bigotry. The closest analogy to the colonizing insects in the movie is precisely imperialist Islam, the most ruthless colonialist swarm of all history. They actually and truly are trying to take over the world and would like to impose Sharia or Islamic Law on everyone. Right now, Islamists are killing thousands around the world in the name of Allah because they believe that infidels should die. But the positive religious character is a Muslim, not a Christian? Ironically, if Muslims had their way in America, the Hollywood filmmakers who made this film would be the first to die along with the gays. While we Christians would be hiding the victims in our cellars and basements like Anne Frank. But no, the positive religious character in this movie is a member of that imperialist colonizing religion Islam.

The big thematic point that Ender says is “When I understand my enemy well enough to defeat him, at that moment, I love him.” I have wrestled with this very theme myself in a movie I wrote To End All Wars (Netflix and Amazon), so I am not adverse to the issue. But this is a moral issue that requires a nuance of thinking, and understanding between rules of combat and rules of captivity. It cannot be reduced to the childish politics of leftist anti-exceptionalism.

Ender’s Game cannot even begin to come close to being a worthy depiction of that epic moral question because it so completely gets all its analogies wrong and sets up an absurdly unbelievable premise of wise children saving the world, and utterly fails in its far left wing identity politics mixed in with a dose of child supremacy and insect rights.

Please, End the Game, Now!

The Counselor: Nietzsche at the Movies, or Shakespeare without Redemption

Crime thriller. After watching The Counselor, you get the feeling that you need to take a shower. And not because it was a guilty pleasure, but simply because you’ve wallowed in a nihilistic worldview for an hour and half that ends in despair and offers no way out of evil.

It tells the story – and not a very clear story – of a greedy lawyer, the Counselor, played by Michael Fassbender, who gets in way over his head when he gets involved with drug traffickers and his deal goes awry. He is portrayed as a man who has finally found true love with the beautiful Laura, played by Penelope Cruz and buys her a diamond he cannot afford, which is the symbolic impetus for him stepping over the line into big illegal money.

A couple of his criminal “friends” tell him not to do it because he is too naïve to handle it. (This is not the same as a moral injunction to do the right thing.) Of course the deal goes wrong when someone steals the shipment from Fassbender’s connections, and all those connected with him are hunted down to pay.

The thing about it is, I went to this movie because of the A-list director, Ridley Scott, and the A-list cast of Fassbender, Cruz, Brad Pitt, Javier Bardem and Cameron Diaz. I was disappointed. Sure, because of Cormac McCarthy, it had some of the most lyrical existential dialogue ever in a thriller or crime movie (albeit, some of it out of place and self-important). But in the service of a nihilistic worldview, such lyricism becomes verbose mockery. McCarthy’s cynicism here amounts to self-righteous platitudes.

There is a scene where the ruthless Cameron Diaz visits a priest for confession only to mock him. But the scene was out of place and confusing and didn’t make much sense other than to show her mockery of religion. And that same religious commitment in the innocent Laura made her ignorant and a victim to the strong.

On the surface, I should like this movie because it is kind of a two hour movie version of Breaking Bad. That is, there is heavy lyrical poetry spoken throughout about how our decisions make us who we are and our actions have consequences. (I forgot my note pad, so I didn’t get any of them down. But I probably wouldn’t have been able to anyway, because there was so much of it and quite complex at times). But what I picked up from it was the added notion that we cannot undo the bad choices we’ve done. There’s no going back. No second chances. Our choices set in motion an inevitable ending of despair and death.

Now, on the one hand, for those without God, I would quite agree that there is no hope, just death in this life (I would add: Judgment after that). And yes, the world of crime and evil never ends well, and even ends in destroying innocent people, which is a moral truth in the right context. But a story that ONLY shows the dark and the evil and shows no good in contrast, no hope for redemption spurned, no possibility to change, is a story that communicates there is no hope or redemption.

That is nihilism.

That is not worth an audience.

Captain Phillips: American Exceptionalism Kicks Evil Butt

A true story about the hijacking of an American cargo ship, The Maersk Alabama, by a small group of Somali pirates off the coast of Somalia, and the daring Captain Phillips who sought to protect his crew and talk down the pirates.

