Posts Tagged ‘narrative’
Wednesday Lunchtime Links!
* Sean Guynes has your deep dive into Fall 2019 university press catalogues. Kim Stanley Robinson and Joanna Russ both coming from Modern Masters of Science Fiction, which couldn’t make me happier.
* Strike at Uber and Lyft today. Call a cab instead!
* A 9-Year Quest for Carbon Neutrality Took Middlebury to Forests and a Dairy Farm.
* The psychology of inequality.
* But one thing that struck me while reading the valiant efforts of journalists attempting to convey the gravity of the scale of the U.N. report (a 1,500-page document that its authors distilled into a 40-page summary, which reporters had to distill into a normal-size news story), is the sheer impossibility of that task. “Humans are transforming Earth’s natural landscapes so dramatically that as many as one million plant and animal species are now at risk of extinction, posing a dire threat to ecosystems that people all over the world depend on for their survival, a sweeping new United Nations assessment has concluded,” Brad Plumer’s Times story begins. Where do you even go from there?
* Superheroes Starring in Children’s Books.
* Johns Hopkins Calls in the Police to Arrest Protesters, Ending Student Occupation.
* Facial recognition wrongly identifies public as potential criminals 96% of time, figures reveal.
* CBS Censors a ‘Good Fight’ Segment. Its Topic Was Chinese Censorship.
* In the Era of Teen$ploitation.
It’s worth remembering that young people online are supposed to be shielded by the Children’s Online Privacy Protection Act, which puts limits on what can be done with the data of kids aged twelve and under. Websites directed at children, and websites that are popular with children, are required to take special precautions with children’s data—in fact, parental permission is required before that data can be collected at all. Corporations like YouTube and Facebook, however, knowingly evade these regulations by claiming that their products are meant for users aged thirteen and over.
* One imagines that, with time, the intricate web linking the movies will get more frayed and insubstantial, and the new films will seem increasingly inessential. And yet, after a certain point, following a story for a long time becomes a story in itself. After watching nearly thirty hours of Marvel adventures, Alex McLevy, the A.V. Club writer, concluded that “the experience overtakes the nature of the content.” This is true of the M.C.U. more generally. When watching any individual movie, a kind of pattern recognition—an intellectual interest in how each new story evokes or departs from the others—replaces narrative pleasure. The narrative worth caring about becomes the story of one’s own interaction with the M.C.U. Just as people ask, about historical events, “Where were you when it happened?,” so fans ask where they were when “Iron Man” came out, when the Avengers first assembled, when heroes and villains battled in Wakanda. This is the story that’s truly limitless.
* Impossibly, Far from Home really is going to try to get into the minutiae of the post-Snap MCU.
That was one of the most fun things — just talking through what the most mundane implications would be. Like, your birthday on your driver’s license or passport would say that you are five years older than you technically are. Those sorts of questions are just so fascinating to me, and I really wanted to get into the minutiae of it and really explore that.
* Could it be true? The Real Monster in “Game of Thrones” Is Its Hidden Reactionary Ideology.
* In its final episodes, the series has resorted to making excuses for its own bad choices.
* Decade in the Red: Trump Tax Figures Show Over $1 Billion in Business Losses. 5 Takeaways From 10 Years of Trump Tax Figures.
* The muddled message from Pelosi—Trump is obstructing justice every day, but we’ll show him by not impeaching—is a byproduct of the corner she’s occupying: Impeach the president and risk a catastrophic backfire that secures him another term, or don’t impeach him, and allow Donald Trump to operate in a space where the credible threat of impeachment is off the table. The 2020 Election’s Approach Is No Reason to Avoid Impeachment.
* Meanwhile, Trump continues to use his pardons to send the message that if you kill for him there will be no consequences.
* Today in the richest country in the human history.
* Walt Disney and the Space Race.
* Milwaukee Noir. Read the introduction!
