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JOHN LENNON, SUNSET BOULEVARD AND THE PRICE OF FAME
2020 marks two anniversaries. The first is the 40th anniversary of the murder of ex-Beatle John Lennon (1940 – 1980) by the social misfit, Mark David Chapman (1955 – ). The second is the 70th anniversary of the release of Sunset Boulevard. Although they are separated by some thirty years, each event acts as a reminder of what can happen when the desire for fame gets out of hand.
At 10.50pm on December 8th, 1980, Chapman watched as Lennon and his wife, Yoko Ono (1933 – ) made their way through the entrance of the Dakota building, dropped into a combat stance, and fired five shots from his Charter Arms .38 Special revolver. Four bullets struck Lennon in the back and shoulder. The fifth missed and shattered a window.
Lennon was rushed to the Roosevelt Hospital where three doctors, two to three medical attendants, and nurse spent ten to twenty minutes trying to revive him. The doctors even tried opening his chest to perform a manual heart massage, but the damage to the vessels around his heart were too great. John Lennon was announced dead on arrival at 11.15pm.
Lennon had been shot at close range by four hollow-point bullets. Two had passed through his body, one had lodged itself in his upper left-arm, and a fourth had lodged itself in his aorta. The autopsy concluded that Lennon died of “hypovolemic shock, caused by the loss of more than eighty-percent of blood volume due to multiple through-and-through gunshot wounds to the left shoulder and left chest resulting in damage to the left lung, the left subclavian artery, and both the aorta and aortic arch.”
John Lennon’s murder and the plot of Sunset Boulevard mirror one another in many ways. Lennon was murdered by a deranged lunatic who believed he could achieve notoriety for himself by murdering a popstar. Similarly, Sunset Boulevard tells the story of a long forgotten, and equally demented, film star who achieves a return to fame by murdering her gigolo.
Sunset Boulevard was the product of a collaboration between Billy Wilder (1906 – 2002), Charles Brackett (1892 – 1969), and Donald McGill Marshman, Jr. (1922 – 2015). The story was based, in part, on the Evelyn Waugh (1903 – 1966) novel, The Loved Ones which recounted the author’s experiences in Hollywood and the funeral business. Wilder, who had become fascinated by American culture whilst living in Berlin, dreamt up a story about a long forgotten silent film star who resides in one of Sunset Boulevard’s grand houses. Brackett suggested making the story about the star’s comeback, whilst Marshman, Jr. suggested using it to explore the relationship between the forgotten film star and a young man.
Sunset Boulevard’s success was aided by three factors: the writing of Wilder, Brackett, and Marshman, Jr., the direction of Wilder, and the cinematography of John Francis Seitz (1892 – 1979). Seitz gave Sunset Boulevard a dreamlike quality in which fantasy and reality blend together almost seamlessly. The fantasy world Norma Desmond inhabits is shot in deep focus and made to look dark and ominous. By contrast, the real world that Joe Gillis inhabits is depicted as well-lit and filmed in a documentary-style fashion.
Numerous actors were considered to play Joe Gillis, including Fred MacMurray (1908 – 1991) and Montgomery Clift (1920 – 1966). Clift was originally signed to play the part, but withdrew from the project at the last minute. The role eventually went to William Holden (1918 – 1981).
Joe Gillis is a down and outer. Prior to meeting Norma Desmond, Gillis’ situation is so dire that he actually considers returning to his newspaper job in Dayton, Ohio. He is hounded by debt collectors, forced to use the telephone at Schwab’s drugstore because he cannot afford one of his own, and is even fired by his own manager. Gillis believes that he can live the life of an expensive playboy by reading Desmond’s script and entertaining her deluded fantasies. The problem is that he has to make a Faustian pact in order to do so.
The reason Gillis finds Desmond’s offer so tempting is that he has become jaded about the Hollywood system. He represents the writer as just a mere cog in the movie-making machine. He notes the general lack of recognition for the writer and his craft, the writer’s uncertain prospects, the likelihood of executive meddling, and the ever-present risk of plagiarism. He complains that Hollywood will reject your script if it is too original or if it is not original enough.
Norma Desmond, Sunset Boulevard’s antagonist, was based on a myriad of silent film actresses. The name is believed to be derived from the silent film star, Mabel Normand (1892 – 1930) and the film director, William Desmond Taylor (1872 – 1922), who’s sensational 1922 murder has never been solved. Suggested models for Desmond include Norma Talmadge (1894 – 1957), Mary Pickford (1892 – 1979), Pola Negri (1897 – 1987), Mae Murray (1885 – 1965), Clara Bow (1905 – 1965), and Valeska Surratt (1882 – 1962).
Norma Desmond was played by former silent film star, Gloria Swanson (1899 – 1983). Like Desmond, Swanson had been a major silent film star and was known for her beauty, talent, and extravagant lifestyle. And like Desmond, her film career faded with the coming of sound. Unlike Desmond, however, Swanson was able to accept the end of her film career, moved to New York in the early-thirties, and pursued a successful career in theatre, radio, and television.
Norma Desmond has come to symbolise an entire generation of silent film stars whose were thrust aside by the advent of sound. When her star fell, Desmond retreated into her gothic mansion and built up a fantasy world where she was still a big star. At one stage she tells Gillis that she had the floor of her ballroom tiled at the behest of Rudolph Valentino (1895 – 1926), as though Valentino was still a big star. She speaks in melodramatic tones, acts like an infatuated schoolgirl in Gillis’ company, and engages in acts of emotional blackmail through mock suicide attempts.
