Gladiator

Even though it may be tempting to summarize the virtues of ancient Rome as “might makes right” because of the emphasis, which is even in the Latin language, on fighting armies and repressing rebel populations, the virtues did not reduce to those of war. In fact, such virtues, as Nietzsche suggests in his texts, can serve as a refresher for our species as it has “progressed” through the centuries since the Roman Empire existed. Even though the film Gladiator (2000) contains much mortal combat albeit contained in coliseums rather than unrestrained on battle fields, at least three clusters of virtues can be gleamed and articulated as alternative “schools” of virtue ethics. This is not to say that all three are equally valid, however. The virtues cherished by the Emperor Commodus, for instance, are arguably inferior ethically to those of his father, Marcus Aurelius, and even those of the gladiators.

The full essay is at "Gladiator." 

The E.U. without Enlargement: An Oxymoron?

The political debates concerning the accession of candidate states such as Texas, California, Alaska and even Hawaii into the U.S. were long past when the issue of enlargement became salient for the E.U. due to Russia’s unilateral, unprovoked invasion of Ukraine. In the American case, surely no one was arguing that the U.S. without being enlarged would cease to be credible, yet in 2025, a government official of the candidate state of Montenegro said as much of the European Union. Even if Filip Ivanovic was merely using rhetoric during an interview on October 4, 2025, even that should at least make sense. Making matters worse, his comments can be interpreted as ultimatums for the E.U. even though nothing binds the E.U. to annexing any future state. In fact, given the veto-power of state officials at the federal level in the E.U., enlargement should arguably come only after internal reform of the E.U.’s basic law concerning the power of the states at the federal level.

The full essay is at "The E.U. without Enlargement."

Silent Night

The medium of film has an amazing ability to trigger emotions, even very strong ones, through dialogue, narrative, cinematography, and even sound. The suspension of disbelief, if achieved, renders the impact all the more complete. Dread, for example, can be conjured up even at a deep level in the psyche of a film-viewer. That emotion can be fused with another, seemingly antipodal emotion, such as joy, and an instrumental score can capture and stimulate both. Such is the case with the film, Silent Night (2021), which interestingly was made during the global coronavirus pandemic in which even young people were suddenly confronted with the notion that they could die rather than grow up. The film’s closing instrumental version of the song, “Silent Night,” incredibly fuses joy with dread and even hints at distant religion as sheer depth in feeling rather than anything supernatural. The fusion of Christmas joy and the dread of suicide inexorably coming up is best epitomized by the instrumental, hence more than by the plot, dialogue or visuals.  

The full essay is at "Silent Night."