Don't be Oblivious: The Obvious Myth in Oblivion

[This post has spoilers.

Really quickly, where did Spring go? We've started the Summer Blockbuster season, and I havn't posted in over a month! Mostly because there wasn't much interesting going on. Besides the ends of several comedy TV series... ]

Okay, who though Oblivion (Universal Pictures, 2013) was going to be another weird Tom Cruise movie? I certainly did. Cruise is generally not an actor I follow, because I associate him with the 80s and 90s (and Scientology). Really that's not fair. His career doesn't have the normal dips and turns as other action movie stars; he's consistently made three star and above quality films since the start of his career, and the only year 21st century he didn't have a movie coming out was 2009, which is kind of excusable since he had two movies come out in 2008.

When I heard Oblivion was "actually really good," I was skeptical. Through a coin-toss I saw it instead of The Place Behind the Pines. Good choice. It contains a lot of New American Mythology themes and motifs. The following is a quick rundown of these. I thought the plot was fairly obvious, but if you're wanting to keep the movie's plot twists a surprise, don't continue to read, particularly the ones marked with ***. They're all kind of spoilers though.

Basically, I've highlighted how Oblivion uses the motifs in New American Mythology. The terms are not literal representations, but act more as metaphors. Brush up on the terminology by clicking on "Lexicon" above. Use this post as a way to better understand the Myth, and how it influences our culture.

Astronaut - Jack Harper, the main character, lives in isolation with his work and love partner, Victoria. He repairs drones which guard saltwater collectors. The saltwater will be converted into energy for humanity's exodus to Titan. Jack uses his high and low-tech know how to keep the drones running and protect the human race. ***We find out Jack Harper was actually an astronaut in his previous life. He and a crew were going to Titan to assess if human could live there; when their mission changes he chooses to pursue the danger alone (with Victoria) rather then put the rest of his crew in danger. Jack's final sacrifice at the movie's end, solidifies his mythological Astronaut status.

Cowboy - Jack acts directly against his orders multiple times, mostly on gut reactions. His collection of various human objects connects him to his true human self. His "lonesome" rides in the helicopter and fondness for his motorcycle are not unlike a man in the desert on a horse. 

***Zombie - Jack's previous incarnations followed orders, blindly killing off most of humanity. It sounds like they traveled in hordes, acting senselessly en mass. Victoria remains a Zombie, blindly following her programing to her demise, despite the evidence in front of her. Also, Jack dies and 'comes back to life' through Tech 52 in order to live happily ever after.

Illumination!

 

Black - Of course Morgan Freeman plays the Black god (of war)! In this narrative, Malcolm Beech leads humanity's last stand. Not only does he come up with the strategy for taking down TET, he's the one who sees Jack as the key to their salvation and shows him the Road to self-discovery. ***His death marks the end of the war, a passing of an era. With his and Jack's death, the world can be reborn.

Girl - Victoria tries to break away from the 'system' that holds her, but in the end she cannot side with Jack. She finds the small plant he gives her abhorrent, because it may ruin their chances of going to Titan with the rest of humanity. Really, it shows her lack of humanity and her assimilation into the TET's false reality.

Amazon - Julia, a 'Russian' cosmonaut, is only an Amazon when compared to Victoria. Overall she's a weak female character, but does hold important knowledge that allows Jack to free his mind, proving herself not to be a threat to Jack and superior to Victoria.

Scavs in the concept art from the unpublished (non-existent) graphic novel Oblivion was based on.
Illustration by  Andrée Wallin

 

Aliens - The Scav are Jack's main threat. They attack the drones, but without any real purpose. Victoria ponders why they would try to destroy the drones, why they would send an off-world signal, and why they are there at all. They are irrational, threatening creatures. (Or are they...?)

The West - Jack's excursions in the the wastelands gives him the freedom to explore the world around him without the rules of the Sky Tower. He can fix drones with gum, pick up curious objects, and wear a Yankee cap, all of which don't follow protocol. The potential run into the dangerous Scavs doesn't deter him from the potential of finding something new. Additionally, his (Rocky Mountain) retreat is an eden free from TET's (society's) prying eyes.

***Space - TET, which exists in space, is Jack and Victoria's source of information, their salvation (to Titan), their creation (via cloning), and their destruction (drones). On the flip side of the coin, Jack must enter TET's realm in order to save humanity, recreate himself, and destroy the threat.

***The City - TET supposedly holds most of the human race, waiting on a few techs to return before blasting off into Space. However, it turns out to be the lack of humanity rather than its salvation. TET programs Jack and Victoria to despise the past human life. Victoria especially follows TET's orders, fearing she'll lose her spot to Titan while not realizing she's lost her humanity.

Nostalgia - Jack's fascination with artifacts and history goes beyond topical interest. He collects small items and arranges them lovingly in his cottage. They remind him of the past glory of humanity, whereas Victoria sees them as radioactive remenants of war.

***The Road - After meeting Morgan Freeman's character, Jack must take a journey of self discovery. He starts out on a bike and drives to the Empire State building, where he finds his other half. He then returns to the Sky Tower, where he must destroy his past beliefs/self. Then, he goes through an hazardous journey across the radiation zone and meets his true self. This journey gives him the strength and conviction to save humanity.
 
 ***The Tower - 1) TET, a tower in the sky, supposedly awaits to deliver humanity to Titan and save all of mankind. However, we find out that it's not the salvation of mankind, but its destruction. This technological entity that Jack and Victoria believe holds the entire world has destroyed it. 2) The Empire State Building holds the key to Jack's humanity; his memories of the tower remain, and it's where his memories return to him. Before his memories return, the tower signifies the destruction of his past, and (literally) signals for its return. 3) The Sky-Tower (home-base) protects Jack and Victoria from Scavs and radiation. It's how they can live in such a hostile environment. However it also shelters them from the truth, preventing Victoria particularly from reconnecting to her original self.

At the Tower, all is made clear.

 There you go folks. Now stop saying I'm making this shit up! The terms may be outlandish, but sometimes we only notice the extremes.