Above all, podcasts make us feel less lonely. We tell ourselves offer codes in order to live. They simulate intimacy just enough to make us feel like we’re in a room with other people, or at least near the room . . . definitely in the same city as the room. But these people with podcasts are so much sharper than us, so at home in their corners of the world, with easy command of their respective bodies of pop-culture knowledge. The appropriate response is fandom. Coughing up $5 on Patreon feels like paying the cover at a dive for our local band, and we’re pleased to be part of something. Some podcasts even do live appearances, for which we might buy tickets. Listening to our heroes’ once intimate voices on a booming sound system, though, surrounded by a thousand fanboys, feels like a betrayal. We thought we had something special, with their voices so close to our ears. Podcasts were the first medium designed to be listened to primarily on headphones, by a single person. Hell is other listeners.
* Is Science Broken? Major New Report Outlines Problems in Research.
* On knotweed, the invasive plant that drives homeowners to madness.
* And the kids are all right: Tucson high school students walk out after Border Patrol detains classmate.
Wednesday Wega-Links!
* Ken Burns presents: The Humanities.
* My Pop Culture Series might have to be all Harry-Potter-themed this fall: Harry Potter and the Cursed Child comes out in July, then the Fantastic Beasts screenplay in November…
* I was hoping the other magic schools wouldn’t have four houses. But just tell me which one is Ravenclaw and get it over with.
* Something happens to you out there: Astronauts and the Overview Effect.
…administrators have effectively developed a hidden curriculum that they exclusively control to further sideline the faculty. Never mind that the courses offered in this hidden curriculum focus on life skills and various types of political indoctrination related to race, gender, and ethnicity, subjects that the deanlets and deanlings are hardly qualified to teach. Add to this, speech, civility and anti-harassment codes, which administrators use with great effectiveness to silence faculty and student critics who interfere with administrative designs. These same administrators often rely upon outside agencies and licensure groups to discipline the faculty with outside assessment measures, threatening the faculty with the school’s possible loss of accreditation. Administrators often interfere with well-running programs, attempting to change their structure to the point of ensuring their failure.
* Banned instructor sues Inver Hills Community College, saying he was defamed. Just incredible.
* Political science department chair Eric Schickler said in an email that there was no longer a bond of mutual trust between faculty and the administration. He added that there were concerns among faculty that major donors were being steered toward supporting the Berkeley Global Campus project in Richmond rather than core campus research and teaching missions. “Shared governance requires a shared vision and shared trust between faculty and those at the top,” Schickler said. “Many of us believe that the chancellor’s poor decisions have eroded that trust to the breaking point.”
* Call for Provocations: Stealing from the University – extended deadline.
This is our first call for provocations that demand we go beyond familiar complaints and challenge ourselves to organize. Recent student-led uprisings at Missouri, Ohio State, Duke, Appalachian State, and UC Davis, among many others, open up possibilities of re-purposing university-based resources for radical movements. How can we take the relay from these uprisings to expand insurgent practices of studying-in-movement?
* And it looks like it’s that time of the semester again: “Should I go to grad school in the humanities?”
* Dark Posthumanism: The Weird Template.
* When Teller directed The Tempest.
* Today in exciting political developments: Trump Selects a White Nationalist Leader as a Delegate in California. At least nothing else incredibly dangerous and destabilizing is happening!
* West Virginia is neither a secret socialist stronghold nor a racist fever-dream. It is one of several bleeding edges of a sharply unequal country, where people who never had much are feeling as pressed as they can remember ever being. Some are bigots. Many are not. Some, no doubt, find that Trump’s cocktail of arrogance and disgust, grievance and triumphalism, reassuringly resembles their own psychic survival strategies, blown up into world-historical dimensions. Others are voting for the socialist for the same reason they voted for the Chicago community organizer: a desire for a more equal society, born out of the lived experience of inequality. Maybe future organizing and leadership, like the decades-long fight that first built the unions and the Democratic party in the coalfields, will show that they are not alone in that. What West Virginia Is Saying.
* Data visualization in the Anthropocene.
