Quotulatiousness

November 23, 2022

The potential mass-casualty event of Trump being re-instated on Twitter

Filed under: Media, Politics, USA — Tags: , , , — Nicholas @ 03:00

You can almost hear Tom Knighton‘s eyes rolling here:

I’m not the biggest fan of Donald Trump. Most of his policies — the things he enacted quietly as he went — were pretty decent, including criminal justice reform and reducing federal regulations.

He just couldn’t stop tweeting.

I joked more than once that I wish someone would lock his phone so he couldn’t get on the app. However, I never once thought he should be banned from the platform.

But he was.

Now, he’s back.

Sort of.

His account isn’t banned anymore, though as of this writing, he doesn’t appear to be using it.

Yet this is, apparently, something just short of genocide if you listen to some journalists.

No, seriously.

I hoped this was a troll, but it’s not.

He apparently actually believes this is a thing, too, because it’s not the only time he claimed Trump being on Twitter will result in people’s deaths.

Again, there’s no word whether Trump will return to use the platform. As of this writing, his last tweet is from January 8th, 2021, so even if Trump’s tweets somehow could result in people’s death, it doesn’t seem like it matters since he’s not back on the platform.

But this unhinged individual has the old-school blue checkmark, the one given because an individual is “notable”.

Yet he also has his cover photo set to a screenshot of him being blocked by Trump. In other words, it looks like the boy is a might obsessed with the Orange One.

And this is the problem.

It’s not about Trump, but the media. This is a guy with mainstream media bylines aplenty. He’s got the old Twitter mark of approval, and he’s literally arguing that a former president having the ability to voice his thoughts on a social media platform will result in people’s deaths.

Does he think Elon Musk has weaponized tweeting and only given the launch codes to Trump?

The Babylon Bee (or as Instapundit says, “America’s Newspaper of Record”) is already on this hot new calamity:

November 22, 2022

“Andrew Doyle is a dangerous man, and this is a dangerous book”

Filed under: Books, Britain, Media, Politics, Religion — Tags: , , , , — Nicholas @ 05:00

I missed this review when it first got posted at The Critic, which is why I’m only linking to it now. Stephen Daisley reviews The New Puritans: how the Religion of Social Justice Captured the Western World:

Andrew Doyle is a dangerous man, and this is a dangerous book. Don’t take my word for it: the bloke’s own mates think he’s one for the watching. Like the pal he tells us about who pegged him as “a fucking Nazi cunt”. Admittedly, vodka martinis had been taken and the friend’s evidence of fascist proclivities was Doyle’s vote to leave the EU and his satires of progressivism, but you can never be too careful.

So it was with some trepidation that I opened my copy of The New Puritans during a recent stay in hospital. I had lost patience with a John Grisham grabbed from the shop, which was largely concerned with how racist and stupid everyone is south of the Mason-Dixon Line. When did the gutsy master of Southern populist pulp turn into a sneering liberal bigot? A shift to the right was in order, so Doyle’s book it was.

As Nazi polemics go, The New Puritans is something of a disappointment. It’s a better read than Mein Kampf and less esoteric than The Myth of the Twentieth Century, but it’s pretty light on the old blood and soil. It turns out Doyle isn’t a Nazi at all, just a bog-standard, run-of-the-John-Stuart-Mill liberal. The New Puritans, far from a tract on Aryan racial purity, is an admonition against authoritarian trends in identity politics. Boy, are there going to be some red faces at the next Britain First reading group.

A broadcaster and stand-up comedian, Doyle is also a recovering academic with a PhD in “Renaissance discourses of gender and sexuality”, which takes some recovering from. It has, however, gifted him an intimate insight into a political insurgency that, in just a few years, has seized the commanding heights of government, law, medicine, education, journalism, the arts and private enterprise.

The architects of this movement are “the new puritans” and their religion is critical social justice, Doyle’s term for what is more commonly known as wokeism. They are “a prohibitionist and precisionist tendency who seek to refashion society in accordance with their own ideological fervour”. Their zealotry, philistinism and spiteful exercise of power over others reminds Doyle of the Salem Witch Trials and the vicious little girls whose “lived experience” sent 19 innocent women to the gallows.

