Category Archives: Society

George Carlin

Last time I described how my feelings changed about what was once my favorite TV series, NCIS. In this post, I’ll describe how something similar has happened with my feelings about George Carlin (1937-2008), who was once, by far, my favorite standup comedian.

In both cases, I have a sense that my dying affection involves a combination of prolonged exposure magnifying perceived flaws, evolution on my part, and changes on their part. With Carlin, the way he changed in the late 1990s is the lion’s share of my disenchantment. I still revere early George, still rank him among the greatest.

But I never liked “angry George” and his writing from that era is disappointing.

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Disbelief

When I was in college (multiple lifetimes ago) I took a class where we studied the nature of belief and disbelief. It was actually a class about logic and situational analysis, but (despite being raised Lutheran) I attended a Jesuit college, so the emphasis on belief versus disbelief was well aligned with their gestalt.

I loved the class (for many reasons, not all of them scholastic). The topic of what we believe — or disbelieve — has fascinated me ever since. It’s a key branch of philosophy under the umbrella of epistemology, the theory of knowledge.

Because our beliefs affect everything from science to politics to personal relations.

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The Shape of Discord

I have posted many times about taking a parameter space view to avoid binary thinking (and the null or zero sense of being in the middle or on the fence). I’ve found the idea extremely helpful in understanding many aspects of life (hence all those posts).

It seems especially useful in these highly polarized and widely variegated times. (Even those who embrace “non-binary” ideas sometimes do so in a binary way.) But most real situations have many facets — many parameters. The space of human issues is big and cannot be well-characterized by two sides.

The parameter spaces metaphor provides a handle for visualizing such issues.

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Actors, Roles; It’s a Wrap

Over the last nine posts I’ve been pondering the topic of Who Can Play Who when it comes to adaptations of existing works. To wrap things up, and because ten is a magic number to us humans, it seems reasonable to try to boil it all down to something coherent. If that’s even possible.

I find myself conflicted sometimes between what I’ll call a stage play sensibility that allows huge latitude in casting actors versus my sensibilities about live-action adaptations of well-established existing properties.

I think that changes the equation.

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Elevation of Women

Women, in most societies, have long suffered as second-class citizens. In the beginning it was due to biology, but modern cultures generally erase those differences. Paradoxically, women have historically also held a revered position (“Women and children first!”). Art, literature, and social practice, all elevate them above men, albeit selectively.

Ironically, elevation is also a problem. In at least two ways. Putting anyone on a pedestal is never a good idea. That’s a topic for another time. There is also the zero-sum version of elevation: glorifying one group while disparaging, even attacking, another. That also is never a good idea.

As it applies to movie and TV roles, it’s the topic I want to discuss here.

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Objectification of Women

Recently I’ve been thinking (and posting) about acting roles in adaptations of existing works, especially of comics and animations. A few months ago, I ventured down the YouTube rabbit hole of fan media commentary channels where the topic is a common one. Fans naturally have strong opinions about their favorite characters.

I’ve long said sexual differences make social gender issues more challenging than social race issues (because race is a social construct). The issue of gender swapping is likewise more challenging than that of race swapping.

Here be dragons of objectification, exploitation, and the Male Gaze.

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Live-Action Adaptations

I seem to have a penchant for trilogy posts. It wasn’t intentional this time, but I ended up writing a trilogy of posts [1, 2, 3] about the Netflix adaptation of The Sandman (1989-1996), the much-loved graphic novel authored by Neil Gaiman (and drawn by various artists).

The Netflix adaptation offers some good examples of actor swapping, which has been my theme lately. Ultimately, I think the real problem is realistic live-action adaptations of singularly and visually well-defined drawn or animated characters. For instance: Superman, Homer Simpson, and Mickey Mouse.

When real people portray them, race and gender come into play.

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Strong Female Characters

Last time I asked, when it comes to actors playing roles, Who Can Play Who? To what degree do characters, particularly fictional ones, have fixed race or gender? How much latitude exists in adaptations of existing stories? Is there an acceptable spectrum from faithful retelling to jazz riff to based on to inspired by and finally to all but unrecognizable? If not, why not?

Last time I focused on race. This time I’ll focus on the gender side of the equation. Sexual differences and sexual attraction add a large and complex additional dimension. The question expands beyond matters of representation and actor swapping.

For instance, there is the additional notion of the Strong Female Character (SFC).

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Who Can Play Who?

I was born in the Bronx and became a young man in Los Angeles, so I lived in racially mixed neighborhoods during my formative years. I’m aghast at the pain we cause over what are essentially paint jobs and accessories. It’s a vast and vital topic — a needed ongoing conversation. For now, suffice that “race” should never be the answer to any important question.

Such as the question of who can — as in “is allowed to” — have what acting roles in movies and TV shows. Specifically, the issue of “race swapping” in previously established roles. Complicating the matter is an asymmetry; swapping X for Y isn’t the same as swapping Y for X.

There is also the question of “gender swapping” and the “strong female character” in modern writing. We’ve forgotten Ellen Ripley and Sarah Connor.

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Depressed and Disappointed

Puppy vs Borg cube

I try hard to face forward and appreciate what joy, wonder, and beauty, life brings, but the world all too often makes that a challenge. The past few weeks have been especially hard mostly because I’m at the end of my rope with tech companies. I wish I understood why we put up with such awfulness. Factor in the spam, the robocalls, and the junk mail, and I’m ready to go live in the woods far away from any of it.

On the top of my list right now is Apple with Sprint-is-now-T-Mobile in close second place. The library app, Libby, that I’ve raved about before is in third place with WordPress bringing up the rear. Not mention all the little stuff, some corporate, some personal.

Warning: Turn back now. The road ahead is bumpy. Falling rocks.

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