* One in five of world’s plant species at risk of extinction. Sea Level Rise Is Here, And Is Gobbling Up Islands.
* Sold in the room: Philip K. Dick Is Getting an Anthology Show, Courtesy of Bryan Cranston and Ronald D. Moore. Elsewhere in TV news: Locke & Key! Uh, Wheel of Time, I guess? Krypton, really?
* And elsewhere in PKD news: One of the TAs in an Artificial Intelligence Class Was Actually an A.I.
* How Do You Put Out A Subterranean Fire Beneath A Mountain Of Trash? Stop me if you’ve heard it.
* Oof.
* And oof.
* Our Awful Prisons: How They Can Be Changed.
* The one thing rich parents do for their kids that makes all the difference. The answer may shock you!
* This GIF of pre-CGI superhero jumps proves actors are just okay at jumping. The best thing on the Internet this year.
* The law, in its majestic equality: Poor People Don’t Stand A Chance In Court.
* Huge, if true: School principal: ‘Harry Potter’ and ‘Lord of the Rings’ cause brain damage.
* Someone’s been watching too much Game of Thrones: “Ultimately, There Is No Narrative without Death.”
* Why So Many Smart People Aren’t Happy.
* If Philosophy Won’t Diversify, Let’s Call It What It Really Is. A reply.
If those text reproduce ideology, and therefore reproduce empire’s projects of conquest, enslavement, and colonialism, then we can’t just say “nothing is intrinsically wrong.” We in fact have to be open to the notion that these texts are entangled in the most violent, destructive ideas in world history. That they are rooted in whiteness and what whiteness meant in those moments: the right to murder and steal and subjugate.
* Civilization 6 Has Been Announced And It’s Out This Year.
* The Vision and the Scarlet Witch Have Had Marvel Comics’ Most Fucked-Up Superhero Romance.
Tuesday Links!
* The Madison Journal of Literary Criticism interviews my friend Ramzi Fawaz about his exciting new book on the X-Men in the 1970s: The New Mutants.
* David Foster Wallace’s blurbspeak.
* J.R.R. Tolkien’s The Story of Kullervo Will Be Published In October.
* Scientist studies Diplomacy game to reveal early signs of betrayal.
* US Education Reform and the Maintenance of White Supremacy through Structural Violence.
* Whatever happened to Gary Cooper: You’ve heard of women’s studies, right? Well, this is men’s studies: the academic pursuit of what it means to be male in today’s world. Dr. Kimmel is the founder and director of the Center for the Study of Men and Masculinities at Stony Brook University, part of the State University of New York system, which will soon start the first master’s degree program in “masculinities studies.”
* The fire next time: The Pension Crisis at Public Universities.
* The Clinton plan for college. This summary leaves out all the awful disruptivation and neoliberalization stuff that will be part of any actual plan, so it sounds great.
* Widespread use of private email revealed a day after Wise resigns. The Revelations in Phyllis Wise’s Emails. Legal experts react. It’s so bad the board is going to vote on whether to pull her $400,000 golden parachute.
* More on Duquesne’s proposition that adjunct unions would interfere with its Catholic mission.
* SeaWorld sees profits plunge 84% as customers desert controversial park.
* The Making of the American Police State.
* The Socrates of the National Security Agency.
* Police Union In Missouri Declares ‘Darren Wilson Day’ On Shooting Anniversary. Yankees’ Minor League Affiliate Holds ‘Blue Lives Matter’ Event On Anniversary Of Michael Brown’s Death.
* One Holdout Juror Was Likely Why James Holmes Avoided Death Penalty.
* Comic book movies and the forgotten art of the ending. You heard it here first!
* The big Superman reveal (from the pre-52 DC Universe) that DC never got around to revealing.
* Always a Lighthouse: Video Games and Radical Politics.
* No girl wins: three ways women unlearn their love of video games.
* Netflix’s Dystopian Show 3% To Be Developed Entirely In Brazil.
