Life Learning

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One thing a recovering academic must learn is that the vast majority of people don’t really care what drives the academy.  They aren’t too worried about larger issues as systemic racism, or various groups’ feelings of unequal treatment.  In fact, most people are just looking to get by, keeping depression and hopelessness at bay.  There are few avenues to break out of the middle class, and even fewer to move up from the lower.  And going to school hasn’t been presented to most people as an opportunity, but as a chore that must be done until work can be secured and they can pursue surviving on their own.  This truth comes to me time and again when I’m reminded that deep thinking doesn’t sell books (not unless you’ve already established a reputation) and that if you try to bring the concerns of the academy to the public, they’ll look the other way.

The real trick, it seems to me, is educating people without them knowing they’re being taught.  People don’t like being talked down to.  Understandably.  When I listen to people without college educations, I learn a ton.  This is my matrix as well—it’s where I grew up.  Higher education changes the way you think, but it shouldn’t prevent you from communicating with those who are the vast majority of people in the world.  Anything can seem to be normal when it happens long enough, even living in ivory towers and discussing things almost nobody else cares about.  You see, I’m a realist.  And I still have a lot to learn.

When I write my books, my style is accessible but my topics are academic.  It has taken me years to realize this simple fact.  Anyone can read my books from Holy Horror on and understand them, but why would they want to?  The questions raised are those of the academy, and those in the academy know you by your specialization (ancient West Asian religions, historically declined, thank you).  A glance at how my Academia.edu page is viewed tells the story.  Nobody who visits there is interested in horror films or this blog.  They want the resource that can’t be renewed—my work on ancient history of religions.  I’ve moved to horror because I find lots of very intelligent people here.  Like those with whom I grew up, they are generally ignored by the academy.  They are also very accepting of outsiders.  You have to unlearn being an academic.  And it might just lead somewhere productive.

Truthful Fiction

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Octavia E. Butler is a name I’ve known for some time.  Various people, most of whom I don’t know, had recommended her books, particularly Parable of the Talents.  It turns out to have been one of the scariest novels I’ve ever read.  It’s not horror—it’s science fiction.  It’s scary because it’s just too plausible.  The first inkling I had that something was amiss was when I read how Andrew Steele Jarret ran for president to “make America great again.”  Jarret pretends to be Christian to get the vote and America suffers terribly when he’s elected.  I flipped back to the copyright page.  1998.  I read on anyway.  It’s not too often you find a sci-fi book about someone starting a religion.  And named after a biblical story, as well.  I was doing fine until Jarret’s supporters destroyed Olamina’s peaceful community and enslaved the survivors.

It’s all just too plausible.  Of course, there’s a lot going on here.  Butler was an African-American whose ancestors had been slaves.  The religions presented in the book are a bit too black-and-white, but the followers of Christian America behave like many followers of Trump.  Butler saw this two decades before it happened.  The slavery part of the book was difficult to read.  There was so much pathos here, so much deep memory.  Although Olamina is a flawed character, she is a visionary with the best interest of the human race at heart.  This dystopia is perhaps a little too close to reality.  Those who recommend the book say that it’s hopeful, so I kept on reading.  And yes, there is a hopeful ending.  Getting to it left me floored.

Religion defines us.  In the growing materialism—false, as anyone who feels deeply knows—the idea that a story could be built around religion seems unlikely.  Butler has done that, and done it in spades.  I was surprised to learn that she’d studied at the Clarion Workshop, not far from where I grew up.  Being from an uneducated family I never heard of the Workshop until I was an adult.  And besides, it left Clarion, Pennsylvania for Michigan before I even got to high school.  Still, it gives me a sense of connection with a woman who saw more than many did.  Although Parable of the Sower is earlier, I’m not sure that I have it in me to pick it up.  At least not right away.  I’m still trembling a bit from Butler’s second parable.

Salem Away

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I can’t help but think the term “witch hunt” has been cheapened in recent years as a prominent, wealthy white man has been claiming to be the victim of one.  Nevertheless, America was actually home to an infamous witch hunt some centuries ago.  I’ve read a few books about it and there are many more yet to be read.  The thing Emerson W. Baker’s A Storm of Witchcraft has going for it is the broader context he gives the events.  Not only the events but the town of Salem also.  Older than Boston, and a major city in its day, Salem had more history than the trials for which it is famous.  Baker does a nice job of describing the ambivalence that residents have felt, and still feel, towards its past.  Tragic, yes, but fascinating also.