The director, Paul Greengrass also directed United 93, which was a virtual training film for Americans on how to stand up and fight back against terrorists, rather than cower to their demands like many would have us do. In this film, he takes a different course as he tells the story of how Captain Phillips, an ordinary American with a job to do, is confronted with, not terrorists, but simple hoodlums.

The Somalians are cast with powerful accuracy. No American stars pretending to be underfed third world victims of Al Shabab here. Greengrass must have cast actual Somalians who were so scrawny and pathetic carrying their big AK-47s, that you get a real taste of the reality of the situation. These five to eight little guys with big guns approaching a huge cargo ship without security and are able to circumvent the pathetic protective measures and commandeer it for ransom negotiations in the millions of dollars.

This really incarnated a powerful truth that Dennis Prager has often said. It shows how easy it is for NOTHINGS to achieve great destruction in this world. He always talks about it in terms of historically great people being cut down by Zeros like John Wilkes Booth, Sirhan Sirhan, Lee Harvey Oswald, Kahlid Sheikh Mohammad, and others. No matter how big or how important someone or something is, it is so much easier to destroy than to build. And when we can’t cope with that reality of such horrible loss, that such greatness could be stopped by such nothingness that we often create conspiracy theories to make it much more important so the loss is not so tragically simple. Conspiracy theories are god substitutes because we can’t stand to live in a truly random world of chance. Kennedy couldn’t have been shot by a psychotic left wing Communist, no, it had to be a vast right wing conspiracy of the military industrial complex. The twin towers couldn’t have been taken down by a handful of Arab Muslim terrorists for their crazy religion, it had to be orchestrated by the vast right wing conspiracy of the Bush administration. The fact is it is so much easier to destroy than to build that Nothings can completely change history or do great damage with just their evil drive.

And that is what I thought watching this movie. Because of the immoral international laws that forbid security and self-protection on international or national waters – in other words, because of GUN CONTROL LAWS on the open sea – innocent shippers are made into cherry victims ready to pluck for all criminals. Yes, a huge American freighter with millions of dollars of cargo and corporate power can be easily taken hostage or destroyed or ruined, because they are not allowed to protect themselves. This is the inherent evil of gun control laws and disarmament philosophy. Whether it is in personal, national, or international contexts, it results in arming bad guys and disarming good guys and hands over innocents to be kidnapped and murdered. (Evil will never disarm, folks. Never.) If ships were allowed to have a simple armed security team, the entire Somali Pirate problem, a multibillion dollar a year criminal enterprise would virtually die overnight. But criminal lovers and their hatred for justice prefer that good people die by taking away their right to protect themselves. That is despicable.

But alas, Captain Phillips has no such protection at first. The pirates take over. But the crew fights back. It’s all quite suspenseful and exciting. But when the crew captures the captain of the pirates they make an exchange for the ability to take the ship’s lifeboat to getaway from their failed robbery. Instead, the pirates take Captain Phillips as ransom into the lifeboat, believing they will get millions from the bottomless coffers of the big corporation that hired him. So the second half of the picture takes place in this little modern lifeboat with Phillips and four of his captors. You wouldn’t think such a confined space would become such an edge of your seat ride, but it really is.

And then comes the American Navy. Three huge ships of the American Navy. Clearly massive overkill of power.

The big showdown is that we know the pirates can’t win, but can Phillips get away with his life?

What I like about Greengrass’s movie is that it is economically sparse on agenda. Of course, he gives the pirates their time to speak, as all good stories should, but it does not become a political charade of typical Hollywood idiocy. We hear of the Somalians becoming pirates because of how other country’s ships came and took all their fish out, so then they started to strike back by taking money forcefully to pay for their exploitation. As the lead pirate tells Phillips, the ransom that they get like this is just taxes for using their waters. Phillips says, “There must be something other than fishing and kidnapping you can do.” The pirate says, “Maybe in America.” Okay, fair enough. That’s his side. Life is so eaaaaaaaasy in America. These pirates are not terrorists, they are Marxist criminals. Poverty causes crime. Tell that to the hundreds of millions of poor who don’t engage in crime.

