Tag Archives: American

The Good, The Bad, and The Evil

In an early Shame Day post I called a particularly reprehensible political lobby “what cancer would look like if it were a social movement.” While I continue to stand by that statement (this group was pulling the exact same ploy against Muslims that Middle Ages Christians used against Jews), a commenter did assert that I had gone too far, stating “as wicked or wrong as you think these people are, they remain human beings.”

It’s got me back to thinking on a subject that’s long held my interest- namely the issue of evil. You’d think it’d be pretty straight forward- right is right and wrong is wrong- but let me get right into an example.

Was this guy evil?

No question. Hitler and his followers aren’t simply evil- they’re the go-to example of evil. They’re our baseline for evil. Everything vile and nefarious is measured against either Hitler or the Nazis.

So what about this guy?

Columbus’s long-list of achievements (discovering America not being one of them) read more or less as a chronicle of genocide, slavery, and theft. It’s well known, certainly at this point, that Columbus was a greedy, narcissistic, tyrannical, and corrupt man. Even with streets, cities, a holiday, and even an asteroid commemorating him, surely we can all agree that this guy was evil. Not on the level of Nazi Germany, but still indisputably evil.

But what about him?

Yep, that’s Thomas Jefferson. President.  Founding Father. Author of the Declaration of Independence.

Slave owner.

Not just a slave owner, but an abusive one- carrying on an affair with one of his slaves (that slave also being his wife’s half-sister), getting her pregnant multiple times, and then promptly allowing his own children to spend the rest of their lives as slaves.

Pretty depraved, eh? If I did any one of these things, I’d be called out as a first-rate ******* (and rightly so). I’d be called evil, and that would be telling it like it is.

But let’s move on.

Is this guy evil?

That’s J. Edgar Hoover, founder of the FBI, which he oversaw with about the same leadership you’d expect from some Stone Age self-proclaimed god-king. Hoover was an egoistical, jealous, paranoid man who used the FBI to advance his own political agenda. In addition to all of this, Hoover was a rabid racist, and struggled long and hard against the Civil Rights movement, targeting MLK Jr. in particular, as well as spearheading a campaign to undermine the Black Power movement of the 1960s. Would you call this guy evil?

Ok, what about them?

Yes, the average American family (not pictured above), or heck, even just the average American? Our money goes to supporting companies that use sweatshop labor. Our money goes to supporting companies that recklessly destroy the environment. Our money goes to supporting corporations that push objectifying ads (especially, but not exclusively, in regards to women).

Our taxes go to supporting dictatorial regimes (such as former Egyptian president Mubarak), racist and apartheid states (such as Israel), and even states that utilize child soldiers.

Where does that put us?

Now all of that is simply to illustrate the apparent complexity of the issue. Evil is evil, yes, but pinning down exactly who is and isn’t evil becomes a little more complex once we look at someone other than the Nazis. Jefferson was instrumental not only to the founding of this nation, but to the establishment and perpetuation of the core concepts of democracy and human rights- even to the point where Martin Luther King Jr., a man whose ancestors Jefferson owned– wound up quoting him in his iconic I Have a Dream speech.

Likewise, there’s the issue with the average American. Almost none of us would actually be able to manage a sweatshop, or put an assault rifle in a twelve-year old’s hands, at least, not in person. Despite this, our economy is built on the backs of Bangladeshi kids working for twenty-five cents an our. Our security (we are told) is predicated on us coordinated with nations whose human rights records are drenched in blood (*Cough*China*Cough*Saudi Arabia*Cough*Columbia*Cough*). The vast majority of us either don’t know or don’t care; not enough to raise a voice in protest, anyhow. Again, what does that make us? We might not be ourselves actively implementing imperialism and violence and despotism, but we still do rake in the rewards and howl for more.

We could try arguing innocence by virtue of not being the ones pulling the trigger on any of this, but the truth that history has taught us over and over is that simple knowledge of an injustice creates moral culpability. To ignore injustice equates with committing injustice. We simply can’t escape it.