I fell in love with Boston the first time I set foot in it.  I made quite a few trips to Salem during my years there, drawn in by the history.  So much isn’t recoverable.  One of the aspects that comes clearly through Baker’s treatment is just how much of a Puritan problem witches were.   And not just witches.  Puritans didn’t care for those who differed from them.  Quakers could be just as bad as Devil worshippers.  And the tragedy of Salem illustrates that the Puritans didn’t much care for one another either.  Religion gets that way when it’s weaponized.  Baker points out the many pressures of what was essentially a frontier town on the coast.  War with American Indians was still a reality.  And Salem wouldn’t be innocent of the slave trade some decades later.  But it all seems to keep coming back to 1692.  And the death of the innocent.

Baker also points out how Cotton Mather covered his own tracks, justifying what he knew was wrong in order to keep privilege in its place.  We tend to think of that as a modern trait, but clearly clergy were well aware of it back in the early days of this nation.  Religions always do have a difficult time admitting it when they make mistakes.  I think they’d find that people can be pretty forgiving, though, especially since they often advocate forgiveness themselves.  This book is a thought-provoking treatment of Salem.  The events that took place there have shaped this county in unexpected ways.  They made the case, centuries ago, for tolerance of those who are different.  It’s a lesson we still have trouble learning.

Movies, Paused

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Technology breaks the world into bits.  It’s not just pixels, or 1s and 0s, it’s culture.  And we let it happen.  I was thinking this when I should’ve been watching a movie.  I don’t have much time for films, nor do I have money to see everything in a theater.  Or even to pay on a streaming service so that I can watch without commercials.  So like any zombie, I just let it happen.  Recently I was watching a movie—it’s here on this blog someplace—that was uncommonly unified by mood.  Edgar Allan Poe was of the opinion, and I think he was right, that short stories should be brief enough to finish in a single sitting.  Poe opined that such a reading allowed for the continuation of a mood set by the writer.  He was a master at doing this himself.  Breaking up movies with commercials reminds us of his wisdom.

Photo by Ramon Kagie on Unsplash

So I was watching a film where the dread builds up slowly.  The shadows, the music, the unspooling plot—try this new toothpaste!  Here’s a silly television show that you can watch on our network!  What was the mood I was in?  It was shattered by people pushing stuff I’ll never buy.  (I’ve got sensitive teeth, Mr. Commercial, and my dentist has recommended a brand that keeps me from gnawing my tongue off.  And that television show, Ms. Commercial, has no appeal to me.  I won’t watch it.)  Back to the mood you were trying to enjoy.  This isn’t anything new, of course.  I grew up watching Saturday afternoon monster movies and they were constantly interrupted by commercials.  You have to endure the sermon if you want the fun of coffee hour.  But still, but still…

Yes, I know the rules.  Subscribe to a service (I use two) and you can watch what we’ve got.  Only some of it will be interrupted by commercials.  Companies as large as ours didn’t get this way by accident, you know.  We had to show the average person what market research indicates they want—whiter teeth, more entertainment.  Forget what you’re watching at the moment.  Isn’t that mood just a little intense?  Don’t you need a little break just about now?  I don’t know how you see these posts, but I pay extra not to have advertising on my website.  I do hope that’s the case, if you see it from a device other than mine.  Besides

Revisiting the Zone

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Like many people in the early eighties, I heard about the terrifying accident that killed Vic Morrow, Myca Dinh Le, and Renee Shin-Yi Chen during the filming of Twilight Zone: The Movie.  Because of that I steered away from ever seeing it.  I grew up loving The Twilight Zone, and I was probably enough of a self-assured critic at twenty to suppose the movie would never have been as good as the original series had been.  Still, it didn’t leave my consciousness.  Not entirely.  There have been a couple of television reboots of the series—most recently by Jordan Peele—and it seems that those of the present day still see the cultural value in the original.  Peele’s relaunch, although short-lived, brought the movie back to mind and I finally decided to watch it when I learned that one of the segments was based on “Nightmare at 20,000 Feet,” given my recent gremlin kick.