Desmond refuses to admit that the “parade has long since passed her by.” Incapable of functioning in the real world, she has constructed a fantasy life for herself. Any attempt to bring her out of her stupor is met with either denial or indignation. Towards the end of the movie, Gillis informs her: “Norma, you’re a woman of fifty, now grow up. There’s nothing tragic about being fifty, not unless you try to be twenty-five.” And just like John the Baptist in Salome (the 1891 Oscar Wilde tragedy Desmond has chosen to adapt), Gillis pays for the faux pas with his life.
When Sunset Boulevard premiered, Louis B. Mayer (1884 – 1957) reportedly shouted at Billy Wilder: “You bastard! You have disgraced the industry that made you and fed you. You should be tarred and feathered and run out of Hollywood.” Mayer had reason to be angry, too. Sunset Boulevard is perhaps one of the most scathing criticisms of Hollywood ever made. The film indicted Hollywood for its treatment of the writer, its obsession with youth, its toxic star system, and cult of celebrity worship.
In a world of social media and reality television, the murder of John Lennon and the story of Sunset Boulevard is more potent today than ever before. Thanks to reality TV and social media sites like Facebook, Instagram, and Twitter, it is far too easy for mentally unstable people to achieve easy fame. How long will it be before society produces another Mark David Chapman or Norma Desmond?
I’m Done with Modern Movies
For the life of me, I cannot remember the last time I saw a contemporary movie that was memorable in any way. Despite having access to both television and Netflix, I have found it virtually impossible to find a movie that I actually thought was worth watching.
It would be wrong, however, to lay the entirety of the blame on either mainstream television or Netflix. (Although it is entirely fair to argue that the litany of rubbish offered by television is a symptom of a dying medium). Rather, it is indicative of a problem that has pervaded the entire filmmaking industry. Modern filmmakers appear to be content with making defective movies. Movies that feature predictable stories, two-dimensional characters, and an over-reliance on visual effects.
This was not always the case. For years Hollywood was known for producing great, culture-defining films. The classical period of American cinema (which lasted from the 1930s to the 1960s) produced films like Gone with the Wind, Casablanca, and Ben Hur, among many, many others.
Similarly, the 1960s and 1970s saw a renaissance in film as filmmakers like Martin Scorsese, Stanley Kubrick, Steven Spielberg, Francis Ford Coppola, and many others reinvented and reinvigorated motion picture. This became the era that produced films like the Godfather, the French Connection, and the Good, the Bad, and the Ugly.
Hollywood’s total lack of artistic brilliance has been caused by three problems: the lack of originality, the lack of artistic merit, and the saturation of progressive politics in the industry.
Modern Movies Lack Originality
The most conspicuous problem inflicting Hollywood today is a total lack of originality. Neither their stories nor their characters appear to have any originality or depth whatsoever. Most films today are either remakes, reboots, sequels, are based on comic books, or are about superheroes. Now there is nothing wrong with these films in and of themselves, but when every single movie made is one of these five things, it starts to get a little tiresome.
The problem doesn’t stop at just narrative, either. Modern film characters are often two-dimensional and, as a result, rather dull. They are mouthpieces for certain ideological beliefs and are therefore often presented in entirely black or white terms. The problem with this, of course, is that people in real life are usually complicated. They make mistakes, hold contradictory views, and often behave in irrational ways. One would never see an obvious racist like Ethan Edwards (John Wayne) in The Searchers or Jett Rink (James Dean) in Giant. These characters, though they reflect real life, are just too politically incorrect, too human to be presented in any real or sympathetic manner.
A lot of this comes from the travesty that was Star Wars and the litany of ‘blockbuster’ movies it left in its wake. Taken on its own merits, Star Wars is an excellent movie. However, it convinced Hollywood’s film producers that they should devote more time and money to producing shallow, unsophisticated movies that movies of genuine depth and meaning.
Big blockbuster movies are all well and good, but I am an adult and I would like to see movies with a certain level of maturity.
Modern Movies Lack Artistic Merit
The next glaring problem (though it is one that many people without a knowledge of film or film history would fail to notice) is the total lack of artistic merit in modern filmmaking. The films of the past often prided themselves on their creative and technical brilliance. Modern filmmakers, by contrast, seem more than happy to rest on their laurels and make easy cliched movies.
With the possible exception of Martin Scorsese’s, The Aviator, I cannot remember the last time I saw a movie that made me marvel at its cinematography or that had a score which riled my spirit. I can, however, remember classic movies that managed to do all those things and more. I can remember marvelling at the cinematography in Lawrence of Arabia and sitting in awe of the chariot race – which utilised real stuntmen – in Ben Hur.
Modern filmmakers seem content with spending all their time and money on hey-wow visual effects and completely neglect the most important elements of film: story and character. As a consequence, they cheat their audience by offering sub-par films.
Modern filmmakers rely on visual effects because it is easier than trying to create compelling storylines and memorable characters. They choose to rely on computer-generated-imagery and blue screen because it is easier and safer (cowards) than using real stuntmen and practical effects.
The problem with all this is that the audience knows it’s being cheated. The car chase in Bullit looked so realistic was because, well, it was realistic. It used real cars driven by real people on real streets. A lot of modern movies, by contrast, look fake because, well, they are fake.
Modern Movies are Left-Wing Propaganda
The third problem, and the one most egregious, is that Hollywood has become a propaganda outlet for progressive politics. They produce films that are so ideologically driven that one can virtually predict everything that is going to happen before it occurs. And, much like people who have been ideologically possessed, these films tend to be so boring they’re not worth wasting your time on.
The fact that Hollywood has become infected with ideologically possessed, far-left individuals is, to some extent, understandable. Filmmaking is an enterprise that attracts highly creative people who, for the most part, tend to be on the political left. The problem, rather, lies in the fact that all the films Hollywood now produces carry a left-wing bias.
