As usual, I read the film’s blurb. Thelma had psychokinetic powers, and I wondered how it would play out. 🤔
It’s difficult to beat Stephen King. He’s usually got this kind of stuff covered. Wide-eyed actress Sissy Spacek portrayed Carrie White, in Carrie. Like Thelma, ultra-religious and sex was a flammable combination. The setting of Carrie’s story is primarily in the fictional town of Chamberlain, Maine. By the end of the seventies, we all knew how it played out with the bucket of blood on prom night, spilled by John Travolta. I often wonder what happened to that supporting actor in a minor role? King, of course, was King. But even he couldn’t imagine sitting at his writing desk, a gun nut killing folk indiscriminately in his hometown. It wasn’t even a horror story. Just another story. The irony here was that any talk of gun control lead to a spike in the sale of weapons. 🔪🩸
Thelma offers a queer coming-of-age story with a difference, because it’s set in Norway and they don’t have buckets of blood. But they have nice scenery. The film’s eerie and ethereal score (composed by Ola Fløttum) enhances its immersive and atmospheric qualities, drawing viewers deeper into her shapeshifting world. The film begins and ends with a bird’s eye view of normal life in which corvines are harbingers of change. Thelma even spits up one. 🦅🌿
Thelma leaves her strictly religious family to study at a university in Oslo. It’s a lonely existence. The first person to touch her is Anja (Kaya Wilkins) after she picks Thelma off the floor in the college library. Thelma experiences a psychogenic non-epileptic seizure (PNES). 💔
Whenever Thelma has a seizure, the world moves in unexpected directions, most of which is backstory. 🌀
Their relationship becomes a central focus of the film, exploring themes of love, desire, and self-discovery in the face of parental gatekeeping. A different kind of Carrie-ing and caring. 💕👩❤️💋👩
📚 Introducing “Beastie” by Jack O’Donnell: Unleash the Magic with Alexa! 📚
How to make your phone work for you.
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In “Beastie,” you’ll meet…guys you’ve met in the street.
So, what are you waiting for, friends? Let’s embark on this amazing adventure together with “Beastie” and author Jack O’Donnell! 🌈 Let’s make some literary magic happen! 🎇
Ben is Back is a terrible title but not a terrible film, the kind that usually ends up on BBC 3, and doesn’t make the cut for BBC 1, BBC 2, or even (my favourite) BBC 4. Written and directed by Peter Hedges, you don’t really need to watch the film, just listen to Jelly Roll’s Save Me (https://www.youtube.com/watch?v=_mhO7MwAaCc).
‘Somebody save me, me from myself/I’ve spent so long living in hell.’
Writer and director Peter Hedge is addressing the OxyContin epidemic that made the Sackler family, already enormously rich, billionaires many times over. Ben is Back is set in a suburban town in upstate New York, providing a backdrop that reflects the challenges faced by most communities across the United States grappling with the opiate epidemic and rising number of deaths (currently running at 800 000).
Pretty Woman Julie Roberts must be on drugs too. Holly Burns (Julia Roberts) doesn’t seem to age. She plays the feisty mother of Ben is Back (Burns, Lucas Hedges), who, like the prodigal son, had returned home for Christmas. Holly is coming back from a rehearsal for a Christmas service with her children from her first and second marriage.
Holly embraces Ben, but tells him he can’t stay. He needs to go back to rehab. We know this won’t happen, of course, or there’d be no film.
We also know where the scriptwriter places blame for Ben’s addiction. In a scene in a shopping centre, Dr. Crane (Jack Davidson), the physician who originally prescribed painkillers for Ben is sitting with his wife. He is confused and obviously suffering from dementia. Dr. Crane’s wife (Kristin Griffith) looks for help as she wants to go for a drink, but can’t leave her husband sitting alone.
Molly and Ben are sitting at a nearby table. She steps in and offers to sit with their family physician. She asks if he remembers her son, Ben. Of course, he doesn’t. She already knows that, but she’s not for letting him off. She reminds him of a sport’s injury he picked up when he was fourteen. And how Dr.Crane gave him Oxys. Reassured her they were nonaddictive, and she didn’t need to worry while continually upping the dosage. Molly tells him he hopes he rots in hell. But we know he won’t.
She’s already in hell. It’s up to her not only to forgive the prodigal son, but to save him. Give yourself another blast of Jelly Roll, Save Me
The game should have been gone for Ross County after sixty seconds. Alistair Johnston’s shot deflected and squirming over the line. It’s not often Celtic are booed off the pitch after winning.
The hunt for a regular Celtic penalty taker goes on, after Callum McGregor was fouled inside the box. Simon Murray should have been booked, not because of his tackle but the afters and mouthing. Luis Palma stepped up not once, but twice to miss from the penalty spot in the same way. For a few seconds it looked as if he might even be given a third chance. Wickens, the Ross County keeper’s foot, had to be judged by VAR to be on the line. That would have kicked off countless conspiracy theories. But even I was glad it wasn’t given.
Liel Abada had looked lively down the left. He’s whipped in a few balls that seemed to be either in front of Kyogo or behind him. Bernardo looked to have missed a relatively easy chance when the ball bounced to him close to the penalty spot, but the major scare was Joe Hart flapping and Nightingale somehow contriving to hit the bar from almost underneath the bar.
