Non-American Realism of “Game of Thrones”


CatelyneI'll admit it: in some of my posts I take a long-winded way to get to the point (hey, usually I have my reasons).  But there is no need for that in this case, so let me go straight to it: When it comes to the machinery of Life, the HBO fantasy series Games of Thrones and it's literary source, George R.R. Martin's A Song of Ice and Fire, are the most realistic creative products in American pop culture today.

I am not going to speculate about Mr. Martin's title for his epic's last installment, A Dream of Spring.  But I agree with a very smart person who, after watching Robb and Catelyn Stark betrayed and butchered in The Rains of Castamere episode, said: "This man will not cuddle us with nice, happy story turns we so eagerly hope for."  

No, he will not.  The series will not cater to the general public's expectations that amid a gruesome fight for power and mere survival our "favorite" characters will remain untouched and unsullied.  Moreover, the author and the show's creators will turn your emotions upside down: one minute you hate the incestual Jaime Lannister, who pushed little Bran out of the window, and the next minute you don't know what to do with your pity for his sword hand – they might as well have castrated him.  And who knew that the actual castration of the despicable and ungrateful Theon would leave you so unsettled?  

This is not your average mass entertainment fare, and the American audience is not quite prepared for it.  This is a type of authenticity cinephiles expect from French New Wave, Italian Neorealism, Cinema Novo, and Russian movies – genres specifically designed to show the naked inhumanity and unfairness of life. (The same smart person once said, "It was a Russian comedy.  I cried all the way through it.")    

George Martin's stories may take place in imaginary lands, but they are populated with very real personalities, who act like people we meet every day - power-hungry egomaniacs, cruel sadists, wealth-obsessed careerists, amoral traitors, and dishonest schemers.  This is a fantasy that reaches the ultimate height of mythology and becomes a metaphor for Life. 

Pop culture plays a crucial role in the formation of people's mentality.  And it's incredible that the popularity of the show is increasing from season to season.  Over 5 million people watched their hero Rob slaughtered on June 2nd - a drop in the ocean, of course, as far as our vast nation is concerned.  Still, if Game of Thrones wakes them up to the reality and they stop looking at the world through the pink glasses of "hopeful" Hollywood movies, it would be a grand artistic achievement.

Brace yourself, my fellow humans, Winter is coming.                      

Quote of the Week: “Mad Men” Peggy Olson Describes Your Common Workplace Environment


Peggy+season1"I don't understand… I tried to do my job, I follow the rules; and people hate me.  Innocent people get hurt and other people, people who are not good, get to walk around doing whatever they want.  It's not fair!"

            Season 1, Episode 12

            Nixon vs. Kennedy

Written by Lisa Albert, Andre & Maria Jacquemetton

 

Quote of the Week: The Negation of F. Scott Fitzgerald’s Misguided Morality


Gatsbymustknowclipimage_rx307_c540x304"Scott Fitzgerald was, in his own words, 'a moralist at heart.'  He wanted to 'preach at people,' and what he preached about most was the degeneracy of the wealthy.  His concern, however, did not lie with the antisocial behaviors to which the rich are prone: acquiring their wealth through immoral means…  Like many American moralists, Fitzgerald was more offended by pleasure than by vice, and he had a tendency to confound them.  In The Great Gatsby, polo and golf are more morally suspect than murder.  Fitzgerald despised the rich not for their iniquity per se but for the glamour of it…" 

                                                        Kathryn Schulz

                                                        Bad Egg (article for New York Magazine) 

The Frustrated CFO's comment:

A highly opinionated person has a difficult time restraining herself in the face of the inevitable hype evoked by the new adaptation of the "great American novel." And I'm not even talking about myself: Kathryn Schulz's strongly negative point of view resonated very positively with me. So, let me stick (or rather add) my two cents as well.

First of all, just like Ms. Schulz and a few other intelligent people, I always thought that, as a fictional novel, The Great Gatsby was a bad book. Moreover, the simplistic socio-economic generalizations of F. Scott Fitzgerald's writings, based on his own immediate upper-class surrounding, offend my intelligence. It's one thing when writers stick to what they know. Hey, if all of them were Philip K. Dicks, how would we know the difference? It's a completely different matter, however, when someone takes bits and pieces of his personal experience, severely impaired by alcohol and self-loathing, and tries to pass his cardboard characters and schematically constructed narrative as a "critical social history." That's a very dangerous, irresponsible, and self-serving undertaking. Was J.D. Rockefeller Jr., the conservationist, identical to Tom Buchanan?  I don't think so. Yet, they both belonged to the same class, the same age group, they both went to Ivy League Schools, etc.

There is a reason why the book's popularity rose sharply after WWII: the social changes were ripening and the white rich people were despised by most, including their own heirs (Patty Hearst was not the only one, you know). In the eyes of the readers who caused the Baby Boom, the Fates have punished poor, infatuated Jay Gatsby for trying to be where he didn't belong, for wanting to become rich and impress Daisy into loving him, for betraying "moral values" in order to accomplish this self-imposed task.