I knew the film was an anthology and those are always dicey.  I also knew I’d be watching an actor in his final role—the scene in which he and the children actually died was not used in the movie, of course.  I didn’t realize how many stars were in the cast, and I didn’t even know what the other three episodes were.  Critics (paid and un) have opined that the episodes increase in appeal as the movie progresses, and the opening segment has been hailed as one of the scariest introductions among films.  So some forty years after it released I watched it.  I actually found it to be largely in the spirit of Rod Serling.  I don’t know what he would’ve thought of the movie, but it seems to have continued his message.  The first segment, the one in which Morrow starred, wasn’t based on a single original Twilight Zone episode as the other three were.  A few “Easter eggs” exist for fans, such as Burgess Meredith narrating and Helen Foley saying she’s headed to Willoughby on the remake of “It’s a Good Life.”  No doubt, “It’s a Good Life” and “Nightmare at 20,000 Feet” are among the most famous of the episodes in the series.

Part of me is surprised that the film was released at all.  Deaths have occurred, of course, in the making of other movies.  Some in which millions of dollars had already been invested.  Still, watching a final performance like this has a haunted quality to it.  At times it seems that acting can be a dangerous profession.  And certain movies may always be difficult to watch because of it. But should we expect anything different from this Twilight Zone in which we live?

A Year of Hope

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The older I get the more I appreciate New Year’s Day as a holiday.  Part of the reason is that, although I saw no hint of religion in it as a child, I have come to realize that holidays are for reflecting.  As a self-critical individual, I don’t wait for any date to make resolutions, preferring to do that in real time as soon as I learn about my bad behavior.  Still, although it’s a somewhat artificial marker, January 1 is a time of hope.  It seems that since 2016 years have been something of a slump.  Trump certainly has something to do with it, but Covid has become a monster in its own right and it’s hard to know when we might be able to get back to feeling comfortable in large gatherings of people.  Even as an introvert I miss that from time to time.  Still, optimism comes out with the start of a new year.  Who doesn’t like new things?

Technology has made us hyper-aware of bad things happening elsewhere.  This evolution of a hive mind has caught us unaware, it seems.  We do have a desire to improve (with some exceptions, such as politicians only in it for themselves) and that focus makes our next steps optimistic.  What greater hope can there be that an entire year stretching out in front of us, yet to be written?  There’s the old saw about a blank sheet being a source of fear, but why not do our best to write our own futures on it?  Put our good intentions into the mix to try to balance out the negativity that some others seem intent on dragging the rest of us through.  New Year’s can become almost religious in that way.  We consciously reject the bad that has grown on us throughout the previous twelve months.  We can do better.  We can be smarter.  We only need to believe.

I know that I keep hoping every year that HR will see the wisdom of allocating holidays.  We work more efficiently now, and people smarter than the rest of us suggest that we should not be stressing ourselves so much over things like work.  My own outlook is that days given off work for reflection are increasingly important.  Capitalism with its worship of mammon is, hopefully, entering its late stages.  I can see a future that’s better than what we’ve managed so far.  Let’s hope the wisdom exists to make 2024 a year of avoiding disaster.  A year of hope.

Not Tomorrow

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Two of the sweetest words I know are, in the context of a vacation, “not tomorrow.”  They’re especially sweet after you’ve had a couple days off and you start feeling anxious that time is running out, only to realize that although work will start again soon it’s “not tomorrow.”  You have another day when you can stay in your pajamas, read, watch movies, or, if you’re a certain personality type, write.  Or play games, put a puzzle together, visit friends.  Whatever it is you do to find meaning in life outside work.  Outside academia I’ve never worked for a company that gave more than one day itself for the Christmas holiday.  (Two, if you count New Year’s Day, but that’s technically on next year’s meager holiday tally sheet.)

Each year I cash in vacation days so that I can feel “not tomorrow” more than a day or two in a row.  One of the more depressing recollections I remember is climbing onto an empty bus well before sunrise to commute to an otherwise empty office my first December working for Routledge since I hadn’t accrued enough vacation to take the week off.  I’ve worked for two British companies and it doesn’t help knowing our colleagues in the UK automatically have that week off.  Colonials, however, have far fewer holidays, and if that means trooping to the office for form’s sake, so be it.  Very few people answer their emails between Christmas and New Year’s.  Her majesty’s realm thrived for my presence, I’m sure.