Hollywood has become an echo chamber in which “woke” vies are communicated and no other views are allowed to get in. Those associated with the movies compete at the Oscars and at the Academy Awards to see who can be the most virtuous. And they criticise and demean anyone who doesn’t agree with them. They are like Marie Antoinette saying “let them eat cake” as the peasants starve to death in the streets. They are completely out of touch.
The problem with the films being produced today is that their left-wing bias has made them completely shallow and totally predictable.
Hypocrisy and Double Standards: Reflections on the Massacre in New Zealand
Just over a month ago, a crazed gunman entered the Al Noor Mosque in Christchurch. Armed with an arsenal of weapons which included semi-automatic firearms, he began to shoot worshippers engaged in Friday prayers.
Fifteen minutes later, the gunman repeated his dastardly deed at the Linwood Islamic Centre. In the end, fifty people lay dead and thirty-six lay injured. The entire incident was broadcast live on Facebook.
Jacinda Ardern, New Zealand’s Prime Minister, denounced the massacre as a ‘terrorist attack.’ She echoed the sentiments of the general public. In response to the attacks, three thousand people participated in a “march for life” in Christchurch carrying signs that read “Muslims welcome, racists not”, “he wanted to divide us, he only made us stronger”, and “Kia Kaha”, which means “stay strong” in Maori.
The Muslim call to prayer was broadcast on television and radio with twenty-thousand-people attending prayer services in the park across from the Al Noor Mosque. And two New Zealand rugby teams – the Chiefs and the Hurricanes – paused for a moment’s silence before the Super Rugby game in Hamilton.
New Zealanders have been praised for their unity and compassion in response to the attacks. But what would happen if the roles were reversed? When it is not a Westerner killing Muslims, but rather a Muslim killing Westerners? Then the response, or lack of response, is rather telling.
At this stage, I should point out that what happened in New Zealand was an act of evil. The massacre of any group of people for any reason whatsoever is an act of evil. I am not trying to condone attacks against Muslims, I am merely trying to expose to the hypocrisy of our so-called betters.
The point I am trying to make is not that the Christchurch massacre was somehow a form of justified retribution. It clearly was not. The point I am trying to make is that our leaders say one thing when an attack is perpetrated by Muslims and another when the attack is perpetrated against Muslims.
To put it bluntly, whenever a terrorist attack occurs involving a Muslim or a group of Muslims, politicians and the media are quick to downplay the Islamic elements. But if it is a Westerner targeting Muslims, or any other minority group, accusations of racism and xenophobia are repeated ad nauseum.
Whenever a Muslim, whether affiliated with a terrorist organisation or not, commits an act of terror, his actions are typically met by that all-too-common disclaimer: “it had nothing to do with Islam.” Even when the perpetrator expressly states that he is committing his heinous deed in the name of Islam it still has “nothing to do with Islam.”
The British journalist, Douglas Murray made similar observations when he appeared on Fox and Friends. “We’ve had a different response when it comes to Islamic terror”, he stated. “Consistently we find out there are people [after a terrorist attack] who knew about the extremism [and] didn’t report it, members of the community who say they don’t want to go the British police, and we find out Mosques people attended are being run by radicals.”
Murray has accused the West of resorting to the “John Lennon” response to terrorism. “They blow us up, we sing Imagine”, he says. “Our politicians still refuse to accurately identify the sources of the problem and polite society remains silent.”
I think it is self-evident that there would have been an entirely different response had it been a Muslim perpetrator attacking Westerners. There would not have been the protests, the moment’s silence, the religious and cultural messages broadcast on television and radio. Politicians and media identities would not have condemned the attacks as viscerally or as quickly as they did. There simply would not have been the same level of outrage. Instead, the Islamic elements would have been dismissed and the incident largely would have been ignored.
It is hard to believe that this kind of willful ignorance boils down to mere incompetence. To acknowledge that Islam has been responsible for a great deal of misery in the world is to go against the narrative that anyone who is not a straight, white, male, Christian is a member of a victim group. To acknowledge Islam’s role in a great deal of the misery in the world is to acknowledge that Muslims can be, and frequently are, the villains.
The left and the media, but I repeat myself, reacted to the Christchurch massacre in the way that they did because they want to elevate Muslims to the category of victim. It is a blatant attempt to sell black and white and white as black. And if you dare suggest the advertisement is misleading, you’re a bigot.
It really boils down to virtue signalling. That self-centred and cowardly habit of making vacuous comments in an attempt to make yourself look good. Public figures will now say anything that makes themselves appear more virtuous than everybody else. They resort to making statements that appear say something intelligent without really saying anything at all.
The Problem With Modern Action Movies
Action movies just aren’t what they used to be. On Saturday night, I watched the film version of the hit 1980s TV show, the A-Team. A part of me hoped for an enjoyable experience, but, just as I had expected, I found the film to be cliched, formulaic, and predictable.
It became evident early on that the filmmakers had taken little to no effort in the making of this story. The plot was boring and predictable, and the characters were two dimensional. Indeed, it seemed that most of the film had been devoted to bad digital effects and over-the-top action sequences.
This is the kind of thing that passes for action movies nowadays. It is a far cry from the greats of yesteryear which, at least in the best of cases, were willing to combine action with intelligence. It is certainly true that these films featured death-defying stunts, mind-blowing special effects, and well-choreographed action sequences. However, it is also true that the best among them also featured complex, three-dimensional characters and clever, intricate plots. Yes, these films often pushed the boundaries of disbelief, but we were more than happy to suspend our disbelief for them anyway.
Any successful movie, particularly an action movie, requires two things: a good plot and good characters. One of the biggest problems with the modern action movie is that they are often boring. The audience finds it difficult to engage with the story because there is no character or plot for them to care about.