Not without risk of being hunted down by zealously religious Irishmen…

And maybe that’s the answer. Maybe we can’t be so picky about where we draw the line between right and wrong. Maybe the answer is sweeping judgment. That’s not meant to be some fire and brimstone-esque statement, that’s simply a fact of the matter. You’re not good and evil only when you embark on a mission of genocide- you’re a participant in a viciously evil system until such a time as you act otherwise. You’re part of the problem until you’re part of the solution.

That’s not to say that you have to be flawless. You’re not going to be able to do that (neither am I, for that matter)- in part because we’re human, and in part because the world we live in simply isn’t going to cooperate. But people, we can at least try. I don’t think making an effort to not totally **** up the planet and all that’s in it is really all that much to ask, do you?

Evan and Gordon Talk: Racially Accurate Casting

EVAN: Today’s topic is something that I hold very near and dear to my heart. Years of research on the topic has made me witness to all of the arguments that can be used against needing to have racially accurate casting, and because of this I’m going to propose something a little different

GORDON: Namely?

EVAN: That I switch sides for this conversation, and speak out against it.

GORDON: Intriguing. Mind starting us off with the first salvo?

EVAN: Statement: Racially accurate casting is not important. The most talented actor should be the one who gets the role.

GORDON: Doesn’t appearance play a key role in what makes an actor good? Peter Dinklage is good, but you wouldn’t really find him believable playing Abraham Lincoln or Kareem Abdul Jabbar.

EVAN: In this case his stature, not his race, is what would keep him from playing either role in a convincing manner.

GORDON: But isn’t that essentially the same issue? Imagine the great Denzel Washington playing Lincoln- you’d be sitting there the entire time, no matter how much of a powerhouse Washington would be, taken out of the film because you have to deal with a black guy playing a white guy during the height of the civil war.

In any piece of film where you’re expecting realism, you’re going to expect the actors to conform to the styles and facts of the time. If you portray Georgia in the 1960s, you’re obviously not going to have a largely black cast portraying the upper class  or if you were to set the scene in early 1900s Ghana  you wouldn’t have a cast comprised of Caucasians. It wouldn’t make sense, no matter how good they are.

EVAN: If anything, Cloud Atlas at least proves that a talented actor can portray whoever they like, given an adequate amount of makeup. Halle Berry plays a Korean Man in the film, and does so in a convincing fashion that doesn’t at all take viewers out of the film in the least.

GORDON: I haven’t seen that film, so I can’t speak to the use of the actors for the parts they play. From my understanding that was a work of fantasy (or science fiction, I’m only going off what I can gather from the trailers). And in one or two movies, it’s probably not a big deal. After all, Cate Blanchett played Bob Dylan.

But imagine this applied to each and every movie, it simply wouldn’t work. Realism would deteriorate- and this would be especially detrimental in a film trying to deal directly with race relations.

EVAN: I personally feel that allowing any race to play any other speaks much more in terms of race relations. That’s a world where colour is a non-issue  because it shouldn’t be.

EVAN: I’m dying, Gordon. My life force is seeping out of me.

GORDON: Try to stick with it…

GORDON: And while it’s true that race ought to be a non-issue, that’s simply not how things are or have been in the past. Using black actors to play black characters and white actors to play white characters is fundamental to demonstrating past inequity and injustice with American racism and segregation. And that’s just one element.

Let’s talk about Indians playing Arabs. It happened in Lost and it happened in Community (with multiple actors), but Arabs look nothing like Indians. Indian actors are used simply because they fit the stereotype of what most people think an Arab looks like. It perpetuates an inaccuracy.

EVAN: Isn’t the fact that the role is an Arab important a large enough step? This is a minority with a major role on a TV show, and an opportunity for minority actors to step up, which they have in both cases.

GORDON: Barring Monk and Arrested Development, when’s the last time you saw an Arab actor? I’m not trying to argue against Indian actors, or actors of Indian heritage getting roles, but for the purpose of portraying the world as it is (or at least with some realism) we should have actors with some vague resemblance to the people they’re portraying on film.

After all, would you not be thrown off by guys with German accents playing French resistance fighters during WWII?

EVAN: If they had German accents then they simply wouldn’t be right for the role, which brings me back to my first point.