O’Riley, Celtic’s player of the season so far, also was a worry. He went down injured midway through the first-half. But came back on and played the 94 minutes.
Celtic almost mirrored their first-half start. Johnston almost netting a double at the beginning of the second-half (don’t ask me the odds on that, it would thousands-to-one) but the ball fell to McGregor. But he couldn’t get his shot away.
O’Riley had a vicious cross-cum shot that might have sneaked in at the back post. Cameron Carter-Vickers had a header from a corner saved by Wickes, before he was replaced by Maik Nawrocki. But it was Nicolas Kuhn for Palma we were waiting for. The Rapid Vienna signing then switched to the right wing, when Mikey Johnstone came on for Palma. It’s difficult to judge Kuhn on the little time he had on the pitch (but, of course, I’m going to anyway). I think we can tell he’s not a dribbler. Which I think is disappointing. I understand he’s got pace, but with a packed defence, we’ll need to wait and see him opening up.
Jordan White came on for Simon Murray. Ross County had presented a threat. But like most Scottish teams, the left wing is where long balls are aimed. Bernarbei seems a good enough wee player if he could defend. He can’t. Taylor is injured after having an up-and-down-season. It seems obvious this is an area of the pitch that should be addressed. Rant over.
Celtic dominated possession as they had in the first-half. Kyogo got fouled on the edge of the box. He tried to grab the ball and take the free kick, in a game in which he was largely anonymous, but O’Riley took it and bent it past the post.
That’s when we start getting nervous. Often for good reason. Long balls into the box too often haunt us after the game is over. White had a chance to equalise, but Joe Hart made the save. Ross County had another chance in extra-time of extra-time and that would have been two points dropped.
Celtic were unconvincing. We have lots on games coming up in February. Next week, at Pittodrie, kicking off the run-in. Our strength is in our slick passing and superior players. Our weakness is in being bullied from long balls, corners and free kicks, particularly down the left. Sort it.
I’d a bit of a problem with my computer. So I apologise for not replying sooner to any queries or to thank you for buying my book. And sharing links. That is so important because it affects the algorithms. As we know they rule the world and we just do the sweeping up for Mark Zuckerberg, Jeff Bezos and his ilk (but don’t tell them I said that).
🏴 Robert Burns: Scotland’s Poetic Genius 🌹
I talked to Avä Whyte a journalist on the Clydebank Post about my book. Haggis and Burns supper day. You can let me know if read anything about the book in our local paper.
Beastie. The title of the book comes from To a Mouse, perhaps Burns’ best-known poem. Supposedly written, November 1785, after ploughing a field. And no, I wasn’t there. I’m not that old.
The poet’s address is to a mouse. In my book, Beastie (link below), it’s a teenager, Chaz Sweeney’s victims.
Both To a Mouse and Beastie get up close and personal. Tell us about the unreliability of the world. A field in Ayrshire—around Dumfries—was Burns’ stomping ground. We find the cruel coulter of history, which ploughs and seeds, closer to home in a place we know well, Dalmuir.
Madness and storm which blow across heath and fields in King Lear. Burns firmly planted his feet in Scottish soil, in what W. B. Yeats called the ‘desolation of reality’. Scotland’s bard employs not the language of dread, but the tenderness of common speech to invoke warmth and fellow feeling for our fellow animal. Indeed, envy and mourning of lost innocence in a way that reminds us of our own childhood, when a wee boy or lassies rips off Christmas paper.
A shared joy: ‘The present only toucheth thee’.
Do me a wee favour and share the joy—and share this post. It doesn’t matter if you’ve done it before. It helps me reach out in a way I’m not capable alone. In a way we’re not capable alone in blasted heath or Scottish field.
I’ve read a few of Sarah Walter’s books, but, as usual, with holes in my memories, I can’t remember much about them. Her other books and translation to screen include Tipping the Velvet (1998), Affinity (1999), and Fingersmith (2002). I haven’t read Affinity. Waters is celebrated for her ability to weave intricate tales and set against historical backdrops which was part of her Ph.D. studies. She explores themes of identity, lesbian desire, and societal norms. The Little Stranger was on my reading list. Watching the film brought much of what I’d forgotten back again. Both were (and are) terrific.
Notes.
Gothic fiction is a literary genre known for its elements of mystery, horror, and the supernatural. Anything with Dracula, Frankenstein, or Werewolves is based on Gothic fiction conventions. It often features gloomy settings, eerie atmospheres, and melodramatic narratives. Originally, it was regarded as novels for middle-class women, while books such as Wilkie Collins, The Woman in White, were regarded as more suitable for men. Key components include haunted mansions, unexplainable occurrences, and heightened emotions, creating an unsettling and mysterious ambiance.
In The Little Stranger, Sarah Waters uses Gothic fiction as a framework while departing from traditional features.
Ambiguous Supernatural Elements:
Traditional Gothic: Gothic fiction commonly embraces supernatural elements without resolution. Ghosts and paranormal occurrences are left unexplained, heightening the sense of mystery.
Waters’ Departure: Waters introduces supernatural elements but takes a departure by providing alternative explanations. The ambiguity challenges the reader’s perception, blurring the line between the supernatural and psychological.