Great action movies have great, exciting stories. The problem is that modern action movies have a tendency to recycle the same tired stories over and over again. Audiences have been subjected to an endless array of reboots, remakes, sequels, and prequels. Audiences crave originality. What we need is original stories, not a rehash of a television show that ended over thirty-years-ago.
It’s not as though an action movie’s plot has to be entirely original, either. Most of us are willing to accept a familiar, or even cliched, story provided it’s presented in a new and interesting way. Take, as a case in point, the film Speed. Its plot is essentially a rehash of the Die Hard model, but by placing the action on a bus, the filmmakers managed to gain the appreciation of their audience by presenting them with something novel.
In addition to the importance of plot, it is also equally important to discuss the importance of character. Modern day action heroes often lack interesting character arcs. The audience has not been allowed to care about the characters as people and therefore have little reason to root for them. People like to see characters go through a personal journey. They like to see them grow and develop as a character. Good action heroes have some kind of flaw, whether it be a bad attitude, debris from their past, poor self-esteem, or any one of a thousand different things, that he or she must overcome to complete their mission.
The heroes of great action movies were relatable. The filmmakers knew they had to combine the right amount of vulnerability with the right amount of grit. We had to believe that these people bled, made mistakes, and felt pain.
In other words, these heroes had vulnerabilities. They were not invincible. The audience could believe that Axel Foley (Beverly Hills Cop) spent most of his time busting low-level crooks in downtown Detroit and that he genuinely felt anger and grief over the murder of his friend. In Die Hard, the filmmakers were prepared to take the time to let us get to know John McLane. We learnt that he was an Irish-American police officer, that he was a father, that he was estranged from his wife, and that he was frightened of flying. And when he had to fight terrorists, the Los Angeles Police Department, and the FBI, we genuinely rooted for him because we had been allowed to get to know him.
Equally important, if not more important in many cases, is the film’s villain. Good stories have good protagonists, great stories have great antagonists. There has to be something in a villain that makes him at least a little bit likeable, or even sympathetic. A part of us has to be able to understand his motivations and even root for him. We could understand why Karl wanted to kill John McLane because we had seen McLane kill his brother. And we could understand why Speed’s chief antagonist, Howard Payne, wanted to hold the city of Los Angeles to ransom after we learnt that he had been injured in an explosion working for the LAPD. Heck, even films in which the villain wants money or power, or both, are relatable because we want these things, too.
If the producers of action movies were willing to invest as much time and effort in story and character development as they were on special effects, it is possible that they might someday produce another great action movie. But, with the way things are going, I wouldn’t hold my breath.
NOTE: I apologise for the long delay between articles. I have been in the process of preparing a rather lengthy article on constitutional monarchy.
TRANSGENDERISM IS NO BASIS FOR PUBLIC POLICY
It has been over fourteen-year since David Reimer, the victim of an insane and evil scientific experiment, committed suicide. After his penis had been burnt off in a botched circumcision, David’s parents had turned to the infamous sexologist and social constructionist, Dr. John Money for help. Following Dr. Money’s advice, David’s parents agreed to allow a sex change operation to be performed on their young son and raised him as a girl.
Despite Dr. Money’s boasting that his experiment had been a success, however, David Reimer did not settle comfortably into his female identity. David tore up his dresses at three, asked if he could have his head shaved like his father, and engaged in all manner of boyish behaviour. David was bullied at school and, upon hitting puberty, decided that he was a homosexual (in reality, of course, he was heterosexual).
Finally, when he was fourteen David’s parents revealed the truth about his gender identity. David reverted to his masculine identity, broke off contact with Dr. Money whom he described as an abusive brainwasher, and received a non-functioning penis through phalloplasty. Unable to handle the immense psychological damage that had been inflicted upon him, David Reimer blew his brains out with a shotgun at the age of thirty-eight.
For all of human history, boy has meant boy and girl has meant girl. Traditionally, sex was used to refer to the biological markers of gender. If you were born with a penis and an XY chromosome, you were a man. If you were born with a vagina and an XX chromosome, you were a woman. One’s gender expression was thought to compliment one’s biological sex. A biological man would have masculine personality traits and a biological female would have feminine personality traits. These complimentary characteristics, among them body shape, dress, mannerisms, and personality, were thought to be produced by a mixture of natural and environmental forces.
Recently, however, gender theorists have begun to question the relationship between biological sex and gender identity. They argue that gender, which they see as distinctive from sex, is a social construct. Since gender refers to the expression of masculinity and femininity, gender is something that a person acquires. (Needless to say, this movement is driven by a pernicious post-modern, Neo-Marxist worldview). Under this philosophy, gender expression is the manner in which a person expresses their gender identity. Gender identity is expressed through dress, behaviour, speech, and nothing else besides.
Neuroplasticity provides the gender theorist with perhaps his greatest argument. If underlying brain processes are theoretically strengthened through repetitive use, it follows that gender identity comes from a narrowing down of potential gender categories through the repetitive use of certain brain processes. However, it also reveals a fatal flaw in the gender theorist’s (and social constructionist’s) philosophy. If the human brain is so malleable that an individual’s gender identity is constructed, then why can’t the brain of a transgender person be adapted out of its transgenderism?
The primary problem with gender theory is that it just plain wrong. The idea that gender is distinct from sex has absolutely no basis in science whatsoever. As Jordan Peterson, the Canadian psychology/philosopher, has stated: “the idea that gender identity is independent of biological sex is insane. It’s wrong. The scientific data is clear beyond dispute. It’s as bad as claiming that the world is flat.” Men and women differ both at the cellular and the temperamental level. Unlike men, for example, women menstruate, they can have babies, and they show a slew of personality characteristics that mark them as different from men. David C. Page, the Director of the Whitehead Institution at the Massachusetts Institute of Technology, has even claimed that genetic differences exist at the cellular level asserting that “throughout human bodies, the cells of males and females are biochemically different.” These differences even affect how men and women contract and fight diseases.