But later on as the violence increases, Phillips yells at the pirate, “You’re not just a fisherman! You’re not just a fisherman!” A little too subtle, but behind that point is that they ARE responsible for what they are doing. They are not mere victims. What they don’t tell you is what the pirates themselves have sometimes admitted, that once they realized they could make a lot of money by kidnapping and ransom, they became very good at it and made it into their business. It’s not about protecting their shores or “their sea” after all. They became a Mafia, an organized crime syndicate that justifies their evil by classic Marxist finger pointing of moral equivalencies and economic inequalities. But at the end of the day, they’re just criminals who justify their evil by appeals to victimhood: This victim politics is the biggest cause of evil and violence in our world today. People paint themselves as victims which justifies them lashing out in violence at innocent people in the name of “justice,” which is actually just evil. Whether it’s the Occupy movement or the race baiting in the Media and in left wing hate politics, it’s always about justifying evil by appealing to victimhood.

Okay, I’ll stop my tangent. On to American Exceptionalism.

Now, at the end of the movie one is overwhelmed by the massive show of force of three huge war ships surrounding this little lifeboat for one American captain of a boat. Talk about overkill. This is where I can see liberals interpreting their own feeling about how America is just too big and powerful and a bully.

But I didn’t see it that way.

What I saw was how evil is so able to do so much destruction with so little effort that Big Evil will only do far more destruction. Therefore overkill is the only thing that works. Evil only respects forceful power. Evil will not respect a president who apologizes and does nothing to stop their growth of atomic weapons. Evil will not respect the Neville Chamberlains who want to negotiate peace. They will negotiate disarmament and when the good is disarmed, they will plunge in the knife. Evil will not be as willing to shoot up a bunch of children if they know others can be armed for protection. (All the mass shootings have occurred in gun free zones. Evil is not stupid, the Left is). Therefore, the only way to overcome evil is with overwhelming force. When evil sees that they have no chance whatsoever, and they better give up or be demolished, only then will evil respond with unconditional surrender. That is just how the world works. America is not the bully, America is the security guard protecting the little guy from all the bullies. If we didn’t overwhelm with force, there would be ten times as many Islamic terrorist incidents and criminal incidents than there already are.

I won’t give it away, but I’ll just say the Navy Seals kick ass in this story. Yeah.

Lastly, I found it quite humorous that the only pirate who lives is the “captain” pirate who we see on the screen in a super that he is serving 33 years in a Terra Haute prison. But they should have added, “Where he is being better taken care of than in his own country. He receives three square meals a day, cable, conjugal visits, free health care, porn and can get a college degree if he wants.” America is so good that even its criminals are treated more humanely than the normal citizens of other countries. Not only that, but I laughed when the Navy read the captain pirate his Miranda rights when they got him. Unlike any other country on earth, America, who is supposed to be a bully, is giving rights to an international criminal that are reserved for its citizens? Let’s see that in any other country. That ain’t no bully, that’s exceptionalism.

(I am not saying America is perfect. I know we have plenty of evils as well, like we allow women to kill their offspring by the millions, we have unjust government that oppresses its political enemies through government institutions like the IRS and the NSA, welfare slavery, and criminally corrupt politicians and media who spread lies and incite hatred and violence. Okay. I’m not blind. We aren’t the Kingdom of God, and I never said we were. But we’re still better than all the rest. And without us, the whole bloody world is in trouble from Islamic fanatics.)

Gravity: In Space No One Can Hear God Scream

Space Action. A Russian satellite is blown up and its field of debris, moving at thousands of miles an hour, now threatens the lives of three astronauts working on an American space station.

It’s an amazingly simple premise, almost too simple. One would think “How can three slow moving space suits in a vacuum be an interesting action story? For 90 minutes? One could not be more wrong. Within minutes of its opening, this action movie delivers a rollercoaster ride of thrills and excitement that does not stop until the very end frames.

Sandra Bullock plays Ryan Stone, a troubled engineer who is in space for her technical know-how to help fix the computer systems on the American space station. George Clooney is Matt Kowalski, the care-free experienced astronaut who brings a light hearted teasing and probing of Ryan’s unease for a perfect balance of opposites.

Within minutes we discover that the Russian space station has been blown up and its debris field is on its way toward the protagonists. Matt and Ryan barely survive their first encounter with the debris that has turned into miniature missiles devastating everything they hit and incapacitating their return flight space shuttle. But survival isn’t enough because Ryan is now cast adrift into space, and the debris field is orbiting the earth, which means it is set to arrive again in ninety more minutes. Based on their first encounter, you just know there’s no way they can endure another one. Talk about a ticking clock.

