MTV’s AEON FLUX (1995): A Retrospective

Eight screenshots from Aeon Flux

In the early 1990s, America seemed to have found a way out of at least one cultural nadir. The 1980s were, to put it mildly, a little gruesome for both film and animation, serving up not only the apogee of the ‘blockbuster’ mentality in cinema, but also cheap, mass-produced kids’ shows with dedicated networks to run them on demand. After a decade of mismanaging this new low, however, it looked as if the logical solution was not to tap high art, but to explore some deeper possibilities from the bottom, albeit with a touch of high art’s polish. Well, given the direction things ultimately went, this was not to be, yet not without some glimmers of what could have been. Nickelodeon, for example, produced several now-classic shows such as Hey Arnold! and The Adventures Of Pete & Pete, Cartoon Network launched Courage The Cowardly Dog, FOX had The Simpsons, and MTV – in their final paroxysm before the TRL coma – had Liquid Television. The last of these was an animation showcase that, while in many respects a failure, was nonetheless a noble failure, briefly cementing MTV’s willingness to eschew norms for the sake of pushing boundaries. One of the program’s more interesting features was Peter Chung’s Aeon Flux, a philosophical anime of disconnected shorts that metamorphosed into ten full-length episodes later on. Although mostly forgotten today, the show is – like Neon Genesis Evangelion after it – a good example of the anti-80s backlash, as well as the ways in which the 1990s were unable to cope with their own inheritance.

To begin, Aeon Flux’s premise is less complicated than typically suggested, since a single viewing is enough to glean the relevant details. Aeon (Denise Poirier) is an agent and possible terrorist from the state of Monica, which is seemingly at war with neighboring Bregna and its new leader, Trevor Goodchild (John Rafter Lee). There may be some wider world, but it does not meaningfully expand beyond these two nations, since it is Trevor’s unilateral behavior which yields the future for the whole cosmos. The lead characters are, inexplicably, in both sexual and psychological conflict, attempting to entrap one another without an obvious plan of action and with intentions that shift from episode to episode. Sex, too, is less of a bonding exercise for the habitans of Aeon Flux than it is a ritual or game, which adds little to the narrative except to suggest that this is not ‘our’ world – and perhaps that human beings have evolved past recognition – in the most flagrant way possible. More importantly, however, the true nature of the show’s central conflict is unclear. Yes, Monica is often described as a ‘free’ anarchist society compared to ‘repressive’ Bregna, but we see almost nothing of Monica: merely that Aeon, herself, is not evil, seems to believe in her mission, and that her mission – whatever it is – is both free-form and ambiguous. This itself proves … Continue reading →

Ed Gein Becoming: Or, How To Write A Great Poem In An Hour

Photograph of Ed GeinAlmost 20 years ago, Dan Schneider of Cosmoetica was filmed doing something novel: writing a great poem in just a bit over an hour, with a running commentary not only on the process, itself, but why certain choices are made over others, and how this might apply to writing as a whole. The poem, “Ed Gein Becoming”, and the video which engendered it, is something I could have used when first learning my own craft. I’d often read biographies, famous poets’ notebooks, and anything else, really, that might have offered a glimpse into the creative process, mostly due to ignorance over whether I was doing things right. Mature writers will realize that this is usually a dead end, since artists are so dissimilar, and because few have ever had any real insight into their own talents. Simply read, for instance, Shelley’s famous essay on writing, or observe the temperamental differences between a recluse Emily Dickinson and public campaigner Judith Wright to see how little such things really matter. Yet what if artists could, in fact, guide one through a thought process, a set of lines, or the use of a color in a way that’s tangible and replicable? That’d actually be a lot more valuable, and why this recording might help those who are still working through such self-definition.

Prior to getting any further, here is the video:

Notice Dan Schneider’s strategy: he looks through a few books for salient (that is, not necessarily known, nor even truly defining, but salient) elements of Ed Gein’s life that have the architecture for poetry. Too often, artists focus merely on what they care about, and while emotion is certainly a strong motivator, it can also be blinding, encouraging both artist and critic to be too charitable to what they might subjectively love, or unfair towards what they hate. By contrast, forcing oneself to deal with a topic one is merely neutral on is great practice for noticing patterns and seeing how art works in a purely mechanistic sense without discoloring the result with one’s own biases.