3% takes place in a world where most of the population lives in “Hither”: a decadent, miserable, corrupt place. When people reach 20 years of age, they go through the “Process”, the only chance to get to “Thither” – the better place, with opportunities and promises of a dignified life. Only three percent of the applicants are approved by the Process that will take the applicants to their limit, putting them in terrifying, dangerous situations and testing their convictions through moral dilemmas.
* More incredibly bad behavior in SF fandom. A little more context here.
* Judge Faults University for Requiring Student to Prove He Was Innocent of Sexual Misconduct. Colleges Under Investigation for Sexual Assault Wonder What Getting It Right Looks Like.
* Here come the automated trucks. Kids today don’t even want to drive anymore (or their helicopter parents won’t let them)!
* The Amazonization of Everything.
* Point: Please don’t have sex with robots. Counterpoint: Humans should be able to marry robots.
* Point: They clearly should have let Max Landis write Fantastic Four. Counterpoint: The Fantastic Four Are Jerks.
* Two interesting essays on sex work and sugar daddies from TNI’s “Daddy” issue: “Letter to a Young Baby” and “You Deserve It, Sweetie.”
* Atlas Shrugs Google Rebrands.
Natalia’s tweet became a whole great blog post on modernism, childhood, and tech.
* Why do hotels have ice machines?
* Why do pro wrestlers die so young?
* Prison-industrial-wildfire complex: Nearly half the people fighting wildfires wreaking havoc across California are prison inmates.
* Sandernistas would do well to reflect on one thing. In a few months’ time, Sanders’s campaign will be gone. He will not win. … But Black Lives Matter, or rather the movement with which it has become synonymous, isn’t going to go away. And it is far more important to America’s long-term future. A useful corrective, I think, though my intuition remains that this is one brand of underpantsgnomism competing with another for underpants-gnome supremacy.
* Diseases of the twenty-first century: Foot Orgasm Syndrome.
* This could actually be interesting: Harvard Professor Larry Lessig To Explore Democratic Presidential Run.
* Because you demanded it: Werner Herzog’s Ant-Man.
* Science has discovered a new pentagon.
* And while the lion still remains at large, Milwaukee remembers its polar bear.
Sunday Links!
* Don’t miss my flash review of The Avengers: Age of Ultron! As I say in the update, thanks to my friend Ryan Vu for priming the pump (and look for his brilliant review of Captain America 2 in a few months in SFFTV).
* Why Avengers: Age of Ultron Fills This Buffy Fan With Despair. Nerd Plus Ultron: There Has to Be More to ‘Avengers: Age of Ultron’ Than Printing More Money.
* Notes on the coming DC disaster: In the early going, some in Hollywood are questioning whether Warners has acted too much in haste without having fleshed out the world on which so much hinges.
* These Imaginative Worlds and Parallel Universes Will Forever Change How You Think About Africa.
* 2030 is set largely in the titular year, 100 kilometers south of Ho Chi Minh City. The initial title card establishes that 80% of the population has been evacuated due to the rising sea level as an effect of global warming.
* Great university boondoggle reporting from Freddie deBoer.
* Late last week, using the hashtag #talkpay, people began tweeting about how much money they make—a radical thing to do in a culture that treats disclosing your salary as the ultimate taboo.
* Dear Superprofessors: The experiment is over.
* I’ve been buried in final book manuscript revisions, and have been noticing that I’m increasingly using the term “management” rather than “administration” in my analyses of university governance. Part of the reason is that my employer, the University of California, uses Senior Management Group as a formal employment classification. But it’s also because the friendlier aspects of the term “administration” seem decreasingly part of everyday academic life. Friendliness was administration as support structure, as collaborator, as partner, as the entity that did not take orders from obnoxious egocentric faculty prima donnas the way that frontline staff often had to do, but that accepted balanced power relations and a certain mutual respect that could make decisions move relatively quickly and equitably. It would avoid command and control of the kind that prevailed in the army and in most corporations, where executive authority consisted of direct rule over subordinates.