So the rest of the movie is just one complication after another that blocks Ryan and Matt from their goal of getting out of there and over to a Chinese space station to find a way home. Raw yet simple good old fashioned action that keeps you on the edge of your seat with some stunning visuals of earth and space that will change your mind about the emotional potential of such a story. (No large spaceships and lasers and explosions and aliens needed to keep you on the edge of your seat. But it still cost 100 million dollars to make, so go figure)

But it is not without an emotional subplot. We soon discover that Ryan is a troubled soul who has resigned her life to misery and found her way to space because it’s one place to be alone and “not be hurt by anyone” down on earth. Evidently, she lost her young daughter to a “stupid” chance accident so simple as hitting her head on the ground and now she doesn’t care about her life. No mention whatsoever is made of a father to the daughter, as if a man does not matter or ever mattered, a glaring deficiency of the human soul of this story. Look even if the guy was a jerk, that would have affected Ryan through pain. But to completely ignore a man is feminist clap trap. Matt, on the contrary, has learned to take his own betrayal by his woman on earth as one of his many silly stories he tells to keep his spirits high and his soul from facing his own loneliness.

SPOILER ALERT: So when forced with the need to survive in the face of impossible odds, Ryan is brought to the point of giving up and wanting to just go to sleep in the coldness of space. To give up her meaningless life. With one last idea of hope, she finds the drive to keep going and make something of her life on earth if she can only get back. Of course, the odds continue to pile up against her all the way to the very end for a truly exciting adventure.

The personal story of Ryan is a helpful metaphor for her to return to a productive life on earth. The vacuum of space becomes the isolated “space” to which we withdraw to protect ourselves from the pain of human hurt or betrayal or loss. Okay, not bad. I like it.

Okay, now I want to admit that after interacting with some others on the next issue, I have changed my mind and have rewritten this post. I had argued that there was no transcendence in this story, but I was wrong. There was, I just missed it. It was very subtle. But it was there. Thanks to those who corrected me!

Ryan’s quest becomes one of mere brute survival that rings with the angst of today’s typical postmodern. So she survives to go back to work with a new appreciation of being alive? So what? As she says herself in the movie, she’s still going to die eventually. She doesn’t really have a higher purpose for her existence in the face of death. What is the significance or meaning to an earthbound existence? The drive for survival wakes us up to how we have squandered our time, wasted our humanity. But that can only have meaning in the face of a higher truth, transcendence, like Oh… maybe God?

There are a couple references to God in this story. One is a moment where Ryan does not pray because she says no one ever taught her how to pray. So she doesn’t. The other is a visual comparison of two images in two different space stations, a Russian icon postcard of the Trinity in the Russian space station and a Buddha (or Confucious?) statue in the Chinese station. But Ryan has no personal interaction with these visuals. They are alien to her and amount to a postmodern relativistic comparison of empty god images.

Come on, REALLY? A woman in despair over her daughter’s death and facing her own meaningless demise and she doesn’t have a single thought about her Maker and the afterlife? She doesn’t utter a single prayer to a god she may have doubts about? She admits that she doesn’t know how to pray because no one taught her how. Instead she utters a prayer to her departed Matt for inspiration. It’s the humanist’s god substitute. They need transcendence so they create their own imaginative substitute to fulfill that inner vacuum because they don’t want to face God.

At the end when she is finally safe on terra firma, she grabs some sand from a beach and looks up and says, “Thank you.” But to whom does she say this? The film is ambiguous. Now, she had been “praying” to Matt the entire previous situation that she got out of up in space, so consistency would dictate that she was saying that to Matt as well. But I do think the filmmaker was ambiguous enough for those who wanted to believe she had found a simple faith to import their desires into the ambiguity. I admit I like ambiguity sometimes. That’s what art does. It doesn’t always answer all questions and leaves room for interpretation on the weightier or more mysterious issues.

I felt that the spiritual gravity of the situation required we know who she was saying thank you to. But I have to admit that the story structure does subtley point to that prayer being to God. Here is why: Ryan’s character arc would dictate that if she began “not praying” to God in the beginning of the story, then it would make more story sense that she ends praying to him because she is changed and is a new person, as are all protagonists in good stories. Maybe she was “praying” to Matt as her human savior in space, but ultimately learns that it is God who saved her after all, and her “thank you” is now to God.