Note, too, the things Schneider refuses to consider. Ed Gein was a serial killer, and most writers will merely do the predictable: a portrait of Gein, say, mid-murder, or using obvious and violent imagery out of a fear of being accused of empathy, an inability to see further, or both. He sees Ed Gein’s possible Oedipal complex, but immediately rejects it as “overdone” artistically (even if it’s 100% apropos to Gein’s life), choosing, instead, to focus on an interesting insight: that while he was a psychopath when let loose into the world, he was a “model prisoner” and psychiatric patient “while under someone else’s strictures”. Is it the ‘right’ assessment of sociopathy? Can the idea be tested? Re-applied? Perhaps, but, as before, these would not be the right questions. The point is that, artistically, it’s a fresh angle to take, particularly since it is so far removed from the man’s most famous and defining … Continue reading →

Kitty Green’s “Casting JonBenet” (2017) Is NOT Exploitation

Hannah tries out for Casting JonBenetWatching Kitty Green’s Casting JonBenet is a frustrating experience, but not for the reasons a film might typically elicit such a response. Yes, it has its merits and demerits, but so do many other works of art. No, one doesn’t glean many new facts about an already supersaturated bit of Americana, but that is a poor standard by which to judge a film, particularly an idea-driven documentary such as this. Rather, it is that Green’s strategy is so often brilliant that any future creative work on the JonBenet murder will in some way need to reference and transcend her own. Unfortunately, this also means that the film’s primary conceit can never be used again, even though it might be the most logical approach to what has now become a collective superstition: that there is an answer for everything, and that every question is valid, every concern justifiable. If anything, Casting JonBenet suggests that this is not so, even as it fails to obey its own rules and follow its best avenues to something greater.

Prior to analyzing the film, however, let us briefly discuss the event on which it’s based. On December 26th, 1996, child beauty pageant star JonBenet Ramsey was found strangled and sexually abused in the basement of her Boulder, Colorado home. A few hours earlier, a mysterious ransom note alerted the Ramseys to JonBenet’s disappearance, as they contacted friends, relatives, and the police despite the alleged kidnappers’ warnings. Although parents John and Patsy Ramsey were first suspected in the murder, a rather sloppy investigation turned up no evidence of their involvement, with DNA testing ultimately exonerating both. This didn’t stop speculation, however, fueled not only by their supposedly ‘odd’ behavior, but confounding variables like the false confession of John Mark Karr in 2006, as well as revelations of a troubled home life and Burke’s – JonBenet’s brother – ‘smiling’ interview late last year. Today, theories range from the police’s intruder explanation, to Patsy’s alleged envy and murder of her daughter, and even suggestions that Burke struck and killed his sister with the ransom note forged by the parents as a cover.

A shot of chairs in Casting JonBenet.

The true story, of course, is irrelevant to the myth: the very thing Casting JonBenet tackles by way of its conceits. Thus, I will not give my own views on the case, but simply allow the work speak for itself, and let others’ biases reveal themselves. The film opens with a wonderful shot of some empty chairs soon filled by dolled-up girls. All are auditioning for the role of the murdered girl, as one of them (in a rather nice touch) awkwardly asks whether the viewer knows who killed JonBenet. In fact, the very lack of gravitas helps zero-in on something that’s already been long pontificated over, with a half-dozen or so kids implying they could have been victims, too, without Green quite fleshing out the ‘what’ nor exploiting the viewer’s empathy. It is all a touch too abaxial for such a … Continue reading →

The Snowden Myth: A Retrospective

The National Security Agency logo.Now that the Edward Snowden “controversy” is dying down, it is an appropriate time to finally put the man – and his leaks – into some kind of context. I put the word controversy into quotes because, try as I might, I can’t seem to find much issue either with the disclosure itself, or with the spirit (albeit not the reality) of the program Snowden’s disclosure revealed.

Let’s examine the two key issues here. The first is the “legality” of the leak, and where the first half of the Snowden myth began. Yes, Snowden could be charged with almost anything, but pure legalism is a rustic way to view an ethical dilemma. Jim Crow was a legal fact once. So is Monsanto’s bio-piracy. Just as morality is ensconced within religion, legality is under the auspices of another authority: government. Yet, neither have much to do with ethics, which has an objective reality outside of such institutions.