Psychological Complexity:
Traditional Gothic: Characters in Gothic fiction often embody archetypes, with their motivations and actions reflecting broader themes. The psychological depth of characters is sometimes sacrificed for the sake of the overarching atmosphere.
Waters’ Departure: Waters delves into psychological complexity, intricately crafting characters like Dr. Faraday with nuanced motivations and internal struggles. The haunted mansion, Hundreds Hall, becomes a stage for exploring the characters’ psyches, intertwining the supernatural with intricate human emotions.
Social Realism and Historical Context:
Traditional Gothic: While Gothic fiction typically explores societal anxieties, it often does so in allegorical or fantastical settings, detached from specific historical realities.
Waters’ Departure: Waters grounds her narrative in post-war England, infusing The Little Stranger with elements of social realism. The class tensions and societal shifts mirror the historical context, providing a nuanced layer that departs from the conventional Gothic landscape.
Narrative Unreliability:
Traditional Gothic: Gothic narratives may incorporate unreliable narrators, contributing to the sense of mystery and suspense.
Waters’ Departure: Waters goes beyond a traditional unreliable narrator by crafting a narrative that questions the sanity of Dr. Faraday. The unreliability extends to the readers, inviting them to critically examine the events and the narrator’s interpretations.
The Little Stranger demonstrates Sarah Waters’ navigation of Gothic fiction while departing from certain conventions. Her infusion of psychological complexity, historical grounding, and narrative ambiguity challenges the boundaries of the genre. Waters’ departure from traditional Gothic elements enriches the narrative, offering readers a blend of supernatural intrigue and nuanced character exploration.
Class Differences
While The Little Stranger by Sarah Waters contains Gothic elements, it distinctly places class differences at the forefront of its narrative. Here are several ways in which the novel is more dependent on class distinctions than traditional Gothic fiction:
Setting as a Symbol of Decline:
Class Emphasis: The decay of Hundreds Hall, the central setting, mirrors the decline of the Ayres family’s social status. The mansion becomes a potent symbol of the aristocratic class losing its former glory. Clearly shown by the house party Dr. Gleason attended when a boy and the current state of the house and grounds. But also by Roderick Ayres’s outbursts about death taxes and Dr. Gleason being one of them.
Economic Struggles:
Class Emphasis: The Ayres family’s economic struggles contribute significantly to the narrative. The declining financial status of the family forces them to make compromises and adaptations, emphasizing the impact of class on their lives.
Servant-Employer Dynamics:
Class Emphasis: The interactions between the Ayres family and their servants highlight the rigid class distinctions of the time. The employment relationship is steeped in traditional hierarchies, illustrating the challenges and tensions arising from class differences.
Dr. Faraday’s Ambitions:
Class Emphasis: Dr. Faraday, though a central character, is from a lower social class. His aspirations to rise above his station are palpable throughout the novel. The narrative explores the complexities and challenges of upward mobility, highlighting the pervasive impact of class on individual destinies.
Tensions and Resentments:
Class Emphasis: Tensions between the Ayres family and the local community underscore the social disparities. The resentment and disapproval from the community towards the declining aristocracy exemplify the palpable class divisions in post-war England.
Haunted by the Past:
Class Emphasis: The ghostly occurrences in Hundreds Hall can be interpreted as manifestations of the haunting effects of the past, including the class system. The Ayres family is haunted not only by supernatural entities but also by the ghost of their former status and wealth. Shown dramatically by the mauling of the parvenu American’s little girl.
Narrative Lens and Perceptions:
Class Emphasis: Dr. Faraday’s narrative perspective is shaped by his class background, influencing his perceptions of the Ayres family. His observations and judgments often reflect the societal attitudes prevalent during the era, providing insight into the impact of class on interpersonal dynamics.
Post-War Social Changes:
Class Emphasis: The novel is set against the backdrop of post-war England, a period marked by social shifts. The exploration of class differences becomes a lens through which Waters examines the changing landscape and challenges faced by the aristocracy.
In The Little Stranger, class differences transcend mere background elements and become integral to the narrative’s fabric. The novel navigates the intricacies of a society in flux, where the rigid class structures of the past collide with the realities of a changing world.
Confirmation Bias Unveiled:
Confirmation bias, a cognitive phenomenon, occurs when individuals selectively seek, interpret, and remember information that aligns with their pre-existing beliefs. This psychological tendency often leads to the reinforcement of existing opinions, ignoring contradictory evidence.
Modern Case Studies:
Social Media Echo Chambers: In the age of social media, confirmation bias thrives within echo chambers. Individuals follow, engage with, and consume content that reaffirms their existing views. This insular digital environment intensifies confirmation bias, limiting exposure to diverse perspectives.
Political Polarisation: Confirmation bias is clearly shown in political discourse, where individuals gravitate towards news sources that align with their political ideologies. (See for example the moron’s moron Donald Trump and his cult followers.) This selective exposure reinforces existing beliefs and contributes to the widening gap between opposing viewpoints.
Health and Wellness Trends: In the realm of health and wellness, confirmation bias can influence choices related to diets, alternative therapies, or lifestyle changes. People often seek information that supports their desired outcome, overlooking contradictory evidence and potentially compromising their well-being.