* Pay hike at McMaster University for female faculty.
* Lawmakers back away from increased course loads for UNC professors.
* Fewer professors, more managers work on Cal State campuses.
* Horrifying, literally unbelievable story of peer review gone awry. More here.
* Well, I guess that settles it: In 50-49 vote, US Senate says climate change not caused by humans.
* Study: Climate Change Threatens One in Six Species With Extinction.
* Babies born 3 miles apart in New York have a 9-year life expectancy gap. 15 Baltimore neighborhoods have lower life expectancies than North Korea.
* The Forgotten Power of the Vietnam Protest, 1965-1975.
* Rikers Island meatloaf did have rat poison.
* An Empty Stadium in Baltimore. A Brief History of Pro Sports Played in Empty Stadiums.
* Keywords for the Age of Austerity 18: Descending into Violence.
* ‘Rough Rides’ and the Challenges of Improving Police Culture.
* New ACLU Cellphone App Automatically Preserves Video of Police Encounters.
* The particularity of white supremacy.
* It’s hard out there for a gifted kid.
* “No one has walked on the moon in my lifetime,” I told them. “Yet you try to tell me that it’s my generation who has lost their wonder? That it’s the young people of today who have let everything slip and fall into ruin? You don’t understand. You had the dream and the potential and the opportunities, and you messed it all up. You got hope and moon landings and that bright, glorious future. I got only the disasters.”
* In some ways Ex Machina may be considered a feminist film by sheer dint of our low standards, the scarcity of stories that explore female desire beyond the realm of sex and romance.
* Kurt Vonnegut’s ‘Cat’s Cradle’ to Be Developed as TV Series By IM Global.
* The Secret Mountain Our Spies Will Hide In When Washington Is Destroyed.
* A 7-Year-Old Girl Got A New 3D-Printed Left Hand For The Wonderful Price Of $50.
* This 5-year-old girl knows a lot more about presidents than you do. At this point I say put her in charge.
* If you’re 33 or older, you will never listen to new music again—at least, that’s more or less what a new online study says. The study, which is based mainly on data from U.S. Spotify users, concludes that age 33 is when, on average, people stop discovering new music and begin the official march to the grave.
* How Old Is Old? Centenarians Say It Starts in Your 80s; Kids Say Your 40s.
* “How Does a Stand-Up Comedian Work?”
* Whiteness and the Apple Watch.
* The arc of history is long, but Cheez-Its is finally going to sell a box of just the burned ones.
* The same joke but with this Iceland law allowing anyone to murder any Basque on sight.
* “NASA has trialled an engine that would take us to Mars in 10 weeks.”
* The most racist places in America.
* Daddy, there’s a monster under the bed.
* If you want a vision of the future, imagine James Cameron directing Avatar sequels, forever.
Lesser Whedonia 2: Age of Corporate Directives
LATER-THAT-NIGHT UPDATE: I hadn’t realized when I wrote this how strongly it was influenced by the great review of Captain America 2 that Ryan Vu wrote for us for Science Fiction Film and Television, but reflecting on it a few hours later I really see Ryan’s review as the clear precursor to this. Look for his review in a few months! It’s really smart.
—
In my five-sentence Avengers review from a few years ago I wrote:
Of course I deeply enjoyed The Avengers, but my sense is it’ll be up to The Avengers 2: Avengers Reveng’d! to salvage the series from the scrapheap of Lesser Whedona. … Though certainly funny and engaging, and on occasion very clever, The Avengers is more or less superheroes completely by-the-numbers, almost entirely lacking in the deconstructive self-awareness that characterizes more artistically ambitious Whedon creations like Buffy, Firefly, and especially Cabin in the Woods and the too-neglected Dollhouse. The film has zero critical purchase on its genre, and precious little Whedonesque irony about itself.
In short, The Avengers is what Buffy would have been, if it were only fight scenes and quips.
