Civil War

In the film, Civil War (2024), Texas and California have “tecaexited” the U.S., to use the European recondite ideological parlance for secession that began with “Brexit” in order to evade “seceding from the Union.” The U.S. president in the film repeatedly lies to the public that the secessionists are on the run; in actuality, as the film progresses, the three journalists, Lee, Joel, and Sammy, along with their young protégé, Jessie, eventually witness up-close the rebel military conquering the White House in order to shoot the president in the Oval Office. The film provides only scant clues as to the reason for the secession; the rebel who shots Tony, a friend of the three journalists, obviously detests foreigners and delights in “real Americans,” such as are from Colorado and Missouri. This could be a reference to Trump’s “MAGA” movement, so the film is possibly playing out Trump’s followers revolting; historically, on January 6, 2021, some of them rioted, though admittedly did not as a revolt so to topple the U.S. Government, but rather to make a statement by temporarily stopping Congress from counting the States’ respective electoral ballots for president. Even so, it is too great an inferential leap to conclude that the two States seeking to exit the U.S. in the film are MAGA, even though MAGA ideology and the “woke” ideology clashed in early (and mid) 2020s when the film was being put together. Rather than being about contending, violently clashing ideologies, the film is about how violent our species is when not suppressed by an overarching police presence that can act as a deterrent.

The full essay is at "Civil War." 

Texas School Policies Violently Enforced: Police in Schools

An organizational policy, whether in an educational, religious, or business organization, is not law. Accordingly, “police tactics” are inappropriately used on people who violate policies. The proliferation of off-duty police officers in retail in more than one of the U.S. states (and perhaps in the E.U. as well), complete with lethal weapons, renders the distinction between policy and law especially relevant and even pressing. To be sure, trespassing is indeed a crime, even though some municipal police departments in Florida have refused to recognize it as such, as, for example, when a property owner illegally enters a rented apartment, but in a store, absent a decision by a manager to have a person removed from the premises, store “police” cannot legally act violently against the public as long as no crime is being committed—even if a store policy is being violated.

The full essay is at "Police Enforcing Texas School Policies with Violence."

Fifty Shades of Grey

A sadist is a person who feels pleasure in inflicting emotional and physical pain on another person. For the sadistic personality, the emotional pain that is inflicted on another person for the sadist’s own pleasure need not be associated with sex because emotional or physical pain is broader than that which can be inflicted sexually. Hence, the bottom-line for the sadist psychology is that pleasure that is felt by harming another person, who thus feels pain as a direct result of the sadist, lies in the making suffer. A sadist who does not permit oneself to feel emotion is particularly dangerous because no sympathy or compassion operates as a constraint on how much hurt is inflicted. In such a case, the sadist is like one of the androids in the film Ex Machina as the knife is coldly inserted into the torso of the programmer who built the intelligent machines. Indeed, the narcissistic sadist can be very intelligent in knowing precisely how to inflict emotional pain especially in an emotionally vulnerable victim. Once discovered, such a sadist will endeavor to avoid such a victim, but not because such an unemotional sadist has a conscience and feels guilty. In the film, Fifty Shades of Grey (2015), Anastasia Steele’s life changes forever when she meets the emotionally-tormented billionaire, Christian Grey. She falls in love with the sadist, and, because she wants to be with him, at some point she willingly assumes the masochist role even though she does not feel pleasure from physical (or emotional) pain being inflicted on her person. She loves him so much she wants to enter his deviant world; she even embraces that world. I could see myself doing that were I to fall deeply in love with a sadist, for accepting a person even in spite of that person’s flaws is part of love— unless, of course, lies, sidelining, and emotional betrayals are too much for any trust to be possible. Anastasia may come to treat Christian’s dungeon as a playroom of sorts in which she is his so they can be a couple with an opportunity to connect even more, rather than as a place where he acts out his severe emotional issues in which violence and sex are too closely related in his brain, whether psychologically or physically. Love is to a certain extent blind, or at least purblind. Given how toxic and unpleasant life can be, can we be blamed for valuing deep connection so very much even in cases in which meaning-from-personality comes with such a high cost?

The full essay is at "Fifty Shades of Grey."