Confirmation Bias and Hauntings: Interpreting the Supernatural:
The Little Stranger explores the psychological toll of haunting experiences on the Ayres family and the possible effects of post-traumatic-stress disorder (which didn’t exist then). Dr. Faraday’s interactions with the family unfold against the backdrop of Hundreds Hall’s mysterious occurrences. Confirmation bias, in this context, mirrors the characters’ tendency to interpret events through the lens of their preconceived beliefs.
Psychological Tensions and Beliefs:
As the Ayres family grapples with supernatural phenomena, confirmation bias plays a role in shaping their perceptions. Each family member’s unique beliefs and traumas contribute to the unfolding narrative. The film masterfully intertwines psychological tensions with supernatural elements, blurring the lines between reality and perception.
Audience’s Lens:
For the viewer (or reader), confirmation bias can influence the interpretation of the film (or book). Viewers lean towards explanations that align with their preconceived notions about hauntings or the psychological thriller genre. The haunting at Hundreds Hall becomes a canvas onto which individual beliefs and biases are projected.
The Little Stranger offers an exploration of confirmation bias within the context of hauntings. The characters’ interpretations, shaped by their personal histories, resonate with the broader theme of how biases can influence our understanding of the supernatural. The film challenges us to question our biases and confront our shadow self within the narrative. A reminder, the true ghosts are the ones we bring with us.
Poetry frightens me a bit. It’s just so complicated. But when you get it right, as Bex Hainsworth had done in Walrussey, it sounds simple. Like many of the writers of poetry on ABCtales—where her pseudonym was Mistaken Magic—she got ‘cherried’. A poem being especially worthy of attention. She followed the usual route of Poem of the week. Nobody really cares about that stuff, but it’s nice at the time. A little fill-up before going back to normal life.
Her collection of 28 published poems makes her very special because the paradox for poets—more than prose writers—is nobody publishes poetry and even if they do, they don’t publish your poetry. ‘An Octopus Picks Litter at the End of the World’ has been nominated for the Pushcart Prize by her publisher, The Black Cat Poetry Press is Unmistaken Magic indeed.
Ghosting
An iceberg of green netting floats
in the open ocean. Unmelting, its ropes
sway like a jellyfish tendrils, a forest
of hardened kelp. A swell lifts
the decaying veil, then drops it again,
a terrible shroud
A spinner dolphin hangs
in suspended animation,
eye black as mussels’ shells,
fins holding up knotted chain,
Marley’s ghost, snared harbinger
The web reaches sandwards
to where it is anchored by lobster cages
piled like sunken aviaries, their yellow lichen
glinting with the hidden light of fool’s gold.
Abandoned crab traps are still making a catch,
set by long-dead fishermen whose boats rust in the bay.
Summoned by curiosity, they crawl over the coins of shells,
the burial grounds of their brothers. A chorus of ghostly-clacking
goes unheeded. They do not turn back.
A sea swirls through the blue murk,
considers an easy snack, but can sense death
it does not bring, fears the noose, the macbre collage:
A turtle shell weighing down the gauze like a cannon ball,
a hammerhead who came to scavenge, but spring the trap.
They are caught, collateral, an afterthought.
I don’t have any great difficulty reviewing novels or films or things I’ve seen but when it comes to poetry I’m often wordsmacked. A necessary caution. Because I may suggest Mistaken Magic said and meant this or that, only to be ejected from meaning like the wrong cartridge on a film you never watched, but thought you had. But I’ll plunge in.
Oceans and Welsh Sea are ephemeral and eternal. Even in the bath, ‘Considering the Selkie’ there’s a baptism. The awful truth washes up, tasting of seawater. That man is the planet killer. Even the long-dead fishermen play their part.
‘Marley’s ghost’ and nature’s. Ekphrasis, derived from the Greek words ‘ek,’ meaning out, and ‘phrasis,’ meaning speak, is a literary form that vividly describes visual art, transcending the boundaries between the written and visual realms. Earth and Water. Fire and Air. An ekphratick picture of an ecological disaster, exploring the metamorphosis of man-made objects into organic forms. Nets transform into an ‘iceberg,’ and hardened kelp becomes a ‘forest,’ highlighting the impact of human activity on the natural world.
Free-verse. Lines vary in length. There’s no lack as in water. Non- rigid rhyme or meter allows for a natural flow. It allows watery language space to be. A sense of organic movement. The tidal ebb and flow. The enjambment, or the continuation of a sentence without a pause beyond the end of a line, is clear in several places. For example, ‘sway like a jellyfish tendrils’ carries meaning seamlessly into the next line, creating a sense of time on hold but moving like our thoughts.
Her poetry adopts a free verse structure, and its lines vary in length. This lack of a rigid rhyme or meter allows for a natural flow, giving the language a sense of organic movement, akin to the ebb and flow of the ocean. The enjambment, or the continuation of a sentence without a pause beyond the end of a line, is evident in several places. For example, ‘sway like a jellyfish tendrils’ carries the thought seamlessly into the next line, creating a heightened sense of continuity and meaning.