Where Abigail Williams and her finger-pointing acolytes saw witches, their ideological descendants see racists and transphobes. They do so by applying a doctrine called intersectionality, which asserts interlocking systems of oppression as the basis of Western societies. They harness the power of social opprobrium to punish transgressors and sceptics. This is cancel culture — “retributive and performative mass denunciation in order to destroy lives and enforce conformity” — and today it rages on Twitter rather than a colonial settlement in Massachusetts.

In addition to punishment, the new puritans exercise prior restraint by banishing speech they disapprove of as harmful, a practice known as safetyism. Doyle notes how routinely this involves the privileged imposing their preferences on the lower orders. “Imagine,” he ventures, “Debrett’s guide to etiquette having been rewritten by someone with a histrionic personality disorder.”

QotD: The obligatory orgy scene

Filed under: Humour, Media, Quotations — Tags: , , — Nicholas @ 01:00

I went last week to a production of Rigoletto, the revival of a production first staged in 2001. A criticism that I read in advance informed me that the initial orgy scene had been toned down somewhat by comparison with what had gone seventeen years before. Was this progress or regression? The critic did not venture an opinion on this vital question; he merely recorded the change as a fact.

It seems that all opera productions these days need an orgy scene, just as doctoral theses in the Soviet Union used to need at least one quotation from Lenin. There was a time when an orgy would have been censored, but now it is obligatory — no opera without one. There was a brief orgy scene in the last Flying Dutchman that I saw, and it was a bit of a relief when they got it over with because I knew that it must be coming and tension mounted until it did. It was a bit like childhood diseases in the old days: The sooner you had them, the quicker you got over them.

The problem with orgies is that once you’ve see one, you’ve seen them all, and these days they are staged literally rather than suggestively, as if the aging audience has to be reminded of what sex actually is. Moreover, they are staged like a tableau of Krafft-Ebing’s Psychopathia Sexualis, the fin de siècle compendium of what used to be called, in those far-off judgmental days, perversions. The implicit, however, is more powerful than the explicit, or it used to be. The explicit, in fact, is the enemy of the voluptuous.

Theodore Dalrymple, “Adding Injury to Insult”, Taki’s Magazine, 2018-01-20

November 19, 2022

American political parties from 1865 down to the Crazy Years we’re living through now

Filed under: Economics, History, Media, Politics, USA — Tags: , , , , , , , , — Nicholas @ 03:00

Severian responds to a comment about the Democrats and Republicans and how they have morphed over the years to the point neither party would recognize itself:

“The Third-Term Panic”, by Thomas Nast, originally published in Harper’s Magazine on 7 November 1874.

A braying ass, in a lion’s coat, and “N.Y. Herald” collar, frightening animals in the forest: a giraffe (“N. Y. Tribune”), a unicorn (“N. Y. Times”), and an owl (“N. Y. World”); an ostrich, its head buried, represents “Temperance”. An elephant, “The Republican Vote”, stands near broken planks (Inflation, Repudiation, Home Rule, and Re-construction). Under the elephant, a pit labeled “Southern Claims. Chaos. Rum.” A fox (“Democratic Party”) has its forepaws on the plank “Reform. (Tammany. K.K.)” The title refers to U.S. Grant’s possible bid for a third presidential term. This possibility was criticized by New York Herald owner and editor James Gordon Bennett, Jr.
Image and caption via Wikimedia Commons.

I find this extremely useful. I’d add that the postbellum parties do shift ideologies fairly regularly, as PR notes, such that even though they’re still called by the same names, they’re nowhere near the same parties, 1865-present.
I’d add some distinguishing tags for ease of reference, like so:

DEMOCRATS:

The Redeemers of the “Solid South”, 1865-1882, when their main issue was ending Reconstruction and establishing Jim Crow.

The Grover Cleveland years, 1882-1896: Still primarily an opposition party, their main goal was reining in the ridiculous excesses of the Gilded Age Republicans. As one of about 100 people worldwide who have strong opinions on Grover Cleveland, I should probably recuse myself here, so let me just say this: Union Army veterans were to the Gilded Age GOP what the Ukraine is to the Uniparty now. They simply couldn’t shovel money at them fast enough, and the guys who orchestrate those ridiculous flag-sucking “thank you for your service” celebrations before pro sporting events would tell them to tone it way, way down. Cleveland spent most of his presidency slapping the worst of this down.