It’s a tough one. Ah, the ravages of ambiguity! And thanks to those who opened my eyes to what I had missed. The movie is better than I first thought it was.

Rush: A Sports Movie About Winning Without Meaning

Based on a true story of the 1970s rivalry between Formula One drivers Niki Lauda and James Hunt. This is a good sports movie in that you don’t need to be a sports fan to appreciate it. It’s about much bigger issues that we all can relate to: The desire for success and accomplishment, the search for meaning and purpose and love.

In its most basic form the story is a competition of two worldviews about life embodied in the main characters. Niki Lauda is a by the numbers techie nerd who gets into race car driving to pursue the winning of discipline and perfection of craft. James Hunt is a womanizing adrenaline junkie who wants to have fun, live fast and die hard. I think that’s what makes this movie so fascinating in one sense. To see these polar opposites in contrast, and both of them equal rivals with strengths and weaknesses.

Along with his proper rules following, Niki also marries one woman and stays with her to the end, while James tries marriage after a string of “lays” only to fail at it because he is so selfish in his obsession and ambition that he cannot give to another. But Niki’s neurotic obsession with details and his emotional detachment because of his intellectualism causes its own trouble in his marriage. When James is asked why all the girls are drawn to race car drivers, is it because of the cars and daringness? He responds, “No. It’s because the closer you are to death, the more alive you are, and the more alive you are, the more desirable you are.” He concludes that man’s nobility is to stare death in the face and risk it all. There is another statement he makes about how there is a something stronger than the will to survive and that is the will to win. In fact, he is even prepared to die by driving in a dangerously rainy race because of his wildness. While Niki is so concerned with safety, says, “To me, that’s losing.” It is all about getting the details right, making the car the best specimen of mechanical perfection and playing safely by the rules to win.

Ironically however, everyone votes to keep the race against Niki’s advice and Niki is the guy who gets in an accident on that rainy day. He gets third degree burns over his body and has a grueling path to physical recovery, only to jump back in the race to try to defeat James. There is even a point where Niki has fallen in love with his wife, but he laments that “Happiness is the enemy. It’s weakness. Because you have something to lose.” His wife says that if he feels that way, then they have already lost. But it is a profound truth that the love of another will bring that kind of value and meaning to life that is absent from those who seek experience and thrills. Why? Because love is sacrifice and sacrifice opposes the self.

And this kind of wraps up for me what was the sad tragedy of this movie about winning.

Here’s why: It is a movie about winning, and about the price you pay to win. It’s got some honest moments and challenges to the obsession of such ambition. But it ultimately does not offer any transcendence. By the end of the movie, both guys have the winning moments and losing moments against each other, both end champions, but it is a very empty achievement to me. There is no transcendence about what really matters in life. Because at the end, a bunch of trophies and historic achievements in sports really contain no lasting meaning. And the two men have ended lonely at the top, without intimacy of true friendship, without what really matters, what really lasts. I am not even asking that they deal with God, although facing death and never thinking about God is truly inauthentic and dishonest storytelling. I am just saying that, you know Jackie Robinson, fought for the respect of black human beings in baseball. (42 was a boring movie, but at least it had transcendence). Rudy was about a young kid touching people’s lives with his determination. Chariots of Fire is about doing sports for a higher purpose, We Are Marshall is about the team spirit and our need for community. Secretariat was about the American spirit of determination and women’s liberation. I could go on with other sports movies that have transcendence that make them rise above mere victories or achievements. But in Rush, Hunt and Lauda just end up alone and James even dies young of a heart attack. For what? For fun? For records that will be overrun and forgotten in the mists of history anyway? There is not even a hint of the transcendence that they lack.

I am not so sure that this emptiness is what Ron Howard was attempting to prove either. I just don’t know for sure. But I do know that the movie left a bad taste in my soul about the obsessive ambition of winning without transcendence in your life. It made winning look empty. Maybe that’s what the intent was, to tell a story where winning is losing. But without pointing to a higher purpose or transcendence, Howard leaves us with a bleak cynical view of life in the midst of shallow victory. In Rush, there is no transcendence offered, and therefore an interesting movie with an unsatisfying ending.