The philosopher Alain de Benoist has also strongly criticised gender theory. De Benoist argued against the scientific errors and philosophical absurdities in his work Non à la théorie de genre (No to Gender Theory).
First, De Benoist points out that the gender theorists have used the fact that some gender characteristics are socially constructed to argue that all characteristics are socially constructed.
Second, De Benoist argued that the “hormonal impregnation of the foetus” (as De Benoist puts it) causes the brain to become genderised because it has a “direct effect on the organisation of neural circuits, creating a masculine brain and a feminine brain, which can be distinguished by a variety of anatomical, physiological, and biochemical markers.”
Third, De Benoist argued that biological sex has a profound effect on the way people think, act, and feel. In order to support their theory, gender theorists are forced to deny the natural differences between men and women. De Benoist wrote:
“From the first days of life, boys look primarily at mechanized objects or objects in movement while girls most often search for visual contact with human faces. Only a few hours after birth, a girl responds to the cries of other infants while a boy shows no interest. The tendency to show empathy is stronger in girls than in boys long before any external influence (or “social expectations”) have been able to assert themselves. At all ages and stages of development, girls are more sensitive to their emotional states and to those of others than boys … From a young age, boys resort to physical strategies where girls turn to verbal ones … From the age of two, boys are more aggressive and take more risks than girls.”
Furthermore, gender theory cheapens what it means to be a man or a woman. And, by extension, it denigrates the contributions that each gender has to make to civil society. Gender values give people ideals to strive for and helps them determine the rules that govern human interactions. The idea that men and women ought to be treated the same is ludicrous beyond belief. No parent would like to see their son treat a woman the same way they treat their male friends. Men have been taught to be gentlemen and women have been taught to be ladies for a reason.
All of this is not to say, however, that those pushing transgender rights do not have a case. They are right when they claim that the transgender peoples of the world face discrimination, prejudice, and violence. Some countries treat transgenderism as a crime, and it is certainly true that transgender people are more likely to be victims of violence, including murder. A reasonable transgender rights argument would be that transgender people cannot help their affliction and that society ought to treat them with kindness, tolerance, and compassion.
Unfortunately, that is not the argument that gender activists like to make. Rather than focusing on promoting tolerance, gender activists have instead sought to do away with gender distinctions altogether (which is, more likely than not, their actual aim). Using a very tiny minority of the population as their moral basis, the gender activists are attempting to force society to sacrifice its traditional classifications of male and female.
Transgenderism is clearly a mental health disorder. In the past, it was referred to as “gender dysphoria”, considered a mental illness, and treated as such. To assert the fact that transgenderism is a mental health disorder is not a denial of an individual’s integral worth as a human being. It is merely the acknowledgement of the existence of an objective reality in which gender is both binary and distinct. Unfortunately, this is not the attitude of those who influence public opinion. Consequently, programs for LGBTQ youth have seen an increase in youth who identify as transgender. The transgender journalist, Libby Down Under, has blamed instances of rapid-onset gender dysphoria on the normalisation of transgenderism in the culture. With a slew of celebrities coming out as transgender (former Olympian Bruce Jenner being a primary example), and with transgender characters being featured on numerous television shows, many teens and tweens have suddenly decided that they are transgender despite having no prior history of gender confusion.
Transgender youth increasingly feel that it is their right to express themselves however they please. And they feel that it is their right to silence all who dare to criticise or disagree with that expression. Cross-living, hormone therapy, and sex reassignment surgery are seen as part of this self-expression. Alarmingly, the mainstream response of psychotherapists to these children and adolescents is the “immediate affirmation of [their] self-diagnosis, which often leads to support for social and even medical transition.”
It is a classic case of political posturing overshadowing the pursuit of truth. Most youth suffering from gender dysphoria grow out of their predilection. Dr. James Cantor of the University of Toronto has cited three large-scale studies, along with other smaller studies, to show that transgender children eventually grow out of their gender dysphoria. The Diagnostic and Statistics Manual 5th Edition claims that desistance rates for gender dysphoria is seventy to ninety percent in “natal males” and fifty to eighty-eight percent in “natal females.” Similarly, the American Psychological Association’s Handbook of Sexuality and Psychology concludes that the vast majority of gender dysphoria-afflicted children learn to accept their gender by the time they have reached adolescence or adulthood.
It is not a secret that transgenderism lends itself to other mental health problems. Forty-one percent of transgender people have either self-harmed or experienced suicidal ideation (this percentage, of course, does not reveal at what stage of transition suicidal ideation or attempts occur). The postmodern, neo-Marxist answer to this problem is that transgender people are an oppressed minority and that they are driven to mental illness as a result of transphobia, social exclusion, bullying, and discrimination.
It is typical of the left to presume that society is to blame for an individual’s suffering. And to a certain extent, they are right. Transgender people are the victims of discrimination, prejudice, and violence. But it is more than likely that these abuses exacerbate their problems rather than causing them. One in eight transgender people, for example, rely on sex and drug work to survive. Is that the fault of society or the fault of the individual? The National Center for Transgender Equality claims that it is common for transgender people to have their privacy violated, to experience harassment, physical and sexuality violence, and to face discrimination when it comes to employment. They claim that a quarter of all transgender people have lost their jobs and three-quarters have faced workplace discrimination because of their transgender status.
In Australia, there has been a move to allow transgender children access to hormone-blocking drugs and sex-change surgeries. Australian gender activists – surprise, surprise – support the idea of as a way to reduce the rates of suicide among transgender people. The Medical Journal of Australia has approved the use of hormone therapy on thirteen-year-olds despite the fact that the scientific community remains, as of 2018, undecided on whether or not puberty-blocking drugs are either safe or reversible.