Age of Ultron, like The Avengers before it, is fine, though if anything the film actually doubles down on the hollowed-out anti-cinema of the first film: it’s even fightier and much, much quippier, with very little heart (the paltry attempts at character development are exhaustively cloying) and excruciatingly little self-awareness about the genre it is participating in (it really pales in comparison to Captain America 2 on that front, as you knew it would).
A film like this seems to me to defy either aesthetic or political response. What is there to say about it that it isn’t already screaming at maximum volume? Even the film itself can barely muster the energy to care about its own setup or execution, breezing over the only character choice that has any genuine stakes (the initial creation of Ultron) in the span of five or so minutes (and then assiduously refusing to return to it under any circumstances).
The only really interesting thing about the film, to me, is its metatextual participation involving the endless shifting around of pieces in the MCU for a climax that will never arrive. When I watch Age of Ultron my major critical response is in trying to reverse engineer the corporate directives that Whedon was handed when he started to break out this story, and then trying to imagine other ways he might have tried to move the pieces into the proper places instead. What else could he have gotten away with? What did they make him rewrite or reshoot? What was allowed, and what was forbidden?
Of course this is always fantasy franchise-running, but we can be certain that the #1 directive here was “clear the decks.” The primary point of this film is to get rid of characters who won’t appear in the franchise until the next Avengers film at the end of “Phase 3.” In this sense Age of Ultron culminates “Phase 2,” like The Avengers culminates “Phase 1,” but here the climax is more like a toilet flushing than a fireworks spectacular. The central narrative concern here is to remove the blockage of investment in characters played by too-expensive actors so a new crop of rather less famous stars can run through their own four- or five-picture contracts in due course.
What else, besides that? I’d wager Whedon was given orders to soften the surface anti-Americanism of Winter Soldier, perhaps combined with a stick-a-thumb-in-DC’s-eye directive to “do something that will force reviewers compare this movie favorably to the ending of Man of Steel whether they want to or not.” Other than that: Give us some action figures? Make sure you leave some narrative gaps for the video games and the tie-in comics and Agents of SHIELD to play with later? Make sure that you complete the narrative return-to-origin so utterly that, even within the terms of your own diegetic universe, it’s as if the film never happened at all? There’s really hardly anything here, as (again!) perfectly enjoyable it is for the two hours it is on the screen.
It seems to me that Age of Ultron exemplifies a new type of narrative in this kind of media. First we had the franchise film; then we had the prequel trilogy; now every film is a prequel to a film that hasn’t been written yet, a film that will itself merely set the table for the fantasy of still another sequel or series or reboot or tie-in down the line. The real climax, the real pleasure, is permanently deferred, always another greenlight away.
To me a film like Age of Ultron invites speculation about Marvel/Disney’s thirty-year-plan to the exclusion of all other criticism or critique. We need a new theory of artistic creation to explain how films get made in this mode. It isn’t auteurism, it isn’t even really in the hands of individuals at all: it’s a kind of automatic, autonomous process using the combination and recombination of preexisting building blocks, almost on the order of an algorithm, or an artificial intelligence. We have this intellectual property that we think we can monetize more aggressively than we’re monetizing it currently; we have these and those prior narrative elements; now, JARVIS, build me a story.
Bad Fans, Good Fans, and Some Quick Thoughts on ‘Breaking Bad’
I gave a presentation this weekend at the Reception Studies Society conference on the figure of the “fan-villain”—what Emily Nussbaum in a widely circulated blog post at the New Yorker recently called the Bad Fan. The Bad Fan is that figure whose investment in the text is excessive, or inappropriate, or misplaced, who takes up the text in ways that go beyond or are counter to the idealized “Good Fan” of the author’s intentions, critical consensus, and/or common sense. What I was interested in at the conference were the ways texts and creators seek to talk back to the Bad Fan, most typically by including the Bad Fan within the text either through paraphrase, parody, or (most characteristically, I think) through personification as an actual character within the fictional universe—and further I was interested in this extent to which this talking back is typically quite hostile. But today I’m interested in the other side of that binary.