Breaking Bad: Yes, Virginia, there is Original Sin

One of the most offensive truths to modern man is Original Sin. How dare those judgmental Christians say we are all guilty sinners in the hands of an angry God! How dare you call my wonderful mother, who spent her whole life helping people, damned because she doesn’t believe in Jesus! People are basically good, aren’t they? I mean I never killed anyone. We’re not in the Matrix. I’m just an average American chemistry teacher with a family and a special needs kid. I’m not evil. People are basically good.

Yeah, right.

Anyone who’s ever had children knows for a fact that people start as selfish little sinners who have to be corrected and taught over and over again to be good. Why? Because, well, we’re all basically born bad. But of course, humankind is perpetually cunning in suppressing the truth in unrighteousness, so the obvious truth notwithstanding, many people still believe that people are basically good.

Enter, Breaking Bad.

I remember first watching the series years ago. It was a brilliant moral dilemma of a high school chemistry teacher who discovers he has lung cancer and realizes his wife and special needs kid will not be taken care of when he dies. He turns away from joining a high risk small business startup that goes successful and comes to the dread conclusion that the only way he can provide for his family’s future is to do what he does best in a different kind of entrepreneurship, an illegal operation of a meth lab. Since chemistry was his strong suit, he could provide the purest meth ever and build a name for his product — and barrel loads of money for his family, so they will not suffer when he is gone.

This is quality storytelling to set up a scenario where a good guy turns into a villain, and he becomes one through a morally complex dilemma. But it ain’t original. Read Shakespeare. It’s called a tragedy. A lot of gangster movies are this. And that is what BB is, a gangster rise and fall story on the greatness level that exceeds The Godfather.

But the point is to explore what is the flaw in us that, if fed, creates the monster we despise? We can all understand the essentially good motive of wanting to provide for one’s family. Nothing more primal or moral than that. And even if we think the criminality is wrong, we certainly can understand the temptation of being backed into a corner without much of an apparent choice. It forces us to think about our own lives. What would we do? Would we do evil that good may come? Would we love our family so much that we would sell our own soul to the devil in order to save them? These are not inconsequential or superfluous questions. They force us to examine our own morality and ethics. Our own badness.

And the fact that BB has the opportunity to take the time to walk through the step by step process of the decline of a man’s moral sanity only makes it that much more truthful and believable. For me the point of it all is this: Breaking Bad proves that the same evil in murderers, drug dealers and soulless narcissist users is in all of us — all of us. It just needs to be fed to come to fruition. But it’s there inside of us all waiting to break out. Watching BB makes you believe that, yes, any normal good family guy has the ability to make moral compromises that lead him down the path of destruction. After all, murderers aren’t born murderers, and every villain constructs some kind of moral justification to assuage his guilt. Evil does exist, despite the postmodern evil deniers. One man’s terrorist is not another mans’ freedom fighter, he is a terrorist.

And that is Original Sin.

Traditionally, Original Sin is the theological doctrine that Adam, as the “first man,” and therefore federal representative of the human race disobeyed God which broke his spiritual relationship with God and bent his nature to bad. Since all humanity comes from that first Scriptural pair, we all inherit Adam’s badness and the death and consequences of his rebellion.

I am fully aware of all the arguments against this truth. It isn’t fair to blame us for what Adam did, Scientifically, we cannot have come from one pair of human progenitors, how do we inherit a sinful nature, yada yada. It’s all irrelevant. It doesn’t matter where you think it came from, it doesn’t matter what “logical” problems you may have with an existential proposition. Because you see, Original Sin is the one theological truth that is an undeniable empirically observable fact: We are all basically bad. It only takes the right choices to bring that bad out.

Humankind is not basically good. We are basically bad. And all it takes to break that bad out is the right circumstances and the accumulation of certain moral choices. Little decisions lead to bigger ones. Our justification for a little white lie can build to a justification for murder. It’s how our bad nature works. BB incarnates that disturbing and often denied truth about ourselves. And it’s why modern people are completely blinded by their self-righteousness. The denial of our essential badness is the first moral decision that leads us to the destiny of Walter White.

The only difference is that Walt has let it come to fruition. He has broken bad.

Of course, one of the dangers of such studies of the making of a villain is the potential of building a story where we root for the bad guy. That is, we start out sympathetic, and like Walter, we keep watching his story and keep rooting for him by making the same choices in our rooting for him that he made in his actions. But there comes a point where we may watch with moral lesson, but we must turn in our affections or become condemned by our own morbid curiosity.