Comment below!

Zombie Heroes

My previous posts may have colored the Zombie archetype poorly. I was still going for the dramatic slant when I wrote:

"[W]e find the zombie as the most deplorable archetype. Mindlessness, consumption, apathy, and a non-influential lifestyle characterize the zombie. He does not contribute anything to society, and takes from it more than necessarily. The hoard mentality of mentality influences his actions: following whatever orders or actions the person near him does without regard to individual wants or needs. Personality decays ... until only the shell of a person remains."

Crabhead from Half-Life 2 (Valve Corporation, video game)

 Man-o-man doesn't that sound awful.

I want to rescind that statement, or at the very least alter it. The Zombie is not the most deplorable archetype. Otherwise, why would it be an archetype? Really, the Zombie is the most 'realistic' state. It speaks of the unenlightened individual who has yet to realize their potential role in life. That is, often we are introduced to main character(s) as Zombies.* The "Hero's Journey" the characters go through often transforms them, defines their true character, and allows them to become our American heroes. 

In the 2012 Working Titles Films production of Les Miserables, the main character Jean Vanjean goes through just a transformation. **Spoilers** He starts as a prison-slave who is forced to be a Zombie. He is allowed no aspirations, influences, or free will, and must perform mindless tasks in unison with hundreds of other prison-slaves. These chain-gangs are Zombie hordes, although not by choice.We find out he's in prison because he stole bread; just trying to survive by eating whatever he can get his hands on. He continues this mentality after he's put on parole, and eventually steals some things (to survive). He's a Zombie, doing what you gotta do to survive without any thought to anyone but yourself. Plot things happen and eventually he becomes a Cowboy/successful business man who disregards the law, and eventually a Astronaut/self sacrificing individual. Happy(?) Ending. The scene I posted is Jean Vanjean coming to the realization that he must act and help, not merely survive. Yes, they're are scenes where spots of Astronaut altruism come out, but it's in this song that he self-acknowledges his being as something more than a man/Zombie. He is a hero.

However, Not every Zombie is forced to be one. Our hobbit friend Bilbo Baggins was quite content with his quiet, isolated, mundane, uneventful life. When presented with the opportunity to go out on an adventure, Bilbo says "I just need to sit quietly for a moment." Gandalf, being the volatile grey wizard he is, retorts "You've been sitting quietly for far too long!" The wizard sees Bilbo as a complacent, mindless Zombie who, when pushed, can do great things. Bilbo starts as the consumerist, overly-concerned for "doilies and his mother's dishes." Bringing him out into the world, Gandalf wants to show Bilbo the value of the "small acts of kindness and love" that will keep "darkness at bay." Consumerism, attachment to an object (i.e. a ring), will only bring insanity, isolation, and a host of other Zombie issues..

Tell me he's not a Zombie!
Screenshot from Lord of the Rings: The Fellowship of the Ring

Other Zombie turned heroes include Django (Django), Marlin (Finding Nemo), Forrest Gump (Forrest Gump), WALL-E (WALL-E).

That's not to say that all main-characters transform into Cowboys or Astronauts. Often time the misadventures of a Zombie give audiences the opportunity to laugh at absurdity and make them feel better about their life. Step Brothers, Harold & Kumar, and Superbad feature reluctant heroes desperately searching for something, while losing sight of the real problem. The heroes do end up realizing their antics aren't quite right, and go through a minor transformation. That's not to say its true for all comedy Zombies; for example the Bluth Family from the aptly named TV show Arrested Development. The comedy follows the antics of a formerly upper-class family that can't seem to change their ways or move on with life. They are living Zombies, oblivious to reality. It's hilarious.

The next Zombie comedy coming to theaters is actually a zombie movies. Warm Bodies (Summit Entertainment) features a zombie who falls in love with a non-zombie human. I'm going to predict that the hero transforms from a Zombie to a Cowboy or Astronaut and saves the shotgun-slinging princess. And there will be a few chuckles along the way.

So, next time you see a Zombie, whether they're on the silver screen, TV, or someone acting like one, maybe you shouldn't jump for the crossbow. Giving someone the chance to become something more, to make something more, well isn't that what Equal Opportunity is all about? Then again...

What Would Daryl Dixon Do?
The Walking Dead (AMC)

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*Please remember an archetype does not mean A = A; but rather A represents XYZ. So a Zombie does not mean a zombie that Daryl is about to shoot through the eye, but a character with the characteristics I'm discussing in the post.

You Can't Turn Off the News

Breaking News!

This has been a hot topic on some popular TV news stations lately. No, not on ESPN, E!, TMZ, the Daily Show, Bravo, Oxygen, HLN, TLC, or any other Reality show channels. CNN, MSNBC, and FOXNews have been following the developments of this 'story' very closely. Because nothing else is happening in the world.

I grew up with CNN on the TV, so that's what I turn to when I want noise in the background, hoping that some bit of information will make me more informed or worldly or something. Not the case. Useless prattle is expected from MSNBC and FOXNews, but CNN? You were the last hold-out.

Are they required to plaster 'Breaking News' on everything?

Let me cite Jeff Sorensen's opinion piece in the Huffington Post:

"Fast forward to when CNN came about. It seemed fresh and convenient. CNN was the only newsgroup reporting live on the ground when the United States attacked Iraq at the beginning of the Gulf War. They were cooped up in a hotel reporting through a Four-Wire circuit while the Anti-air weapons fired outside the window of their hotel room. It was one of the greatest moments in journalistic history. As stated in the film Live From Baghdad, it was "the journalistic equivalent of landing on the Moon."

CNN was no longer considered the experimental network; it became the basis for everything that followed. New 24-hour networks appeared on the scene and further saturated the market by jacking CNN's format.

Now, major networks are fighting over who is more non-biased than the others. Each network tries to show how they report both sides equally, but it's the worst kept secret ever. It's not even a secret. It's so easy to recognize when something is biased, unless they aim the content at your ideology. Confirmation bias blinds people to the bias because it supports their point of view. Hence, the content is correct to those supporting the bias aimed toward them. ... The more they argue their points, the more extreme their point of view goes toward their bias. This happens on 24-hour news all day. Both sides argue their views to the point that neither listens to the other side. They'll sink into their beliefs even if there is no evidence supporting it. This tends to happen in most belief structures."