While Mistaken Magic’s poetry lacks a regular meter, it does possess a rhythmic quality derived from the repetition of sounds and the choice of words. The ‘s’ sounds in ‘sway,’ ‘jellyfish,’ and ‘tendrils’ create a soft, flowing rhythm, evoking the gentle movement of the underwater scene. The rhythmic pattern also shifts with the introduction of harsher sounds like ‘clacking,’ contributing to a tonal contrast.
Her poetry juxtaposes contrasting elements to deepen its meaning:
The imagery of the ‘iceberg of green netting’ juxtaposed with the natural elements of the ocean creates a powerful contrast. This interplay suggests the impact of human intervention on the marine environment, with the synthetic ‘netting’ disrupting the organic beauty of the sea.
The juxtaposition of the ‘spinner dolphin’ in ‘suspended animation’ with the description of a ‘terrible shroud’ creates viscerally a theme in her poetry, a contrast between life and decay. The image of the dolphin, typically associated with vitality is juxtaposed with the decay of the underwater world, drawing attention to man’s environmental murder of our water and seas.
The poem weaves a tapestry of movement and stillness. The jellyfish ‘sway’of tendrils and the ‘lifts’ and ‘drops’ of the ocean’s swell create poetic motion. Contrasting the ‘suspended animation’ of the spinner dolphin and the description of abandoned objects evokes a stillness, highlights the fragility of our underwater ecosystem, and how we’re destroying them.
A nuanced line structure adds rhythmic qualities and creates the net of deliberate juxtaposition of contrasting elements. ‘An iceberg of green netting floats…’ encapsulates the delicate balance and intricate complexities of the underwater world. The wordplay of language, imagery, and contrast serves to deepen our engagement with the environmental themes explored in the poem. The absence of a rigid structure allows for a more fluid and immersive experience, echoing the ever-changing nature of the marine environment the poem in her collection seeks to portray. Read on.
Patrick Radden Keefe is an award-winning author of Empire of Pain. Before I read his book I hadn’t heard of the billionaire Sackler family and how they created an opioid addiction factory (Purdue Pharmacy) that killed tens of thousands and made them obscenely wealthy. I had, however, heard of the moron’s moron and former President Donald J.Trump. I’m a Trump watcher. It baffles me that 74 million Americans voted for him in 2020. And it frightens me that he’s got a fifty-fifty chance of beating Joe Biden in the November election this year. Trump isn’t just a threat to American democracy but an existential threat to the world. He’s a human apocalypse waiting to happen.
Patrick Radden Keefe offers an account of Trump before he became Trump. The key to the lock when we look back on our assumptions that the moron’s moron isn’t evil, or in other words, when Donald was just Donald, a second-class grafter.
Winning an article written in 2019 presents as evidence how a former Glaswegian, British paratrooper, Mark Burnett, created the moron’s moron as future President. It’s 2002. Burnett, a marginal figure in Hollywood, hires Wollman Rink in Central Park. He was using it for the live broadcast of his franchise Survivor. The property was leased to Donald Trump. Anyone that knew Donald Trump at that time knew he would turn up to a stamp-licking competition if there were cameras. He sat in the front row with his then girlfriend, Melania Knauss.
Burnett later suggested he knew how to read a room. He knew how to read Trump. Listen to how he flatters him. He said, ‘I need to show respect to Mr Trump. Welcome, everybody to Wollman skating rink. The Trump Wollman skating rink is a fine facility built by Mr. Donald Trump. Thank you, Mr. Trump. Because the Trump Wollman skating rink is the place we are tonight and we love being at the Trump Wollman skating rink. Mr.Trump, Trump, Trump, Trump.’
No great surprise that shaking hands with Burnett, Trump called him ‘a genius’ for recognising his genius.
Trump was already the genius that has written Art of the Deal. Only he hadn’t. Tony Schwarz wrote the book, which he regretted. Not because it was a bad book but Trump claimed it as his own. He rather grandiosely condemned Trump ‘as the monster I helped create’.
Schwartz was a bit player. Burnett tells a story of how he courted Trump by flattering him and telling the moron’s moron how he’d changed his life. Trump liked to tell the story of how he created the idea for The Apprentice. Burnett, unlike Schwartz, never contradicted the moron’s moron.
For each show they shot over 300 hours of footage, but used less than an hour. Much of it focussed on Trump. Burnett liked to say of reality television, ‘You don’t make anything up. But you accentuate things…’ Things like Trump claiming he’d created the show’s theme phrase, ‘You’re fired’.
Trump, despite being the focus of the show, came unprepared the supposed series of business challenges the competitors had to compete. The moron’s moron—as was show at his Presidential briefings—had little idea which competitors performed well or badly. Sometimes a competitor performed well. Only for Trump to fire him on a whim. Since he was never wrong, editors had to go through hundreds of hours of footage to find a few moments when the best candidate had not been at his or her best.
‘Reverse engineering’ wasn’t possible in the White House on in meetings with world leaders.
None of those who worked with him on The Apprentice voted for the moron’s moron in the 2016 election.
Braun, an editor on the show, suggested.
The Apprentice portrayed Trump not as a sleezy hustler who huddled with local mobsters, but as a plutocrat with impeccable business instincts and unparalleled wealth—a titan who always seemed to be climbing out of helicopters or into limousines. “Most of us knew he was a fake. He had just gone through how many bankruptcies. But we made him out to the most important person in the world. It was like making the court jester the king.’