But times have changed. What the majority of critics don't realize is that by now the novel has lost all of its social-scorn charge. The baby-boomers and their children, corrupted by the celebrity-obsessed media, LOVE wealth above everything else and ENVY, but do not disapprove of, the rich. A "self-made man" Jay Gatsby is not pitied, but revered.  Who cares about shady deals, DUIs, and murders – it's all in the "job description" of climbing the ladder to the "top." 

Here is another quote to illustrate the depth of our contemporaries' perversion: 

"Every time I'm out, a drunken Wall Street guy comes up to me to say, 'You're the man.'  It's depressing.  Gordon Gekko was not a hero."

                                                                Michael Douglas 

Only in this environment the unrestrained lavishness of Baz Luhrmann's production could be acceptable, and preferable, to the hordes of day-dreamesrs wasting their lives on fantasizing about becoming rich and famous overnight. 

Now, go and Check out this entertaining post about what other directors might've done with this stale material.

To Intuit Is Human, to Deduce Is… Sherlock-Holmesian?



Sherlock HolmesScientists studying the processes of human decision-making (the likes of psychologist Gerd Gigerenzer and physicist Leonard Mlodinow) build research institutes, conduct experiments, write books, and give lectures to support their argument that our subconsciousness, our "gut feelings," our intuition – whatever you prefer to call it, has a fundamental impact on the way we come to vital conclusions, resolve personal and professional problems, make split-second choices in high-pressure situations, and generally conduct ourselves on a daily basis.  But do we really need this much theoretically-substantiated convincing?

Life provides us with tons of evidence everywhere we look.  99% of business decisions are based on some internal impulse (CFOs know it better than anyone).   A private equity investor can read every word and weigh every digit of a 100-page incredibly rosy due diligence report and still say No to the prospective buy, because "something tells him" it's a bad lemon.  The reason college dropouts like Bill Gates, Steve Jobs, and Michael Dell became uber-successful businessmen is because they disregard the rules and follow their commercial instincts.  The whole of the CIA analyzes volumes of intelligence data for years; then comes Carrie Mathison with the unequivocal trust in her own guts and points her finger out: "I love this ginger dude, but he is a fucking terrorist.  I just know it."               

Even after experiencing this phenomenon for decades myself, I am still surprised by the brain's ability to quickly come up with solutions to multi-faceted problems.  Sometimes it seems that no mind's work goes into the formulation of a strategic move or an intricate design of a complex reporting system.  How does it work inside my head?  Is it intuition supported by vast professional expertise?  Or does my brain sift very fast through the "evidence" in front of me, and if I took time to analyze the process I would be able to isolate each step of the neurological algorithm?  And how is it that my hunches on whether an endeavor will be a success or a failure are most of the time spot-on?  Hell, if I know!

The point is that most people experience the phenomenon of "unexplainable" knowledge and unsubstantiated trust into one's own intuition on a daily basis.  How many times do you find yourself on either side of this exchange: "How did you know?"/ "I don't know, I just did."  Or this one: "How did you figure this out?"  "I don't know, it just came to me."  Thousands?  And we leave it at that: it's so common and acceptable, no further explanation is required. 

In fact, we are so intimately familiar with the "gut feeling" that we unconditionally accept the concept of coming to conclusions through some obscure maze of subconscious clues as pure realism.  Moreover, storytellers aspiring to create the ambiance of authenticity cannot ignore the intuitive nature of mental processes.

On the other hand, an impeccable logician with an ability of consciously processing numerous facts in a matter of seconds is usually seen as a phenom – in real life someone definitely "on the Spectrum," as they call it nowadays; or, in the creative realm, a stuff of legends, a mythological creature, a literary concoction, such as my beloved Sherlock Holmes.  The unique abilities of Sir Arthur Conan Doyle's creation are so fascinating, so magic-like that the detective extraordinaire has joined the ranks of undying archetypal characters (like Cyrano, or Peter Pan, or Romeo & Juliet) that get to be incarnated and reincarnated in different forms, substances, and environments.

Besides the numerous literary pastiches of Sherlock Holmes's "latter days" adventures, we are presently have no less than five (!) screen variations of the famed deducing genius:

1. Guy Ritchie's lavishly budgeted and heavily CGI-ed big-screen adaptations featuring the full spectrum of Conan Doyle characters, with Robert Downey, Jr. and Jude Law topping the bill as Sherlock Holmes and his sidekick Dr. Watson.   The movies are set in the meticulously recreated places and times taken straight from the author's pages.

2. The BBC's fabulous teaser Sherlock with painfully short seasons consisting of 3 feature-length episodes each.  While still sticking to the original names, characterizations, and even the titles of individual stories, the series transplants Sherlock Homes, Dr. Watson (still an Afghan War veteran – some things never change), the criminal mastermind Moriarty, the seductress Irene Adler, the faithful Mrs. Hudson, et al. to technology-saturated 21st century London.

3.  The CBS's freshly-minted (2012) network-sized (24 episodes per season) series Elementary, which not only puts the former Dr. Watson through a sex change, converting John into Joan (as depicted by Lucy Liu), but also gives the brilliant detective a much bigger playground by sending him to New York.

