Thursday 31 March 2022

The Question in Bodies 39: Bug (2006)

So some time ago, a colleague tagged me in a difficult discussion on Facebook about race, sexuality and religion. There was this one guy there who – let's just say his views weren't on the top two rows of the D&D alignment chart. I was brought in as an expert witness or something. But a read of the thread assured me that nothing I said was going to mean a thing.

Halfway through, the offending participant had said, after being challenged on the extreme nature of his views, “I had best friends try to stage a mini-intervention for me.” People who loved him had tried to get him to see sense. It hadn't worked.

That’s a red flag. If the people who love you are concerned enough to try this and you nonetheless haven't yet afforded yourself sufficient capacity for self reflection to think about why, in their love, they care enough to do this for you, you're in a place where ideology overrides healthy human relationships, and frankly you're not going to be deprogrammed by some rando on the internet.

Saturday 5 March 2022

The Devil Makes Work for Idle Imaginations

It’s a thought experiment. Honestly. I don’t really think this. Or do I? I mean, it makes sense?

No, no, hear me out.

What if David Icke is actually a tool of the true Conspiracy Bad Guys? What if he's an op? I mean I’m only half serious here, but 50% serious is still more than 0%. You know what I think about David Icke by now, and if you don’t maybe you’re on my Patreon and you can see the video I did. You’re all set. Go watch it. I’ll wait.

OK, David Icke, right. David Icke is an op. Totally certain of it. Let's look at the evidence.

Thursday 3 March 2022

The Question in Bodies #38: Parasite Art (ii)


Starry Eyes (2014)

Warning for #metoo stuff (you know what I am talking about). And many spoilers. 

If it seems sacreligious not only to segue directly from the arguable masterpiece of one of the greatest (and reportedly nicest) American directors to a low budget indie horror but also to write quite a bit more about that low-budget indie horror, well, there are loads of words about the masterpiece movie, and better ones than mine. This one? Not so many.

Mulholland Drive’s most interesting (for me) contributions to identity horror as an idea are predicated on how dreams of fame sour a person, destroy them. Betty in Lynch’s film is perfect starry-eyed ingenue, until she isn’t, and she is in fact interchangeable with the lost, bitter, missed-her-shot Diane. Betty is a dream of a dreamer; Diane is one for whom those dreams have soured into a nightmare of regret.