It seems incredible to believe the court jester, the spreader of hatred and lies, was the 45th American President. Read the runes and weep. He might be the 47th.
Notes.
The relationship between Trump, Rupert Murdoch, and Fox News undeniably played a substantial role in shaping the political landscape of the 2016 election. While it provided the moron’s moron with a powerful platform and a direct line to a key demographic, its impact must be understood within the broader context of a changing media landscape and the complex factors that influenced voters during that transformative election year.
1. Polarization and Echo Chambers:
Against: Critics argue that the Trump-Fox News alliance contributed to the polarisation of media and politics. The echo chamber effect limited exposure to diverse perspectives, reinforcing existing beliefs among Fox News viewers.
2. Blurring of Journalism and Advocacy:
Against: Some view the close relationship between Trump, Murdoch, and Fox News as emblematic of a broader trend where journalism becomes intertwined with political advocacy. This blurring of lines raises concerns about media objectivity and bias which the moron’s moron weaponised as us and them.
The phrase “Make America Great Again” used by President Ronald Reagan (often abbreviated as MAGA) was popularised by Donald Trump during his 2016 presidential campaign. It became his campaign slogan and a central theme of his candidacy. While the exact origin of the phrase may not be directly attributed to Trump himself, he and his campaign team embraced and popularised it as a rallying cry for his supporters.
Key Points:
Usage by Trump:
Trump first used the slogan during his campaign announcement speech on June 16, 2015. The phrase encapsulated his promise to address what he saw as challenges facing the United States and to restore what he perceived as the country’s former greatness.
Rejoinders and Criticisms:
“America Was Never Great”: A rejoinder to MAGA emerged with the phrase “America Was Never Great.” This counter-slogan was used by some individuals and groups critical of Trump’s campaign slogan. It aimed to highlight historical and ongoing issues such as systemic inequalities and injustices.
“Make America Hate Again”: Critics of Trump and his policies, particularly regarding immigration and racial issues, adapted the slogan to “Make America Hate Again.” This modification sought to emphasize concerns about divisive rhetoric and policies that some felt fueled hatred or discrimination.
“Make America Smart Again”: This rejoinder was used by those who opposed Trump’s policies, particularly on issues related to science, climate change, and environmental policies. It implied that Trump’s approach was not aligned with a vision of a scientifically informed America.
Purpose of Rejoinders:
The rejoinders aimed to critique and challenge the narrative put forth by Trump’s campaign slogan. They reflected different perspectives on the country’s history, current challenges, and the impact of Trump’s proposed policies.
These counter-slogans were often employed by individuals and groups advocating for social justice, equality, environmental responsibility, and a more inclusive vision of America.
3. Criticism of Softball Interviews:
Against: Trump’s frequent appearances on Fox News were not without controversy. Some critics argue that the network provided him with a platform for softball interviews, avoiding tough questioning and substantive policy discussions.
Arguments For the Influence:
1. Shaping the Conservative Narrative:
For: Trump’s relationship with Fox News allowed him to shape the conservative narrative, framing issues and events in a way that resonated with a significant portion of the white electorate and make them feel under threat and unappreciated.
2. Mobilizing the Base:
For: The supportive coverage on Fox News contributed to mobilising the conservative base. Trump’s messaging, amplified through the network, energised voters who felt represented in the media discourse.
Arguments Against the Influence:
1. Broader Media Landscape:
Against: Critics argue that the influence of Fox News, while significant, is part of a larger media landscape. Other factors, including social media, traditional news outlets, and grassroots movements, also played crucial roles.
2. Economic Anxiety and Populism:
Against: Some contend that Trump’s appeal went beyond media alliances. Economic anxiety, populism, and a sense of disenfranchisement were significant factors that contributed to his electoral success.
Allegations of foreign interference will forever mark the 2016 U.S. presidential election, particularly through social media platforms. Central to these allegations were claims of Russian “bot” factories orchestrating disinformation campaigns to influence American voters.
Links and Tactics:
The Internet Research Agency (IRA), a Russian troll farm, stood at the centre of accusations regarding social media interference. Operating “bot” factories, the IRA was accused of creating fake accounts, disseminating divisive content, and organising events on platforms like Facebook to sow discord among American voters. Pro-Trump social media posts flooded newsfeeds, exploiting existing political divisions and amplifying controversial issues.
Mark Zuckerberg’s Initial Denial and Subsequent Acknowledgment:
In the aftermath of the election, Mark Zuckerberg initially downplayed the impact of fake news on Facebook, dismissing the notion that it significantly influenced the outcome. However, as evidence mounted, Facebook’s stance evolved. In September 2017, the company disclosed that it had identified thousands of ads linked to Russian entities. Zuckerberg, along with Facebook, acknowledged the extent of the problem, recognising the role of Russian interference.
Supposed Measures Taken by Facebook:
Acknowledging the need for corrective action, Facebook implemented a series of measures to address the issue. Stricter ad policies, increased transparency regarding political ads, and cooperation with investigations became central to their strategy. Zuckerberg testified before Congress in 2018, outlining steps taken to enhance platform security and prevent foreign interference. Ongoing efforts included the removal of fake accounts and deceptive pages linked to foreign entities.