Except CNN hasn't chosen to spew extremism, but mundane moderatism. They latch onto the pseudo-political popular stories, gnashing into a story calling it a 'dissection of facts' when really it's just maiming factoids into a grotesque pile that you're told is important, interesting, or breaking news.

It ain't nothing new.
Piero Manzoni, Worth more than its weight in gold.

Yes, the news stations report on important events such as women in combat, gun control, and Obama's new cabinet. The discussion that follows the annoucement of the headline, however, are still just biased babble with few or no factual grounding. The news fails to enlighten us about the events happening beyond our own line of sight, but feeds us, as Sorenson said, our own bias.

It makes sense really. Why should news organizations invest in investigative reporting? 'New' news may be original and authentic, but it lacks the credibility of popular consensus. It's looked at with skepticism, it's easily judged. Whereas the communal news that reinforces our already established beliefs is easily swallowed, and easily regurgitated (I'm looking at you Facebook Debaters). Reporting on the same subject with different commentators makes viewers feel good and learned because 1. They already know the subject; 2. They are on the 'inside' of the developing story; 3. They can tell their non-news watching friends about everyone's opinions. The viewer gets the 'credit' in the real world while the news stations get the ratings.

2010 : Haiti

Anderson Cooper was the first big news anchor to go to Haiti after the devastating earthquake that hit there. Investigating reporting right? Let me rephrase the question: What do you remember about Haiti's earthquake? Specifically  what did Cooper uncover that you remember? He says in this clip that he believed this was a fluke looting, that he happened to be in the right place at the right time, ready to look heroic and for everyone in the states to pause and say, hey, that Cooper guy is heroic/hot!

That might be a bit of an exaggeration. But he is a celebrity news-anchor, and not like Walter Conkrite. Viewers watch his shows not just because he's a good reporter, able to ask the right questions, but because they have an emotional investment in him. Perhaps it's better to quote Cooper himself:

"I think the notion of traditional anchor is fading away, the all-knowing, all-seeing person who speaks from on high. I don't think the audience really buys that anymore. As a viewer, I know I don't buy it. I think you have to be yourself, and you have to be real and you have to admit what you don't know, and talk about what you do know, and talk about what you don't know as long as you say you don't know it. I tend to relate more to people on television who are just themselves, for good or for bad, than I do to someone who I believe is putting on some sort of persona. The anchorman on The Simpsons is a reasonable facsimile of some anchors who have that problem"

Cooper admits it. He wants the audience to realize he isn't all knowing, and in doing so allows the viewers and himself be on equal ground. Ah, Equality. Not in the sense of 'All Men are created Equal, Under God', but in a way that says, 'We have equal access to the same information, let's be friends'.

Cooper made friends with this little guy while investigating Planet in Peril
Question he's asking right now: Would you rather be me or the sloth in this picture?

This is all a round-about way to say that Walter Benjamin has, once again, reared his head. The most obvious connection with Mechanical Reproduction and today's news stations: repeating/reproducing the same news story over and over and over and over again gives it more importance (a bigger aura) than the event on its own. Case and point: Manti Te'o . Who gives a crap about how a 21 year old guy that fell in love with a fake girl? Okay, maybe a few people, but at reserve that for Lifetime Movies or SpikeTV. Or, at the very least, for the 'Entertainment' portions of the news. But nope. Wolf Blitzer will continue to report on this very serious American event.

Point two taken from Benjamin truly characterizes the 21st Century. The idea that everyone deserves/has the ability to access information. It does away with the enlightenment's compartmentalization of subjects and the scholar of one subject. Instead everyone can become amateur-expert in any and all subjects. Your snide comment on annoying-liberal's facebook status is just as valid as Rush Limbaughs (or more so). Citing John Stewart as an authority on the socio-political? Legit. The fact that your uncle owns a gun store gives you the power to make broad statements on gun control. And that's what the news stations are doing. They find random people to act as commentators on the show. (You'll note, that's exactly what the Daily Show does, but with the cast.) If the news stations disregarded this shift in America's intellectual hierarchy, they would come off as pedantic, and few people would watch.

News stations have traded investigative, feet-on-the-ground journalism for mass-dialogue and equality. These are not mutually exclusive; everyone has their feet-on-the-ground. The problem is that the news stations can sift through every person's blog, twitter, or feed. Our connections, whether followers or friends, limit our ability to spread news. I mean don't we all swell with pride while counting the number of Likes on our latest photo as if they were peacock feathers. Unfortunately we're not all friends with Cooper, nor do we have the luck of being a both a Star Trek star and very clever like George Tekai. We can only hope that our pet or family gathering is entertaining enough for America to share.

"Reach for the Sky!"

Stephen Colbert had actor Tom Hanks on his show the other day. The skit features trick-or-treaters showing off the diversity of heroic characters the actor has portrayed (while plugging Cloud Atlas where Hanks plays multiple characters). It was a fantastic example of New American Mythology on several levels. First, both the real person and the characters have become icons of American culture. Everyone recognizes the names Tom Hanks, Woody, and Forrest Gump and views them as separate icons. This is different than  Will Ferrell characters for example. People recognize Ferrell as an iconic actor, but he is not separate from his characters- instead its Ferrell as racecar driver, Ferrell as man-child, Ferrell as a news anchor. (There are exceptions of course, such as Buddy the Elf.) For Hanks, both being an icon and portraying/creating icons means he has a strong presence in New American Mythology in both the past an present.

An artwork by street artist Tom Hanksy
(as in Tom Hanks + Banksy)

Because of his pantheon of characters, Hanks' mythic presence reaches all types of people regardless of the genre preference, age, gender, and race. He appeals to everyone, allowing him to explore, perpetuate, or change New American Mythology with broader strokes than a single movie, show, or character could do on its own. People pay attention to what he does.