[How bad was it? So bad that not only did they pass ridiculous giveaways like the Arrears of Pension Act and the Dependent Pension Act — think “Build Back Brandon” on steroids, times two, plus a bunch of lesser boondoggles — but they got together every Friday night when Congress was in session to pass “private” pension bills. These are exactly what they sound like: Federal pensions to one specific individual, put up by his Congressman. Grover Cleveland used to burn the midnight oil vetoing these ridiculous fucking things, which makes him a true American hero as far as I’m concerned].

The Populist Party years, 1896-1912: They were more or less absorbed by the Populist Party — William Jennings Bryan ran as a “Democrat” in 1896, but he was really a Populist; that election hinged entirely on economic issues. They still had the “Solid South”, but the Democrats of those years were basically Grangers.

The Progressive Years, 1912-1968: They picked up all the disaffected “Bull Moose” Republicans who split the ticket and handed the Presidency to Woodrow Wilson in 1912, becoming the pretty much openly Fascist entity they’d remain until 1968.

The Radical Party, 1968-1992: The fight between the Old and New Left, or Marxism vs. Maoism.

The Boomer Triumphalist Party, 1992-2000. It’s an Alanis-level irony that Bill Clinton was the most “conservative” president in my lifetime, if the metric for “conservatism” is “what self-proclaimed conservatives say they want”. This was our Holiday From History, in which “wonks” reigned supreme, tweaking the commas in the tax code while occasionally making some noises about silly lifestyle shit.

The Batshit Insane Party, 2000-Present. The years of the Great Inversion. Today’s Democrats only know one thing: Whatever is, is wrong.

REPUBLICANS:

The Radical Party, 1864-1876: Determined to impose utopia at bayonet point in the conquered South, they started asking themselves why they couldn’t simply impose utopia at bayonet point everywhere. They never did figure it out, and we owe those awful, awful racists in the Democratic Party our undying thanks for that. This is the closest America ever came to a theocracy until The Current Year. Morphed into

The party of flabbergastingly ludicrous robber baron excess, 1876-1896. In these years, J.P. Morgan personally bailed out the United States Treasury. Think about that. FTX, meet Credit Mobilier. You guys are pikers, and note that was 1872. William McKinley deserves a lot more credit than he gets in pretty much everything, but he might’ve been the most fiscally sane American president. Only Calvin Coolidge is even in the ballpark.

The Progressive Party, 1900-1912. For all the Left loves to call Republicans “fascists”, for a time they were … or close enough, Fascism not being invented quite yet. But the Democrats coopted it under Wilson, leading to

The Party of (Relative) Sanity, 1912-1968. Before Warren G. and Nate Dogg, there were Warren G. Harding and Calvin Coolidge, the only two contestants in the “American politicians with their heads screwed on straight” competition, 20th century division. Alas, superseded by the

Anti-Left Party, 1968-2000. Want to punch a hippie? Vote for Richard Nixon. Or Gerald Ford. Or, yes, the Gipper.

The Invade-the-World, Invite-the-World Branch of the Uniparty, 2000-Present. Wouldn’t it be nice if Bill Clinton could keep it in his pants, and wasn’t a walking toothache like Al Gore? That was the essence of W’s pitch in 2000. Our Holiday From History was supposed to continue, but alas, 9/11. Some very special people at the State Department got their chance to finally settle their centuries-long grudge with the Cossacks, and, well … here we are.

By my count, the longest periods of ideological consistency ran about 50 years … and I’m not sure if that really tells us much, because it makes sense to view 1914-1945, if not 1914-1991, as THE World War, which put some serious constraints on the ideology of both sides.

Trend-wise, what I see is one side going nuts with some huge moral crusade, while the other side frantically tries to slam on the brakes (while getting their beaks good and wet, of course). Antebellum, it was the proslavery side leading the charge, but if they’d been slightly less excitable in the late 1840s, the abolitionist lunatics would’ve done the job for them by the late 1860s. If you know anything about the Gilded Age, you know that they somehow presented the truly ridiculous excesses of the Robber Barons as some kind of moral triumph; this was, after all, Horatio Alger‘s America. Progressivism, of either the Marxist or the John Dewey variety, is just moralizing gussied with The Science™, and so forth.

The big difference between then and now, of course, is that the grand moral crusade of The Current Year is open, shit-flinging nihilism. The “opposition”, such as it is, is also full of shit-flinging nihilists; they just don’t want to go before they’ve squeezed every possible penny out of the Suicide of the West. So … yeah. We’re overdue for a big ideological change. And we shall get it, never fear; we can only hope that we won’t have to see it by the light of radioactive fires.