The fact is, few people are now wrangling about whether or not it was “legal” for Rome to have crucified 6,000 rebel slaves along the Appian Way. Clearly, it was. Yet such questions ultimately take a backseat to things people actually remember – namely, right and wrong, and the deeper, existential issues of personal meaning and survival. I guarantee that a decade from now, Snowden’s disclosure will have minimal impact on national security, even as the United States continues to do little about true long-term threats: climate change, corporate plunder, and silly wars that fuel terrorism the world over. Priorities are very slowly learned.

The second issue is government spying itself. Is it right? Is it wrong? In a way, it is neither. It just is. Government spying has been around forever, and it’ll continue to be around for as long as it’s deemed necessary. At some point, it will disappear, and be replaced with whatever other scheme that whatever other monopoly will devise, for the sake of – well, control. It’s wrong to assume, at the first crack of civilization, that we’ve either hit the apex or the nadir in these matters, for such problems and their legal implications are only beginning, if only because human flaws are so many, the desire to control them so strong, and the means for such so limitless and ever-changing. In Rome, it was mere appeal to The State. In America, it is merely a subtler hue of the same idea.

Thus, there’s a fatalism here, and one that Snowden’s well aware of. Governments set laws, and governments punish. Then, there are “troublemakers” who rush headlong into that reality. This makes Snowden little more than a cog within a process he’s merely on the wrong end of. Fifty years ago, the Pentagon Papers were deemed utterly destructive. Today, they’re hailed for having opened up the government to well-deserved scrutiny. Yet these are trivial “controversies” spanning mere decades. Ask yourself what, exactly, is fated to matter in this circuit, when such names grow distant, and eventually … Continue reading →

Why Ben Shapiro Is A Total Fraud

A couple of weeks ago, conservative pundit Ben Shapiro delivered a Reddit AMA (‘Ask Me Anything’) on r/politics, a left-leaning subreddit which – to Shapiro’s credit – has never been a fan of his work. Yet as a liberal, myself, I’ve nonetheless found common ground with a number of Shapiro’s views, ranging from his critique of the Left’s attacks on free speech, to their over-use of emotion in what ought to be cold and detached argument, to the futility of identity politics, liberal intolerance, and – of course – a decades-old embrace of Third Wave feminism as a rational response to gender issues. No, r/politics isn’t THAT far left, but when I saw the AMA announcement, I nonetheless respected Ben Shapiro’s willingness to engage in what can be a notoriously unforgiving format with a group of people unsympathetic to his views. I expected, therefore, to see a little give-and-take, some dumb, bait-y questions, but also a few good ones, too, that he was perhaps not used to. Naturally, these would be questions that Shapiro – given his ‘attack-dog’ reputation – would of course answer. More, he would answer them in depth, after having time to think and formulate his responses, if only to prove once and for all that he is not the monster that so many claim he is, but might very well be the Right’s biggest intellectual star.

Well, I was wrong, to put it mildly. I was unfamiliar with much of Ben Shapiro’s work prior to his AMA, but, frankly, I am confused why he even agreed to the format in the first place, given how lazy and self-serving his answers are. He intentionally avoids the more difficult questions, goofs off on what he DOES choose to tackle, and refuses to meaningfully engage in any follow-ups despite others’ prodding. Not exactly the hallmark of a probing and far-ranging mind. Either Shapiro just doesn’t give a damn, and tried to use Reddit for publicity rather than genuine engagement, or he is as intellectually vapid as his worst critics suggest. More, despite a well-executed AMA serving as a kind of précis for one’s worldview, I cannot even use the bulk of Shapiro’s comments to string together anything coherent on that front, and must dig into his articles and videos in order to elaborate on the scant piffle he does provide. Thus, what had started as a brief note on Shapiro’s disingenuousness has now turned into a point-by-point takedown of modern, bastardized conservatism as a whole, highlighting not only Shapiro’s poor thinking skills, but his utter hypocrisy, as well. Needless to say, the silly, fawning tone with which Shapiro has been described reveals how utterly desperate the Right has been for a champion – for anything, really – to the point that they’d settle on a vapid, pussy-grabbing TV mogul for President, on the one hand, and an intellectual con as the purported ‘corrective’ on the other.

And that’s because despite the Republicans’ cowardly embrace … Continue reading →