Which leads to the second point: Hank has the ability to influence New American Mythology's direction in the future. Hank has taken advantage of this through his recent roles which tend to convey a wholesome, positive message or somehow educate the audience. That is not to say his character in Philadelphia (Tristar Pictures, 1993) for example didn't do that. Rather, Hanks now seems to consciously create/seek roles that enlightens audience with morals or history. Specifically: Charlie Wilson's War (Universal, 2007), The Pacific* (Dreamworks SKG, HBO Films, 2010) as narrator and producer, Extremely Loud Incredibly Close* (Paramount Pictures, 2011), and Cloud Atlas* (Cloud Atlas Production Company,  2012). Of course, to fund such projects (and keep his status as mythic icons) Hanks still acts in movies like The Polar Express* (Castle Rock Entertainment, 2004) and Angels and Demons* (Columbia Pictures, 2009).

I found Polar Express to be on the edge of the uncanny valley.

Not that either category is more influential or better than the other. Take The Da Vinci Code (Columbia Pictures, 2006); A lone man (Robert Langdon) must solve a mystery to prove himself innocent, and in that process discovers the Vatican's secret. *Spoiler* The secret is that Jesus and Mary Magdalene had a daughter who would have been the 'true heir' of Christianity. Of course the patriarchal system of the Vatican found this terrible and stopped it. The movie critiques Catholicism, patriarchy, and authority as a whole while questioning the purpose of iconography that perpetuates certain ideals (i.e.Why do we revere da Vinci's deteriorating painting, Last Supper?). Larry Crowne (Universal Pictures, 2011) on the other hand is a more encouraging movie, where instead of falling into depression after losing everything, the main character seizes the day and goes back to college. A very feel good, happy movie that advises people to turn negatives into positives, but it's really not a reality shattering message.

So what does this all really mean? Tom Hanks' work reveals New American Mythology as spanning the past, present, and future on multiple fronts, influencing how Americans see and react to the world around them. The following character analysis shows that Hanks chooses roles that emphasize that all individuals can succeed, no matter what skills they have.

An Astronaut, Cowboy, and Zombie:

Forrest Gump (Paramount Pictures, 1994) - Forrest is a Zombie in the best way possible. He lacks rationality, is unthinking, acts out of compulsion, and has no real need for purpose in life. All these things of course make him a great football player, soldier, ping-pong player, and runner. His selfless nature often puts him in dangerous and inadvisable situations while his impassive personality allows him to not be governed by traditional wants and desires (i.e. money, fame, sexual conquest, etc). He is a Zombie. No arguing.

Apollo 13 (Universal Pictures, 1995) - Jim Lovell is a real figure in American History. Tom Hanks/This movie turned him into a real figure in American Mythology. Lovell is the most Astronaut of astronauts to ever grace the silver screen. He is rational, empathetic, and calm throughout the movie, despite his dangerous situation. And, of course, he placed himself in a situation (going to the moon) that he knew could go very wrong, just to better American's knowlegdge/image.

Toy Story (Pixar Animation Studios, 1995) - Woody is a not a Cowboy, but an Astronaut. He is rational, looks out for others, and willing to risk his happiness for others. The closest Woody comes to becoming a Cowboy is worrying about his position as leader of the toys when Buzz comes around. So when the doll says "Reach for the Sky!," he's not enforcing western law, but telling you to set your aims higher.

[Tom Hanks doesn't really play Cowboy characters, with perhaps the exceptions of Jimmy Dugan in A League of Their Own (Columbia Pictures Corporation, 1992), Joe Fox in You've Got Mail (Warner Bros., 1998), and Michael Sullivan in Road to Perdition* (Dreamworks SKG, 2002). This trend continues in the 21st century, unless you want to count...]

Cast Away (Twentieth Century Fox Film Corp, 2000) - Chuck Noland whose journey transforms him from a Zombie to a Cowboy and/or Astronaut. He begins as a Zombie- focusing on his job to get money, despairing at his situation, and hoping someone else saves him. Eventually he learns that he must fend for himself, fight to live, like a proper Cowboy in a purgatory West. However, one could also argue that he is an Astronaut, living in isolation and relying only on himself to survive trying to find the truth of himself in purgatory West. Even the movie's end could be argued either way- is he a Cowboy living on his instincts, going wherever the wind blows him, or is he an Astronaut journeying into the great unknown, searching for the mysterious Truth.

Shenanigans in The Terminal

The Terminal (Dreamworks SKG, 2004) - Viktor Navorski is a Brown. I wanted to include this movie, despite its relatively bad reviews to show that Hanks does not always stick to the main archetypes. Navorski not an isolated Astronaut who uses rationality to fight his situation. He is not a Cowboy who would have just busted out of there. He might be a bit of Zombie who only follows the rules, but he is a bit too compassionate, helpful, and resourceful to really fit in that archetype. Navorski, an Eastern European, has no power (politically, sexually, and seemingly socially). However, he still turns his situation into a positive experience helping his fellow man [maybe he is an Astronaut].

I could do this all day with Hank's films. I could go in depth to every one of them (especially the Toy Story franchise), but there are so many it might get boring for you.  However, feel free to leave your own observations, questions, and comments below. 

With that I'll leave you with an Astronaut Tom Hanks quote:

"I love what I do for a living, it's the greatest job in the world, but you have to survive an awful lot of attention that you don't truly deserve and you have to live up to your professional responsibilities and I'm always trying to balance that with what is really important."

----------------------------------------------------


*I have not seen these movie, so my analysis may not be correct

Zombie Season Begins!

Walking Dead (AMC, 2010) started up tonight, signaling the start of Zombie season. I don't mean the time that the television show airs- I mean the time of year that consumerism takes over the minds and motivations of Americans.