That moment for me came at the end of the second season, where Walt lets Jesse’s junkie girlfriend die in her own vomit while overdosing because she was going to let the cat out of the bag. At that point he is no longer sympathetic. And in fact, I stopped watching the series because I didn’t want to root for a hero who made such choices.

I came back a year or so later to finish watching because I had made the mistake of not appreciating the power of the tragedy: A moral lesson of what NOT to be, of how NOT to behave, because of where it leads.

This would have been a picture glorifying evil had it not been for the existence of Jesse, his drug addict, slacker helper, who has risen to become the counterpoint to Walt. Jesse becomes the villain, whose conscience is awakened to his own depravity by seeing the evil consequences of Walt’s choices and realizing he is just as guilty. By the end of the series, Jesse has become despairing of life itself and throws away the proceeds of their dirty deeds because it has become blood money to him. He even helps the feds to try to nail Walt.

As Walt descends, Jesse ascends, and struggles with true moral guilt. One particularly poignant aspect of the series that shows the modern humanistic denial of evil is in Jesse’s Narcotics Anonymous group. We see them going through the standard humanistic memes of “no judging” and making everyone feeling accepted and denying their guilt and claiming victim status. At one point Jesse finally gets sick of it all and condemns the leader of the group by saying that if we shouldn’t judge, then we’re saying nothing is wrong, but they should judge things that are wrong, or we are deceiving ourselves and perpetuating our own badness. It’s really quite a brilliant exposition of the essential delusion of humanistic psychiatric notions of relative morality and our culture of denial. We are not victims of our moral behavior, we are responsible, and judgment provides the dignity and value to our humanity because it affirms that we have the ability to choose other. It is precisely our moral culpability that gives us true value. Otherwise we are of no more value than rocks.

Vince Gilligan, the creator of the series has revealed this very questioning in his own life when he says. “I’m pretty much agnostic at this point in my life. But I find atheism just as hard to get my head around as I find fundamental Christianity. Because if there is no such thing as cosmic justice, what is the point of being good? That’s the one thing that no one has ever explained to me. Why shouldn’t I go rob a bank, especially if I’m smart enough to get away with it? What’s stopping me?” (NYT)

And this is another moral repercussion of the tragic decline of a hero into a villain. We as viewers are certainly fascinated by the moral complications and ramifications of bad choices that are made for good reasons. After all, this “ends justifies the means” thinking dominates our culture from public education indoctrination to the attack on businesses in the name of “income disparity” to the persecution of political enemies through the use of the IRS and mainstream news media political lies. No villain sees himself as a villain. They always have a rationalization for why they do evil. “To help my family,” “to level the playing field,” “to right past wrongs,” “social justice,” “because the ‘other’ is racist, sexist, bigot homophobes, Islamaphobes.” The irony is that if we the viewer continue to secretly harbor a rooting for the “villain-as-hero” because, after all, the others around them are worse villains, then we viewers are indicted by our own badness.

This is why the consequences of behavior in a story is critically important to its moral worldview.

Which brings us to another aspect of the denial of our badness, another theme of the series: Actions have consequences. But not in some kind of philosophical blathering. Rather, our moral choices in life are not secluded to our own freedom, as if morality is relative and we can construct our own morals for our own purposes as many will say. Morality is not relative. All our moral choices ultimately have effects and ramifications that effect other people. We do not exist as authorities of our own moral decisions in a free universe. We are accountable for everything we say and do.

This is born out in a dozen little ways of how it affects and destroys Walt’s wife as she becomes complicit and how it ends in deaths of Walt’s loved ones. But more powerfully we see early in the series of how Walt’s allowance of that girlfriend to die in her own vomit, leads to the despair of her father, who is an air traffic controller, who then does poorly at his job because of his suffering, which leads to a plane crash and hundreds of innocent people dead. Unfortunately God is not a part of this storyline, but the notion of our interconnectedness still rings true in this and many other ways, of lives destroyed because of Walt’s choices.

Moral relativity is a lie. We do not “choose” our morality in vacuums of our own freedom and autonomy. All our choices are part of an interconnectedness with humanity that does end up hurting others. We are accountable to moral absolutes.

For all you humanists, that means THERE ARE NO VICTIMLESS CRIMES. Or for that matter, THERE ARE NO VICTIMLESS MORAL CHOICES. This could be one of the most powerful moral themes in all of television. We are guilty for what we do. And our sins will find us out.