In the United States, a great deal of debate has occurred over transgender rights. In particular, there have been debates over what bathroom they should be allowed to use, how they should be recognised on official documents, and whether they should be allowed to serve in the military. In 2016, former President Barack Obama ordered state schools to allow transgender students to use whatever bathroom they desire. Similar ordinances have been passed in hundreds of cities and counties across the United States. Seventeen states and the District of Columbia are subject to ‘non-discrimination’ laws which include gender identity and gender expression. These include restrooms, locker rooms, and change rooms.
In March of 2016, North Carolina passed a law which required people in government buildings to use the bathroom appropriate to their biological gender. The US Federal Government decried the decision as bigotry and accused the government of North Carolina of violating the Civil Rights Act. The Federal Government threatened to withhold over US$4 billion in education funding. The government of North Carolina responded by filing suit against the government of the United States. The US government responded by filing suit against North Carolina. North Carolina received support from Mississippi, Tennessee, and Texas whilst Washington received support from most of the northern states.
Pro-transgender bathroom policies are not limited to government, however. Many businesses in the United States have similar bathroom policies. Many large corporations, among them Target, allow transgender people to use the bathroom of their choice. And they are perfectly prepared to enforce these policies, as well. A Macy’s employee in Texas was fired after he refused to allow a man dressed as a woman to use the female change rooms. Similarly, Planet Fitness revoked the membership of a woman who complained that a transgender man was in the female change rooms.
The most alarming trend of the gender theory movement is the attempt to indoctrinate children through changes to the education system. In 2013, France unleashed the ABCD de l’égalité (the ABCs of Equality) on six hundred elementary schools. In their own words, the program was designed to teach students that gender was a social construct:
“Gender is a sociological concept that is based on the fact that relations between men and women are socially and culturally constructed. The theory of gender holds that there is a socially constructed sex based on differentiated social roles and stereotypes in addition to anatomical, biological sex, which is innate.”
The creators of the program are smart enough to include the disclaimer: “biological differences should not be denied, of course, but those differences should not be fate.”
Fortunately, it would seem that many people are not taken in by this race to fantasyland. They are not taken in by the idea that the program merely exists to combat gender stereotypes and teach respect, and have protested. The French Minister of Education dismissed the protestors by saying that they “have allowed themselves to be fooled by a completely false rumour… at school we are teaching little boys to become little girls. That is absolutely false, and it needs to stop.” In America, The Boston Globe dismissed the protests against the program as being motivated by fear. Judith Butler event went as far as to say that France’s financial instability was the true cause of the protests.
And such a profound misuse of the education system isn’t limited to France, either. In Scotland, teachers are given guidance by LGBT Youth Scotland, children are expected to demonstrate “understanding of diversity in sexuality and gender identity”, and children are allowed to identify as either a girl or boy, or neither. The government of the United Kingdom has mandated that transgender issues be taught as part of the sex and relationships curriculum in primary and secondary school. Justine Greening, the education secretary, said: “it is unacceptable that relationships and sex education guidance has not been updated for almost twenty years especially given the online risks, such as sexting and cyberbullying, our children and young people face.”
It is in Australia, however, that there is the most shocking case of gender theory indoctrination. A great deal of controversy has been generated over the Safe Schools program. The program, which was established by the Victorian government in 2010, is supposedly designed to provide a safe, supportive, and inclusive environment for LGBTI students. It states that schools have the responsibility to challenge “all forms of homophobia, biphobia, transphobia, intersexism to prevent discrimination and bullying.”
The Safe Schools program promotes itself as an anti-bullying resource supporting “sexual diversity, intersex and gender diversity in schools.” It requires Victorian schools to eliminate discrimination based on gender identity, intersex, and sexual orientation, including in terms of an inclusive school environment.
The program addresses the issues of sleeping and bathroom arrangements and dress code. In terms of dress code, the program states:
“An inflexible dress code policy that requires a person to wear a uniform (or assume characteristics) of the sex that they do not identify with is likely to be in breach of anti-discrimination legislation including under the Equal Opportunity Act (1984) SA”
Likewise, the program states on the issue of bathrooms and change rooms that “transgender and diverse students should have the choice of accessing a toilet/changeroom that matches their gender identity.” In addition, the program states:
“Schools may also have unisex/gender neutral facilities. While this is a helpful strategy for creating an inclusive school environment for gender diverse students broadly, it is not appropriate to insist that any student, including a transgender student, use this toilet if they are not comfortable doing so.”
The idea that a transgender boy or girl should be allowed to sleep, shower, and defecate in the same place as a group of boys or girls ought to ring alarm bells for everyone. It increases the risk of sexual activity, sexual assault, pregnancy, and the transmission of sexually-transmitted-diseases. There is a reason why schools segregate changerooms, toilets, and dormitories.
The tragedy of David Reimer reveals just how dangerous it is to ignore the truth in favour of a false and malevolent social philosophy. It is one thing to seek tolerance and compassion for those in the community who may be struggling with their identity. It is something else entirely to use the plight of transgender peoples as a means of cording society to change the way it categorises gender. And it is completely insane to allow a false philosophy like gender theory to be used as the basis of public policy. If we don’t want more tragedies like David Reimer’s, we should put gender theory out in the trash where it belongs.
Television and Culture
“She’s television generation, she learnt life from Bugs Bunny” muses William Holden in Network, as he confesses his affair with a younger woman to his long-suffering wife. Love it or hate it, television has shaped the way we see the world. And it has been used for years to engineer social change.
It is because of their values that the left has come to dominate the culture. While conservatives value objective facts, those on the left value narrative. This is an important distinction. People develop their worldview based on the stories they are told, not the facts that are presented to them. And while conservatives choose to focus on facts, the left is creating the narrative references that define the world we live in.