The pandemic has taught us that many, if not most, workers are self-motivated when not confined to an office.  We also know that the United States has the lowest life span among developed nations, and my guess is that one contributing factor is that we don’t have enough “not tomorrows” until it becomes literally true.  Life is a gift, and spending it doing the things we value is something we tend to deny ourselves in the hopes that someday we might retire.  Many companies have begun to cap the number of vacation days you can accrue at numbers so low that the year looks like a desert from January through late November.  It’s that stretch of “tomorrow is a work day” punctuated by weekends so vapid that they vanish by the time errands you can’t do during the week are done.  Why have we done this to ourselves?  For me personally, I only have two more regular work days off.  I’m beginning to feel anxious about it.  Then I tell myself that, for today at least, although I have to start work again soon, it’s not tomorrow.

Christmas Silence

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Christmas seems to have come too fast and not fast enough this year.  Like Halloween, it’s one of those long anticipation holidays.  The older I get, the more I appreciate the silence about it.  Not in a Grinch-like way, I hope.  More along the lines of “Silent Night.”  We spend so much of the year—so much of our lives—hustling about, barely having time to think.  Speaking personally, it takes about a week off work just to begin to get to that phase.  I need time to let the daily onslaught of work and capitalism and angst tune down.  There’s a quietness about Christmas that’s profound.  I suppose that’s why I like to spend it with my small family and not feeling obligated to go anywhere.  It’s like those precious moments before sunrise that I experience daily, only all day long.  That’s truly a gift.

The newspapers and internet sites have been summarizing the year for the last couple of weeks.  That always seems premature to me.  I understand why they do it, but Christmas and the days following are some of the very best of the year, and it makes sense to include those along with the stress, darkness, and ugliness that are the daily headlines.  I can’t help but think of Simon and Garfunkel’s “7 O’Clock News/Silent Night.”  Especially this year.  Christmas is for everyone, and the insistence that we make it exclusive (putting Christ back into it) makes it divisive.  Why some people have to be right all the time I don’t know.  I prefer Hamilton Wright Mabie’s take: “Blessed is the season which engages the whole world in a conspiracy of love.”  Simon and Garfunkel are both Jewish and I think they understood “Silent Night” better than many Christians did back in 1966.

I’ve been writing quite a lot about horror movies this year.  The months and days leading up to Christmas have often been difficult ones.  Such movies are therapy.  They can even fit into the beautiful silence of this day.  That’s my hope, anyway.  May this day include enough silence for you.  The rest of the year has no difficulty filling itself with trouble.  We need holidays.  Christmas has always struck me as the most peaceful of them all.  Ministers, and even those of us who never made the cut, tend to be holiday experts.  Those who don’t get caught up in the dogmatism of it all are the most blessed.  Christmas is for everyone.  And may it be peaceful this year.

Bears Repeating

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I read Robert C. Wilson’s Crooked Tree before I began this blog, I guess.  I remembered it being better than it seemed this time around, but it works as a horror novel.  In fact, the first third or so was quite unnerving, although I’d read it before.  After that the plot tends to require greater suspension of belief.  But then again, American Indian horror has come a long way since then.  Wilson, according to the limited information about him online, isn’t an Indian.  These days publishers are very concerned with appropriation—something that wasn’t an issue back in 1980.  And these days the work of Stephen Graham Jones, who is both a Blackfoot and an excellent horror writer, raises the bar considerably.  But Wilson is honest about the situation in his laying out of the novel.

Axel Michelson is a lawyer and he’s working to preserve the fictional Crooked Tree State Forest and prevent development.  Many of his colleagues and neighbors in Michigan are Indians, and so is his wife.  Axel’s efforts are hampered by a sudden onslaught of black bear attacks.  The description of the first three or four are scary enough to dissuade you from ever going camping again.  Axel’s assistant is an Ottawa and and he and his family suspect a bearwalk is involved.  This is the reason I read the novel the first time.  As a Native American folkloric monster, the bearwalk is difficult to uncover.  There are a couple more novels—one of them hard to find—that feature the tales, and there’s a university press book on folklore that has some accounts.  Not much more is out there that I can locate.

