The Omen (2006)

Exactly 30 years after The Omen (1976), The Omen (2006) was released. An older boy plays Damien in the remake, which means that the actor is capable of acting facial expression-reactions; even so, what really distinguishes the remake as having more depth than the original film is the explicit use of a poem that undergirds the veracity of the narrative—that Damien as indeed been sent by his father, Satan, to usher in the apocalypse in a way that will fill hell with human souls. The poem is a Christian prophesy that functions in the film’s narrative as a thread. I contend that the poem partakes of several domains, rather than being exclusively religious in nature, and thus “muddies the water” in terms of answering the question of how the religious domain is distinctive, rather than to be read psychologically, historically, or scientifically.

The full essay is at "The Omen (2006)."

Valkyrie

Claus von Stauffenberg was a Nazi army officer who attempted unsuccessfully to assassinate Hitler at the Wolf’s Lair on July 20, 1944. Stauffenberg was shot the next day as a result. The Nazis did not surrender until May 7, 1945, a few months shy of a year later, so Stauffenberg’s intent to end the war would have made a substantial difference in terms of the number of dead and wounded from World War II in Europe. The 2008 film, Valkyrie, chronicles the story in the genre of historical fiction, even though Tom Cruise, Bill Nighy, Kenneth Branagh, and Tom Wilkinson play Nazi figures (without even German accents), although Tom Hollander does play a suspicious Nazi quite convincingly. Viewers could still be excused for approaching the film as a “Wagner meets Shakespeare in the Park” production. The film gets its title from the Valkyrie in Wagner’s opus: handmaidens of the gods. The sparce religious nomenclature in a few scenes of the film is easy to miss, and, I submit, the interlarding of religion is ill-suited to the political drama.

The full essay is at "Valkyrie."

Accountability for the Rich and Famous: A Soft Landing for an Ex-Prince

In ancient Greek tragedy, it was not uncommon for a god or goddess to perform the function of a Greek (i.e., conscience) chorus at the end of a play while being pulled by pullies high above the stage. Deus ex machina is the Latin phrase, which meant, a deity out from pullies. We get machine, mechanism, and even engine from the Latin word, machina. A movie entitled Ex Machina is on an AI android that seems full of life, even miraculous, from “pullies” inside it’s “body.” Ex-Prince Andrew of the (seceded) sovereign state of UK, or “Britain” informally, seemed to fly about the other actors in being able to land, rent-free, fittingly around Christmas, 2025, at the monarch’s Sandringham estate in eastern Britain, still rent-free, and with King Charles funding his brother. Considering that Andrew Windsor should arguably been sent to prison for having sex with a 17 year-old prostitute in the employ of the infamous Epstein, and that a large settlement paid by Queen Elizabeth II made Giuffre’s charges go away, as if magically, Andrew not only landed on his feet, but without touching the ground where us mere mortals make our way through life to survive and perhaps prosper.

The full essay is at "Accountability for the Rich and Famous."

The Natural Wealth Model of the Modern Corporation: A Basis for Sustainable Organization

Going to the Humanities to construct a sustainable organization based on ecological theory, this essay presents a theory of the firm that is at odds with the profit-maximization premise. I draw on the notion of the natural wealth of the Golden Age as depicted by such ancient Western poets as Ovid and Hesiod—who assumed such wealth to be devoid of greed—as a basis for sustainable organization from ecological theory to produce an alternative theory of the firm.

The essay is at "The Natural-Wealth Model of the Modern Corporation."