PBS video to celebrate the Season 

Like pre-industrial cultures, autumn is a time for celebration, preparation, and consumption. Traditionally, the event is to prepare for the hard-long winter and/or to harvest the crops. Luckily,  the majority of Americans American's do not have to worry so much about food security and instead just get to celebrate abundance. That's not to say that other times of year are void of conspicuous consumption or unnecessary excess. After all, do you really need 2 packs of hotdogs, a pound of burgers, and ribs at the family Fourth of July barbecue?  Zombie season is just where it's a little more obvious and often and without the connotations of rebirth (Easter/Spring, Forth of July/Summer). And it comes with the premiere with Walking Dead.

Autumn settles in during October; the cold weather sets in and the leaves begin to fall. Associations with death are well known.  However, American's don't worship Osiris or Persephone. They worship the Zombie archetype (God of Consumerism). During Halloween, the Zombie manifests itself by encouraging people to dress up as their favorite characters and buy copious amounts of overpriced candy. Unlike Dia de los Muertos, Halloween does not hold any sort of religious connotations nor gathering of family (unless you want to count children going to trick or treating as gathering as family. I don't.) The holiday celebrates popular culture; all ages can become Astronauts, Cowboys, Zombies, Blacks, Browns, and Girls without looking like a total nerd (unless that's what you're going for).

Found on the internet

That's just the beginning however. Thanksgiving comes up about four weeks later. Again, the holiday does not have religious connotations, but it does focus on family, patriotism, and tradition. The literal consumption of food and gathering of family hearkens to the Harvest Festivals of old. Even though Thanksgiving retains the integrity of such festivals and isn't as Zombie-ridden as Halloween (or the next holiday), it still contains giant floating pop culture icons and football, which I've already described as Zombie driven.

Then, the big one. Christmas begins before Thanksgiving. We've all heard the complaints/celebrations on the advanced arrival of the 'holidays'- and that's just the decorations and  music. On Black Friday (an event that has it's own name) people bull rush stores to collect bits and bobs to give to children, adults, dogs, cats, and everything in between. All sorts of confectioneries and limited edition drinks pop into existence as temptations. Christmas morning (for most people) creates a mess of wrapping paper and boxes. Food usually makes an appearance in amounts comparable to Thanksgiving, but with more sweets. Christmas does have religious aspects connected to it, but these are overshadowed by the Zombie celebrations.

Still not as scary as Krampus
Found

It doesn't end there however, New Years brings similar Zombie consumption, except with friends rather than family. When else do over 3.5 million viewers tune in late at night to watch a bunch of commercials  listen to mediocre music, and watch a ball drop? Answer: The Superbowl.

Finally the last Zombie holiday, Valentine's Day. It straddles Winter and Spring- both pressuring people to, again, eat more candy, and force themselves into uncomfortable situations for the sake of  social pressures. Again, the holiday has no religious connotations.

The most ironic holiday

That's five months and six holidays, only one that still follows the religious practices that initiated it, (you could, arguably, call the Superbowl a religious holiday) while Thanksgiving remains closest to its original intent (to give thanks to being a United America). The Zombie season is a celebration of America to it's maximum. Individuals may not think about the holidays, but they do find the time to honor their culture. That's why they are the most celebrated holidays. 

I must mention that BEARBULL is so thoroughly ingrained in all these holidays, it's all about consumption and getting the money flowing. The irony of The Walking Dead is that while a group of individuals struggling to survive the zombiepocalypse with next to nothing, Americans eat up all the drama and violence.

You Can Make a Coin Toss seem like Armageddon

" Why did football surpass baseball? Because football is perfect for the TV screen, which is actually shaped like a football field; because football is at once the most intellectual and the most brutal game in the world, in which the coaches think while the players bleed; because we love to see people knocked silly. But also, perhaps even primarily, because football mints the kind of uniquely vivid images that the Sabols could spin, over and over, into a Kip­ling poem about war." - Rich Cohen

If you're not a football fan, you probably hang around some of the 64% of Americans who watch NFL or the 200+ million who watch NCAA Football. Now, if you've been around a TV with a NFL game on,  you've noticed all the teams commemorating Steve Sabol, who died this week. Sabol apparently, made football into what we know it as today. Before it was just another sport. Sabol groomed it into a "never ending drama" (Producer Ken Rogers). Drama is the correct term, but not in the daytime television sense. Football imitates the grand epics of Beowolf and the Illiad; the narrator lauds the heroes as they enter the battle field, describing their previous victories and losses, their backgrounds, and their special gifts. The bard sings an anthem of previous heroics as the new heroes mentally prepare. Then- kickoff. The narrator continues to objectively explain the battle, postulating strategies of the generals/coaches, giving insight to warrior/player's emotions, and questioning the gods/referee's influences on the outcome.

However as Rogers said earlier, the epic in football never ends. It continues with new heroes cycling in as the old ones fall out of favor. Both college and professional football continually engage their followers- there's never a point of 'well that's settled.' Rivalries between teams, coaches, players, owners, etc deepen the drama of the games, and therefore get viewers emotionally invested in their outcomes. It's a tit-for-tat system that will never end. Such sentiments are well illustrated in this recent George Tekai post:

It's a bit silly. But football is not just a silly thing that a lot of Americans like. How many times have we heard people roll their eyes and say 'its just a bunch of guys running into people.' I was once one of those people. Then I went to a SEC school and saw thousands of people participating in this bizarre ritual every weekend.  Not two or three thousand. More like eighty thousand. And that's just people in the stadium. People go the campus and just hang-out watching TV outside. Football is a silly thing that A LOT of Americans LOVE. 

I suspect this American romance follows the same mentality I explored in my Olympics post. This group is better than that group because these few individuals are athletically and mentally superior. Unlike the Olympics however, the team is more important than the individual. Yes, quarterbacks get all the advertisements, but I'm pretty sure fans of the Carolina Panthers, Denver Broncos, or Philadelphia Eagles would not say that the teams victories and losses' rest solely on the actions of Cam Newton, Peyton Manning, or Micahel Vicks. Fans understand that victory is a group effort, and fans believe they contribute to the victories as well- they are in fact a part of the team. 