The allegations of Russian interference underscored the vulnerabilities of social media platforms in the face of disinformation campaigns. While Facebook and other tech companies took steps to fortify their defences, the incident prompted ongoing debates about the role of tech platforms in safeguarding the integrity of elections.
The saga of Russian interference in the 2016 election through social media remains a complex and contested chapter in recent political history. The retrospective actions taken by Mark Zuckerberg and Facebook underscore the challenges faced by tech companies in balancing freedom of expression with the responsibility to prevent the manipulation of public discourse which might jar with making money. The ongoing debates surrounding social media regulation and foreign interference continue to shape discussions about the future of digital democracy.
Trump and Putin.
2016 Election Interference:
During the 2016 U.S. presidential election, there were allegations of Russian interference in favour of Trump. U.S. intelligence agencies concluded Russia engaged in a campaign of disinformation and hacking to influence the election. Trump’s election was met with joyous scenes in the Russian White House.
Trump Tower Meeting:
In 2016, there was a meeting at Trump Tower between Donald Trump Jr., other campaign officials, and a Russian lawyer who claimed to have damaging information about Hillary Clinton. The meeting raised questions about potential collusion, but Trump and his campaign maintained that nothing came of it.
Michael Flynn’s Contacts with Russian Ambassador:
Michael Flynn, Trump’s first National Security Advisor, resigned in 2017 over misleading statements he made about his contacts with Sergey Kislyak, the Russian Ambassador to the U.S., during the transition period.
Special Counsel Investigation (Mueller Report):
Robert Mueller, the Special Counsel appointed to investigate Russian interference, concluded his investigation in 2019. The Mueller Report did not establish that the Trump campaign conspired with Russia, but it did document Russian efforts to interfere in the election.
Media Coverage:
The allegations and investigations received extensive media coverage. Some media outlets speculated about potential connections between Trump and Russia, while others emphasised the lack of direct evidence of collusion.
Trump’s Denials:
Throughout his presidency, Trump consistently denied any collusion with Russia, often referring to the investigations as “witch hunts.” He maintained that there was no wrongdoing on his part and that the allegations were politically motivated.
Impeachment:
Trump faced impeachment in 2019 over the Ukraine scandal, which was separate from the Russia-related allegations. The impeachment charges did not directly involve collusion with Russia.
Investigations and reports have contributed to ongoing debates about the extent of Russian interference and its impact on U.S. elections.
QAnon is a baseless and disproven far-right conspiracy theory that emerged in the United States in 2017. The central tenet of QAnon is the belief in a secret cabal of Satan-worshipping pedophiles and global elites who are plotting against then-President Donald Trump. The conspiracy theory gained traction through online forums and social media platforms.
Key Points about QAnon:
Anonymous Posts (“Q Drops”): The conspiracy theory originated on internet forums like 4chan and 8chan, where an anonymous user claiming to have insider knowledge, known as “Q,” made cryptic posts or “Q drops” that followers interpreted as predictions or clues that only they (the initiated) could understand.
Themes: QAnon incorporates various unfounded and debunked claims, including the existence of a deep state, global child trafficking rings, and secret efforts to undermine Trump’s presidency.
Supporters of QAnon regarded it as a patriotic movement aiming to expose corruption and protect children. Some believed in the alleged imminent “storm” when the cabal would be overthrown.
Critics: QAnon has been widely criticised and debunked by mainstream media, fact-checkers, and law enforcement. Critics argue that the conspiracy theory is baseless, lacks evidence, and has real-world consequences, including incidents of violence and criminal acts.
Proliferation: QAnon gained visibility and spread through various online platforms, including social media, YouTube, and fringe websites. Some political figures indirectly or directly amplified QAnon-related content, further fueling its dissemination.
Deplatforming: Social media platforms, including Facebook, Twitter, and YouTube, have taken measures to combat the spread of QAnon-related content. QAnon has been linked to real-world incidents, including acts of violence and domestic terrorism.
Fringe Nature: QAnon is not based on credible evidence, and its claims have been debunked by experts and fact-checkers. It is widely considered a fringe conspiracy theory.
It’s crucial to note that QAnon (and the moron’s moron) lacks credibility, and its claims have been thoroughly discredited, but it doesn’t seem to make much difference. Ironically for some supporters, ‘fact checkers’ are inherently biased and makes it a more credible source, much like their leader’s legal woes. .
Céline Sciamma’s Portrait of a Lady blindsided me. It was one of those films where you hold your breath because it’s pretty much perfect. I hoped Petite Maman would be a similar experience. It wasn’t.
Petite Maman aligns with the film’s theme. It involves a young girl exploring her mother’s past and forming connections across different generations. Time bends as it does in Back to the Future, when Marty McFly (Michael J. Fox. Marty) goes from 1985 to 1955. Inadvertently, he becomes involved in a situation where his mother, Lorraine Baines (Lea Thompson)—Marty’s mother in both the present (1985) and the past (1955)—develops a crush on him during his time travel to the 1950s.
Here eight-year-old Nelly (Joséphine Sanz) meets her mother Marion (Gabrielle Sanz), who is also eight-years-old, building a den in the woods. I guess there are some great philosophical questions I missed. Using ‘little’ may suggest both the girl’s age and the endearing nature of the mother-daughter relationship portrayed in the movie, or it may not. Disappointing.
