There are a lot of things wrong with American society. Poverty, inequality, racism, sexism, crumbling infrastructure, selfish foreign policy, inadequate healthcare, insane incarceration rates, environmental pollution, gun violence, pitifully underfunded education systems…the list goes on and on. But these things are all very, very hard to fix. Even the simplest of those problems couldn’t be corrected in less than a very hard fought decade. But I want to look like I’m changing the world, without actually, you know, changing the world. So what should I do?
I know! I’ll write long screeds attacking pop culture! Attacking movies and music is so easy. Everyone sees movies , so I don’t have to explain anything complicated like long term economic trends or the greenhouse effect. I just have to point at something on a screen and say “See? Look! Bad!” That way, I can pat myself on the back for making a difference, while not actually putting out any of the effort required to actually make a difference. Thanks, CNN!
Editor’s note: Lewis Beale writes about culture and film for the Los Angeles Times, Newsday and other publications. He has taught writing about film at the University of North Carolina at Wilmington. The opinions expressed in this commentary are solely those of the author.
Keep this in mind as we go through this guy’s article. He teaches writing. In real life. To actual students.
In the latest “X-Men” film, Magneto levitates RFK stadium and drops it around the White House; the stadium is destroyed.
In “Godzilla,” the monster fights off what looks like the entire U.S. military while he flattens both Honolulu and San Francisco. And in the new Tom Cruise film, “Edge of Tomorrow,” opening Friday, Paris is left underwater after an alien attack, and a futuristic D-Day-like invasion leaves a French beach strewn with dead bodies and smoldering war materiel.
There’s plenty more mayhem to come as this season’s glut of blow-’em-up flicks rolls out: “Transformers: Age of Extinction” (aliens drop a cruise liner on a city), “Guardians of the Galaxy” (outer space vehicles liquefied by the dozens), “Hercules” (the title character fights off lions, sea monsters and a whole army of bad guys) and “The Expendables 3” (Sly Stallone and gang; train rams into prison).
Entertainment Weekly recently referred to it as “the summer of destruction.”
But let’s call it what it is: destruction porn.
When writing, you want to have some kind of theme linking together the various threads of your prose. Mr. Beale’s parenthetical statements attempting to establish his theme are what I would call “reaching”. “Outer space vehicles liquified by the dozens”? “[T]he title character fights off lions, sea monsters and a whole army of bad guys”? What the fuck? How exactly are these things linked?
What genuinely irks me, though, is that final sentence. He’s treating the term “destruction porn” like it’s an actual phrase in the English language that means something. Like it has a definition, or that anyone anywhere agrees on what counts as “destruction porn”.
“____ porn” has become the new “-gate” suffix of bad writing. It used to be, if you couldn’t come up with anything original to say, you just find some scandal and call it “[blank]-gate”. Today, if you’re a hack with nothing to say, just find something that you know little about but think is over-indulgent, and call it “[blank] porn”. The Saw movies are “torture porn”. 50 Shades of Grey is “mom porn”. News coverage of weeping relatives of tragedy victims is “grief porn”. Fucking pathetic.
Like real porn, these movies play to our most atavistic instincts.
That’s not what “atavistic” means. A dolphin with hind limbs is atavistic. Our ancient ancestors millions of years ago couldn’t possibly have thrilled at skyscrapers crumbling or spaceships blowing up, because none of those things existed millions of years ago. Get a fucking dictionary.
And where the fuck did you get the idea that “real porn” (whatever that is) is atavistic? People don’t have sexual urges any more? Jerking off is a thing of the past? Modern life, right now, doesn’t involve sexual indulgence? What planet do you live on?
They all include some sort of buildup, the titillation of expectation that really bad, but cool, things are about to happen. They generally climax — pun intended …
This guy teaches writing.
…with a massive set piece of CGI carnage. And like real porn, afterwards we’re supposed to feel deliriously fulfilled and exhausted.
I don’t think you know how “real porn” works. Maybe you feel “deliriously fulfilled and exhausted” after stroking yourself, but I’m pretty sure that’s not what they were going for. What the hell does “deliriously fulfilled” even mean?
Additionally, the fact that you keep using the term “real porn” is a pretty clear indicator that you damn well know the term “destruction porn” is bullshit.
Fact is, we should hate ourselves for feeling this way, as if we’d just had really bad sex.
Writing professor, folks. Calling Dr. Freud.
But that’s not the reaction destruction porn elicits.
Can’t imagine why it doesn’t elicit your perverted reaction in most people. Maybe delirious fulfillment followed by self hatred just isn’t in vogue.
Even worse, we’re exporting this American blood-lust globally, giving outsiders the impression of a country that has totally gone over to the Dark Side.
Star Wars references kinda undermine what you’re going for here. Or does Alderaan not count as destruction porn?
It’s not as if there hasn’t been massive carnage in the movies before this. Hollywood has produced plenty of war films, ecological disaster flicks and alien invasion epics in the past. But the sheer frequency of destruction porn these days — at least 11 movies of this type in summer 2012 (“The Avengers,” The Dark Knight Rises,” etc.) and 12 during the same season last year (“White House Down,” “World War Z,” etc.)…
11 movies in 2012 and 12 in 2013. Please note that he’s throwing out these numbers without ever defining what counts as a “destruction porn” movie, and without ever specifying which movies fit his non-existent criteria, or how any movie possibly could. There were precisely 11 of such movies in 2012, but he won’t bother to explain where that number came from. These are entirely made up statistics. Well, I can do the same thing. I just created a new category called “Shitfuck journalism from hacks”. CNN published precisely one such article which I’m looking at right now.