GORDON: Which, by proxy, brings us back to my first response. Ethnicity (depending on the situation) is just as valid an element of a guy’s candidacy for a role dealing directly with ethnicity as accents, or height, or any other factor (actual talent, of course, being the most important).

Vincent Cassel should probably not play Malcolm X. Adrien Brody should probably not play the Queen of England, though that would be pretty funny.

EVAN: If we’re going to stick with believability, than why is it so important that Indians not play Arabs? No one has ever made a big deal out of this, so clearly people believe that they are what their role calls them to be-

Likewise a Korean can to play a Chinese person can play a Japanese person. Audiences can’t tell the difference and believe that they are whatever the role is, and that’s okay.

GORDON: But Koreans do not look Chinese, Chinese people don’t look Japanese, and Arabs and Indians certainly don’t look like each other. The only reason this happens is because most people either don’t know (partly due to this inaccurate casting) or don’t care (in other words, all non-whites are basically one homogenous mass.

If all your life, you had seen black men and been told “these are Uzbekistanis,” then you’d go your whole life simply assuming that Uzbekistanis are, in fact, indiscernible from guys from Benin.

Your ignorance should not dictate which actors get which parts. Further, no Uzbekistan could really ever get a chance to play and Uzbekistani because of the years of misinformation.

EVAN: But there is a huge difference between a black person and an Uzbekistani. The examples I made have similarities that the example you used clearly does not.

To be such a stickler for accuracy is the other extreme, and just as wrong. You wouldn’t get someone with mental problems to accurately portray a character with mental problems, that just doesn’t make sense. Race should matter if it is noticeable, and like I said in the case of shows like Lost it is not.

EVAN: The logic above was used against me by someone in a thread on Reddit  You can check out our exchange here.

GORDON: Granted, my example was extreme, but that doesn’t change the point. Even though a Thai guy and a Japanese guy share more similarities than a Beninese guy and an Uzbekistani guy, there are still distinct differences between people from Thailand and people from Japan.

With regards to being a stickler- I admit, as I have previously, that you don’t have to have an exact replica of the character you’re trying to portray. Jet Li, I imagine, is doing pretty well for himself, and I still wouldn’t doubt his ability to portray a poor man very well. However, while you don’t need to be point for point, you do need to have some general similarity. That’s why we don’t have Emma Stone portraying Fidel Castro.

EVAN: I feel like the extremeness of your examples is damaging your point. If we’re sticking with race we should do that, and not bring in gender.

GORDON: It’s to demonstrate the underlying point in all of this: Verisimilitude. Realism. Accuracy.

EVAN: And since you said “you don’t have to have an exact replica of the character you’re trying to portray” why isn’t it okay to have Naveen Andrews play Sayid Jarrah on Lost?

GORDON: But the distinction is great enough. The accent is Indian, not Iraqi. Naveen does not look Iraqi. When an actor neither looks nor sounds like the character he is meant to portray, we have a problem.

EVAN: So if Jarrah had managed to sound Iraqi, would that have helped?

GORDON: It would’ve added to the realism and accuracy, yes. But that doesn’t change the fact that he’s very clearly Indian, not Arab.

EVAN: Clear to a very select few. As mentioned, people didn’t seem to notice for the most part.

GORDON: Clear to a very select few. As mentioned, people didn’t seem to notice for the most part.

Most people don’t know what an Arab looks like. Do they know that Monk is Lebanese? That Cousin Maeby is Iraqi? Most do not. Ignorance is not an excuse for inaccurate casting.

EVAN: And that brings our exhausting exchange to an end. Trying to argue for something I so strongly disagree was one of the more difficult things I’ve ever done. I hope that in reading this you were able to see the holes in my argument and the truth in Gordon’s.

GORDON: Booyah.

The past few paragraphs alone have had the same effect on Evan as that life-sucking device in the Princess Bride. Commend him for biting the bullet.

And as for our discussion next time, your options are: What do we make of the upcoming Star Wars sequel?

EVAN: And. . . how about . . . How much artistic merit is there in a show like Adventure Time?

GORDON: I like it.

And to our beloved and devoted followers (who would organize into a vicious and unholy army of darkness if we ever were to ask it of ’em), feel free to suggest your own topic down in the comments section.

