Dear, surviving, audient: how is it hanging?

We\I sympathize.

If you were looking to art as an answer, hoping for some revolutionary frameworks, or just plain ol' solace inside --

            -- I'm afraid most of the pod's going to tell you to keep looking.

In this one we watched 2 "political" movies released this year: Ari Aster's Eddington and Paul Thomas Anderson's One Battle After Another.

More generally, the 2 movies raised the question of what it means to involve politics in a movie. Jake took this as an excuse to geek out on Grad school vibes and do a deep dive into Walter Benjamin's attempts to save aesthetics from the khaki schmattes of Communism.

Who said Marx Grudge?

Benjamin does brandish an interesting, rather Derridian, analytic tool in the distinction between allegory and the symbol; which I will anger Jake and summarize here as analogous (allegorical?!) to a movie whose special effects are shot on set with actual props, and the one where the effects are all programmed in (as CGI). Like shooting props, the allegory foregrounds its technicity, while the symbol will claim the harmony of form-function and content. 

Except the symbol doesn't work anymore. Like the pathetic attempt poor Andy had to suffer through, where the reinvented "Superman" is called-upon to white-wash the Gaza genocide (still a western debacle). The symbol rang so hollow it gave Andy bowel issues. 

(Editor's note:) We will NOT be getting into that.

Of course, the allegory's very apparatus makes it susceptible to Capitalist manipulations. This is where we take a more specific tack on Anderson's film: shot and directed, deliberately, in my opinion, as a post-fascist account of how pathetic and hopeless revolutions are, how revolutionaries are either posers or self-deceiving cucks.

And here is Anderson's genius, in recognizing the capitalist tentacles have already infiltrated all discourse -- which is a panicked, exhausted discourse these days (on "the left") -- "over-technicizing" allegory into social media reels and internet memes. His account gives the melancholia of a post-fascist winner looking back at history: disjointed, often accompanied by a (never happy or energetic or really calm) soundtrack, the characters are mostly isolated with superficial thoughts and relationships... it is the sad sigh of a fulfilled Sklavenmoral.

There was more tossed around, of course. Fair warning.

STARS: Marx Grudge (grudgingly); Beast & Sovereign... but really, all the Stars were there: the Il vaut mieux with differance; the Pervs R' Us with melancholy, the WWJD with 'Manifest Destiny'...

P.S. 

We have an official email address ([email protected]), for you, dear audient, to vent; a kind of a complaint/feedback box. We will collect the complaints (/corrections/disputes) to an episode where we address your mirror of our stupidities. 

5ST