November 18, 2022

“WOLLT IHR DEN TOTALEN TWEET?“

Filed under: Germany, History, Humour, Media, Technology — Tags: , , , , , — Nicholas @ 05:00

When German public TV is willing to invoke literal Nazi imagery, you know the Twitter situation has gotten out of hand:

After Germany’s “first” public television network, ARD, compared Elon Musk reducing Twitter censorship to “letting rats out of their holes”, Germany’s “second” public television network, ZDF, has now compared Musk to Nazi Propaganda Minister Joseph Goebbels! (The network’s name Zweites Deutsches Fernsehen literally means “Second German Television”.)

Thus, last Friday, ZDF’s would-be comedy program, the “Heute Show”, posted the below tweet and photoshop.

The Tweet reads: “Thanks to Elon Musk, you’re allowed to say anything again on Twitter! Total freedom of speech! #heuteshow.” The caption, whose color scheme and font invoke Nazi-era propaganda, reads “Do you want total tweet?” It is an allusion to Goebbels’s 1943 speech at the Berlin Sportspalast, in which the Nazi Minister of Propaganda famously shouted, “Do you want total war?” – in response to which audience members leapt to their feet shouting “Yes!” and raising their arms in the Hitler-salute.

The background image appears to show a Nazi Party rally with the swastikas replaced by the Twitter bird logo. Two smaller swastikas are still visible in the lower left-hand corner of the full-size image.

Leaving aside the extreme mental contortionism required to associate freedom of speech with Nazi Germany, if ever there was a don’t-throw-stones-in-glass-houses moment, this was it. For, as so happens, during the Second World War, the founding director of ZDF, Karl Holzamer, himself served in one of the propaganda units that none other than Goebbels’s Ministry of Propaganda embedded with the different divisions of the Germany military.

Holzamer served in a propaganda unit of the Luftwaffe or German air force. As noted in a 2012 article titled “Goebbels’s Soldiers” in the German daily Die Frankfurter Rundschau, Holzamer was embedded with the Luftwaffe during its April 1941 bombing of Belgrade and was “the first” to report on the German subjugation of the Yugoslav capital.

QotD: Therapism

Filed under: Media, Quotations — Tags: , , — Nicholas @ 01:00

Therapism has caused a decline in the quality of our culture. People are now engaged in a kind of arms race, feeling obliged to express their emotions ever more extravagantly to prove to themselves and other just how much and how deeply they feel. This leads to the peculiar shrillness, shallowness, and lack of subtlety of so much of our culture.

Theodore Dalrymple, “Bad counsel”, The New Criterion, 2005-06-23.

November 17, 2022

TikTok (aka “Digital Fentanyl”)

Filed under: China, Media, Politics, USA — Tags: , , , , , — Nicholas @ 05:00

Geoffrey Cain at Common Sense on the malign influence of the massively popular Chinese social media platform on US politics and culture:

The midterm elections of 2022 were many things — a shocker for Republicans, the possible end of Donald Trump, a win for centrist Democrats. Overlooked is the fact that they were also a big turning point for TikTok, the Chinese social-media platform.

TikTok is not only the most trafficked news app for Americans under 30. It was also a major political force this year. Exhibit A: the Senate race in Pennsylvania, in which both Democrat John Fetterman and his Republican rival, Mehmet Oz, deployed TikTok, with Oz railing against the cost of vegetables in one video, and Fetterman slamming Oz for saying “crudité” in a highly effective response. Other candidates who took to TikTok this cycle include Tim Ryan, who ran for Senate in Ohio, and Val Demmings, who ran for Senate in Florida. (Both are Democrats.) The Democratic National Committee, early this year, launched its own TikTok channel.

Now, there are calls to shut it down. Just yesterday, FBI Director Christopher Wray said the bureau has “national-security concerns” about TikTok. Last Friday, the top Republican on the Federal Communications Commission, Brendan Carr, called TikTok “China’s digital fentanyl”. The day before, Senator Marco Rubio and Rep. Mike Gallagher, both Republicans, introduced legislation banning the social-media platform, noting that the data of millions of Americans is “effectively controlled” by the Chinese Communist Party. Earlier in the month, Carr also said the U.S. government should ban TikTok.

It’s about time.