A bearwalk is a kind of shape-shifter.  A spirit that can control bears, in this case.  Axel becomes the white savior who uncovers the ancient ritual to stop the bearwalk, which has taken control of his wife—his main motivation for stopping it—while the Indians can’t figure out what to do about it.  They do tell him about the ritual, but mourning the loss of their culture, they fear it’s gone forever.  Meanwhile the bear attacks continue but once the shock of the first few attacks has worn off, they don’t scare so much.  There’s also a lot of supernatural involved, mostly drawn from native traditions.  It seems clear that, like Axel, Wilson did quite a bit of research on American Indian folklore.  He treats the Ottawa culture with respect and wrote a novel that might’ve had more influence than it seems. It’s well worth the read the first time around.

Movie Ancestors

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I’ve read quite a few Very Short Introductions, but this one struck me as particularly good.  Donna Kornhaber knows how to write for non-specialists, and she knows how to single out what’s interesting in the vast collective known as Silent Film.  As is the series trademark, this book is very brief, but it covers the essentials.  Kornhaber divides the silent film era, roughly 1895 to 1927, into three periods: early cinema, the transitional period, and the classic era.  During each of these, new developments demonstrated the sophistication of the industry and groundwork was laid for cinema as we know it today.  I learned quite a lot from this short treatment—so much that it’s difficult to know how to summarize it here.  Of course, it’s short so you can read it for yourself if you’d like to learn more. 

Perhaps what stood out to me the most was the correction of a misperception that, I hope, is not unique to me alone.  I’ve always thought of silent films as being grainy, poorly exposed, and choppy when showing people’s movements.  Kornhaber explains that most movies were of sound quality in their day, when projected properly.  Early film stock deteriorates, however, and not all stock was properly preserved.  This accounts for the graininess and the sometimes “overexposed” look of such films.  Even modern projectionists don’t use the proper speed and that leads to choppy motion.  In their own day, and with film handled by people who knew their business, early movie goers would have experienced realistic, well-rendered images.   These issues are our issues, not those of the original footage.

Another feature of the book is its focus on diversity in filmmaking.  Early silent film was dominated by France and the United States, but several other nations contributed to what we now think of as standard elements of cinema.  And the fact is that until sound was introduced many women played important roles in the development of what we expect from films.  Women directed.  Became business-savvy.  Ran their own studios.  Once the industry established itself as particularly lucrative, men began to edge women out.  The majority of early films—Kornhaber suggests around 80%—were lost as studios saw no reason to preserve them once “talkies” were the way to make money.  Consequently we’ve lost a good part of that early history.  We pretty much take movies for granted.  We can stream them any time, and we know what to expect (roughly, anyway).  What we don’t often consider is how much we owe to those who established what the movie-going experience should be, and did so before sound was added to the mix.

Could Have Understood Differently

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A lesson many authors need to learn (and I include myself here) is that titles matter.  Cutesy, clever titles may work for well-known writers, but something that describes your book, or movie, is essential.  And avoid acronyms.  I avoided watching C.H.U.D. for years, put off by the title.  I’d read a few books where it was discussed, but finally decided it was something I should see.  If you’re as put off by acronyms as I am, C.H.U.D. has a double meaning.  Initially Cannibalistic Humanoid Underground Dwellers, but more importantly, Contamination Hazard Urban Disposal.  I suppose that’s a bit of a spoiler, but since the movie’s been out since 1984 I’ll let it stand.  Although largely panned, I think C.H.U.D.’s a perfectly serviceable monster movie and despite what the critics say, it has a larger message.

Set in a gritty New York City, the film focuses on the homeless who live underground.  Although it’s not preachy about it, the underlying message is that these are people too.  Until, of course, the contamination hazard mutates some of them into C.H.U.D.  Then they start looking for human victims.  In a city the size of New York, they don’t have much trouble finding them either.  A government cover-up is behind all the mayhem.  Nuclear and other hazardous waste is a very real problem, and none of us really knows what happens to it.  With much of government boiling down to political theater, I’ll take my chances watching movies and wondering.  The good guys in this movie are those who actually care about the homeless.  They are a rather unsympathetic photographer and his wife, a police captain with a missing wife, and a guy who runs a soup kitchen.  They learn something isn’t right beneath the streets but can’t get the authorities to admit it.