Let’s just hope that the finale proves this moral truth that it has reinforced throughout the series.

END OF THE SERIES: SPOILER ALERT

Okay, so I saw the series finale and I have to say it was not very impressive. On the one hand, it was somewhat morally appropriate in that Walt does die. That tragic anti-hero must pay the price for his sins that ruined so many lives. Walt ultimately dies by his own hand, when he takes a bullet from the rifle he set up to automatically shoot up the bad guys at the end. Okay, this is poetic justice because one of the ongoing moral themes of the series was that Walt’s choices were moral choices that did not merely affect him but also hurt the lives of others. So it is appropriate that he falls victim to his own actions as well. And he does end up getting his revenge against the gang of very evil men and one woman who betrayed him and killed Walt’s brother in law Hank. With that there is some emotional satisfaction in the most evil not getting away with their dirty deeds. And Jesse, the junkie turned partner who awakened to his moral conscience and even turned to help the DEA did get away from the bad guys at the end, which satisfies those who want moral conscience rewarded.

On the other hand, Walt’s death was quite calm and morally unsatisfying for the evil he had become. Let me explain. Movie snobs and other cynics will not like what I am about to say, but it’s the truth when it comes to storytelling.

There is a reason why it is a cliché in so many movies of having the villain often fall to his death from a very great height, or be obliterated in a very extreme fashion (like blown to bits or crushed or burnt on fire or the like). That reason is that those gruesome endings are what give us emotional satisfaction of the punishment fitting the crime. I am not saying legal reality here, I am saying emotional and moral reality for the viewer. Falling from a great height is the perfect universal metaphor for the essence of sin and the fall of humanity into evil. And that satisfies us on a primal spiritual level like nothing else can. I am not saying Walt should have fallen off a cliff, but I am simply explaining that his moral evil was so deep that even though we struggled with our conflicted feelings of rooting for him against the bad guys, but then admitting that he deserves to die for the evil he had wrought, we should in the end be slapped in the face by the moral spiritual truth of the depth of Walt’s guilt.

This, Breaking Bad’s finale did not do, and was thus an unsatisfying cynical compromise. Walt’s soft slipping into unconsciousness without drama is an anticlimactic unsatisfying way to express the moral guilt he had or the spiritual punishment he required. It needed to be extreme, jarring, something that would wake us all up from the delusion of any sympathy we may have had for this man turned into monster. It needed to reinforce the moral drive of the entire series that actions have consequences. To misquote a famous saying, with much evil comes much responsibility and therefore much stronger consequences.

And don’t give me the nihilistic claims of “realism” as if Breaking Bad is about reality (You know, bad people get away in the real world, justice isn’t always achieved etc.). BB is not reality, it was a moral fable, and as a moral fable it should have ended with the same moral wisdom that the series was built on. Instead, it whimpered out with a half-assed humanistic compromise by making Walt die, but peacefully after getting his revenge.

And that is the biggest moral problem of all. Yes, Walt loses what is most dear to him, his family, because of his criminal obsession with providing for family. And yes, there is a kind of acceptance of his just dessert when he allows Jesse the opportunity to kill him. He saves Jesse from the final shootout. But Walt still kind of wins as well. After ruining his family’s lives, getting many innocent people killed, including his brother in law, Walt’s overarching goal was to provide for his family with his blood money. And even though his son rejects it, he sets it up through criminal intimidation to have a trust fund made for his son. So he does get his money to his family in the end. He outsmarts everyone, is able to achieve his goal of revenge, and getting his money to his son before he died, and he was going to die from the cancer anyway, so Walt dies a peaceful death having basically achieved his goal of providing for his family and cheated death. Something we should not be rooting for. A less than satisfying ending for me.

But I want to end on a positive note. One qualification to my nit picking here is that at the end, Walt finally does admit that his obsessive motive for the entire series of engaging in crime to provide “for my family” was in fact not for his family but for himself. And that is the human pride of original sin. The underlying darkness to the façade of criminals’ and gangsters’ devotion to family is that it is ultimately pride that drives the human heart into the rationalization for each little moral compromise that ends in the evil we are so offended at being accused of but are in fact guilty of having in our own hearts.

We are Breaking Bad.