Ever since TikTok began expanding into the United States, more than four years ago, we’ve known that it was a disaster waiting to happen. What’s shocking is that it’s taken this long to get serious political attention.

I know all about this. I used to be an investigative reporter in China. In December 2017, I first heard from friends on social media that a Chinese tech unicorn called ByteDance was planning on entering the American market with a new app. It was called TikTok.

Alongside its sibling app, Douyin, which operates only in China, TikTok was poised to sweep up the Gen Z audience in America, with its preference for video snippets of dancing celebrities, DIY projects, cooking demonstrations, skincare routines and other Gen Z’ers singing and dancing in their parents’ kitchens. As the fastest growing social media app ever, it rankled American competitors Facebook and YouTube, which were banned in China.

By October 2018, ByteDance was the world’s most valuable startup, with a valuation of $75 billion.

Four years later, ByteDance is worth $300 billion. TikTok is expected to reach 1.8 billion users globally by the end of the year. And a quarter of American adults under 30 get their news from the social-media app.

There’s a good reason for this success. TikTok has developed one of the most powerful machine-learning algorithms ever — one that is able to reveal people’s unknown desires to themselves.

Every day, every hour, every waking minute, TikTok is hoovering up seemingly infinite bits of information about its users — their tastes, hobbies, political views, sexual preferences, their facial structure, the sound of their voice. Ostensibly, all this is meant to provide a better product. It should also be noted that this information can be used for spying, influencing millions of users — even waging war. Every time we swipe for the next video, every time we post videos of our own, we are helping the world’s most sophisticated police state learn more about us.

The Pornstars of World War Two – Pin-Ups – On the Homefront 017

Filed under: Europe, History, Media, Military, USA, WW2 — Tags: , , , , , — Nicholas @ 04:00

World War Two
Published 16 Nov 2022

How do you motivate men to leave home and go fight in a foreign land? Send them packing with Betty Grable, Rita Hayworth, and Irene Manning, of course! It helps if you include an Esquire magazine and girlie cartoons from the infamous Alberto Vargas.
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November 16, 2022

“Angertainment is unlikely the sole cause of US political polarisation, but it certainly hasn’t helped”

Filed under: Media, Politics, USA — Tags: , , , , , — Nicholas @ 03:00

At Quillette, Claire Lehmann rounds up the rising distrust/disgust among the American public in their views of the legacy media:

In October, a study published in PLOS One provided some fresh insight into how and why American media has become so dysfunctional. Over the past 20 years, the study reported, headlines that convey anger, fear, sadness, and disgust have been increasing, while headlines conveying neutrality or joy have been in decline. These trends have coincided with a massive drop in trust in news journalism, particularly in the US.

According to Gallop polling, seven percent of Americans say they have “a great deal” of trust in the media, while 38 percent say they have none at all. As angertainment has increased, trust has decreased. As one political tribe provides angertainment for its loyal readers and viewers, the other becomes increasingly alarmed and disgusted. Angertainment may be profitable for journalism in the short-term but over the long-term it trashes the integrity of the profession.

Angertainment is unlikely the sole cause of US political polarisation, but it certainly hasn’t helped. Just as mad cow disease was caused by feeding bovine-meal to cows, angertainment feeds on polarisation which in turn feeds on angertainment. It’s a cannibalistic cycle.

[…]

The incentives for journalism are broken. This is not always the fault of individual journalists, although some strive for truth and accuracy with more sincerity than others. Nor is it solely the fault of media companies, although many of them prioritise profit and engagement over rigour and fairness. It is not even the fault of “Big Tech”, even though social media companies have built the machine on which these broken incentives run.

It’s the fault of all of us. We are the ones who devour angertainment and get high on watching our enemies suffer. We are the ones who want to see various idiots eviscerated and dismembered by the bayonets of Twitter. We are the ones who clamour after content which makes us feel virtuous, complacent, and like we belong. The 20-year incline in headlines denoting fear, anger, disgust, and sadness in American media would not have occurred if audiences had not been rewarding it. In a competitive eco-system, media organisations must adapt to their audiences, feed them what they want, or die. But like the cows feeding on the meat-and-bone meal of other cows, this feedback loop creates the cultural equivalent of a neurodegenerative disease.