This isn’t a great movie—there are gaps in the plot all over the place—but it’s not a horrible movie either.  Sympathetic portrayals of the poor are, in my experience, rare.  These are people who’ve organized themselves into a society that’s come under threat because of those who dwell in the light.  Some classify C.H.U.D. as science fiction,  but that’s a very loose use of the term.  It’s actually a low-budget horror film with a bit of heart.  Unfortunately the title obscures that this is a little gem of a monster movie.  I really had little idea of what it was about when I started streaming, but ninety minutes later I was glad I’d done so.  And I went down to the basement afterwards, you know, just to check.

After Effects

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Every once in a while you find a book you wish had been published sooner.  The Exorcist Effect, by Joseph P. Laycock and Eric Harrelson is one of those books.  Although it covers many of the same films I talk about in Nightmares with the Bible, it does so with a different target in mind, and a lower price point.  Drawing on the observation that human recall is often accompanied by “source amnesia,” they explore the idea that famous horror films (and some less famous) get remembered as “facts.”  This seems to be a greater danger to those who don’t actually watch horror or who watch it uncritically.  Movies such as The Exorcist become the basis for what individuals believe about demons.  But it’s far more dangerous than that, because in a culture where everything’s politicized, horror movies become “the truth” for groups like QAnon.

Considering Rosemary’s Baby, The Exorcist, and The Omen as prime examples, they then move on to consider the fascinating, if weird, lives of Ed and Lorraine Warren, and Malachi Martin.  Popularizers such as these three influenced both horror films and general public opinion about demonic possession and exorcism.  The study moves on to the Satanic Panic of the eighties and nineties and how heavy metal music both utilizes and ties into the Exorcist Effect.  This important book ends by discussing the very real dangers of a society that elects presidents and others based on this Effect, which confuses reality and movies.  The book shows how many of the ideas behind conspiracy theories either misremember, or intentionally misuse, horror films.

Back in the days when I started Nightmares with the Bible there was comparatively little published in readable terms that discussed demons or, specifically, the portrayal of exorcism in movies.  Laycock and Harrelson’s book would’ve been a welcome contributor to that dearth of resources.  As someone who works on the fringes of the fringe, I don’t always hear the discussions other scholars have and I’m often left to my own devices when it comes to finding and reading information on horror films.  Without library privileges, it often means having to purchase the books to access them.  I was thrilled when I first learned about this book and I’m glad to have finally had the opportunity to read it.  I’m sure I’ll be coming back to it on occasion.  After writing Nightmares, I took a bit of a break from demons because being in the dark for too long can do odd things to a person.  But not knowing about them, as this book shows, might cause even greater problems.

Edge of Civilization

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This is not a movie to be watched by someone with PTSD.  I watched Outpost for the scenery (I’ve been to the area it was filmed many times) and because the New York Times highlighted it.  It ended up being the scariest movie I’ve seen since The Shining.  I mean the kind of scary where your heart is still battering around your chest even after the credits roll.  As an indie horror film it may not be well known.  For clarity’s sake I need to say it’s the Outpost released in 2023.  The one about a woman who goes to spend a summer in a fire tower to recover from domestic abuse.  If you haven’t suffered PTSD, and you’re not as emotionally involved as I let myself become, you might guess by about halfway through what’s really going on.  But there are a bunch of people in the northern Idaho woods that you just don’t trust.

I’ll try not to spoil the ending, but here’s how it goes: Kate was beaten by her husband.  And sexually abused by an uncle when she was growing up.  Against the advice of her best friend, whose brother works for the forestry department, she takes a summer job on a fire lookout tower.  The locals at the store, all men, are threatening in her eyes.  Her new boss doesn’t think she’s a good fit for the post, but to help smooth things over with his sister, he lets Kate have the job.  Along with lighthouses, fire lookout towers are some of the loneliest places in the civilized world.  When a couple of young guys hike by, noting she’s all alone in the tower, your skin begins to crawl.  She keeps having flashbacks to the violence in her past.  Then she meets an older woman hiker who stays awhile and teaches her how to shoot.  A local retiree teaches her how to chop wood.

Kate still doesn’t trust the local retiree.  One of her colleagues from the forestry service has surreptitiously taken photos of her and ogles them.  And day after day after day she has to follow a routine and sees no one.  You get the picture.  I don’t want to give too much away, but for some of us this may be among the scariest movies we’ve ever seen, despite most of it being in the clear summer sunshine of northern Idaho.  The movie ends with a contact number for the National Domestic Violence Hotline.  Joe Lo Truglio, the director, is an actor known for comedy.  Outpost makes me think there’s something else behind the laughter.

