Boy Erased

The film, Boy Erased (2018), is a drama that deals in a serious  way with the question of whether homosexuality is a choice, and thus whether conversion therapy is effective or an ideological ruse under the subterfuge of psychology and religion. Directed and adapted to the screen by Joel Edgerton, he could have dived deeper in writing the screenplay by making explicit the contending assumptions and ideas. Surprisingly, nowhere in the film do any of the biblically-oriented religionists quote the applicable verses in the Old Testament or in Paul's letters, or engage in a theological debate. The film could have gone further intellectually than the relatively superficial emphasis on the dramatic narrative.

The full essay is at "Boy Erased."

Frank Lloyd Wright: A Modern Renaissance Man

Perhaps no greater Renaissance man has been cited in American history than Thomas Jefferson. He wrote on the native plants of his country, Virginia, ran a plantation, designed buildings, founded a university, surveyed land,  was the head of state in Virginia, wrote a declaration of independence, and was the third president of the new American Union. More than two centuries after Mr. Jefferson, however, a cleft had become well-ensconced in American society between being an intellectual and a practitioner. The typical lawyer or physician, who holds two undergraduate degrees due in part to the political sense that a well-rounded citizenry makes a good electorate, has scant interest in intellectual endeavor. Indeed, one might even say that the “professions” place scant value on such activity; it is not “real work” or of the “real world.” The disdain is palpable, particularly in among the self-righteous in America. Yet Mr. Jefferson was able to bridge this gulf; so too can we. More contemporary examples can be cited to illustrate the mere possibility. The requisite delimiting "pruning" self-discipline might come as a surprise to people who presume that Renaissance breadth is borne of a wayward inability to "stay put."

The full essay is at "Frank Lloyd Wright.

The Commercial Media as Gate-Keepers Looking Down on Bloggers as "Non-Journalists"

In a few days during July in 2010, the American media was obsessed with Shirley Sherrod, who in a tightly edited video clip had made apparently-racist statements about not helping a caucasion farmer because he was caucasion. She was quickly fired by Tom Vilsak, the US Secretary of Agriculture, who, like the journalists and the NAACP, had failed to look at the full video.  The day after Sherrod was fired, the NAACP looked at the full video and realized that she was actually a racial healer rather than racist.  In the fuller video, she said, “I have come to realize that we have to work together … we have to overcome the divisions we have.”  Even as she used questionable language, such as “his own kind,” it should not be forgotten that the clan killed her father.  In other words, she deserves some slack.  At any rate, it was not long after the NAACP’s about-face that the agriculture department and the media were doing also doing an about-face. According to the NYT, “the White House and Mr. Vilsack offered their profuse apologies to her for the way she had been humiliated and forced to resign after a conservative blogger put out a misleading video clip that seemed to show her admitting antipathy toward a white farmer.”

The full essay is at "Bloggers as Journalists."

Hugo

Martin Scorsese’s Hugo (2011) is an intriguing story based on vocational functionalism, which in turn is based on deism. In other words, the film essentially applies an early modern theological "argument from design" to a pillar of modern society: one’s profession. In this regard, the film is not just a kids’ movie. The visual "3D" feature is not where the real depth of the film is located. The story achieves its fullness beyond the visuals in having several levels around a core philosophy, which serves as the story's core meaning. For this reason, Hugo has the potential to become a classic. In this essay, I explore the philosophy that lies at the basis of the film's story. I begin with deism and tie it to functionalism. 

The full essay is at "Hugo."