I have been just as guilty of this as any other publisher, consumer, or creator of media. But in recent months I’ve largely stepped back from social media, stood outside this machine, and have watched it whir and whizz from the sidelines. It is possible to disengage and reconsider the machine from a safe distance, starving it of fuel. And every day at Quillette I am reminded by my writers and readers and subscribers that it is possible to publish and create journalism that is appreciated for its analytical and aesthetic value, rather than for the artillery it provides in a never-ending culture war. It’s a war in which facts and reputations exist merely as cannon fodder, and where truth is less important than tribe. The media’s incentives may be broken, but we as individuals do not have to be.

November 15, 2022

New Zealand’s “splintered reality”

Filed under: Media, Politics — Tags: , , , — Nicholas @ 03:00

Earlier in 2022, when most of us were distracted by the Freedom Convoy in Ottawa, New Zealand was having its own populist protest moment, as Chris Bray recounts:

Back in February, protesters gathered outside New Zealand’s parliament began warning that police were using LRAD sound cannons to disrupt their protest. To the news media, it was evidence of how stupid and crazy the protesters had become, and still more proof of the obvious silliness of the anti-vaccine mandate protests in general.

Here are the first three paragraphs of that news story, laying it on thick with baseless claims and tinfoil hats:

    Wellington anti-mandate protesters have been seen wearing tin foil hats, as some baselessly claim they are being targeted by “tech weapons” directed at them.

    A video posted on Facebook on Thursday under the name Carlene Louise has attracted attention on social media.

    In the video, the protester said people at the occupation site in Wellington are getting ill and claims without any evidence that the cause is “EMF machines”, “radiation machines” and “technological weapons” being directed at the occupation.

Four months later, police confirmed that they had used LRAD cannons against the protesters, though they claimed they didn’t use them until March. See, so it totally was a baseless conspiracy theory. Tinfoil hatted morons! Falsely claiming that the police did … what they … did. Hold on a second.

This nice bookending of claims and facts, and many other extraordinarily insightful juxtapositions, comes from a short documentary that, unfortunately, appears to only be available on YouTube:

In just half an hour, this is the whole thing, a perfect depiction of the “disinformation” project as it works everywhere. Note the moment when a news anchor and New Zealand’s bizarre prime minister are having an exchange about the viciousness and terrifying blood thirst of the far-right anti-government protesters, and the camera cuts away to show the protest, undercutting the description in real time. Note the moment when the disinformation expert tells an interviewer that she has determined that the protests are violent and dangerous, and then explains that people inside the protest believe that they’re engaged in a project of peace and love — a frightening example, she explains, of the splintered reality these people occupy inside their echo chamber. Note the moment when a member of parliament warns that anti-mandate protests are “fascist”.

And note, above all, how confused the news media figures are as they discuss the way their accurate and factual reporting from the perimeter of the protest, responsibly informed by experts and authorities, is being irresponsibly contradicted by livestreaming from inside the protest.

November 13, 2022

Carrying on about the Carry On movies

Filed under: Britain, History, Humour, Media — Tags: , , , , , — Nicholas @ 05:00

In The Critic, Alexander Larman looks back at one of the longest-running film series beginning with 1958’s Carry On Sergeant (not to be confused with the earlier — and reputedly terrible — interwar Canadian film of the same name) and continuing with many more until the filmic disaster of Carry On Emmanuelle in 1978 (there was also a 1992 attempt to revive the franchise, which failed):

In Alan Bennett’s The History Boys, it is decreed by the contrarian history master, Irwin, that “if George Orwell had lived, nothing is more certain than that he would have written an essay on the Carry On films”.

We are invited to take Irwin’s instructions that the Carry On films represent a valuable insight into British social history with suitable detachment. (The precise, suitably pompous quote is that “while they have no intrinsic merit, they acquire some of the permanence of art simply by persisting, and acquire an incremental significance if only as social history”.)

Yet Irwin (or Bennett) was almost certainly right that, had Orwell survived into the Sixties and Seventies, he would have found the Carry On film series both repellent and fascinating. It is literature’s, and history’s, loss that we do not have an account of Orwell’s thoughts on the antics of Charles Hawtrey, Kenneth Williams, Barbara Windsor et al.

In 1941, Orwell wrote of postcards by the cheerfully lowbrow artist Donald McGill that “your first impression is one of overpowering vulgarity” and that “what you are really looking at is something as traditional as Greek tragedy, a sort of sub-world of smacked bottoms and scrawny mothers-in-law which is a part of Western European consciousness”. He goes on to say that “jokes barely different from McGill’s could casually be uttered between the murders in Shakespeare’s tragedies”.