To back up: Breaking Bad fandom—as is common in the capital-Q Quality TV genre more generally—appears divided between critically sophisticated Good Fans who recognize the show’s nuanced, complicated, and quite emotionally fraught deconstruction of privilege through (again as with most Quality TV shows) its central protagonist, the White Male in Crisis, and the naïve, unsophisticated Bad Fans who take all this in entirely uncritically and who love the show precisely because they think “Walt Is A Badass.” Nussbaum’s recent writings have pointed to the show’s attempts to speak back to the Bad Fan, not simply in Anna Gunn / Skyler White’s recent op-ed in the New York Times decrying the sexism of this portion of the show’s fanbase, and not only through Walt’s bitter and ugly parodying of the #TeamWalt discourse in “Ozymandias,” but through the addition of the creepy sinister character of Todd, who idolizes Walt in a way that seems both increasingly familiar (as the marking of the Bad Fan) and increasingly horrifying.
As may already be evident, I think this imagined division between “Good Fans” and “Bad Fans” is simultaneously useful and potentially deeply misleading, as we can see from Internet insta-reactions to last night’s “FeLiNa,” the final episode of the series. Here we find the Good Fan feeling flattered and pandered to, particularly in the scene in which Walt “confesses” to Skyler that he ultimately become a druglord because he enjoyed it, because it made him feel alive. “Finally,” the Good Fan sighed, “Walt tells Skyler THE TRUTH!” But in fact this scene is almost directly parallel to the phone call scene, in which Walt the consummate schemer deploys partial truths and well-timed emotional outbursts in order to manipulate those around him. This is about controlling his legacy, about telling Skyler (and the Good Fans) a version of what she wants to hear so that she is (and we are) willing to go along with him on his redemption arc.
A point of critical consensus around “FeLiNa” is that it is characterized by a truly remarkable amount of catharsis and narrative closure, dotting every i and crossing every t. But that catharsis, I think, has to come undone the longer we think about the show; what isn’t being talked about much yet is the complexity and the falseness of the redemption narrative, precisely because both the Good Fans and the Bad Fans alike are happy to buy into it all. This cycle of gaslighting apology, followed by grand-gesture redemptive act, followed by an inevitable slide back to form, is part and parcel of how a person like Walter White abuses those around him; the events of “FeLiNa” only seems to offer narrative closure because this time events have conspired to finally kill Walt at the high moment of the abuse-apology cycle. (He knows his cancer is back, and/so he plans to commit suicide-by-Nazi or suicide-by-Jesse at the camp after achieving “redemption.”) In the spirit of Žižek’s reading of the emergency-exit “happy endings” of Titanic and Avatar, we might perversely imagine the version of the end of the series in which this doesn’t hold: Walt’s cancer has never returned, he does not catch a bullet in the massacre, he lives, and is thereby forced to continue to live in the world and take genuine, not fantasy, responsibility for his actions. How long does his turning over a new leaf last, without the miracle of certain death to propel him forward for a mere eighteen hours, give or take?
As Malcolm Harris succinctly put it in response to some of my tweets:
We can see the Heisenberg-Walt at work even in the moment of Skyler scene; “finally, THE TRUTH,” yes, but also a calculated attempt to set the conditions of her last memories of him in terms that are favorable to Walt. “In the end,” she may have thought, and many Internet commentators actually wrote, “the ‘real Walt’ came back.” And again, maybe, partially; but all the same the legacy money won’t go to her, and her life remains utterly destroyed. Meanwhile his final act is an intricate staging of his own death so that he will receive full credit both for killing the white supremacists and for cooking the blue meth, credit even for the “better than ever” batches he didn’t cook—to again set the terms of reality not in fidelity to truth or to what is best for other people but simply in accordance with the way he prefers things, which as always is having it both ways. Walt’s true chemical genius has always been in controlling the reactions of the people around him, in how easily he gets others (and us) to play along. We Good Fans turn out to be just as happy to be lied to, we just want a different sort of lie.