As a consequence, left-wing assumptions have come to dominate film and television. And, by extension, it is these assumptions that create the parameters for public discourse. It was through the positive depiction of gay characters in shows like Will and Grace that homosexual relationships came to be more widely accepted. It would be difficult to argue that such depictions played no role in the public’s acceptance of gay marriage. Today shows like Orange is the New Black presents sympathetic transgender characters in an attempt to engineer public acceptance of transgenderism. The left produces television shows and movies that are anti-capitalism, anti-Christian, and anti-West. Unfortunately, the right fails to produce television shows and movies in their defence.
The left embeds its messages through seemingly innocuous narratives and likeable characters. Otherwise morally reprehensible and disagreeable characters are presented in a sympathetic light. By doing this, the creators of these characters are able to coax us into accepting things we otherwise would not. Max Black, one of the protagonists of Two Broke Girls, is a rude, unmotivated, and immoral drug and alcohol user, but she is presented to the audience as a positive role model for women.
Television’s primary power lies in the fact that it allows individuals and organisations to manipulate images, facts, and stories to suit their own purposes. It is through the distortion of facts, impelling narratives, and the creation of morally reprehensible yet sympathetic characters that those who control television have been able to manipulate the public. Whether or not this trend will continue with the advent of the internet is yet to be seen.
The Loss of Civility
Society has a problem with politically-motivated violence. At a protest in Charlottesville, Virginia, a man with Nazi sympathies drove his car into a crowd of protestors, killing one and injuring many others.
Likewise, the so-called anti-fascists, Antifa (they are, of course, nothing of the sort) has resorted to using violent and intimidatory tactics at numerous protests and rallies.
Needless to say, such occurrences raise serious questions about the consequences of political polarisation and the lack of community sentiment and incivility that it brings.
One of the features of the 2010s has been the increase in political polarisation. As people become more willing to identify themselves by their political ideology, the tendency to view one’s political opponents as extremists have, likewise, increased. Consequentially, it has become easier and easier for people to demonise others because they don’t hold the same political views that they do.
Such polarisation, of course, has been fuelled by a biased and segregated news media system. The online video and podcast revolution, combined with a mainstream media that heavily slants towards the left, has meant that people are often only exposed to those views that match their own. As such, the right has been manipulated into believing that all on the left are social justice warriors, protestors, and radical feminists, whilst those on the left have been manipulated into seeing all on the right as Nazis, race baiters, white supremacists, and alt-righters.
To a large degree, political polarisation has come as a consequence of the loss of a sense of community. People no longer associate with their neighbours, and, as a result, they have come to see each other as potential enemies rather than potential friends. And, under such conditions, it becomes very easy to see another person as evil when their political views do not compliment your own.
The loss of community has occurred for three major reasons. First, the advent of social media, online shopping, video subscription services, and smartphones has meant that people are no longer required to venture out into society and interact with others. It is no longer necessary for a consumer to interact with shop staff, for instance, because they can shop in the solitude of their own living room. Modern technology, for all its benefits, has provided us with a faux sense of sociability. A kind of sociability that allows us to communicate with others but does not require genuine human interaction.
Second, past-times that were once considered neutral have been co-opted to spread politically-charged messages. People can no longer go to a football game, watch a movie, or listen to music without having political ideology preached to them. As a consequence, society lacks the entities that once allowed people to bond with one another despite differences in their political beliefs.
Third, engagement with the community has declined. People are no longer engaged with the community in the same way that their grandparents were. In the past, social clubs, community groups, sports clubs, and religious institutions provided a space where people of diverse beliefs, values, and opinions could come together. As a consequence, such entities promoted a degree of social unity and social cohesion. Today, however, people are becoming more and more willing to self-segregate. They isolate themselves, choosing only to socialise with friends and family.
What all this has amounted to is a loss of civility. It is very easy to justify all manner of bad behaviour when one sees their opponent as a threat to their very existence. Our modern society shuns manners and dismisses common courtesy and is surprised to find self-centredness and vulgarity in its wake.
Conservatives Don’t Care About Culture, Maybe It’s Time They Started To
Culture is more important than politics. However, in the hierarchy of priorities, many conservatives rank it somewhere between checking their privilege and meeting diversity and inclusion quotas. They simply do see it as being of any importance.
Conservatives mistakenly believe that the culture is less important than politics and economics. In their mind, culture is akin to leisure, something that is relegated to times to relaxation. However, as the late Andrew Breitbart (1969 – 2012), was fond of pointing out: politics is downstream of culture. It is culture – art, film, theatre, literature, sports, video games, news media, and comic books, among other things – that informs public opinion long before policy is announced to the public or even made.
The left has realised this. They have made it a key aspect of their long-term strategy to dominate the culture and exclude conservatives. It has spent decades infiltrating the halls of culture, politics, and academia with little to no opposition from conservatives who, much to their detriment, have failed to realise the importance of these institutions.
To understand the importance of culture it is necessary to understand what culture is. Culture communicates ideas through art, literature, literature, film, and so forth. It is from culture that ideas and beliefs are popularised or dismissed. And it is from culture that our worldview is formed.
The difference between left-wing culture and right-wing culture is that left-wing culture expresses false ideas, whilst the ideas expressed by right-wing culture tend to be truthful.
Just take a look at conservative art compared with left-wing art. Left-wing art champions communism: a political ideology that has killed and enslaved tens-of-millions of people, Conservative art champions Christian values, honour, patriotism, love, and freedom. The Brady Bunch featured a two-parent family (admittedly blended, but that doesn’t really matter) and espoused the virtues of duty, honour, and responsibility whereas a show like Gilmore Girls glorified single motherhood and self-centredness.