[…]

The joy of watching the Carry On films, then, is twofold. On the one hand, the hackneyed stories, two-dimensional characterisation and laboured puns and innuendo can be enjoyable, on a purely basic level, but hardly threaten to aspire to the levels of great art.

Yet on the other, the cheerfully Rabelaisian sentiments of the pictures — in which all men and women are defined purely in sexual and scatological terms — exist on a level of reductio ad absurdum.

It is no coincidence that the best Carry On films contain a vein of social satire in their mocking of great British institutions, whether it be the NHS, MI5, the army or the Raj, and the final set piece of Carry On Up The Khyber — in which the stiff-upper-lip British occupiers ignore the Afghan invaders while taking formal dinner in black tie — rises to a level of surrealist genius that would have made Buñuel proud.

There is occasional talk of making another Carry On film, but with all the principal cast (save the ever-sprightly Dale) now dead and with the world a very different place, it is impossible to imagine that we will ever see, say, Carry On Tweeting or the like.

There is every possibility that a really top-notch cast could be assembled, if there was any serious intent behind it — I would love to see Andrew Scott, for instance, offer a more dynamic take on the kind of roles that Williams essayed, because he would do so brilliantly, and if the script could be written by the award-winning likes of Patrick Marber or Richard Bean, it could be a thing of innuendo-heavy beauty.

But then the Carry On series never was a thing of beauty. In its grim and hilarious way, it took every British national stereotype, pulled its trousers down, and gave it a hearty slap on its bare buttocks. Some might find this offensive; others might mourn its loss from public life.

In either case, we shall not look upon its like again. Dr Nookey, Francis Bigger, Professor Inigo Tinkle, Vic Flange: your services are no longer required. To which unkind cut we must solemnly say: “Ooh, matron.”

November 12, 2022

The Final Bloody Chapter of Operation Reinhard – War Against Humanity 085

Filed under: China, Europe, Germany, History, Italy, Japan, Media, Military, Pacific, Russia, USA, WW2 — Tags: , , , , , , — Nicholas @ 04:00

World War Two
Published 9 Nov 2022

The genocide of the Jews of Eastern Europe concludes with Operation Harvest Festival — Aktion Erntefest when 42,000 are murdered in the Lublin district.
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SUPERCUT – Every Window Cameo in Batman (1966-1968)

Filed under: Humour, Media, USA — Tags: , , — Nicholas @ 02:00

Tommy Westphall’s Snowglobe
Published 14 Jan 2020

The dynamic duo’s show of the 60s was fond of celebrity cameos. Here is a Supercut of every single one of them.

In order of appearance:

1. Jerry Lewis
2. George Cisar (from the 1966 film)
3. Dick Clark
4. Van Williams and Bruce Lee as The Green Hornet and Kato from The Green Hornet
5. Sammy Davis Jr.
6. Bill Dana as José Jiménez
7. Howard Duff as of Sam Stone from Felony Squad
8. Werner Klemperer as Colonel Klink from Hogan’s Heroes
9. Ted Cassidy as Lurch from The Addams Family
10. Don Ho
11. Santa Claus
12. Art Linkletter
13. Edward G. Robinson
14. Suzy Knickerbocker
15. The Carpet King
(more…)

November 11, 2022

QotD: WW1 was the first war where the artillery was destructive enough to change the landscape

Filed under: History, Media, Military, Quotations, WW1 — Tags: , , , — Nicholas @ 01:00

So why is it always muddy? The real answer is high explosive shells (particularly, but not exclusively, penetrating high explosive shells). Heavy artillery shells in the First World War were made to penetrate into the ground and then explode, sending up a rain of loose dirt – the idea was to be able to destroy or at least bury trenches and deep bunkers. The explosions were so powerful that they uprooted trees and grass, leaving behind the “blasted moonscape” so common in pictures of the Western Front. All that remained were the deep craters which collected water and turned into often fatal mud-traps (Peter Jackson’s They Shall Not Grow Old (2018), includes a horrific description of one man, unable to assist, having to watch another man sucked under the mud to his death in such a crater).

This kind of terrain – with so much of the ground-cover blasted away – would turn into mud-soaked pits the moment it rained – particularly where water collected in the shell-holes.