Tailgating, going to the games, watching every games, and doing weird rituals aren't just conspicuous consumption. It's a way of identifying with other people and coming together to cheer on your side. And if a fan is one of those people who doesn't hang out with other people and instead watching football alone all weekend long- he's still part of the team. No lonliness. 

It's true! Kentucky Football fans exist!

Yes, football is a fabricated Reality of rivalry. Fans are Zombies (blindly buying into/following their team, despite the odds). Players are Astronauts (sacrificing their bodily health for the entertainment/success of their fans). All so that BEARBULL (advertising and NFL ownership) can influence more of individuals' lives. But, at least it's not the City. Football gives people something to believe in (maybe, just maybe we can win), and to look forward to (there's always next season). Zombie fans coming together in this way is not a bad thing. Its one of the few times Americans actually go hang-out with each other. 

Football isn't opera or an gallery opening or a natural history exhibit, but it's where many American's find relief from their true reality. It's not a television show or movie that points out how they're not a Cowboy or Astronaut. It's a community who accepts them as long as they like the team. 

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If you want to know more about how Football became America's sport, I recommend you read this article:

They Taught American How to Watch Football by Rich Cohen at The Atlantic

On Facebook You Are Who You Are

Previously I’ve established what movies, television, novels, and other fictional media convey to American audiences. But how do such messages affect our everyday lives? We don't see people running around in spandex, using their massive amounts of money to save a dying city (that's government work). Nor do we see women blatantly transform themselves into queen b's just to prove a point. We do see individuals striving to better humanity through academics, public service, or just being nice, and we do see people change aspects of their lives to better fit in or stand out- whichever is perceived as the way to success.

Cosplay: Not just for Adults

To understand how New American Mythology affects individuals we have to survey how people present themselves to world where they present themselves. Now, you may think, oh, obviously people walking around on the street. No. When was the last time you presented all of your true self to the street corner? You don't walk around (I assume) declaring Harry Potter as the best book series, congressmen talking about rape are idiots, Shock Top is your new favorite beer, or Fantasy Football is the same as Dungeons and Dragon

These proud, albeit random, disclosures of person's personalities occur on Facebook. We present ourselves to the (Facebook) world as we truly see ourselves- unapologeticly (unless you are) redefining ourselves with each status update, 'Like,' wall post, friend request, and defriending. Despite earlier thoughts, people don't use Facebook to create idealized personas. They may censor themselves or refrain from revealing too much, but they want to create an accurate depiction of their true personality.

As opposed to The Sims, Second-Life, chatrooms, and the other anonymous corners of the world wide web, Facebook users see the website as a representation of who they are. It's the one stop shop where others can browse your traits and decide if you are worth 'Friending' and to what extent. (Should we just be FB friends or should I try to hang out with you at school?) Additionally, because Americans tend to only 'friend' people they've met in real life, their actions are accountable. For example, someone posts that they really hate Twilight. Her friends may comment and say that she does like Twilight but really doesn't like Kristin Stewart because she's jealous. Or, people won't want to be the Twilight hater's friend, because she just lied about hating Twilight because it's 'cool'. Typical drama things.


My point is, Facebook is not an avatar creator. If you're familiar with the Jungian Archetypes, Facebook is where "From the Self -the totality of the psyche- the individualized ego consciousness emerges as the individual grows up" (Jung, Man and his Symbols). That is, individuals assemble their 'whole' selves on Facebook, marrying her Shadow, Anima/Animus, and Persona to create a Self that her ego accepts as true, even as each archetype changes. Adapting and abandoning likes, thoughts, and friends allows people to in some sense physically change their Self archetype and better understand who they are as a person. What's more, other people can understand who they are as a person.

Our understanding of a person goes beyond the text: Female Interested in Males and is Married, and instead reads 'Female Interested in [really nice] Males [who enjoy the Southern lifestyle] [but there are none around so she] is ["]Married["] [to Best Friend Katie]. People post their discoveries. They post their triumphs. They post their worries. They post how they fit in. They post how they stand out. They post things they think people want to know- about themselves, factoids, politics, rants, coupons, family. The combination of these posts describe the individual, not the single elements.

We still haven't gotten to the Mythology part of this. Where are the Astronauts, Cowboys, and Zombies on Facebook? They're there, just in a more subtle way. Facebook users display what interests them. The following are fictionalized portraits sewn together from my various friends. You have to keep in mind these are personas because I'm making them up. I've tried to make them as believable/accurate as possible.

The Cowboy:

Perhaps he likes hunting, the TV show Weeds, he quotes Boondock Saints, and the last book he read was The Watchmen.  Him and his bros pose for their pictures with calculated aloofness. He brags about all the girls he met at the club tonight. His photo albums are full of all the 'edgy' things he does- going to house parties, jumping off cliffs, graffiti he saw, and him chillaxin'. His comments skirt towards offensive, but it just shows how witty and free from conformity he is. The profile picture- him and his mutt chillin' with a beer in his dirty backyard.

The Astronaut:

On the Astronaut's profile page is all the beneficial and exciting things the Astronaut does. Her 'job' may be Volunteer at the food bank. She quotes Ghandi, Planet Earth is is favorite TV show, and he reads books like Lost Horizon. Her photos are of exotic places,  on a service trip, or running a marathon. Her Wall is covered with links to interesting facts, news clips, and exciting internet finds. She comments on controversial topics, but in an enlightened way that shows her intelligence. She and her pound puppy snuggle in his apartment to make a cute profile picture.



The Zombie:

Likes The Office, True Blood, Adventuretime, Glee, The Hangover II, Brave, 300, Gone With the Wind, 50 Shades of Grey, The Black Eyed Peas, The Beatles, the Clash, and a plethora of other media. Her photos are of the latest product she bought, dinner she ate, or hairstyle. She updates her page with comments on the latest episode of Jersey Shore or complaint going around town. Her photo shows the cute new sweater she purchased for her cute white dog.

Not Mine.