…and our delight in seeing things blown up, should make us worry about the mental health of society.
Public schools failing, gun violence, suicide…no, wait, fuck all that shit. We should be worried about The Avengers. That’s the important shit.
Movies have always reflected the anxieties of their age. In the 1950s, we had plenty of nuclear paranoia films,often featuring mutated life forms. (Can you say “Godzilla”?)
Can YOU say Godzilla? You keep bringing up this imaginary entity called “destruction porn” as if it’s something new. Have you seen any classic Godzilla films ever? Do I need to explain to you the whole “Guy in rubber suit smashing cardboard buildings” leitmotif of the entire series?
But the recent spate of films seem to reflect a collective psychic collapse.
What the hell is a “collective psychic collapse”? Who the fuck watches Maleficent and thinks, “Yup. Collective psychic collapse.”?
Sure, there are reasons for this: fear of terrorism, the insecurity created by all those mass murders, like the recent episode in Santa Barbara. We feel that world has gotten even more chaotic. That there’s too much of everything. That society has gotten way too complicated, with too many people, too much technology, too many opposing ideologies clashing against each other.
Look at me! I’m vaguely aware of modern political issues! And I get paid to express that never-more-than-vague awareness with statements like “all those mass murders”! I teach writing!
I’m the 700 billionth person to point out that modern life has complications that didn’t exist in the past! I have absolutely nothing beyond that regurgitation to contribute to the discussion, but CNN needs to fill up space, so here I am!
It recalls the classic 1959 dystopian novel “A Canticle For Leibowitz,” by Walter Miller Jr., in which the end of industrial civilization is referred to as “the Simplification.” It’s as if we’re preparing for a global meltdown.
In your writing classes, do you ever address hyperbole?
And the summertime, when we’re supposed to be mellowing out,…
Who’s the fucking “we” in this sentence? The next time you eat at a restaurant, tell the over-worked and under-paid waiter that “we” are supposed to “be mellowing out” since it’s summer, and see what kind of reaction you get. My guess is it’ll be something along the lines of, “I’m smiling because if you don’t tip me, I starve.”
…is a perfect time for Hollywood to exploit our growing appetite for this kind of carnage. There are two specific reasons for this: Most filmgoers are in the under-40 demographic, looking for a night out away from the heat and to put their brains on pause — and believe me, there’s nothing more mindless than watching stuff blow up.
I can think of something more mindless.
The second reason is the importance of the foreign market, which now accounts for nearly 70% of total box office gross.
Our global neighbors tend to go for what we do best, which is make big budget films with state-of-the-art special effects, a minimum of dialogue (explosions speak a universal language) and lots of mayhem. Lots. Just to take two recent examples: the just-opened X-Men film has grossed $168 million in the U.S., and twice that much overseas. And the new “Captain America” flick — “Captain America,” no less! — has grossed $255 million domestically and a whopping $454 million overseas.
America: A country where scenes of mass destruction are the norm, and carnage is preferred over peace, love and understanding.
Go fuck yourself, you sanctimonious douchebag.
If you actually bothered to watch and think about the movies, rather than pontificate like a self-righteous blowhard, you’d see the themes in both X-Men and Captain America. X-Men is a metaphor for the gay rights movement, while Cap is about the surveillance state and the bullshit notion that we have to sacrifice our freedom and privacy for security. Neither film is subtle in this regard. They wear their metaphors on their sleeve. If you took two fucking seconds to think about it, you’d see it. But that’s asking way too much from you, Dr. Writing Professor.
Oh, and I can’t help but notice the term “global neighbors”. What other fucking neighbors do we have? What’s the difference between “global neighbors” and just plain fucking “neighbors”?
Is this the kind of negative image of America we want to export?
Better explosions than pretentious douchenozzles.
And sure, we all know that “It’s only a movie,” but don’t kid yourself: When we get geeked at the leveling of entire cities, it says something about who we are, and where our society is going.
No. It says something about who you are that this is the kind of thing you judge other people for.
And you’d think after 9/11 and the never-ending mass murders in this country we would be a bit more sensitive to scenes where cities are destroyed and thousands of lives lost, but the opposite seems to have taken place: We wallow in it. We cheer it. Like porn, we can’t take our eyes off it. It’s seductive and incredibly addictive.
Your presumptuousness is much more offensive to me than any explosion in a make-believe movie. “You’d think”. Fuck you. The difference between you and me is that I do actually think. Hey, Dr. Writing Professor and Film Critic, did you ever notice how the original Godzilla came out in 1954, just 9 years after Hiroshima and Nagasaki got nuked? Did your tiny little pea brain ever consider the idea that movies are artistic expression, and that they reflect these societal anxieties precisely because that’s what art does? Yes, filmmakers are expressing their feelings about 9/11, and audiences are responding. You can see that in many modern films. This isn’t something new. It’s how art works.
Wish fulfillment? Catharsis? Just good old entertainment? It really doesn’t matter. While we’re in the grips of whatever social psychosis is stoking this ravenous appetite for mayhem, Hollywood will be happy to oblige.
You really are a complete tool, aren’t you?
You managed to write 1,000 words without ever saying a thing. You excel at speculation, allegation, and sensationalism, while stridently avoiding anything that even resembles actual fucking journalism. You pass judgment on others for the specific purpose of generating a headline. You invent terms without ever bothering to define them. You then invent numbers because numbers look like science and reason and that makes dumb people think you’re credible. You use pop psychology to make it look like your verbal diarrhea is actual human thought. And you do all this in the hopes that you’ll stimulate CNN’s audience into irrational fear of an imaginary problem, just so you can do it again next week.
You write news porn.