4.  Also on CBS (would you believe it?!) is The Mentalist, already renewed for the sixth season.  Most viewers don't even realize that they are watching a Sherlock-Holmes re-interpretation, because the main character's name is Patrick Jane and the series is set in present-day California, but I assure you that's what it is.  Mr. Jane possesses all the required attributes, solving murders and bringing criminals to justice in every episode by sheer use of his mental power, noticing the most nuanced details in human behavior and logically reconstructing chains of events.  While his sidekick, CBI special agent Lisbon, is also a female and has nothing to do with medicine, the creators did give Patrick an archenemy of the Moriarty caliber – the omnipresent and all-corrupting Red John.

5.  And finally, The Mentalist's comedic counterpart – USA Networks' Psych, also set in the modern time, also in California (yet further South), also featuring a police consultant, and also hidden behind different names.  Yet, the main character Shawn Spenser's power to see clues are so heightened that it's demonstrated to the audience in a laser-vision fashion. There is a new twist on the sidekick here as well – he is a childhood friend and an African-American, but professionally he is much closer to the modern ways of healthcare than doctors are – he sells pharmaceuticals.           

Regardless of the time backdrop, the scenery, or the given names, all these characters stem from the same original stock cooked up by his lordship in his study – the ultra-brainy and obsessively detailed observers, who use their abilities to solve heinous crimes. 

And that's why for a Sherlock Holmes aficionado like I, Guy Ritchie's Victorian escapades, in a way, seem like a betrayal of the myth, historical accuracy notwithstanding.  Yes, Holmes was excellent in the boxing ring, proficient in Bartitsu, and good with the revolver, but it's the knife of his mind that dissected all those crimes – a weapon so unbelievably sharp that Conan Doyle felt it necessary to explain some of its potency with addictions to various drugs.             

Interestingly enough, both the contemporary science of "gut feelings" and the Victorian creator of a mental-power archetype, in spite of the polarity of their foci, have at least one notion in common: Weighing too many learned facts pertaining to diverse branches of knowledge frequently slows down the process of arriving to a right conclusion.  According to Conan Doyle, Sherlock Holmes deliberately discarded from his memory the childhood lessons of Earth's rotation around the Sun. He explains that for someone who relies on the Art of Detection, it's far more reasonable to accept the self-centered naked eye observation that our source of light rises on the East and goes down on the West, thus giving an appearance of moving. 

In his books, Gigerenzer provides numerous examples showing that, statistically, people who know more about a subject matter come up with wrong solutions more frequently than those who rely on limited knowledge and intuition.  Sometimes I wonder whether Einstein would be able to have his Relativity epiphanies if he was very good at integral and differential math. 

And I have to say that the only thing that prevents me from drowning in the sea of the bookish knowledge I've absorbed over the years of advanced studying, is my persistent skepticism and an incurable disregard of "academic" authority.  It is quite possible that this mental arrogance (hey, it is what it is) is the reason I'm still able to come up with some good ideas.  After all, capable CFOs are not phantasmagorical characters with computers instead of brains in their heads.  We are humans and, therefore, we should be able, from time to time, to let go of the educational dogma and  allow the subliminal impulses, the gut feelings to take over.    

The Frustrated CFO’s Means of Self-Therapy


Alt-J at Terminal 5 03/24/2013, photo by MZI was standing there at Terminal 5 yesterday, listening to Alt-J performing their 2012 Mercury Prize winning album An Awesome Wave live, cheering with the rest of the audience at the first notes of each song in recognition of their sublime quality.  And once again a familiar notion formed inside my head.  It happens to me every time I experience something that momentarily separates my  being from all the negative garbage in my life.  I think, "If I didn't keep on, I wouldn't have received this gift, I wouldn't have come to know these songs, I wouldn't be bobbing in rhythm right now."

I claw my way through the long stretches of hard life, full of frustration and disappointments, from one moment like this to another.  This is what forces me to continue – the hope that there is another wonder ahead.  And when they come, I use them as my self-therapy: I imprint the intimacy of the experience in my memory and let it carry me over the next hurdle. 

It's like mantra:  If I didn't endure I wouldn't have exited the Bullet train onto the platform of Shuzenji station and felt my rusty armor melting away; I wouldn't have seen that astonishing photo my daughter took a few months ago; I wouldn't have watched Radiohead, The Mars Volta, Tool do their on-stage magic;  I wouldn't have heard Andrew Bird's heavenly sounds in the Guggenheim and in the Riverside Church; I wouldn't have read new Egan, Carson, Cunningham; I wouldn't have stood in the middle of the Red Forest breathing the ancient clarity…  And I wouldn't have been at Terminal 5 yesterday.

So, here is my personal tip for everyone who, like me, is overwhelmed with frustration and prone to desperation: find something powerful that can make you forget about the dread, look for opportunities to experience it whenever you can, and hold on to the sensory memory of each occasion for as long as the shittiness of this life allows you.  And let's hope that the gaps between the moments of joy will not get any longer then they already are.

Acknowledgements:

I would like to thank my daughter for treating her mother as an equal and sharing all kinds of awesomeness.  And thank you very much, the dude from Bumblefuck, IL.