Notes.
“Water Lilies” (2007): Céline Sciamma’s debut feature explores the nuances of female adolescence, focusing on the relationships between three teenage girls. Critically acclaimed for its authenticity and portrayal of teenage emotions.
“Tomboy” (2011): This film tells the story of a young girl named Laure who, during a summer vacation, assumes a different gender identity. “Tomboy” received praise for its sensitivity and nuanced approach to gender identity issues.
“Girlhood” (2014): A coming-of-age drama centered around Marieme, a teenager from a tough neighbourhood in Paris. “Girlhood” was lauded for its exploration of identity, friendship, and societal expectations.
“Portrait of a Lady on Fire” (2019): Set in the 18th century, this historical romance follows the relationship between a painter and her subject. Widely acclaimed, it won the Best Screenplay award at the Cannes Film Festival and was praised for its cinematography and emotional depth.
Critical Reception and Awards:
“Water Lilies,” “Tomboy,” and “Girlhood” established Sciamma as a skilled director with a keen understanding of the intricacies of adolescence.
“Portrait of a Lady on Fire” received widespread acclaim, earning Sciamma the Best Screenplay award at Cannes and a César Award for Best Cinematography.
Mad to Be Normal is great fun. David Tennant plays gallus as fuck, Scottish, psychiatrist, R.D.Laing. Familiar territory for Tennant. His first major TV role was Campbell Bain in the BBC Scotland drama series Takin’ Over the Asylum (1994). Here he’s got a promotion to a leading figure in sixties counterculture and he has the accent to match an iconic figure who delights in taking the pish.
The film also stars Elisabeth Moss, Gabriel Byrne, Michael Gambon, David Bamber, Olivia Poulet and Trevor White in swinging-sixties London.
Laing didn’t just talk the talk, he walked the walk. His unconventional ideas, (most of which I agreed with when younger, but recognised as mostly nonsense as I grew older) publications, and involvement in the counterculture movement left a lasting mark on the field of psychiatry. His sanctuary, Kingsley Hall in London (1965-70), became a symbol of experimental and controversial approaches to mental health.
Laing, Case study. Julie. ‘I wasn’t mothered. I was smothered. Julie saw her as a black sun, blocking out all light’.
Interviewer to Laing: ‘Why did you say, mothers make their children schizophrenic?’
‘I get angry when people misquote me. I didn’t say all mothers make their children schizophrenic. I didn’t say all families are bad. Despite what those fuckers say.
‘Which fuckers?’
Notes.
“The Divided Self” (1960): Explores the concept of schizophrenia and the impact of social environment on mental health.
“Sanity, Madness and the Family” (1964): Co-authored with Aaron Esterson, it examines the dynamics of family relationships and their influence on mental illness.
“The Politics of Experience” (1967): Offers philosophical reflections on mental illness and societal norms.
While Laing’s publications garnered attention within intellectual circles, they did not translate into commercial success. However, they profoundly influenced the psychiatric community and the counterculture movement.
Counterculture Connection:
R.D. Laing found himself aligned with the counterculture movement of the 1960s and 1970s. His anti-establishment views on psychiatry resonated with the spirit of rebellion and scepticism toward traditional institutions that characterised the counterculture.
Key Figures in the Counterculture Movement:
Allen Ginsberg: The iconic poet and writer, known for his influential poem “Howl,” was a central figure in the Beat Generation and the counterculture movement.
Ken Kesey: Author of “One Flew Over the Cuckoo’s Nest,” Kesey’s work challenged traditional views on mental health and authority.
Timothy Leary: A psychologist and advocate of psychedelic substances, Leary famously promoted the use of LSD, becoming a key figure in the counterculture movement.
Kingsley Hall: A Sanctuary or Controversy?
Laing’s Kingsley Hall, a residential community in East London, became a hub for his experimental therapeutic practices. The portrayal of Kingsley Hall differed between left-wing and right-wing media:
Aspect Left-Wing Media Representation Right-Wing Media Representation
Experimental Approach Celebrated as a bold and progressive attempt to redefine psychiatry Criticized as reckless and dangerous, questioning its legitimacy
Community Living Model Applauded for fostering a sense of communal living and understanding Criticized for deviating from conventional psychiatric methods
Anti-Establishment Views Embraced as a challenge to oppressive institutional practices Condemned as undermining established medical norms
R.D. Laing’s contributions to psychiatry, his alignment with the counterculture movement, and the controversial experiment at Kingsley Hall remain subjects of debate. While his ideas had a lasting impact on mental health discourse, both admiration and skepticism marks the legacy of Kingsley Hall, reflecting the complex interplay between alternative approaches to psychiatry and societal norms.
Key Figures:
R.D. Laing (1927-1989),
Aaron Esterson,
Allen Ginsberg (1926-1997),
Ken Kesey (1935-2001),
Timothy Leary (1920-1996).
Timothy Leary (1920-1996),
Notable Advocacy: Promotion of psychedelic substances, including LSD.
Erving Goffman (1922-1982), “The Presentation of Self in Everyday Life” (1956), “Asylums” (1961).
Thomas Szasz (1920-2012), “The Myth of Mental Illness” (1961).
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