Again, these are not real profiles. In fact someone who likes to chillax with his buds may also like The Hangover II. Someone who runs marathons may also  like to show off her hairstyle. Someone who has a cute white dog might also go to house parties. How the person presents these aspects of their life determines which archetype they subscribe too. Focusing on products and material possessions is a trait of Zombies, whereas the Astronaut focuses on actions and effects, and the Cowboy on whatever is on the mind.

Another way of putting it:
Astronaut strives to better the 'collective consciousness' using their ego
Cowboy considers the 'collective consciousness' but follows their ego
Zombie mimics the 'collective consciousness' in their ego.

Also, I want to state that the Zombie profiles are not necessarily bad things, as it may come off as in the post. As mentioned earlier, Profiles reflect the individual's changing Self, and going through a phase where one relies on the Persona (of the collective consciousness) is common. If it wasn't, there would be far fewer psychologists, psychiatrists, counselors, and happy pills.

Start Consuming Today

Another appearance by our Astronaut archetype in advertising. Hulu wants you to know that they're innovative and Good. Funnily enough, the "See what's new" video doesn't utilize the Astronaut theme any more, but instead shows off how they're features can make you a Zombie (perhaps visually expressed in the chubbiness of the Astronaut). The tagline is "Start exploring today," and it makes (over) use of the words "explore" and "discover".  It seems to me all 'new' features combine aspects of YouTube and Apple products, with the notable exception of the 10 second rewind which is new. And probably useful. The rest of the ad explains how the new Hulu will make making choices easier and faster. So that you can stare at the screen like the mouth-breathing consumer you are.

Now let me return to watching my show!!! 

To me, you are perfect, and I love you very much. God bless you, God bless America.

Meryl Streep heard Jack Nicholas say the words of this post's title when she won the 2004 AFI Life Achievement Award. Most people I suspect agree with his sentiments. The actress has been nominated for 17 Oscars and 26 Golden Globes. She won 3 of those Oscars, which only four other actors have done (Katherine Hepburn, earning one more than that, has the most). Not only is she the most nominated performer at the Golden Globes, she is also the most awarded with 8 on her shelves. Plus so much more. Dr. Streep reigns as America's greatest actress. No arguing.

I wanted to investigate her career more to figure out if there was another feminine archetype other than Girl. The works I've chosen only include her recent films (New American Mythology), and I've avoided the more obscure movies. Now, I havn't seen all these so feel free to point out my short-comings.

The Hours (Paramount, 2002), Clarissa Vaughn

Girl - This complex movie is essentially about Girl archetypes desperately trying to define happiness (and along with it independance). Clarissa Vaughn struggles with the emotions she has for her dying friend Richard, even though she is a lesbian in a committed relationship. This makes her a Girl because even though she has the sexual freedom to choose her lover and other liberties, her life is not 'happy' but filled with anxiety. 

The Manchurian Candidate (Paramount, 2004), Eleanor Shaw

Cowboy (in The City) - An apparently disappointing remake of a 1962 film, The Manchurian Candidate is a conspiracy movie with Denzel Washington, Leiv Shreiber, and Meryl Streep. Streep's character has a total disregard of ethics, but still believes in America's potential. She uses other people for her own beliefs and gains without consideration of the others' lives. Hence a Cowboy.

The Devil Wears Prada (Twentieth Century Fox, 2006) Miranda Priestly

Cowboy -  Streep plays a influential executive of a fashion magazine. Andrea Sachs, the main character, along with most people in the movie perceive Miranda Priestly as cold and ruthless. Miranda does not care for others' emotions or aspirations, nor does sugar coat the truth. These ways have gotten her to the top of her business, but they have isolated her. In fact if she was a bit nicer and helped other people she could be a Astronaut. But that wouldn't make much of an adversary for our Girl heroine Andy.

Lions for Lambs (MGM, 2007), Janine Roth 

Girl (or Astronaut) - Streep plays a journalist who is told of a new government strategy to win the wars in the Middle East. She disagrees with the stratify, seeing it as political ploy. The scene here is after she knows the whole plan. The ethical implications of publicizing the story give Roth pause. She must choose to follow The Man's orders and spread the information as propaganda, or she can report the facts as a political manipulation of the military. The movie ends without revealing Roth's actions, but the story is presented in a positive (propagandic) light. We can suppose Roth decided not to fight back, seeing the repercussions a too great, and gave the story up. This would mean she's a Girl. Alternatively, if she decided to quit and get the 'true' story out on her own, sacrificing her security for the greater good. This would make her an Astronaut. But the story does come out, so more than likely, Girl.

Mamma Mia! (Universal Pictures, 2008), Donna

Cowboy? - This one is tough. The shenanigans in Mama Mia! actually aren't an epic story, but a fairy tale strung together with song. It's fun and quirky, but what is Donna? My initial reaction was to label her as a Girl, but she isn't struggling against The Man nor is she very conflicted. Well, her conflicts are inner emotional ones not ones that make her choose between having children or a career. She doesn't 'need' a man but she wants one.  Can I call her a CowGirl? Is that fair? 

Doubt (Miramax, 2008),  Sister Aloysius Beauvier

Zombie - Sister Beauvier is perfectly content in the Church's structure. So much so that she blindly follows the rules and acts only when she feels those rules have been violated. She does not struggle to live within the parish, nor does she live for her own success (that's why she's a nun). The Sister's strong beliefs eventually cause her to disregard the rules without any reason other than her intuition. So even though she's not trying to munch on the Pastor's leg, she 'eats away' at his resolve and reputation because her instincts tell her to.

 Julie & Julia (Columbia Pictures, 2009), Julia Child

Astronaut - Streep lent her talents to portray the heroic figure of Julia Child. The movie/Streep portrays Julia as a strong-willed woman not trying to fit into French culture, but instead embracing whatever circumstances she was in and making the absolute best of them. The chef had the gumption to follow her own interests, and the passion to share them with the world. She believed the knowledge of French Cooking could better the lives of cooks and eaters everywhere. Not only did she write a book, but she had a show on public television. She took American cuisine out of The City and into Space!! Bon Appetite!  [Julie on the other hand is quite obviously a Girl that happened to get lucky and got a book published. That part of the movie is actually quite dull.]