EVAN: And, as usual, thanks for reading.

Go Rewatch The Girl With the Dragon Tattoo

If you’ve heard of this series (in either its film or book form), there’s a good chance it’s because David Fincher of Fight Club/Se7en/The Social Network fame directed the American remake. Even if you’ve heard of it, there’s a also a good chance you haven’t seen it- Fincher’s The Girl with the Dragon Tattoo did only so-so at the box-office, not quite tanking, but also not becoming as popular as many were speculating it would be. And that’s a real tragedy, because the story, in spite of its flaws, is a really good one- you’re just going to have to make a few adjustments in how you see it.

I. Watch the Swedish Version Instead

In my post about the differences between British and American television, I pointed out that American film typically physically glamorizes each and every character- no matter how minor- while the Brits are comfortable with their protagonists actually looking like people you’d meet on the street. While not quite to on the level of the British (from what little I have seen of Swedish film), the Swedes do seem to lean more towards the Brits when it comes to this, and while it doesn’t like it’s all that important, “humanizing” the characters a bit more by making them look like people you’d actually know gives all that more grittiness and clout to the issues the story grapples with.

Beyond that, there’s the issue of casting for Lisbeth Salander. Now I’m not going to knock either Noomi Rapace or Rooney Mara, partly because they’re both terrifying…

But I do nevertheless have to address the eyebrows.

More specifically, the fact that Mara’s Lisbeth doesn’t have any.

Ok, that’s not entirely fair- Mara’s version does have eyebrows- they’re just wispy blonde and really hard to see. And that’s something that’s pretty dang unsettling- heck, it’s downright terrifying.

I know it’s probably petty, but Rapace’s Salander, having eyebrows we can actually see, makes it that much easier to watch an already tough movie.

II. Watch the Second Movie First (Then the First, Then the Third)

Not having had any background knowledge of the series, I accidentally wound up watching the second part of the trilogy (The Girl Who Played With Fire) instead of the first segment (The Girl With the Dragon Tattoo). As confusing as it was, I think that this is the best way to do it. While it’s a good movie, The Girl With the Dragon Tattoo really is something of a stand-alone piece, often accused of being pretty linear and slow. The subsequent stories, filled with high stakes of human trafficking and political intrigue, are a lot faster and more action-packed, but really depart from the general style of the first segment. By starting with The Girl Who Played With Fire, you get to be dropped right into the action and have a relaxing “flashback” with TGWTDT that fills in all the blanks and builds up tension and momentum for the final film, The Girl Who Kicked the Hornet’s Nest. Give it a shot- I promise it’ll pay off.

IV. Cut Steig Larsson Some Slack

A lot of critics of both the film and the books have pointed out that the male protagonist in the stories, Mikael Blomkvist, is essentially author Steig Larsson’s literary avatar. As a result, plenty of people blow off the films and books as just being Larsson’s own little fantasy in which he, the last honest journalist teams up with a goth-punk hacker to solve mysteries together. The fact that Fincher chose Daniel Craig (a.k.a. James ****ing Bond) to play Blomkvist probably didn’t do anything to assuage those accusations.

But here’s the thing- Larsson can’t be accused of writing a fantasized version himself into his books because the real Steig Larsson is way more badass!

As a boy, Larsson witnessed the rape of a woman, and so wracked with guilt at not having been able to do anything, wound up dedicating the rest of his life to fighting for justice and equality. In the 70s, he traveled to Eritrea to train an all-female squad in the Eritrean People’s Liberation Front. He returned to Sweden to found a watchdog journalist group and investigate and combat neo-nazism and white supremacy, despite continually receiving death-threats.

Yeah, that’s not so much a biography as it is a superhero origin story. That’s enough right there to make Jack London and Ernest Hemingway look like pansies. If anything, Blomkvist is a version of Larsson nerfed for the sake of believability. Let’s cut the guy some slack.