That also explains why these post-battle scenes often lack any kind of local terrain features. Powerful explosive shells could annihilate terrain features like forests, roads, hedgerows, fences, fields – even hills and entire villages – with extended bombardments. And without any ground-cover left, almost any rain at all will then reduce the local terrain into a mud-soaked bog, especially if the local soil drains poorly (as it did so famously in Flanders).

The problem with depicting medieval, or even early modern battlefields this way is, of course, that these armies do not possess any weapons which can deliver this kind of destruction. Even as late as the American Civil War, field artillery – even massed field artillery – was simply not that powerful (although some heavy naval and siege guns were beginning to come close). Post-battle photography of Gettysburg – even in the approaches to Cemetery Ridge and around the Wheat Field – areas of fierce fighting – shows not only trees and ground-cover, but even fences and buildings largely intact.

Field artillery firing solid shot from 6 to 20lbs to is simply not strong enough to tear apart the terrain in the way that we often see in popular depictions of historical or fantasy battlefields; as pictured above, the guns doing that in WWI were often firing 1,000+ pound shells, 100 times the weight of shot of a normal ACW cannon (lighter artillery, like the famed French 75 (Matériel de 75mm Mle 1897) still fired lighter shells – the French 75 fired a c. 12lbs shell – but still had far more explosive power due to improvements in explosives; that said, the French 75, a capable field gun, was famously too light for ideal use in the trenches). Massed musketry won’t do it either and so massed arrow or crossbow fire, catapults or whatever else certainly won’t.

(This, as a side note, may go some distance to explaining why First World War commanders were so unprepared for the challenges the new terrain they were creating in turn inflicted on them. Doctrine said that the solution to well-entrenched infantry was to mass artillery against them – blast them out of position. It had never been the case before that such massed artillery would render the ground itself impassible, because the artillery had never before been powerful enough to do so.)

Bret Devereaux, “Collection: The Battlefield After the Battle”, A Collection of Unmitigated Pedantry, 2019-10-18.

November 10, 2022

Contemplating the end of brand franchises like Star Wars

Filed under: Business, History, Media — Tags: , , — Nicholas @ 05:00

Ted Gioia is wondering how Star Wars ends:

Original Stormtrooper Hero Helmet from Shepperton Design Studios + originalstormtrooper.com

Lately, I’ve been wondering how Star Wars ends.

Let me be clear, I’m not worried about how the story resolves, or what happens to the characters. I have zero interest in all that. Darth Vader can win the Nobel Peace Prize, for all I care.

I’m more concerned with how a powerful brand franchise loses its stranglehold on the culture. And it’s not just Star Wars, it’s all those other stories that never achieve closure. I’m talking about Batman and Indiana Jones and James Bond and the Marvel Cinematic Universe (or MCU, for short), and the rest of them.

They all die, sooner or later. But how?

Heroes in capes and colorful costumes seem invincible now, if only because these fictional flâneurs are bigger than anything else in commercial culture. If Spiderman and Batman were real people, they would boast higher incomes and net worth than any flesh-and-blood entertainer in the world. The Marvel Cinematic Universe, which Disney acquired back in 2009, must be worth ten or twenty times the $4 billion they spent back then — total revenues from Marvel brands since then are somewhere around the one trillion dollar mark.

No pop star in history has ever possessed that kind of earning power.

Can these franchises just go on forever? The management team at Disney certainly must hope so, judging by their never-ending slate of Star Wars, Marvel, and other brand extension offerings. No Time to Die isn’t just the name of the 25th James Bond movie, but a promise for the future — why not another 25 films in the series? Or 50 or 100?

But brand franchises do die, or become so tired that few people care anymore. Universal Studios made so much money from Ma and Pa Kettle films that these corny comedies allegedly saved it from bankruptcy in the 1940s, but by 1960 audiences had lost interest in the predictable formulas of the series.

The Carry On films were the most dependable audience draw in British comedy, but after 31 movies the franchise could carry on no longer. A final resuscitation attempt after 14 years not only failed at the box office but was voted the worst British film ever made.

Some franchises not only die, but become genuinely toxic as attitudes evolve — killing, for example, the Charlie Chan franchise, and making it unlikely that Tarzan or the Lone Ranger or many other once lucrative brands will ever enjoy another meaningful payday.

None of this should surprise us, because narratives and protagonists go in and out of fashion like anything else. A story that charmed your grandparents is unlikely to interest your grandchildren.

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