All of Me

The transmigration of souls is usually associated with reincarnation. In the film, All of Me (1984), at the moment of death, a person’s soul can be put “into” another person who is alive such that both people “co-exist” consciously and can control the same body. The comedy is at its best when Steve Martin, who plays Roger Cobb, into whose body the dying millionaire, Edwina Cutwater, is transferred, physically enacts an alternating struggle between Edwina’s feminine movements and Roger’s masculine movements. Martin’s physical talent is amazing. The tension within Roger’s (and Edwina’s) shared body is gradually resolved as the two “souls” become friends—attesting to the underlying goodness of Edwina in stark distinction to the sordid character of Terry Hoskins, who has falsely agreed to let Edwina share her body—two souls and one body—instead of Roger’s in exchange for $20 million. It is the goodness of Roger and the unfolding of Edwina’s goodness up against the absolute badness of Terry that underlies the film’s narrative. In the end, the good win out, and Terry’s soul is put into a horse when Edwina’s soul is transferred by a Hindu guru from Roger to Terry. With Terry’s body all to herself, Edwina is free to become romantically involved with Roger. The good souls win and the squalid one is put in a horse. The upshot is that justice does indeed apply to souls.

The full essay is at "All of Me."

Hungary Blocks €90 billion E.U. Loan for Ukraine: Holding the E.U. Hostage

It is one thing for a dog’s tail to lead; even worse is the situation in which the tail refuses to let the dog walk or run. The staying power of the principle of unanimity in the European Council and the Council of the E.U. enables any one of the state governments to block federal policy and law. Such a blockage makes the tyranny of a minority look tame. In contrast, qualified-majority voting ensures that enough of a majority—a “super-majority”—is in place that the resulting minority should lose. The notion that every state government must be “on board” for the E.U. to enact a policy or law is misplaced because governmental sovereignty in that Union is “dual” because both the E.U.’s federal level and the state governments have at least some sovereignty. The same is true of American federalism. Neither the E.U. nor the U.S. is a confederation of sovereign states; only in such a federation does the principle of unanimity fit.

The full essay is at "Hungary Blocks €90 billion E.U. Loan for Ukraine."

The European Commission: An Aggregate of the States?

The European Union’s governmental institutions are not limited to the European Council and the Council of Ministers, both of which represent the state governments directly at the federal level. Nor, moreover, is the E.U. an aggregation of its states. In foreign affairs, for example, the E.U.’s foreign minister, Kaja Kallas, can speak and take decisions on the basis of consensus rather than the unanimous consent of state-level officials being required. Therefore, the Von der Leyen administration did not overreach in taking the “decision to send the Commissioner for the Mediterranean, Dubravka Suica, as an observer to the first former gathering of the United States President Donald Trump’s Board of Peace” on 19 February, 2026.[1] That Suica was merely an observer suggests that the objecting state officials were overreacting as well as misconstruing the E.U. as a confederation of sovereign states.

The full essay is at "The European Commission."

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1,  Mared G. Jones, “France Says Commission Lacks ‘Mandate’ to Join Board of Peace Meeting as Brussels Remains Defiant,” Euronews.com, 19 February 2026.

The Mephisto Waltz

In a retelling of the proverbial Faustian deal with the devil, The Mephisto Waltz (1971) plays out with the deal paying off, as Duncan Ely is able to live on in the body of Myles Clarkson. It doesn’t hurt that Ely is a master pianist and Clarkson has long, spry fingers (and that he has a beautiful wife, Paula). Even so, both Paula and the Clarkson’s daughter stand in the way of Duncan being able to get back to his own wife, and the film ends with Paula making her own deal with the devil so she can live on even though Duncan (and his wife) have already set about her demise. Because Duncan’s “after-life” transition is successful and even Paula, who has been opposing Duncan’s possession of Myles, ends up turning to the devil, the lesson of the film, Faust (1926) is effectively debunked. Besides The Mephisto Waltz, that God does not smite every case of injustice in the world—the genocide being perpetrated by Israel in the 2020s being a vivid and blatant example—may even further instigate interest in Faustian deals with the devil, even though that entity is known to be deceiver and thus not to be trusted. The allure of selfish gain can be worthwhile nonetheless for some people. For Duncan Ely, being able to go on living and gain even more fame as a performing pianist is worth the gamble, and it pays off. The medium of film is an excellent means of presenting the religious level, which is distinct yet interacts with the ordinary world that anchors the film.