If conservatives wish to promote good and truthful ideas, they must be prepared to invest more in the culture. They must be prepared to create businesses, establish grants, and more in order to finance and distribute conservative art. In doing so, they can prevent left-wing censorship and can ensure that good, truthful ideas continue to be promoted.
WHAT ARCHER REVEALS ABOUT HUMAN GOODNESS
There is great truth to the sentiment that what appears simple and childish on the surface often hides the most profound and universal ideas of human goodness.
A cultural example of this phenomenon comes in the guise of the animated show, Archer. A show centred around the trials and tribulations of the men and women of the fictional independent, New York-based spy agency, ISIS (International Secret Intelligence Service).
That the show is both popular and critically acclaimed is self-evident. It has received an audience score of ‘9’ on Metacritic (based on 375 ratings) and an audience score of 92% on Rotten Tomatoes. Critically, it has been nominated for fifteen Annie Awards, and has won the Prime-Time Emmy awards, four Critics’ Choice Awards, and two Gold Derby Awards.
Archer’s popularity comes from two places. First, it’s exemplary use of meta-comedy, referenced-based humour, and use of rapid-fire dialogue that creates comedic elements which are, at the same time, crude and witty, nihilistic and meaningful. And second, its ability to create well-rounded characters who, despite their insufficiencies, are always willing to help one another.
It is the second part of this equation that I would like to focus on.
The primary example of this is displayed in the show’s protagonist, Sterling Archer. A man who could accurately be described as an immature, self-centred, narcissistic, and egotistical man-child. Archer is clearly a man who suffers from an abundance of emotional deficiencies. His abandonment issues stem from the lack of love he received as a child. His constant need to overcompensate for his insufficiencies, typically through drink, women, and sheer stupidity, is the result of being bullied at school.
As a consequence, Archer is a socially inept alcoholic and sex addict. And when combined with his narcissism, results in the kind of man who behaves recklessly not because he is fearless, but because he genuinely believes himself to be impervious to harm.
This is actually the primary joke of the show. Archer is not the “world’s most dangerous secret agent” because he is highly competent. Rather, he is the “world’s most dangerous secret agent” because his ineptitude makes him a danger to everyone around him.
Then there’s Archer’s boss and mother, Mallory. In many ways, she is worse than her son. She is, like her son, narcissistic and self-centred, and perhaps a little too fond of the bottle. However, unlike her son, who is capable of showing some humanity in spite of his self-centredness, Mallory is an emotionally cold, unloving, and hypocritical woman. She berates her employees but frequently embezzles money from her own company (usually for one materialistic splurge or another), and she’s perfectly willing to exploit the talents of her staff for her own personal gain.
Finally, there is Cyril Figgis, the mild-mannered and softly-spoken accountant who is, perhaps, the worse of the lot. Crippled with self-doubt and frequently the target of Archer’s provocations, Figgis is a man brimming with hatred and resentment. He is a man who abuses power once he gets it and fails to accept either advice or help from
What makes Archer a compelling show is that these characters are willing to help and forgive one another in spite of all their insufficiencies. Even Mallory Archer and Cyril Figgis are prepared to help their colleagues when they get into trouble, albeit begrudgingly. Sterling Archer may be a self-centred buffoon, but he’s the first person to come to his friend’s aid when they get in trouble. Heck, he even describes Pam Poovey, the overweight human resources manager, as his best friend.
This is why Archer is compelling to watch. It reminds us that human beings are not perfect, but they can still find it within themselves to help one another.
SCIENCE FICTION, OR SCIENCE REALITY
There can be little doubt that technology is going to transform our world in ways that will make it unrecognisable to us fifty years from now. Technology is going to transform our lives, our work, and our relationships in ways that we, in our mortal and limited wisdom, will prove unable to comprehend. What we consider science fiction today, we will consider reality tomorrow.
The most obvious clue has been the internet. This medium is, indeed has, changed the world in ways we cannot even begin to fathom. Virtually every home in the developed world has the internet. Most of us carry it around with us in the form of smartphones and tablets. It has revolutionised the way we learn, do business, commit crimes, and communicate with one another.
Then there’s television. The shows featured on mainstream television can be described, accurately, as formulaic, petty, cheap, and shallow. It’s news and current affairs programs provide little in the way of real or, for that matter, interesting information. Likewise, their fictional programming features staid and one-dimensional characters in cliché plots and scenarios.
By contrast, paid subscription services like Netflix and Hulu feature shows that appeal to a wide variety of temperaments and interests. By contrast, the shows on paid subscription services like Netflix and Hulu appeal to a wide variety of temperaments and interests. Their shows captivate the imagination by featuring intriguing plots, complex characters, inspired cinematography, beautiful set designs, and state-of-the-art special effects. Just take a look at some of the titles: Archer, Suits, Spartacus, Mindhunter, House of Cards, Rick and Morty, Game of Thrones, and so forth.
One night of watching mainstream television followed by a single night of watching a paid subscription service should be proof positive to anyone that television is slowly, but surely, fading away.
Finally, there is music. Digital music outlets like I-Tunes and Spotify has revolutionised the way in which listen (and, more sinisterly, steal) music. Where once our grandparents were limited to their vinyl record collection, today’s music lover has access to thousands of songs at his or her fingertips.
Allow me to reiterate what I said before: the high-tech world that pervaded the imaginations of storytellers and filmmakers will no longer be a fantasy, it will be a reality.
I, for one, can easily envision a world in which an omnipresent house computer reads our body temperature and regulates the climate in our home without us being consciously aware of it. I can envision a world where a computer-controlled kitchen cooks our food with little intervention us. I can envision a world of driverless cars, endless self-serve checkouts, and more.
The future will be digital. The challenge for the human race is to be able to embrace this change without losing our individual autonomy.