It's Complicated (Universal Pictures, 2009), Jane Adler

Girl - Jane Adler, a divorced woman, thinks life is finally going to straighten out and make sense when ! Complications arise! She's got two guys vying for her love, one of which she already made commitments to. She follows the path infront of her, but not without hesitation. Jane even confronts her therapist about the ethical implications of carrying out an affair with her ex-husband (making her non-Zombie). Eventually, she realizes she doesn't want her ex/past, but a new life. Her reluctance to say no to her ex makes her a Girl (not fighting The Man), as well as the complications and anxieties that brings about.

The Iron Lady (Film4, 2011)Margaret Thatcher 

Astronaut/Girl - This movie occupies an awkward spot in New American Mythology; it's a movie about a recent-ish British icon. Phyllidia Lloyd couldn't seem to decide between a biopic that focused on Margaret Thatcher's private or public life. If it had focused on the public life, she could have been an Astronaut or Cowboy (or the British version). The movie portrayed Thatcher's private life in a way that could have been Astronaut or Girl. Meryl Streep pulls both off well, which is why she won an Oscar for the role, but unlike Julie & Julia the director/editor/producers whoever couldn't pull off the dual storylines. It ends up being a stunning Streep performance in a mess of a movie that doesn't quite enlighten us on this public figure.

Hope Springs (Management 360, 2012), Kay

Girl - I havn't read or heard too much about Hope Springs. The Girl label here is just a conjecture.  Anyone watch this movie and want to have some input? Or how about the other movies? Leave a comment below.

I don't see any additional archetypes really in just Meryl Streep's characters. Maybe as I investigate New American Mythology further I'll find a neater title for characters like Donna in Mama Mia! or Margaret Thatcher. Please don't confuse these analysis of characters as an critique on Meryl Streep; clearly she can embody any of the archetypes flawlessly even when the directors don't know what they're doing. I think she's a self-possessed and kind lady. Even trying to poke fun at her makes you look foolish. So, in my book Dr. Streep reigns as Queen.

[Note: I left out Angels in America because I havn't seen it since it came out. The mini-series is too complex to analyze from clips on the internet. It wasn't that I was trying to downplay the importance or influence of the series, it was just that I knew I couldn't do it justice. Sorry.]

Why Team Edward (usually) Loses

Someone recently asked me:

"In shows/movies where vampires and werewolves appear together --WHY-- are the werewolves always so much sexier?!?! "

and someone else:

"Add'l Q. I've never seen a female werewolf other than the one in Werewolf in London/Paris, what's with that?"

I replied:

Werewolf = Wild/Innerbeast = Cowboy + Untamed Emotions = Passionate
Vampire = Undead = Zombie + Intelligence = Sad about being undead = Emo.
      Cowboy>Zombie

 and

Women are already Werewolves. See: Untamed Emotions.
Also, Gothic literature has a long line of vampiric femme fatals ie. Smart Women who will Kill men with their sexual wiles. Why break from Tradition?
      Smart/Rational = Vampire
      Emotional/Impulsive = Werewolf
Plus, filmmakers portray werewolves as hypermasculine, not acceptable for a female character. Fem versions of werewolf: Catwoman, Bearlady in Brave

The response was a bit nit-gritty so I wanted to clarify and expand a little bit.

Dark Shadows (2012)
Johnny/Barnabus Collins looks quite disinterested in flirting

The vampire isn't always emo (melancholic), but often the male protagonist vampire is (Edward Cullen, Louis de Pointe du Lac/Brad Pitt in Interview with a Vampire (1994), Angel in Buffy the Vampire Slayer). This characteristic might be a way writers make the vampire vulnerable and therefore more appealing to viewers. Non-melancholic vampires revel in their all-powerfullness in a manner that disregards humanity . Essentially, their personalities just aren't that attractive and they just come off as ass-holes obsessed with blood. Or bored. And dead. Not a very compelling sexual partner.

The werewolf, on the other hand, has a very expressive personality. Werewolves are also mostly human- they just have a defect that unleashes their inner beast, which unlocks the 'normally' hidden masculine emotions. Recent incarnations of werewolves don't kill people, or even livestock, but act as protectors to other werewolves or humanity. This sacred purpose gives them a reason to have superpowers. Combining purpose with instinctual emotion creates a protective and passionate creature- features most people look for in a sexual partner. 

In this scene from True Blood (2008 - present), the Werewolf Alcide Herveaux 1) Reacts to rubbing alcohol's sting 2) Needs someone to take care of him 3) Stands for something (his pack's code) 4) Can't emotionally let go of his 'fiance' 5) Starts to fall for a new woman. All in a minute and a half. [I've never seen the show (don't have HBO) so I'm not sure how events progress from here.]

That's not to say vampires can't be vulnerable and emotional. They're just to conforming to the vampire stereotype, and therefore seem like ninnies. (Edward Cullen)

Sullen or Sarcastic? I find the whole rivalry hilarious.
 And bizarre, why would you pick Edward?

Notable Vampires/Zombies
James, the Voluturi (Twilight Series, 2008 - 2012)
Jerry (Fright Night, 2011)
Rogue (XMen, 2000, 2003, 2006)
Venom (Spider-Man 3, 2007)
Voldemort (Harry Potter and the Sorcerer's Stone, 2001)

Notable Were-beings/Cowboys

Jacob Black (Twilight Series, 2008 - 2012)
Michael Corvin (Underworld, 2004, Underworld: Evolution, 2006)

Wolverine (XMen, 2000, 2003, 2006 XMen Origins: Wolverine, 2009 )

Mystique, although she hides her emotions (XMen, 2000, 2003, 2006)
Catwoman (Catwoman, 2004, Batman: The Dark Knight Rises, 2012)

Sirius Black, not Lupin (Harry Potter series, 2001 - 2011)
Wikus van de Merwe (District 9, 2009)


 Were-beings and Vampires are Cowboys or Zombies with supernatural elements. Have any to add? Am I biased against vampires? Leave a comment!