Thursday, July 30, 2015

Should the death of Cecil the Lion matter?

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We are only a few centuries removed (not very long in the grand scheme of things) from a time when most humans thought it was vitally important to take innocent bulls, goats, lambs or doves into caves, groves, shrines or temples and there, on a smooth surface of cold, unyielding stone, slit their throats and gut them. Attended by reverential prayers and incantations, the blood of these sacrifices received pious attention, viewed as a substance supremely efficacious for expiating the evils and transgressions of society.

We don’t haul animals to the altar anymore (well, most of us don’t). But something most people seem blissfully unaware of is that the sacrificial principle—the idea that our individual and collective guilt is somehow purged vicariously—is just as strong as it ever was. We have simply chosen to remove our eviscerations to the symbolic realm and have left off the more physical and seemingly barbaric expressions of expiation.

But sometimes something happens in the world that pulls us back into a more primal state and the ancient laws of the tribe take over again.

The senseless killing of Cecil the Lion is a case in point. As such, it provides us, as symbol-wielding descendants of the ancient augurs, a rare and powerful tool with which to make a lasting impression on a great many people. We ignore it or, worse yet, deride and despise it, at our peril. The incident is a mine almost overflowing with gold and precious stones. We are in danger of two errors here: walking by it as a dark cave unworthy of our attention because we have other things far more important to think about; or leaving it to the screaming mob of the social media Circus Maximus.

As I may have heard some cyber-sniggers at mention of the abiding power of the sacrificial principle, allow me devote a few words to the idea.

This is one of those things so deeply rooted in our psyches that we have little conscious awareness of it. We are only conscious of breathing when it’s hard to breathe. The same goes for many basic functions in life. We don't think about some of these essential psycho-social exchange principles until we are confronted with something like Cecil.

Or Star Wars. Or Hunger Games. Or Harry Potter. Or even, help us, Twilight. From the most fundamental fairy stories that inform our sense of value and worth (and those fairy tales now come to us most commonly through Disney and Pixar) to the most innocent of games we play (chess, checkers, cards), sacrifice is an essential, underlying element. But none of us believes in equal exchange for the sacrifice. We all of us, every last one of us, hopes fiercely that when we plant those beans instead of selling them, there will be a Beanstalk that climbs all the way to the sky. Obi Wan’s death, Gandalf’s death, Dumbledore’s death, Rue’s death are all distilled versions of the Eucatastrophe explained by JRR Tolkien in “On Fairy Stories.” The result of these terrible losses is an Exchange that goes beyond mere expiation—mere purging of impurities—the ultimate hope and desire is that for the seed planted in this sacrifice something far greater, far happier, far more wonderful becomes available for Everybody (at least Everybody contained within the universe of the story). At the end of Beauty and the Beast, all the cursed household staff attain humanity again, becoming what they were meant to be. That’s the sort of exchange we want from our sacrifices. 

One might argue that this sacrificial principle, as it appears in our cultural expressions, is so much wishful thinking, but we engage in the idea on a day-to-day basis. All of us seek a certain degree of order, a world that Makes Sense. And in seeking such a world for ourselves, we constantly commit symbolic acts of sacrifice in the hopes of achieving our higher ideal. Regardless of whether we are religious in any sense of the term, we sacrifice at our own little symbolic shrines fairly religiously (I’m being a little careless with the word, sorry.) Take any of the ways in which we strive to better ourselves or our circumstances (a fairly engrained concept). I’ll use one very easy illustration—weight loss. Everyone knows it requires sacrifices both small and great. And the goal? Merely to see a certain number at the scales? Of course not. The goal is a better Quality of Life, a sense of Well Being. [As I write this, I am staring at a cookie next to my computer. It came with a prepared salad. I am debating whether I should eat the cookie and, if I eat it, what will the consequences be. Yes. This stuff is real.]