Shadowy Clouds

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Okay, so it had Chloë Grace Moretz in it, and her face is on the cover of Holy Horror.  And it was tagged as action horror.  And apart from many highly improbable situations, Shadow in the Cloud is a perfectly serviceable movie.  Part “Nightmare at 20,000 Feet,” part Aliens, and part Indiana Jones and the Last Crusade, with any generic war movie thrown in, the movie is fun and a tribute to indy productions.  The plot is, admittedly, convoluted.  Moretz’s character (“Maude Garrett”) is a pilot officer who comes aboard a B-17 on a top secret mission.  She has a high priority parcel that must be kept safe.  The all-male crew use just about every sexist trope in the book but one of the crew takes her seriously.  While in the ball turret, she spies a gremlin.

This is a real gremlin, as implied in “Nightmare at 20,000 Feet.”  Set in World War II, the film has other threats.  Japanese Zeros find them and a dogfight begins.  In the meanwhile it’s revealed that the one crew member who doesn’t dismiss “Garrett” had an affair with her and the secret parcel is actually their infant son.  Meanwhile, the gremlin and the Zeros keep up their attacks, killing several of the crew, including the pilot.  Maude takes charge, and oversees the crash landing of the bomber and when the gremlin, still angry at being shot and hacked by her, steals the baby.  This leads Maude to beat the gremlin to death with her bare hands.  Improbably, both her lover and baby survive intact, along with two other not too bad crew members.

The film manages to be pretty heavy on social commentary, and even shows archival footage of women in various Air Force roles during the closing credits.  The production values and the message are what really save this from being a bad movie.  I mean, this entire mission would’ve ended with everyone dead if not for Maude, driven by maternal instinct, keeping her baby alive.  She’s a pilot, a dedicated mother, an acrobat, and, if you’ll pardon the expression, a total badass.  The film is kind of a tribute to women who served in the military despite the innate sexism of the period.  And it has a monster, so what’s not to like?  From the first few minutes on there’s nothing really believable in the plot, but a woman leading the way, both as the star and as her character, is reason enough to pay attention.

Evolving Holidays

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Holidays evolve.  I noticed this Thanksgiving that protests against the origins of the holiday have grown.  The same is true concerning the “Christmas Wars” every single year.  Some holidays (of which we have relatively few in this country) are disappearing altogether.  What seems to have been overlooked, or forgotten here, is that holidays change over time.  Public analysts and early holiday promoters encouraged government recognition of holidays as a means of bringing the nation together.  It’s easier to do this if we recognize that holidays evolve and the general trajectory is toward becoming more and more inclusive.  There will always be those who protest the “secularization” of holidays, but they share a large part of the Venn diagram with those that believe the Bible is a science book.  Things change.  Evolution is real.

I’m not just writing this because Thanksgiving and Christmas represent holidays from my tradition.  It’s true that they represent what was the majority religion (Christianity) at the time they were established here, but I would be glad for holidays from other traditions to be added as well.  Americans need more time to rest and recharge.  Anyone who’s studied the history of Christmas, say, realizes that its origins aren’t really Christian.  It’s a combination of a Christian alternative to Saturnalia, the recognition of St. Nicholas (December 6), Germanic Yule, and the festival of Roman Calends to start the new year.  Among other things.  Early Christians didn’t celebrate Jesus’ birthday.  Nobody had any idea when it was, but a tradition grew and as it grew from diverse roots it became more and more inclusive.  Why should we protest a day when we can acknowledge its troubled past and look for ways to make it better?  Something for everyone.

Holidays bring people together.  I’ve been researching them for years and I’m amazed to see how those that survive eventually catch on and bring people together for a common purpose.  Think of Halloween.  Masking disguises who we are.  It’s a day when everyone is welcome.  There are those who protest it, of course.  But holidays need not be seen as triumphal celebrations of some past misdeed.  (Here’s a hint from history: almost no historical event is seen as positive from everyone’s point of view.)  Instead, why not embrace those few red letter days that we have and use them to seek a common purpose?  Why not encourage those in positions to make decisions to consider the good of a few more holidays?  Trouble can always be found, but holidays, if done right, may help heal.  It’s the way of evolution.