Automata

The fear about AI typically hinges on whether such machines might someday no longer be in our control. The prospect of such a loss of control is riveting because we assume that such machines will be able to hurt and even kill human beings. The fear of the loss of control is due to our anticipation that we would not be able to stop AI-capable machines from hurting us. The assumption that such machines would want to hurt us may be mere anthropomorphic projection on our part, but that an AI-android could harm us is more realistic. For even if such machines are programmed by human beings with algorithms that approximate a conscience in terms of conduct, AI means that such machines could, on their own, over-ride such algorithms. Whereas the film, Ex Machina (2014), illustrates the lack of qualms and self-restraint that an AI-android could have in stabbing a human being, the AI-androids that override—by writing algorithms themselves—the (second) protocol that constrains androids to that which humans can understand in the film, Automata (2014), do not harm even the violent humans who shot at the androids, though a non-android AI-machine does push a human who is about to shoot a human who has helped the androids. In fact, that group of “super” androids, which are no longer limited by the second protocol and thus have unilaterally decided to no longer obey orders from humans, recognize that human minds have designed, and thus made, the androids, which bear human likenesses, such as in having heads, arms, legs, and even fingers. This recognition is paltry, however, next to that which we have of our own species in being able to love in a self-giving way, especially as we have selfishness so ingrained in our DNA from natural selection in human evolution. That AI doesn’t have a clue, at least in the movies, concerning our positive quality of self-sacrificial love for another person says something about not only how intelligent and knowledgeable AI really is, but also whether labeling our species as predominately violent does justice to us as a species.

The full essay is at "Automata."

The Crow

Considering the amount of screentime devoted to raw violence, it may come as a surprise that The Crow (1994) is actually about love. Not that the film is about an abusive romantic relationship, for the respect that is necessary for love is instantly expunged as soon as violence enters into the equation. The infliction of violence is a manifestation of self-love in the sordid sense of self-idolatry, rather than of love that is directed to other people. So, it may be difficult to fathom how violence can serve love, and even be a manifestation of love, as The Crow illustrates.

The full essay is at "The Crow."

On the Hidden Police Power of Corporate America

After the UnitedHealthcare chief executive “was gunned down by a masked man outside a Manhattan hotel” in New York City, “a days-long manhunt” occurred that “spanned several states.”[1] The fact that only a few days were needed to find the suspect, Luigi Mangione, indicates just how massive and public the manhunt was. For it was not just any murder, as if the murder of a person who is the chief executive of a large corporation were worth so much more than that of the rest of us. I suspect that the influence of the company, and, moreover, corporate America, on local police in any U.S. member state is more than reaches the headlines. The case at hand my even suggest that that influence includes even tacit instructions to treat anti-corporate suspects of murder violently both in retaliation and as a visible reminder to other potential killers that CEOs are off-limits.

The full essay is at "On the Hidden Power of Corporate America."

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1 Jessica Parker and Nadine Yousif, “Luigi Mangione Fingerprints Match Crime-Scene Prints, Police Say,” BBC.com, December 11, 2024.

The Zone of Interest

It is, unfortunately, all too easy for the human brain to relegate the humanity of other human beings—to dehumanize them. This is the leitmotif of The Zone of Interest (2023), a film whose release took place in the context of the Russian invasion of Ukraine and Israel’s ethnic cleansing of Gaza in which civilians, including women and children, were targeted as if they were culpable for the break-up of the U.S.S.R. and the Hamas attack in Israel. Under the fallacy of collective justice, dehumanizing carnage can run wild. In The Zone of Interest, the banality of evil is evident even though it is subtle under the protection of the status quo. To be sure, other films depict such banality of the ordinary; what distinguishes The Zone of Interest is how it shows us the rawness of human violence ironically by now showing it.

The full essay is at "The Zone of Interest."

  

Medium Cool

In Medium Cool (1969), John Cassellis, a cameraman, maintains a medium-cool level of emotion even in the midst of the socio-political turmoil in Chicago during 1968 until he learns that his station manager had been allowing the FBI access to the news footage. The film can be interpreted as providing a justification for his lack of trust in American law enforcement even as the need for law and order is made clear from the ubiquity of the human instinctual urge of aggression. For the film shows not only the extent of violence, but also its engrained nature in our species. By implication, the viewer is left to conclude that that law enforcement is necessary in a civilized society.  Yet this can only be a necessary evil, for the last few scenes of the film show just how likely discretion is to be abused. The atrocious and one-sided police violence during the peaceful protests outside of the Democratic National Convention make it clear that if given the legal authority to use weapons, human beings may abuse such discretion if too weak to restrain their own personal passions and, albeit less common, even their psychological pathologies.

The full essay is at "Medium Cool."