A less obvious example is what we do to become part of a group whose membership we highly value. Place whatever group in that basket you wish. Membership requires that we slay some things on the altar and acquire new rituals. Language, behaviors and even thoughts not supportive of the group must be rigorously purged. We must put serious “skin in the game” and acquire the group’s language, the group’s special behaviors and the group’s thoughts. Every group has rituals for this. And what is the goal of our sacrifice? A membership card? Heavens no. Just listen to the way people describe their affiliation. The terms, to the ears of the outsider, are almost always over the top. Idealized metaphors of the warrior, of the arena, of the family or some other romanticized communion gush out in torrents. We excuse and even applaud this even while we wince at it because we understand it.

Let’s get to Cecil the Lion. Cecil’s death has all the earmarks of the kind of tragic sacrifice of the innocent that still resonates with the masses. It taps into a collective unconscious that is still remarkably powerful. While I personally find this senseless, idiotic killing to be disgusting on many levels, I also find myself relieved to know that so many others feel the same way. It means that, on a fundamental level, we are still a human race with a sense of right and wrong after all. And that gives us a real opportunity to plant the kind of seeds that will have the kind of growth we always dream of when something like this happens. Let it not be in vain.

The social media mob, otherwise known as the electronic herd, is furious over this. So what should be our response? Is it to malign the mob for being what mobs always are, as some commentators have done? Do we dismiss the rage as so much sound and fury signifying nothing? Do we despise it because our own beloved and far more righteous cause hasn’t generated this much traction? No. Agenda setters and opinion influencers have a rare opportunity to tap into this huge, collective rage to channel the mob toward genuine ethical issues, to turn outrage into positive action, to siphon the fuel of this juggernaut to lend new energy to other things that matter but that may have lost steam due to oversaturation and fatigue. In short, redeem the time and the circumstances.

To discuss only one dimension of this thing, while there are many levels on which this “taking” of a magnificent beast was wrong, the one that grabs my attention most at the moment is the “It was legal” argument being used by Walter Palmer, the man who has admitted to what was essentially a failed and ultimately cruel “trophy” crossbow hunting.  (It was as much hunting for Palmer as the goat on a rope was for the T-Rex in Jurassic Park). Too many things in our culture are justified along similar lines. The sense of responsibility to those around us is frequently muted by our ability to do what we like simply because we can and because it falls under the category of what is legal. Legal and right are not the same thing. Legality is merely a distinction that allows us everything from ripping the environment to shreds to making anonymous hate-filled personal attacks online—and a fat catalog more. As an ethical defense it means nothing more than, “At the moment, there is no law against it.” It ranks right down there with, “But you didn’t say I couldn’t.”

There are other lessons to be gleaned here, but let me conclude by lending a voice to the many others who are saying that all this energy needs to move swiftly from fully merited condemnation to a much more meaningful and beneficial redemption of Things That Matter, of a real sense of worth and value, even of the notion of the Sublime. If we can be united in that kind of pursuit, we can truly say that something worthwhile has been gained, even at tragic cost.


Thursday, June 04, 2015

Summer Movies: Avengers - Age of Ultron

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It’s summer. It’s time for the movies.

Which means it’s time again for movie reviews.

I’ve been out of the gunslinger critic business for some time, but I think I’ll strap the holster to the hip again. These days, I owe a lot to my post-viewing conversations with my college-age son, Nick, who sees a side of movies I don’t always see and makes my own viewing that much more enjoyable – and informed.

First up, the long-awaited and heavily marketed Avengers: The Age of Ultron. After a month since release (at this writing) the film has safely passed the billion-buck mark worldwide. Blockbusters seem to be doing this more and more often, but they still beg the question: is a billion-buck blockbuster necessarily a good movie?

Hmmm.

In this case, I feel I should apologize for concluding that the best thing about this film (admittedly after only one viewing) is the Stan Lee cameo.

Simon Pegg, who has apparently been tapped for rewrites on the upcoming Star Trek 3, flew into some flak when he opined that too many movies were resorting to mind numbing action over intelligent plot lines. “Now we're walking out of the cinema really not thinking about anything, other than the fact that the Hulk just had a fight with a robot,” he said in remarks from which he has since distanced himself.

