Like American Beauty, Donnie Darko was an adolescent favorite of my generation that, looking back, was actually caught up in the same moralizing melodrama it was trying to critique. The liberal backlash against the conservative 1980s was bound to become its own moral majority and produce the conservative counterculture of the current era. the liberals […]
work in progress, but just in case I die: drive link
Revolutionary Road is a really good film. My only critique is similar to American Beauty, which I really liked as a kid, but with maturity comes off a little judgmental. I feel great sympathy for most of the characters in both of Mendes’ movies, but also a little bit like the films want me to
Trump is no savior or saint. He isn’t a Hitler either, but there are many things to be skeptical about. The most important, however, you will never hear from the mainstream news because Trump’s biggest policy flaws are always versions of the same ideas that the media defends as part of a bipartisan power network
drive link Signs and Scapegoats: The Viral Vectors of Science and Society Introduction: The Broad Church of Science “The struggle against death, which dominates the life-style of the rich, is translated by development agencies into a set of rules by which the poor of the earth shall be forced to conduct themselves”…“Through the medicalization
Aurobindo spends many pages in his book Future Poetry dissing Pope and Drydan for being intellectual poets, which for him meant that their poetry mostly came from them making clever language, not any kind of spiritual inspiration. He has respect for Milton, but compared to Dante, Milton also was in large part just poeticizing a
The true meta-modern masterpiece is the “The Leftovers”. It is widely hailed as one of the greatest shows of all time and it couldn’t be more explicitly metamodern. It deconstructs all meaning, both spiritual and scientific, even the way science fiction and the New Age have become fused at some level, but it then reconstructs
In “Oppenheimer”, like Malick’s “Tree of Life”, Nolan uses quick cuts that jump through the different time’s of the character’s life coupled to very dramatic music to give an abstract feel of the “spirit” of the life. He generally has less poetic “soul” (in Hilman’s sense of soul as concrete detail, spirit as abstract) than