The full essay is at "The Mephisto Waltz."

Dominion: Prequel to the Exorcist

Decades before dying while doing battle with the demon possessing Regan NacNeil in The Exorcist (1973), Rev. Lankester Merrin successfully extracts the same demon from a young man in Kenya. An African chief (or medicine man) tells Merrin at the end of Dominion: The Prequel to the Exorcist (2005) that he has made a rather bad enemy of the demon, which was not done with the priest. We know from The Exorcist that the demon will eventually kill the priest, but that is by no means the final word on a distinctively religious battle because in that domain, the human soul is eternal rather than necessarily tethered to a corporeal body. It is important, moreover, not to reduce religion to one of its aspects, or, even worse, to the stuff of any other domain, including the supernatural. Dominion reduces Christianity to one belief-claim and relies on supernaturalism to validate the religious phenomena in the film.

The full essay is at "Dominion: Prequel to the Exorcist."

The Terminator

Lest the dystopian subtype of science fiction be taken too literally as a predictor of how human civilization will be likely to turn out, the underlying meaning of such films can be construed as bearing on human nature, which, given the glacial pace of natural selection, is very likely to stay pretty much the same for the foreseeable future. In Avatar (2009), for example, the human proclivity to greedily extract wealth for oneself or one’s company without ethical concern for the harm inflicted on other people (or peoples) in the process underlies any assumed thesis concerning space travel and whether we will eventually colonize other planets. The meaning is much closer to home, in us and the regulated capitalistic societies that we already have. Similarly, The Terminator (1984) can be understood less as a prediction of a future in which androids enslave mankind and more as a snapshot of how machine-like and destructive our species had already become. The machine-like efficiency of the Nazis, for instance, in killing enemies of the state and clearing eastern villages entirely of their inhabitants in such vast numbers can be labeled as a state sans conscience. Thirty years after she had graduated from Yale, Jill Lepore returned to give the Tanner Lectures on fears stemming from that pivotal film of a robot apocalypse in which machines rather than humans control the state. Besides predicting a highly unrealistic future, Lepore’s orientation to prediction using the science-fiction genre of film can be critiqued.

The full essay is at "The Terminator."

Is the E.U. in the U.S.'s Strategic Interest?

Is a more perfect Union in Europe in America’s national interest? On the American holiday in 2026 that principally honors George Washington, whose eight-year commitment as the military commander-in-chief to the cause of freedom for the 13 new sovereign republics that had been members of the British Empire (and would forge a comparable political Union[1]) was decisive, U.S. Secretary of State Marco Rubio visited the E.U. state of Hungary to deliver “a message of support from the Trump administration to Hungarian Prime Minister Viktor Orbán,” who was behind in the polls in his re-election campaign.[2] At their press conference, Orbán and Rubio “signed an agreement on energy cooperation and hailed what they described as a ‘golden age’ of bilateral relations.”[3] E.U. officials were nowhere in sight; it was as if Hungary were still a sovereign state rather than a semi-sovereign E.U. state. An implicit question untreated by the media in the E.U. or U.S. is whether bilateral relations between the U.S. and individual E.U. states, as if the E.U. were nonexistent, was still in the U.S. national interest, especially in the context of Russia’s ongoing invasion of Ukraine.

The full essay is at "Is the E.U. in the U.S.'s Strategic Interest?"

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1. Skip Worden, British Colonies Forge an American Empire: A Basis for Trans-Atlantic Comparisons (Seattle: Amazon Books, 2017).
2. Sandor Zsiros, “’We Want You to Continue’: Rubio Delivers Trump’s Campaign Message to Orbán in Budapest,” Euronews.com, 16 February, 2026.
3. Ibid.