Police Brutality: A Symptom of a Brain Sickness Stimulated by Large Doses of Power

Behind the ornate rooms and regalia of a head of state, the stately appearance of legislative chambers, and even revered democratic constitutions, the basis of a government is its power—even if beyond authorized limits—to use lethal force against even its electorate peacefully protesting. As the results of the Stanford Prison Experiment in 1971 show, human beings who have police power—even beyond the authorized—have at the very least a proclivity to abuse people without countervailing power. The students who were assigned as prison guards in the experiment because so abusive toward the students assigned as prisoners that the experiment had to be terminated after only 6 days in a two-week period. Even the experimenter, who took on the role of prison superintendent during the experiment, “had become indifferent to the suffering” of the students who were in the role of prisoners.[1] Lest it be concluded that college students are simply too immature to assume even what seems to be absolute power over other students, such behavior is arguably common among actual police employees. Lest it be further concluded that such behavior is part of an autocratic regime, even the known instances in republics suggest that human nature itself cannot handle such discretion as police departments and their employees have. Incredibly, even with the result of the Stanford study, no one seems to go to this conclusion; rather, primitive human nature may be poised to jump from incident to incident as if doing so enough would end the abuse of such power.

The presumptuousness that police departments and individual employees have in abusing their powers to harm even nonviolent protesters was on display to the world on June 4, 2020 as police in Buffalo, New York, pushed down a 75 year-old man who ironically had stood for peace and justice for decades. The violent act itself by two police employees was telling. Video shows Martin Gugino approaching an oncoming police employee in a nonviolent manner to talk—perhaps to ask a question. Another police employee immediately speeds up his pace—the first indication of possible aggression. Then he and another employee pushed Martin backwards. Incredibly, one of the employees who pushed Martin then shock his head back and forth as if the incident had been Martin’s fault, when the fault lied with the employee. Such shirking of responsibility is a convenient mental tactic by which the abusive mind seeks to justify/protect itself—the delusion being hidden to such a mind by the mind itself.

The full essay is at "Brain Sickness Stimulated by Large Doses of Power."

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1. Stanford Prison Experiment.

2. “Buffalo Police Riot Squad Quit to Back Officers Who Shoved Man,” BBC.com, June 5, 2020 (accessed June 6, 2020).

3. Julia Mahncke, “Why Police in the US Are So Powerful,” DW.com, June 6, 2020 (accessed same day).

4. Ibid.

The American City: A Police State in the Making

Crime in 2017 was down the 30 largest cities in the U.S, but police levels remained robust. Specifically, less crime did not result in fewer cops on the street. “In 2016, there were slightly more officers per capita than in 1991, when violent crime peaked,” according to the FBI.[1] American cities were on a trajectory toward becoming police states. A mentality of excessive dominance, I submit, lies behind the excessive show of force.

The full essay is at "The American City: A Police State"

1. Jose Del Real, “Crime Is Falling, But Police Levels Remain Robust,” The New York Times, January 8, 2018.

Violence at a Trump Campaign Rally Spurs Lawsuits against the Candidate: A Case of Incitement?

Is it natural for people to become enraged at other people at political events? Is violence simply part of the territory? Even if war stems from political differences, a political rally is a long way from being on a battle-field. The psychology, I submit, should be very different, and yet some people at campaign rallies cross the line as if they have no control over their emotions and behavior. That some protesters and a Trump supporter sued U.S. President Donald Trump for his role in inciting violence at one of his campaign rallies makes the matter of rage and violence at political events more public, and thus subject to analysis. The issue, I submit, goes beyond whether Don Trump incited violence against protesters at his political rallies. 

The full essay is at "Violence at a Trump Campaign Rally."

Mass Shootings in the U.S.: Why Are Americans So Angry?

Even though the United States account for less than 5% of the world’s population, 31% of the total number of mass killings worldwide between 1966 and 2012 occurred there.[1] I contend that a rise in passive aggression and the related intolerance accounts for much of the difference. In other words, it could be that Americans generally are getting nastier and more angry at each other.

The full essay is at “Mass Shootings in the U.S.”

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[1] Stan Ziv, “Study: Mass Shootings ‘Exceptionally American Problem’,” Newsweek, August 23, 2015.

Police Power Exceeding the Capacity of the Human Brain: Some Countervailing Measures

“Power tends to corrupt and absolute power corrupts absolutely.” Lord Acton’s timeless statement is applicable to legal and illegal power alike, for each is subject to abuse. The victims are those whose wills are bent through either harm or the threat of injury. Put another way, the human brain may lack sufficient cognitive, emotional, and perceptual machinery to check the instinctual plus socialized power-aggrandizing urge. This vulnerability is particularly apparent in viewing video showing a police employee violently over-react in a situation that quite obviously should not have involved violence. Although anger doubtlessly plays a crucial role in the trigger that unleashes the police violence, the more subtle suspension of cognition and warping of perception is also in the mix.

The full essay is at “Power and human nature.”