I have to agree with Pegg’s original thought that Ultron is a lot more about spectacle than anything else. But even when that is the case, even when spectacle is in the forefront, filmmakers have a chance to sneak in something cool, something new, something interesting or something even partially meaningful. I enjoy spectacle for its own sake as much as the next person. In that regard I am as Roman as all of us. If the spectacle is well done—by which I suggest it should involve more than clever CGIFX, should not chew overmuch on candy clichés, and should honor its inspirations and source material in ways that make the informed viewer smile at just the right moments—if it is well done, I say, I can hang with it. I should also add that the spectacle should not indulge in plot holes so big you could drive a galaxy through them.

No spoiler-alerts necessary, but I extend my habitual advice: if you plan on seeing the film anyway, then read this after you’ve seen it. If you are in limbo-land and would like more info to make a decision, some of this might prove helpful.

First disclaimer: I am neither a Marvel nor a DC Comics fanboy. Never have been. Due to circumstances I feel no need to explain, my exposure to comics came only as a very young kid and after that, only a healthy dose of Spiderman in daily newspaper strips. I was never a hardcore consumer. What that means here is that I am not in any way, nor do I pretend to be, an authority on what should or should not be in these movies with respect to “canon”. If you are that audience, then this review is not for you. When I read articles on comic book stuff, I feel very much the outsider that I truly am. I can speak only to the elements that come together to make a filmic work worth my money (or not).

Age of Ultron is a disappointment. It does not represent Joss Whedon’s best game from either a directing or writing standpoint. It does not hold together terribly well as a narrative. It moves each of the characters a few centimeters in random directions (maybe the only achievement as a film). Its action sequences don’t really complement the story. It offers very little in the way of suspense.

On the other hand, it is glossy, colorful, explosively loud, sometimes witty … and seriously jacked on cgi like a meth-head on a full sheet of Heisenberg’s best blue. And the soundtrack is really cool.

The afore-mentioned plot hole has to do with the production power and resources available to the villain in the film’s third act—pretty much on a multi-national scale, but hey, it’s fiction, right? No one asks whether the Death Star is actually economically or logistically possible, right? You must have a Death Star if Star Wars is to make any sense.

Plot holes aside (I’ll give them a pass), the stakes in the film never seem very high (they talk at them but they never seem more than bluster). And most unforgiveable of all, a secondary character (Scarlet Witch) is actually far scarier and more effective as a villain than the principle villain (Ultron). She has heft. She has power. She damages the Team. She’s a Serious Concern, Sir. But Ultron is little more than a tin can with a sardonic attitude.

Yes, Bruce. It's all very confusing
The biggest problem with the film was the rapidly shifting sand of the heroic relationships, or should I say, the relationships between the heroes and/or villains and/or heroes again. So Hawkeye isn’t a single, strong, quiet guy after all (sorry, that may be a spoiler for somebody). So Black Widow is “Nat” and there’s a flame starting for Bruce Banner, only Banner is too busy being conflicted with himself, and when he isn’t doing that, he’s passively rolling over for Tony Stark, who’s acting just crazy enough to set him up for the next film; and could the lonely Cap get any more annoying, really?  And then, “Let’s introduce an entirely new and incredibly powerful new character, give him some maroon paint and a couple of clever lines, but … not really anything else.” What a mess.

On the narrative side, it seemed the story was just getting into gear when a flashback and then another and another killed any hope for momentum. Flashbacks are potentially cool, but they have to be more than exposition. These failed to deliver substantial motivation for what the backstory was supposed to reveal for the present, and so really just made you go, “Okay, that was interesting, but...”

As far as the writing goes, one gets the sense that a lot of ad libs were allowed to leak in, or at least lines that were supposed to sound like ad libs, and that the real dramatic thrust was toward The Next Movie, Not Really This One, Enjoy Your Popcorn and Don’t Forget to Dispose Properly of Your 3D Glasses.

Stan Lee has said, apparently, that his cameo in this movie was his favorite ever. Any cameo in one’s 90s is worthy of celebration. And Joss Whedon has been quoted as saying that the movie felt weird when it came out of the editing suite. Yeah, Joss. I’m with you on that one.

Next up: Mad Max: Fury Road