IV. Understand a Bit About What’s Being Addressed

Part of the issue with the series is that it’s a commentary in no small part on Swedish social and political issues. I only recall it being hinted at in the American version, but the Swedish version of the film spent a bit more time touching on the Wennerstrom family’s (and the entire country’s) shameful flirtation with Nazism in the 30s and 40s, as well as the ongoing issues of xenophobia and racism in contemporary Sweden. Beyond that the series tries to address issues of corruption within the state, as well as the ugly reality of human trafficking (which despite growing awareness, might not quite strike home with American audiences). You don’t need to have a detailed understanding of the intricacies of State-Capitalist governance and Scandinavian history, but knowing a bit about the very real issues of fascism and racism in Europe does add a whole lot.

So what are you waiting for? Go watch ’em!

The Good, the Bad, and the Racist

Over the past weeks, there’s been some talk here in Vegas about changing the name of our airport from McCarran to something- anything– else. Named after Nevada senator Pat McCarran (1876-1954), the group pushing for the change were of the opinion that it wasn’t quite right having one of the busiest airports in the world named after a viciously racist Fascist-sympathizing McCarthyite. Last night, I caught a bit of a local talk-show as I was channel surfing, and heard the subject get brought up. Steve Sebelius, a major journalist in Vegas, was commenting on the name-change movement’s loss of momentum, pointing out that despite McCarran’s psychotic antisemitism and racial bigotry, he was the principal defender of gambling in Nevada, and that without him “None of us would be sitting here”. The show wrapped up after that closing comment, and whether or not the they addressed the whole issue of what comprises one’s legacy I can’t tell you. Frankly, I would like to see the airport’s name changed- and not just the airport, but every street, boulevard, and building named after a bigot. But as the journalist rightly pointed out, the world doesn’t quite work in white and black.

Pictured: Pat McCarran, who objects to me using the words “white” and “black” so close to each other…

As much as we’d like to imagine (at our history book’s insistence) that America was created by heroic men who only drank distilled freedom and wiped the sweat from their brows with patriotic American flags autographed by Jesus, this nation was built on the backs of slaves and the bones of Native Americans. The same man who authored the Declaration of Independence owned his sister-in-law, and despite his assertion that it was self-evident that all men are created equal, hated and feared German immigrants with a passion that the Minutemen Project would feel is “a bit much”. Jackson- the hero of Federalism, the slaughter of Native Americans. FDR, the creator of the New Deal, the guy who forced over a hundred thousand Japanese Americans out of their homes and into prison camps. Between genocide, exploitation, segregation, and a host of other forgotten sins, there’s not much in US history or culture that doesn’t carry with it a stain of injustice or inequity.

Our food included…

But how, then, do we deal with this? If we rename racist streets or airports, why stop there? Why not get rid of the sexists’ names? Or those who were just plain greedy or arrogant or inept? It seems if we go down that road, we’ll wind up leaving everything blank as we dig through history in search of the perfect human being. On the other hand, we can’t exactly drive down Hitler avenue and assert that his anti-smoking campaign is just as much a part of his legacy as the concentration camps and Kristalnacht. So how do we measure a figure’s good acts against his bad ones? I’d personally like to see Jefferson Street renamed Malcolm X Street, yet I have to simultaneously deal with the fact that X held many racist views himself until his conversion and change of heart later in life. Again, how do we discern between the good guys and the bad guys? No one’s perfect, but not everyone uses child soldiers either. Simply, people are complicated.

Case and point…

And because I don’t want to leave you hanging with another “Make of it what you will” post (as I did in my report on Extreme Midget Wrestling– check it out), I’m going to fly in the face of caution and offer this criteria for naming your airports and roads:

I. Is he or she a good guy?

That’s it. If you can’t answer “yes” immediately to that question, and if “mostly” doesn’t work either- move on to someone else. Simple as that. There is always going to be controversy- and we’re going to have to deal wit that. Values change, secrets are uncovered, and some heroes become villains and villains heroes- but for now. For right now- let’s go ahead and make the change. Yeah, it’s a pain in the neck, but if we do it right the second time around, hopefully we won’t need to change up the names for a another seventy years or so. And before someone writes in about it being part of our past or our heritage- let me shoot you down right now. Yes, bigotry, as ugly as it is, is a part of our history. But changing names doesn’t mean that we’re running away from it- it means we’re passing judgment on it. In the end, that’s what I want to cite as my heritage- not racism, but the condemnation thereof.